I first saw Blonde Cobra in 1988 at the Whitney Museum of American Art on a double bill with Flaming Creatures. Years later when I told my friend Jeanie (who had spent a lot of time with Jack during the last year of his life) that it was my favorite of the films that he appeared in but did not direct, she said that it was the film that seemed most like hanging out with him.
I think Jacobs fully deserves credit as author of this movie. The way he assembled it is distinctly his own, while the qualities his construction reveal are those of the object of his admiration: Jack Smith. The use of the black leader for unexpectedly long periods as Jack continues babbling brings to mind Debord’s Howlings (Hurlements en faveur de Sade,) though less austere as well as reversed. This is a perfect example of a movie as portrait.