The film — a mix of music, colors, abstract scenes and little dialogue — is based loosely on the life and death of Mexican-American actress Lupe Velez. The music, far more than mere background, borders on serving as the film’s narrative and ranges from classical to contemporary pop music.

Black-and-white version of Mario Banana I, in which Mario enjoys another banana.

Filmmaker and artist Jack Smith described his own film as a “comedy set in a haunted movie studio.” Flaming Creatures begins humorously enough with several men and women, mostly of indeterminate gender, vamping it up in front of the camera and participating in a mock advertisement for an indelible, heart-shaped brand of lipstick. However, things take a dark, nightmarish turn when a transvestite chases, catches and begins molesting a woman. Soon, all of the titular “creatures” participate in a (mostly clothed) orgy that causes a massive earthquake. After the creatures are killed in the resulting chaos, a vampire dressed like an old Hollywood starlet rises from her coffin to resurrect the dead. All ends happily enough when the now undead creatures dance with each other, even though another orgy and earthquake loom over the end title card.

与 此同时，整个夏天，Jack Smith都在拍摄Normal Love，他自己在Flaming Creatures后的“商业片”。作为完美主义者的他装了一卡车的恐怖电影俗套道具（狼人，黄女巫，黑蜘蛛，白蝙蝠，美人鱼）开过新泽西到Fire Island，寻找拍摄某个场景的完美外景：仅寻找绿翡翠木乃伊奸杀Cobra Woman（Maria Montez曾主演过同名影片）的沼泽就花了四个星期。有人回忆说每场戏都如一个大派对，大家数小时数小时的化妆，穿戏服，搭布景。
Normal Love照旧在过期胶片上拍摄，因此影片充斥了大堆的粉色，黄色和绿色的色块，让它看上去比Flaming Creatures更华丽。到8月份的时候Gramercy Arts剧院里已经充斥了关于此片的传闻（Village Voice的广告上说“At last! An evening of Baudelairean cinema”）。午夜的正常放映结束后，或者在Lispenard Street的Ron Rice的阁楼里，Jack Smith会放映Normal Love的毛片（Rice此时已经暂时放下The Queen of Sheba，转而拍摄影片Chumlum）。据Sitney说，这些放映是电影人，演员，和影评人的重要会议。Mekas已经开始做宣传。夏末他参加了 Flaherty电影研讨会。这是一个在Vermont州的Brattleboro举办的关于Cinema verite的国际电影回顾。Mekas带了Blonde Cobra和Flaming Creatures去，但是直到午夜才设法放映了影片。Mekas在专栏里写道“我的老天，即使在Flaherty我们也感觉是搞地下电影的。”

Also known as Walden, Jonas Mekas’s first diary film is a six-reel chronicle of his life in 1960s New York, interweaving moments with family, friends, lovers, and artistic idols. Blending everyday encounters with portraits of the avant-garde art scene, it forms an epic, personal meditation on community, creativity, and the passage of time.