- Born
- Nicknames
- Seamqn Losch
- Wizard Glick
- Jack Rabbit
- Looney Bear
- J. Angel Martine
- Jack Bravman grew up in a Jewish neighborhood in the Bronx in the 1940's. Bravman was raised by neighbors after his blood parents gave him up for adoption and attended Taft High School in the Bronx. Jack developed an interest in film from a cousin who worked as a projectionist at a drive-in theatre in Bangor, Maine. Moreover, Bravman watched a slew of movies at various theaters in Times Square in Manhattan, New York City as well as at the Museum of Modern Art. Jack's first job was placing bets for people at a racetrack in Yonkers.
Bravman eventually got another job working as a messenger boy for an uncle's printing company down on Varick Street in SoHo. Jack then got a job working as a messenger in the photography department for Look magazine, which was where he met Ed Adlum. Bravman next got a job working for the small company Photosonic, which produced and edited films and commercials (Bravman learned all about filmmaking from this particular gig). After Photosonic closed down, Jack went on to work as a film booker at MGM and subsequently learned all about how to sell movies. Bravman then decided to make the leap into filmmaking with his debut feature Blonde on a Bum Trip (1968), which he both co-wrote and co-produced with Adlum. Jack continued directing and/or producing black and white soft-core sex films throughout the 1960's which he often attributed to the pseudonyms Wizard Glick and Looney Bear. Bravman made the transition to more explicit hardcore movies in the early 1970's and continued to make X-rated films up until the mid-1980's under the alias J. Angel Martine. Jack ended his film career with a few low-budget horror movies that were made in Canada.
- IMDb mini biography by: woodyanders & Ashley West - The Rialto Report
- A recent biography of porn star John Holmes claims that Martine was merely a pseudonym used by filmmaker Roberta Findlay, but there is no evidence to support that claim, and it doesn't take into account Martine's acting credit (a male actor) in one film, nor his production manager credit in Findlay's "Angel No. 9", where she is already credited as writer-director and would not have been the production manager as well.
- Those days in the 1960's through to the 1980's were great. It was like a dream for me. I couldn't believe what I was doing. I was young, driving a Mercedes, living in Manhattan, surrounded by pretty girls ... it was a great life. We'd shoot a film in a couple of days, then we'd have a couple of weeks off. What more can I say?
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