This juvenile delinquency drama may very well be the first feature length narrative film to center on the subject of hustling and "gay for pay". It is interesting to follow how it plays with elements of film noir and melodrama to drive home its fatalistic message. The only affectionate touching among men in the film is extended by the vice cops to the boys they've hauled into the station. Distance between the 'johns' and the rentboys is scrupulously maintained except for the outright aggression and violence that ensues as the boys attempt to jump their marks. This is interesting since the film was clearly joining forces with the theory popularized after WWII that homosexuality is the result of "propaganda" and seduction. As one proponent, Ørnulf Ødegaard, put it: There is in the nature of homosexuality a certain urge to expand. This "expansionism" took the form of "spacing" and careful "posing" among the boys and between them and their clients which, together with the tender yet firm hands of the police, must have made it possible for period viewers (the target audience was nominally provincial parents - but the film won high critical praise, including several top national film awards) to become complicit with the principal character Anton (who has "fallen in with the wrong crowd")... right up to his final plunge into the harbor where he will literally become one with the "Bundfald" - sediment, dregs of the earth, scum.