Showing posts with label 1970s grindhouse. Show all posts
Showing posts with label 1970s grindhouse. Show all posts

9/02/2012

Cherry, Harry & Raquel / Common Law Cabin (Megavixens / Three Ways to Love) (Big Six / Conjugal Cabin) Review

Cherry, Harry and Raquel / Common Law Cabin (Megavixens / Three Ways to Love) (Big Six / Conjugal Cabin)
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This is one of Russ Meyer's finer films, a late 60's collage of psychedelia, sex and violence occasionally overdubbed with psuedo-scholarly narration about class struggle(?) A bizarre and thoroughly entertaining mix. Charles Napier shines, as usual.
The DVD, on the other hand, is a bit of dissapointment. While it sports the "MINT QUALITY--From Original Negative" tag on the cover, don't be fooled..the picture (full frame) and sound (mono) are pretty much indistinguishable from the VHS edition of the same film. You get an animated menu, chapter stops, and a few trailers from other RM films, but that's about it.
If you already own the VHS, you may want to skip the DVD. Otherwise, go for it.

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6/17/2012

Daddy Darling (1972) Review

Daddy Darling (1972)
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The creepy taboo of incest is explored/exploited by Joe Sarno (All The Sins Of Sodom) in this flick, but at least it`s the daughter lusting after Dad and not the other way around (I ain`t sayin` it`s right, but there IS a psychological condition known as 'The Electra Complex' that exists in certain young girls who have an unnatural preoccupation w/ their fathers). Katja lives alone w/ her father, and they share a deep affection - too deep, perhaps. One day Dad announces he`s re-marrying, and Katja`s world comes unglued. When she sees them in bed together, she decides to take matters into her own hands (no pun intended) and tries to disgrace her new mom while attempting to seduce her dad, who`s oblivious of his daughter`s fixation. This film is Danish-produced, and they were/are more lax in the apparant taboos we have ensconced in our American society, so the subject matter doesn`t seem so unusual or wrong (again, I ain`t sayin` it`s right, I`m just sayin`). And that`s why the movie works. For a film made in 1969, it`s notariety lies in its stretching the limits and possibilities of soft-core erotica, just before the advent of hardcore movies took us over the top. It helps that the actresses are attractive, the nudity abundant, and the exploitation envelope pushed. All in all, a good example of reasonably intelligent erotica from a lost era, well-handled (again,no pun intended) and well-executed. (Ignore the reviewer who whined about the picture quality, mine was fine). Loads of extras, trailers for other Joe Sarno flix, and a booklet - now, who`s your daddy?

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5/29/2012

Jackson County Jail (1976) Review

Jackson County Jail (1976)
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Well, at least that's what the voiceover in the theatrically shown film trailer proclaims. Released in 1976 'Jackson County Jail' has developed a legitimate cult following in the years since. While it may appear to the average movie viewer to be much-ado-about-nothing hardcore fans of the genre love this Roger Corman produced pic. Independent film maker Corman himself has a huge nearly unfathomable cult following; taking this factor into account it isn't a wonder that this minor gem remains well-known today. If it had anyone else's name attached to it I imagine 'Jackson County Jail' would have fallen by the wayside along with many others of its type. But besides the prestige that Corman's name lends there is more here than meets than the eye. The excellent acting in the key roles, interesting casting of supporting players and sharp direction that keeps the suspense and tension building. But most especially of interest is the quirky existentialist like plot contained within the story that is embodied by its two main characters.
After getting unnecessarily verbally abused Dinah Hunter (Yvette Mimieux) quits her job as a commercial producer and leaves Los Angeles for a new job in New York, intending to drive herself there. Stopping to eat at a diner she happens across a young couple who she sympathizes with and offers a ride to them. Later that evening the young couple steal Dinah's car and purse, forcing her out and abandoning her. Finding a road house bar she explains what happened and asks to use the phone. The owner leads her to a back room where he tries to rape her. She breaks free of him, tumbles back out into the bar and directly into the arms of a law officer. The owner claims that she was trying to beat him; lacking any identification she is taken into custody and brought to the county jail for questioning. They decide to hold her overnight so that her story and identification can be corroborated. Meanwhile, law enforcement officials have captured fugitive criminal Coley Blacke (Tommy Lee Jones) who is also held overnight before being transported to a larger facility. The sole law officer left on duty rapes Dinah in her jail cell; afterwards Dinah strikes him with a stool killing him. Coley urges Dinah to escape with him and she does so out of fear. The two of them hear on a radio broadcast that they are wanted for killing a police officer and realize they are now marked for death. Coley fails to convince her to contact the police and explain that he killed the officer and took her as a hostage - a fact he is sure they will be more than willing to believe and thus let her off the hook. On the lam they first hideout with Coley's fellow criminals where they are quickly tracked down and, then escaping there, take refuge in an empty farmhouse. Soon they are once again tracked down and attempt to elude capture by making their way into a nearby town. Dinah is severely injured by gunshots and caught; Coley is shot to death on mainstreet during a celebratory bicentennial parade.
This is the type of movie that was popular drive-in fodder during the resurgence it briefly saw in the early to mid-seventies. Beginning with the excellent 'Macon County Line' there were several similarly themed movies to make this circuit during this time frame. 'Jackson County Jail' even went so far as to use a very similar title and many of the same plot devices. What helps this particular film rise above the rest of the crowd is the presence of Mimieux and Jones who are both excellent in their roles and the absence of exploitation - which is equally refreshing and amazing given the setting and storyline. Screenplay author Donald Stewart also includes oblique existential references. From the beginning of the film Dinah is verbally abused by an executive; a waitress tries to shortchange her ("I gave you a ten", "No, you gave me a five."); she feels sympathy for a pair of hitch-hikers and gets her car & purse stolen by them; the bar owner tries to rape her; the police don't believe her and ultimately she is raped by one of them. The juxtapositioning of accepted doctrines of law enforcement and basic human kindness are counterbalanced with the unpredictable consequences of what happens when people purposely abuse and ignore them. Coley later tells her that "true human freedom is an impossibility in our corrupt world" and goes on to emphatically deny that there is no such thing as an honest person. Unbelievably she argues against his opinions in spite of the current situation she finds herself in! There are other camouflaged existential inferences throughout the film that make it interesting viewing. Near the end of the movie when Coley must leave the injured Dinah and attempt an escape he makes the final of his many philosophical statements telling Dinah "I was born dead" when she shouts to him he will get himself killed. The final shot on mainstreet may be perceived as pretentious but is actually quite fitting and well thought out.
There are many familiar faces to be seen in this film beginning with the two leads of course. Mimieux had already forged a name for herself in such cult classics as 1960's 'The Time Machine' where she played the beguiling Weena and then later that same year appearing as Melanie in 'Where The Boys Are'. She is also recognizable to television viewers from the many TV movies she made throughout the seventies and eighties. Other noteworthy films include the Disney sci-fi favorite 'The Black Hole' where she played a scientist and in the early sixties film 'Diamond Head' playing the sister of Charlton Heston. This was Jones' first significant movie role having appeared in a gratuitous role in 'Love Story' and starring on the television soap opera 'One Live To Live' from 1971 - 1975. His starring roles of Sam Gerard in 'The Fugitive' and as Clay Shaw in 'JFK' are nearly legendary now.
Also to be seen here: Howard Hesseman (Dinah's husband) who everybody knows as Dr. Johnny Fever from the TV series 'WKRP In Cincinnati'; Severn Darden (the sheriff) whose list of credits is endless; Betty Thomas (a waitress) who starred for years on 'Hill Street Blues'; Robert Carradine (hitch-hiker) who most people will know from the 'Revenge Of The Nerds' movie series; Mary Woronov (Pearl) who has appeared in countless Corman cheapies and several other indie films and Hal Needham (Fallsburgh police chief) renowned stuntman and film director.
The DVD has received some knocks in other reviews here for its picture quality. Actually I didn't think it was bad at all; the colors do look soft but I perceive that as an inherent part of the original that can't be improved upon. It is presented in full screen which I consider a distraction but again it was probably filmed this way. The special features include biographies, film trailers and a decent but too short interview with Corman by film critic Leonard Maltin. All in all I consider this DVD the best $5.00 I spent last week.

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A young woman accused of murdering the jailer who raped her, escapes from jail and becomes a fugitive. Format: Color, DVD, NTSC Language: English Region: Region 1 (U.S. and Canada only. Read more about DVD formats.) Aspect Ratio: 1.33:1 Number of discs: 1 Rated: R (Restricted) Studio: New Concorde DVD Release Date: September 26, 2000 Run Time: 89 minutes

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3/13/2012

Ilsa - She Wolf of the SS (1975) Review

Ilsa - She Wolf of the SS (1975)
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"Ilsa: She-Wolf of the SS" is perhaps one of the better known exploitation films made in the last thirty years. The picture, directed by Don Edmonds and starring Dyanne Thorne in the titular role, is also one of the most disturbing. Oddly enough, I found this movie even more sickening the second time around. The first time I watched Ilsa do her stuff was on an old VHS tape about five years ago, and I didn't think the film was as horrific as many viewers made it out to be. Usually, the disgust factor works the other way around: the first viewing is the worst with the shock value wearing away on subsequent viewings. I should probably question the value of even watching "Ilsa: She-Wolf of the SS" more than once, but I wanted to see what the picture looked like with a snappy new transfer to DVD. Moreover, I wanted to listen to the commentary track with Edmonds, Thorne, and producer David Friedman of "Blood Feast" fame (billed here as Herman Traeger). I wasn't disappointed; the picture quality of "Ilsa" is stunning for such a low budget piece of trash. The commentary track too makes this disc a must have for lovers of schlock cinema. Just don't pop this one in the DVD player when the relatives show up or as a substitute for taking your gal out on the town.
Set in the waning days of the Second World War, "Ilsa: She-Wolf of the SS" takes place in a special medical camp where the brutal camp commander Ilsa (Dyanne Thorne) and her busty minions wreak havoc on a bevy of female prisoners. There are a few guys around too, mostly to act as boy toys for Ilsa's ravenous appetites. Ilsa's supposed to be conducting experiments on helpless prisoners that will benefit the German military effort, but she's got quite the disturbing side project going on as well. According to the She-Wolf, women possess certain biological characteristics that make them more resistant to pain then men. You can almost guess what happens next. Ilsa sets aside a hidden little laboratory in the basement of her office to test out her personal theories while the approved experiments take place in another building. Both sets of trials are excruciating to watch. The Germans test the effects of high pressure, boiling temperatures, and diseases on the female inmates of the prison. Down in the basement, Ilsa and her two blonde goons strip down to the waist in order to administer severe beatings to selected troublemakers. There's a lot more I could detail, but believe it or not these are the least offensive scenes in the movie. "Ilsa: She-Wolf of the SS" is sick, sick stuff.
A sort of hope fills the prisoners' hearts when Wolfe (George Knoph) enters the camp. The new inmate has a "special ability" that allows him to find a way into the frosty heart of the buxom camp commander. Behind the scenes, the prisoners plot to escape from the prison any way they can. It won't be easy, not when one faces Ilsa, her she-wolfettes, her male assistant, a pack of sadistic guards, and machine gun towers. In the meantime, the degradations continue unabated. Ilsa whips up a few special treats for a visiting general (Wolfgang Roehm) that truly turn the stomach as Wolfe, Mario (Tony Mumolo), and Kala (Nicolle Riddell) carefully map out there plan. Will the prisoners escape? Will Ilsa and her handmaidens receive their just desserts? Will the Allies arrive at the camp before everyone perishes at the hands of the Germans? Will tough chick Anna (Maria Marx) withstand Ilsa's experiments and thus prove the commander's theory? Will you be able to keep your lunch down during the hour and a half it takes to watch the movie? These questions, and many others, will find resolution by the time the final credits roll.
What won't find resolution is your utter disgust with the film. A gallon of mouthwash won't remove the bad taste this movie leaves behind in your mouth. I found myself inadvertently comparing Edmond's picture with "Schindler's List," another film dealing with German atrocities during the Second World War. Truth be told, "List" is much more harrowing in its depictions of the concentration camps and the horrible living conditions of those people enslaved by the Germans. What sets "Ilsa" apart, what makes it even worse than "Schindler's List," is that it's all done for cheap, value neutral kicks. Why else play up endless scenes of nudity in a movie about war crimes? Despite Thorne's amazingly campy performance, "Ilsa: She-Wolf of the SS" is a ghastly film that should repulse more than it exhilarates. Even more disturbing is the admission on the commentary track that the movie sets come from the television show "Hogan's Heroes." You won't see LeBeau, Carter, Sergeant Schultz, or Colonel Klink in this movie! If you find anything remotely exhilarating about this picture, you've been falling behind on your electroshock therapy treatments again.
Dyanne Thorne does pull off her role with ease, coming across as a heartless, cold monster without an ounce of remorse in her bones. It's quite the contrast to listen to the commentary track and realize the actress seems like an intelligent, sunny personality with a good sense of humor. Unfortunately (or fortunately, depending on your view), the commentary track, a trailer, and a few biographies are the only extras on the disc. If you feel up to it, after you watch Ilsa ham it up as a German camp commander, you can watch her in three other films reprising the character-with slight modifications-in the Middle East and in Siberia. These are classic movies, for sure, but they're upsetting ones as well.

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2/15/2012

Confessions of a Young American Housewife (1974) Review

Confessions of a Young American Housewife (1974)
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Oh man, what a big disappointment. An obscure sexploitation classic that was only available in the grey market finally gets the authorized DVD treatment but there's a catch. It's heavily cut. Missing ten minutes of original footage that mainly consists of the envelope pushing sex scenes! Some of this was used as the deleted scenes feature. The version I own is exactly an hour and twenty-two minutes. This official DVD you guys are purchasing is only an hour and twelve minutes! To make matters worse, out of left field during the fifty-eight minute mark, a Retro-Seduction visual bug appears on the far right corner for a couple of seconds, WTF. I just don't get it.
When I saw that the original lurid exploitation cover art was not being used, I should have known better. I read that RSC digitally transferred it from the original 35 mm print and got the green light from Joe Sarno himself, I gave it a shot. Right when the opening title appears on the screen, we see a shameless plug on the bottom of the title that says 2006, Pop Cinema right next to the year 1974. I knew for sure this was going to be an alteration from corporate hell. This is truly as sad case of greed over integrity. Let's look at the disguise of this polished DVD for instance. It costs $26.99 because it's a two disc special edition which the second disc is a soundtrack that has songs from other movies and the music from COAYAH is only ten minutes worth. For special features, we get an eleven minute interview with Joe Sarno. The trailer section for other RSC DVD's is taken advantage for more shameless plugs as each trailer begins with the same RSC ad that we see before COAYAH. To top it off, the movie is not even letterboxed or anamorphic widescreen. There is a nice pictorial liner notes booklet about the making of the film.
Unfortunately, since this is the "official" release of a once lost movie, fans that are just now discovering it can only see it in this format. The grey market dealer that I bought my uncut copy from recently closed down. Even if he was still in business, he would be forced to remove this title anyway. The bottom line, I still wouldn't recommend this DVD at all. That hefty price alone is a rip-off. Matter of fact, this was the first DVD I bought from RSC and I will never purchase anything from them again. The incompetent altering of the film loses it's sexually charged impact and takes away from the original experience. I truly believe that RSC cared more about sales catered to the newer sex drama buying consumers and tailored it to be a safe enough viewing pleasure. This movie was only known to diehard sexploitation fans and RSC should have geared the presentation towards us. Quentin Tarantino even admitted at one of his film festivals that he's never seen this rare gem. The original movie uncut gets five stars and this RSC abomination gets zero!

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11/14/2011

Second Coming of Eva (1974) Review

Second Coming of Eva (1974)
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Probably should have read the reviews closer, because I got this one expecting the standard Eurobabes bouncing around topless and a lot of simulated canoodling. Was really surprised to see this was a full-fledged, full-tilt, hardcore feature, with all the sex acts and scenes you'd expect, save the money shots.
The story has to be one of the flimsiest plots in the history of porn (no small feat). In an attempt to secure his inheritence, an aristocrat w/ a bad rep decides to turn his mansion into a school for wayward, hot young girls. He invites all his buddies to be "teachers" and opens the doors (apparently the parents did not check this place out beforehand). To the world, it'll loook like he's changed his ways, but they'll actually be enjoying their own little co-ed smorgasbord. It is into this environment that young, horny and screwed up Eva is dropped - boy do they love her!
In all of 2 seconds these wayward girls are drinking, banging older men and having straight and lesbian sex. OH MY!
I am a fan of foreign erotica from this era - feels more realistic & the girls are natural, not silicone pumped w/ gym bodies from lypo. Always some fresh faces you haven't seen. I really liked the Euro feel, lithe, sexy 70s babes (razor anyone), bad clothes, lesbian conversions, lame attempts at "auteur" and what I thought was overall very graphic and erotic flick. The acting actually works (sold me)- it's well lit/shot and uses the plot scenario to really crack up the eroticism.

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