Quantcast
Channel: TEMPLE OF SCHLOCK
Viewing all 402 articles
Browse latest View live

Blue Movie Monday: Marilyn Chambers autobiography back in print!

$
0
0


Good news, paperback collectors and porno fans! Marilyn Chambers: My Story (Warner Books, 1975) -- the long out of print "intimate, uncensored erotobiography of the pure-as-snow porn queen" -- went back into print on July 31 courtesy of Bear Manor Bare, with a new foreword by Chambers' daughter, McKenna Taylor. You can order a copy here or here.



Guest Review: Exhumed Films' Forgotten Film Fest (Philadelphia, 7/20/2014)

$
0
0
It's been a looong time since a guest reviewer has visited the Temple, so when we met up with former 'zine publisher Tim Mayer at last week's Forgotten Film Fest and he expressed interest in covering the event for us, we happily accepted his offer! These days Tim runs the blog Z7's Headquarters -- but if you're too young to remember the five issues of Fear of Darkness that he cranked out in two years (1982-1983) with the help of such contributors as Bill Landis, Jim Morton, Rick Sullivan, Richard Green, Kris Gilpin and Dave Szurek, then you need to read Chris P's interview with Tim in the book Xerox Ferox, pronto! While you wait for your copy to arrive from Headpress or Amazon, check this out...


Exhumed Films'
Forgotten Film Fest
July 20, 2014
International House
Philadelphia, PA

by Tim Mayer

Exhumed Films have been putting on shows in the Philadelphia area for the past 17 years. Their goal has always been to screen the sort of films Chestnut Street grindhouses would play in the glory days of the 1960s and 70s. Utilizing a network of collectors, they’ve been able to present films rarely seen outside their initial releases.



So I was excited to attend Last Sunday’s Forgotten Film Festival at the International House near the University of Pennsylvania. International House is a large residence facility built decades ago for foreign students. It comes equipped with a fully functional theater which can project 35mm film, always a crucial element in seeing obscure feature films. International House is a little easy to mistake for an office building, since it’s located next to the University of Pennsylvania.


As always, parking is the one thing to keep in mind when attending a film showing in Philadelphia. I parked right out in front of International House, thinking that – it being Sunday – there would be no street parking fee. Guess again. Because I was adjacent to the U of P campus, that part of Chestnut Street charges for parking from 8AM to 8PM every day. Always look at the parking signs, because if you don’t, you’ll find a nice invitation from the mayor’s office under your windshield wiper.


By the time I picked up my Fest ticket (and purchased another one for this October’s 24 Hour Horror-thon), the show was about to begin. I made my way through a mass of urban hipsters and cinemaniacs to the auditorium. But first I had a chance to chat with one of the organizers and get a question answered: since these are privately-owned prints being shown, does Exhumed Films ever get flak? Has someone ever called them up and claimed to be the rights holder? Apparently not. I was told in 17 years it’s only been an issue three times. Surprisingly in these days when distant relatives pop up and suddenly demand some studio fork over the cash for DVD rights.


Prior to the showing, the packed house was entertained by Mr. Chris Poggiali of Temple of Schlock, who talked about the interesting facts behind the production and release of these forgotten films.  For example, he mentioned that SKATETOWN USA was rushed into production so it could beat the competing roller disco movie ROLLER BOOGIE into theaters by two months.  He also lectured about the mob which swarmed over the Cherokee Theater in Atlanta where SON OF DRACULA premiered.


After one of the organizers warned the audience to view respectfully, the show began. As always, the day began with some classic trailers dug-up from God Knows Where. Most were forgettable, with the exception one for the 1985 Live Aid show which (literally) featured Bowie and Jagger dancing in the streets (going to be a long time before I can burn that image out of my skull).


The first feature was SKATETOWN USA, one of several movies filmed to cash in on the brief roller disco craze of the late 70’s. I’d like to give a precise description of the plot, but it’s not possible. It had something to do with a gang of skaters called the Westside Rollers showing up at a huge roller rink, called Skatetown USA (of course) where a skate competition is being held. Patrick Swayze played “Ace,” the leader of the gang. His appearance provoked laughter from the audience, although they continued giggling throughout the movie. Let’s see, Scott Baio was in the movie as was Maureen (“Marsha! Marsha! Marsha!”) McCormick. I noted the late comedian Vic Dunlop as a concession stand employee. Dean Martin’s uncle, Leonard Barr, made an appearance as an elderly comic who kept up a running gag while Dorothy Stratten (as "Girl at Snack Bar") demanded her pizza. Billy Barty played Flip Wilson’s father. We got to see Flip in drag. And there were more pink afros, tube socks and suspenders than can be imagined, plus impressive camera work and even more impressive skating. Did I cover everything?


SON OF DRACULA (1974) was next, and I managed to miss the credits when I ran out to move my car to a street where the parking was free on Sunday. Chris had told us during his introduction that the film had been re-released by distributor Jerry Gross under the title YOUNG DRACULA after the success of YOUNG FRANKENSTEIN. I learned later that the YOUNG DRACULA title card that was sloppily cut into the print screened at the fest garnered big laughs.

Let me tell you a story about SON OF DRACULA. Years ago this film played my hometown of Dayton, OH. I’d read about the movie in the entertainment section of the local paper, so I was eager to see it. The Nilsson song “Daybreak” was even on the local AM stations. That damn movie played for all of one week at a downtown hippy art theater and then vanished, never to be seen in any format.

Sunday, I found out why.


God was this movie a dog. What genius thought Harry Nilsson would make a great movie star? The man spent the entire movie walking around in a trance while the other actors tried to carry the plot. It had something to do with Count Downe (Nilsson), the son of Dracula, coming to Britain to be crowned the King of the Netherworld. The only watchable parts were Nilsson performing some live music. It was in the afternoon when this film was shown and I still had to fight sleepiness. Couldn’t someone have pulled Nilsson aside and tried to give him acting lessons? The only reaction the movie got from the audience was applause when Keith Moon appeared as one of Nilsson’s back-up musicians.


I also missed the opening credits to the next movie, Andy Milligan’s BLOOD, because I was out buying dinner. During his introduction, Chris explained that this was originally released as the co-feature to LEGACY OF SATAN, but also played in New York, Cleveland, and parts of Illinois and Florida as BLACK NIGHTMARE IN BLOOD (as the second feature to CHINESE HERCULES), and actually made Variety's Top 50 Grossing Movies chart one week under this title. The print screened ran 69 minutes, more than 10 minutes longer than the overseas video releases.


Seeing a Milligan movie on the big screen from a decent source print is, as his biographer put it, “Like a Bigfoot sighting.” In true Milligan form, BLOOD was about a crazed, bickering family. It was set in the 19th century, but anachronisms abounded. At the beginning Dr. Orlovsky (AKA Talbot) had moved his extended family into a secluded house after being out of the country for years. His wife is a vampire and can only be kept under control from a serum his two assistants get from carnivorous plants (which made a noise that sounds like vinyl squeaking) they keep in the basement. His two assistants have also been injured from working with the plants and are barely getting around. And there was a mentally-challenged housekeeper used as a blood supply to feed the plants. At the beginning the good Dr. was running out of patience with his needy wife. Plus, he soon discovers his scumbag family lawyer has been siphoning off money from Orlovsky’s inheritance.


Milligan had a thing for roses and they’re all over the house in BLOOD. Even the lead actress sports roses in her hair. There’s also a hilarious confrontation between Dr. Orlovsky and the lawyer, which makes a lot of sense when you realize Milligan’s chief financial backer was a member of the legal profession. Talky as always, BLOOD lets you know Milligan had a theatrical background. Definitely a real treat!


The second to last movie, MURDER ON THE EMERALD SEAS (a.k.a. THE GREAT MASQUERADE and THE AC/DC CAPER), was in the best shape of all the prints. As it was a shaggy dog joke incarnate, I’m guessing the movie hadn’t passed too many times in front of a projection lamp. A 1973 movie by Alan Ormsby, who gave us CHILDREN SHOULDN’T PLAY WITH DEAD THINGS, SEAS was a comedic mystery about a police detective who goes undercover as a woman to find a serial killer on board a cruise liner (“The Emerald Seas”). Henny Youngman has a 30 second cameo in it, so the film has at least that much humor. But the rest of it consisted of jokes that don’t work today, if they ever did, such as a dwarf telling a tall model he can’t loan her any money this week because “I’m a little short,” or this zinger from an undercover cop: “I should have joined the sanitation department. My brother did and he cleaned up.”


Finally we came to the star of the show, a movie so obscure that it had not been seen in 40+ years: THE SATANIST. This turned out to be a black and white adult film from 1968, arguably the last year anyone was filming feature films in B&W. What I had hoped would be a forgotten horror movie turned out to be one long exercise in watching women with fake eyebrows undress. It began with a brief introduction by a writer in an insane asylum. He wanted to tell the audience a story about what happened to send him there. Next, it moved to him and his wife (in a tight dress) at a motel. And it didn’t go much of anywhere after that point. Since the filmmaker was trying to avoid prosecution by the local censorship boards (this being in the dark days of the 60’s), nothing was shown in front below the waist, of either sex. At one point I thought the movie might go all Kenneth Anger when a semi-nude young woman began casting a magic circle to the sound of sitar music, but this proved to be a ruse. Even the audience began fidgeting in their seats five minutes into the movie. The frequent close-ups of the actors’ ecstatic faces did provoke laughter from the crowd. It appeared to have been filmed without sound.


Most of the attendees enjoyed themselves. On the street it was easy to spot anyone who was there for the festival, because they tended to be wearing David Lynch T-shirts and discussing Argento films – not the sort of conversation you normally hear, even in the vicinity of the university. At one point I noted a couple filming their own “At the Movies” style show with a camcorder. Nor was it unusual to see people in the audience writing down notes as the movies were playing.


Once again, Exhumed Films gave cineastes a chance to travel back in time to the days of sticky floors and stale popcorn, a time where the movie you were going to see could be a retitled version of what you’d just seen last week, or something so fascinating it would change your life. I’m eagerly awaiting the 24 Hour Horror-thon this October.

The Endangered List (Case File #146)

$
0
0

The only known print of this Texas-shot, sexy sci-fi actioner
resides in the American Genre Film Archive.


THINGS TO COME (1976)

Starring
Jim Curtis
Teresa Smith
Barbara Fisk
Nel Fletcher
Byron Lord
Roscoe Young
Scarlet Huey

Produced and directed
by
Derek Todd

Written by
Michael Greenwood

Released by
The Magus Film Group

Eastman Color

MPAA rating: R



See also our post on Gidney Talley and The Magus Film Group here.

Movie Ad of the Week: RING AROUND THE HORSE'S TAIL! (1975)

$
0
0


Sergio Corbucci's comic western THE WHITE, THE YELLOW, THE BLACK (a.k.a. SHOOT FIRST...ASK QUESTIONS LATER) -- starring Giuliano Gemma, Tomas Milian and Eli Wallach -- opened in Burlington, NC on November 21, 1975 as RING AROUND THE HORSE'S TAIL!


Blue Movie Monday: THE BEST OF DISCO DEMANDS (BBE Records, 2012)

$
0
0


It's been a while since we had one of our famous Saturday night disco parties here at the Temple, but this weekend DJ Schlocko showed up with a five-disc Al Kent compilation called The Best of Disco Demands that we just couldn't ignore -- and if you're thinkin' you're too cool to boogie, boy oh boy, have we got nudes for you: once you get past the mouth-watering pulchritude pictured on the slipcase, you'll find the five CDs housed inside miniature LP sleeves, each adorned with a photo of '70s porn starlet Desiree West! The music is pretty good, too. We got through three of the discs before DJ Schlocko snorted enough crushed Smarties off an Ohio Players record sleeve to become crazy-convinced his head was gonna explode like nine cans of shaving powder (Damn, crate-diggers wanna know EVERYTHING! It was Rattlesnake). The track list for each CD is below. We censored all the photos, but you can see them unaltered at Amazon, where this limited edition is still available -- or you can just reach into your screen and peel off the "Disco Special" stickers we slapped over the good parts. Yeah, that'll work. Snort some Smarties and give it a try.

Disc 1

“Giving It All to You” – Cheryl Berdell
“Why in the World Do They Keep On (Funk’in with Me)” – Executive Suite
“Cumbaya Disco” – Disco Warriors
“Suntan” – Sandpebbles of Barbados
“Doctor Dunk” – The Fans
“Let’s Go Disco” – TC & Company
“Dog It” – Chocolate + Joy
“Disco Socks” – Omni
“How Can I Tell Her” - Curtis

Disc 2

“Just Friends – Silver, Platinum & Gold
“Funkathone” – The People’s Workshop
“Take the Music to the Party” – Chocolate City Connection
“Disco Boogie Woman” – Universal Robot Band
“Sound of Disco Rock” – Stringfield Family
“Everybody Party (Get Down)” – The Firebolts
“Theme from Living Proof” – Living Proof
“In the Mood” – Puff
“Wave” – Cordial

Disc 3

“Fiddlin’ Around” – Don Renaldo Strings
“To Be With You” – Jimmy Sabater
“Party People” – Crosstown Traffic
“Hail to Guyana” – Alex and His Soul Messengers
“Gold Connection” – Harold Butler & The Connection
“Dance, Dance, Dance to the Music (Y’all)” – Ike Noble
“The Disco Stomp” – The Legal Defense
“Sweet Jazz Music” – Panache
“Get Ready” – Allan Harris & Perpetual Motion

Disc 4

“I’ve Been Searching” – Arts & Crafts
“Dancing Free” – Hot Ice
“Dancin’” – Volstar
“Party Together” – Superbs
“The Rock is Gonna Get You” – Gordon’s War
“Bahia” – Alice Street Gang
“Hey Mister” – Althea Forrest & Togetherness
“Give It Up” – Mirror
“Disco Joint” – The Live Experience

Disc 5

“Strung Out” – Bobby Sanders & Magic
“I Got It” – The Good Life Ltd.
“Doing Our Own Thang” – Al Tanner
“Fear” – Arthur King
“We’ve Got It” – Sylvano Santorio
“Party Party” – Mr. Q
“You Got Over On Me” – Power of Attorney
“Love is All Around” – Sizzle
“Back in Time” – Brooklyn Express

Mystery Movie: REVENGE FROM THE UNKNOWN (1972)

$
0
0

We have no idea what REVENGE FROM THE UNKNOWN is, but it played midnight shows at one Seattle theater during the weekend of March 17, 1972. Going by the "3 hrs. of terror" tag line, it's safe to assume it was a double bill or a collection of trailers and short subjects. Does anyone in another part of the country recall seeing this blip appear on their radar, or was REVENGE FROM THE UNKNOWN unique to the Emerald City?

The Endangered List (Case File #147)

$
0
0


YOU’VE GOT TO WALK IT
LIKE YOU TALK IT
(OR YOU’LL LOSE THAT BEAT)
(1971)

Starring
Zalman King (Carter Fields)
Allen Garfield (Herby Moss)
Suzette Green (Susan)
Richard Pryor (Wino)
Robert Downey (Head of Ad Agency)
Liz Torres (Singer in Men’s Room)
Roz Kelly (Girl in Park)
Karen Ludwig (Erica)
Billy Cunningham (Fat Lady)
Ruth Locke (Carter’s Mom)
Daisy Locke (Old Woman)
Peter Locke (Shoe Thief / Purse Snatcher)
Chick Kozloff (Mooner)
Michael Sullivan (Man on Toilet)
Steve Landisberg (Men’s Room Attendant)
Tommy Cerafice (Boy in Men’s Room)
Eric Krupnik (Hood-Group Therapy)
Stephen Berke (Food Eater – Park Bench)
Ann Taylor (Pickpocket)
Karen Smith (Pickpocket)
St. Louis (Gynecologist)
George Schultz (Judge)
Jan Smith (Garbage Eater)
Walter Klusner (Father)
Stan Gottlieb (Mr. Fellestrio)
Geegee Brown (Girl Getting Strangled)
Tony Middleton (Strangler)
Paula Frankle (Corinna)
John Fodor (Revolutionary)
Elaine Everett (Anita Lorraine Teitlebaum)

Narrated by
Roger Parsons

Written, Produced, Directed
by
Peter Locke

Associate Producers
Gary Mehlman
David Finfer
Ron Sullivan

Photography by
Stephen Bower

Edited by
Wes Craven
David Finfer
Lana Jokel
Peter Locke

Music Composed
by
Walter Becker
Donald Fagin
Billy Cunningham

Music Produced
by
Kenny Vance

Art Direction
Linda Sampson

Sound
Charles Barecca
John Fodor
Joe La Vecchia

Assistant to the Director
Ann Taylor

Eastman color

Released by
J.E.R. Pictures

Running time: 85 minutes
MPAA rating: R

New York opening: September 19, 1971 (Sunday)















SOUNDTRACK LP


Walter Becker - Bass, guitar
Donald Fagen - Keyboards, vocals
Denny Diaz - Guitar, percussion
John Discepolo - Drums
Kenny Vance - vocals

Arranged by Walter Becker & Donald Fagen
Produced by Kenny Vance

Originally released in 1971 by Spark (SRLP 124), the soundtrack LP was reissued numerous times, under different titles and by various labels, to capitalize on Becker & Fagen's later success as Steely Dan.

TRACK LIST

1. You Gotta Walk It Like You Talk It
2. Flotsam and Jetsam
3. War and Peace
4. Roll Back The Meaning
5. You Gotta Walk It Like You Talk It (reprise)
6. Dog Eat Dog
7. Red Giant/White Dwarf
8. If It Rains

Movie Ad of the Week: THE HOLY INQUISITION (1975)

$
0
0


Nominated for the Palme d'Or at the 1974 Cannes Film Festival, Arturo Ripstein's EL SANTO OFICIO -- starring Jorge Luke, Diana Bracho, Claudio Brook and Ana Mérida -- opened in New York's premier Spanish-language theater, the Cine 1 & 2, as THE HOLY INQUISITION on February 21, 1975.


Blue Movie Monday: "In the Flesh" series returns to Anthology Film Archives!

$
0
0


Anthology Film Archives
32 Second Avenue
New York, NY 10003
(212) 505-5181

Anthology Film Archives' scintillating series "In the Flesh" explores the years when sexually explicit movies that emphasized scripts, acting, and production values were still being shot on celluloid. It was the most creative time in the adult film industry’s history, soon to be quelled by the arrival of video. Every screening features appearances by filmmakers, actors, or crew members, as well as critics, scholars, and other participants in or observers of this ‘Golden Age’ of adult cinema. This fourth installment of the popular series brings together three bold, sexy comedies from the late 1970s and early '80s. Joining in the festivities are special guests and adult film superstars Eric Edwards and Sharon Mitchell, as well as the multi-talented filmmaker Damon Christian, who will share incredible stories of making some of the best adults-only comedies of the era.

Series curated by Casey Scott. Special thanks to sponsors Steven Morowitz (Distribpix) and Joe Rubin (Vinegar Syndrome).

Friday, August 29
8:00 PM
THE BUDDING OF BRIE (1980)
83 min, 35mm
Directed by Ron Sullivan
Starring Hillary Summers, Jennifer Jordan, Eric Edwards, Jake Teague, Laurien Dominique, Kandi Barbour, R. Bolla, Michael Gaunt & Ron Jeremy.
Star Eric Edwards will appear in person with other surprise guests!

Saturday, August 30
8:00 PM
TITILLATION (1982)
81 min, 35mm
Directed by Damon Christian
Starring Eric Edwards, Randy West, Kitten Natividad, Angelique Pettyjohn, Gina Gianetti & Mike Horner.
Director/producer Damon Christian and star Eric Edwards will appear in person!

Sunday, August 31
8:00 PM
JOY (1977)
73 min, 35mm
Directed by Harley Mansfield
Starring Sharon Mitchell, R. Bolla, Jake Teague, Herschel Savage, Gloria Leonard, Dave Ruby & Eric Edwards.
Star Sharon Mitchell will appear in person with other surprise guests!

For more information, click HERE.

Character Kings 2 book signing at Dark Delicacies on September 6!

$
0
0


Celebrity Signing at Dark Delicacies - September 6

In-person appearance by
Character Kings 2 author Scott Voisin
and well-known actors from TV and film!

BURBANK, CA (July 22, 2014): Scott Voisin, author of the book Character Kings: Hollywood’s Familiar Faces Discuss The Art & Business Of Acting (BearManor Media, 2009), will appear with some of the actors featured in his new sequel, Character Kings 2 (BearManor Media, 2014), at Dark Delicacies in Burbank, California on Saturday, September 6th at 2:00 PM. In celebration of its release, interviewees from both Character Kings books will attend and autograph purchased copies.

Scheduled to appear are:

Mike Starr (GOODFELLAS, DUMB AND DUMBER, ED WOOD)
Peter Jason (DEADWOOD, THE KARATE KID, 48 HRS.)
Raymond J. Barry (BORN ON THE FOURTH OF JULY, THE X-FILES)
Art LaFleur (THE BLOB, FIELD OF DREAMS, THE SANTA CLAUSE 2)
James Karen (RETURN OF THE LIVING DEAD, POLTERGEIST)
Jon Polito (THE CROW, MILLER'S CROSSING, HIGHLANDER)
Duane Whitaker (PULP FICTION, FEAST, EDDIE PRESLEY)

More character kings will be present if their working schedules permit.

ABOUT THE CHARACTER KINGS BOOKS
Character Kings is Scott Voisin’s ongoing book series featuring exclusive interviews with today's most recognizable working actors. The insightful and entertaining conversations are filled with candid behind-the-scenes anecdotes and secrets for building and sustaining a successful career in Hollywood. Tim Lucas, editor of the award-winning Video Watchdog magazine, says, “Character actors are a prized species, and Scott Voisin selects the cream of today's crop. The actors regale us with some marvelous stories of blood, sweat and fate.”


CONTACT
Scott Voisin/Character Kings books: scott@scottvoisin.com www.characterkingsbook.com
Dark Delicacies: 3512 W. Magnolia, Burbank, CA 91505 www.darkdel.com
BearManor Media: Tel. (682) 703-2676
www.bearmanormedia.com

Guest Review: Exhumed Films' Guilty Pleasures Marathon at the Alamo Drafthouse (Yonkers, 8/2/2014)

$
0
0
If you drop by these parts on a regular basis you probably already know how much we love The Journal of Interstitial Cinema, so we're very excited to have JoIC co-founder/co-editor Grog Ziklore with us today as a guest reviewer.  Here he is with his thoughts on the recent Exhumed Films marathon at the Alamo Drafthouse Yonkers...


Exhumed Films'
Guilty Pleasures Marathon
August 2, 2014
Alamo Drafthouse
Yonkers, NY

by Grog Ziklore

The Alamo Drafthouse Cinema sits on the left side of a strip mall on a small hilled area on Route 100 (Central Park Avenue) near the Bronx River Parkway. Although located in Yonkers, it is over eight miles from the Yonkers MTA station (the nearest train station is Scarsdale) and difficult to get to without a car, which is the reason why I had never been to this location. The original branch in Austin's Ritz Theater on 6th Street is excellent - a quality old theater, good food and beer served during the show, and at least once a week 35mm prints of rare '80s horror and sci-fi films are shown for $3.00 (Last night they showed a 35 print of 1987's SUMMER CAMP NIGHTMARE!). Therefore, I wanted to see the Alamo nearest to NYC and heard that Philadelphia's Exhumed Films would be doing an all day festival there. Luckily, I was able to get a ride. The festival took place on Saturday August 2, running from 2-11 PM and screening 35mm prints of five rare genre films. I won't go too into the plots as they are well documented online and in print.


1. 1990: THE BRONX WARRIORS (1982) -- Directed by beloved Italian director Enzo Castellari, this is primarily a WARRIORS rip-off in a post-apocalyptic motorbike society with hilarious acting and fight choreography. Vic Morrow and Fred Williamson turn in good performances, and there is great electronic music by Walter Rizzati. Also lots of great footage of the Bronx during its heyday of rubble and urban decay. Some of these same shots and areas appeared the year before in WOLFEN.


2. FLESHEATER (1988) -- This zombie piece was the most fun film of the bunch. Plot concerns a bunch of dumb young adults besieged by zombies in a barn area. While not a good film by any means, it is hilariously padded out to feature length, using mostly long takes of mundane tasks like people walking, opening doors, crossing over from one house to the next, all done with bad foley effects. Shot on a micro-budget near Pittsburgh, it was a treat to see a 35 print of this as there probably are not many of those left. The tone and types of knucklehead characters reminded me of the slightly superior film SPOOKIES.


3. THE NO MERCY MAN (1973) -- The most serious and well crafted film of the festival concerns a shell-shocked Vietnam vet who returns home with disastrous results. One of the first films dealing with returning soldiers from 'Nam, it came out not long after Bob Clark's DEATHDREAM. The main character is badass and hardcore and there are great action scenes where he takes on a vicious biker gang. Of note for being the first film shot by Dean Cundey. Ray Stella was Cundey's camera operator on this, as he would be later on his films for John Carpenter. Sid Haig appears towards the end of the film. Unfortunately, the print of this widescreen film was very faded and pink looking.


4. DEATH PROMISE (1977) -- This film is rare and coveted by grindhouse and genre fans. A kung fu piece first and foremost where a man exacts revenge on landlords who are evil murderous villains. Good footage of lower Manhattan streets and rooftops from that time period, the Twin Towers, and lots of dojo and kung fu moves and training. Print looked good. Very catchy theme song by Bill Daniels and Mike Felder. The director, Bob Warmflash, did a Q&A after the screening and answered many questions about how the film was shot. This was a treat for me, as back in 2000 I was an assistant negative cutter on the Ernest Shackleton documentary THE ENDURANCE, which was directed by George Butler (PUMPING IRON), and Mr. Warmflash was the post-production supervisor. He would show up to our office frequently and was very friendly. At the time, I looked him up on IMDb and saw that he had directed this one movie. I then tracked down a VHS of DEATH PROMISE off eBay, liked the film, and he was kind enough to give me the poster, which features an excellent painting by legendary Marvel Comics artist Neal Adams. It was nice to catch up with Mr. Warmflash after all these years and tell him that Mr. Adams signed my poster at a comic show free of charge, as he was a fan of the film.


5. NIGHT OF A THOUSAND CATS (1972) -- The weakest film of the bunch was barely longer than 60 minutes, but felt longer. Plot concerns a playboy who lures women to his mansion, kills them and feeds them to his army of cats. Lots of footage of the main character in a terry cloth robe throwing raw meat into a cage of hundreds of stray cats, all meowing loudly. Director Rene Cardona Jr. is the son of the director of my favorite bizarre Mexican horror films, NIGHT OF THE BLOODY APES (aka HORROR Y SEXO or GOMAR THE HUMAN GORILLA, which I named my pet hamster after) and its original version, DOCTOR OF DOOM, which feature nasty horror among Lucha Libre wrestlers and storylines, so I expected more from his son.


This festival was a lot of fun. It ran about 8.5 hours, and while most people won't sit through the whole thing, let alone even go at all once they hear how long it will be, I can honestly say that halfway through the second film it flew by and I was surprised it lasted as long as it did. I am now curious to check out Exhumed's 24-hour horror festival which takes place later this year in Philly.


The latest issue of The Journal of Interstitial Cinema (#5) is now available from Magcloud and the official JoIC website.

The Endangered List (Case File #148)

$
0
0


BELINDA (1972)

Starring
Melinda Forrest
Paul Tobors
Jeff Ward
Ralph Guarino
Debby Melrose
Charlotte Hansen

Directed by
Richard Franklin

Written by
Jay Chessic

Produced by
Terry Levene

Associate Producer
Donald Stillman

Running time: 83 minutes
Rating: Self-applied X

Released by
Aquarius Releasing

World Premiere (New York): October 27, 1972

Re-released as MELINDA


On January 26, 1973 (Friday), a print of BELINDA was placed on a Greyhound bus in New York's Port Authority and transported to Buffalo, where it was scheduled to open the following Wednesday (January 31) at the Loews Teck theater...


PLOT SYNOPSIS
(Based on the notes of Special Agents Allan M. Davison
and John F. Lewis Summarizing Contents of Film
BELINDA as Viewed by Them on Jan. 31, 1973)

"The color, sound film began at approximately 12:10 PM and ended at approximately 1:28 PM. The credit at the beginning of the film indicated it was produced by the Aquarius Releasing, Inc., and the film begins with a group of people, including a person dressed in clerical garb, looking at what is assumed to be a corpse in the identification room of a hospital. The next scene shows a 'detective' interviewing an individual in a tavern and requests his cooperation in the investigation. The person in clerical garb arrives with the others from the hospital and is identified as Father KEENE (phonetic). The person being interviewed by the detective begins to tell the story about his knowledge of the deceased. The scene shifts to a picture of an individual identified as MILLER, who is dragging and shoving BELINDA across a snow covered hill and icy area. MILLER throws her down and rubs his hands over her clothing and BELINDA's boyfriend, DOUG, who has been watching, jumps MILLER and they begin to fight. The scene then shifts to a room where DOUG and BELINDA are kissing while on a couch.

"The next scene shows DOUG with a woman who is enticing him in what is an infra-red type scene with all red lighting. The woman performs fellatio on DOUG. The scene then shifts to a room where a black female is performing fellatio on MILLER who is a white male. The next scene shows conversation among the participants back at the tavern. The next group of scenes alternate between the black woman performing fellatio on MILLER and the other woman performing fellatio on DOUG.

"Following this, the scene shows DOUG kissing the breasts of the woman he is with and thereafter engaging in intercourse with her. The scene then shifts to MILLER masturbating the black woman with his finger and then back to DOUG engaging in intercourse with the woman with her on her hands and knees and him behind her. The scene then shifts back to MILLER masturbating the black woman and back to DOUG engaging in intercourse with the woman. The scene then shows DOUG ejaculating on the stomach of the woman. The final scene in this series shows MILLER rubbing and masturbating the black woman with his finger. The next scene shows BELINDA defaced in a bedroom looking in a mirror while dialogue is carried on the soundtrack.

"The next scene shows MILLER and the black woman in bed together at which time MILLER gets out of bed and gets an automatic type handgun and tells the woman that this is how he has money coming in as he waves the gun in front of her. While MILLER talks to the woman, she caresses his penis with her hand. The next scene shows DOUG in the bedroom talking to BELINDA and urging her not to go with MILLER.

"The next scene shows MILLER in bed with the black woman after which time he gets out of bed, goes to the door, knocks, and asks for WILLIAM. He then enters the room, which apparently is a bathroom as there is a female sitting on the toilet stool when he enters the room. This appears to be the same female who earlier had been pictured with DOUG. The female then while continuing to sit on the stool, performs fellatio on MILLER who is standing in front of her. The black woman is then pictured in bed, groaning and rubbing herself. The scene, from an angle below MILLER, and the girl looking up from the floor, shows them rubbing each other and thereafter engaging in intercourse. The scene then shifts back to the bedroom where the black woman is self-masturbating. MILLER and the white female come into the bedroom where MILLER engages in intercourse with the white woman while the black woman is kissing the white woman. The black woman then kisses the buttocks of MILLER while he is engaged in intercourse with the white female.

"The next scene shows DOUG and BELINDA conversing in a bathroom.

"The scene shifts back to a room where MILLER and the black woman and white woman are in bed talking. MILLER is holding the gun and a second white male, identified as WILLIAM, enters the room and all four sit on the bed and talk. An argument then ensues between MILLER and WILLIAM and thereafter between MILLER and the white female. The scene then shifts to a tavern where further dialogue then takes place between the participants there.

"The story continues with BELINDA meeting MILLER 'on the edge of town' where she enters a house with him and MILLER gets into an argument with the black woman where he shoves her and tells her to leave. While this is transpiring, WILLIAM goes to the couch where BELINDA is seated and puts his hand on her leg. MILLER shoves him away and then sits down on the couch where he begins to rub BELINDA's breasts and legs. She resists him and at the same time, the black woman begins to caress WILLIAM. At this point, the other white woman comes down the stairs and enters the room. MILLER and WILLIAM get into an argument with the black woman and white woman and attempt to get them to leave and thereafter WILLIAM forcefully escorts the black woman and the white woman out the front door. MILLER then grabs BELINDA and tells her she will give him whatever he wants to which she responds, 'Doug's the only one.'

"The next scene shows discussion continuing at the tavern.

"The next scene is again of an infra-red type which shows the black woman and the white woman kissing and rubbing each other's bodies and thereafter the white woman kisses the black woman's breasts, performs cunnilingus on her, and thereafter inserts an artificial penis into the black woman's vaginal opening. The scene ends with the black woman and white woman in a simulated intercourse position. The scene then shifts back to the tavern where the detective decides to leave and the story continues.

"The next scene is again an infra-red type scene which shows BELINDA, WILLIAM and MILLER dancing and MILLER caressing BELINDA's breasts while she is still clothed. MILLER proceeds to undress her and thereafter kiss and caress her breasts.

"The next scene reverts back to the tavern where a 'psychiatrist' enters the conversation and thereafter the entire group leaves the tavern.

"The next scene is again an infra-red type which shows BELINDA sitting and standing in a full-length corset. It then shows her entering a bedroom, removing her nylons, and corset, and getting into bed with DOUG who is laying nude. They begin to kiss and caress each other at which time DOUG kisses her breasts and removes her panties. He then performs cunnilingus on her and thereafter assume a simulated intercourse position.

"The next scene shows a theater marquis with a title 'Belinda' on it and shows the person being interviewed at the tavern entering the theater. The next scene shows DOUG standing nude in a room with his arms outstretched over his head and tied to ropes with a rope running between his hands. MILLER, BELINDA and WILLIAM enter the room and MILLER begins to taunt DOUG. WILLIAM begins to wrestle with BELINDA on a bed with her resisting him. The movie concludes with the scene of the theater marquis with 'Belinda' on it and people leaving the theater.

"Individuals listed on the final crediting included TERRY LEVENE and the star as having been MELINDA FORREST."

Taken from


Buffalo’s Federal Indictments Snag Loews and Others

Buffalo, May 15 – Nine men, including the owners and managers of three Buffalo theaters and officials of several film distribution firms, have been indicted here by a Federal grand jury on charges of conspiracy and interstate transportation of obscene films. The indictments were the latest in the recent Federal sweep against pornopix in the Buffalo area.

Charged were prez Dewey Michaels and manager Joe DeMartino of the Palace Theatre; manager Ben Abrams of Loews Teck, and the parent company, Loews Theatres Inc.; Frank Arena, general manager of Loews Theatres in N.Y. State; Louis Sher, prez of Sherpix Inc. of N.Y.; Marvin Friedlaner, prez of Marvin Films of N.Y.; Manny Brown, prez of Frontier Amusement Corp.; prez Joe Adams of Avant Garde Theatres of Syracuse; and Terry Levene, prez of N.Y.’s Aquarius Releasing Co.

The various charges are in connection with the transportation and screening of the X-rated KITTY’S PLEASURE PALACE, NAKED HUNTER and BELINDA.
                                                    -- Variety (May 16, 1973, p.22)


Three Films Are Involved In Federal Indictments

BUFFALO – The owners of three local theatres have pleaded innocent to federal charges of “transporting obscene films across state lines” so they could show them here. Federal Judge John T. Curtin has deferred setting a date for pretrial arguments until after the Supreme Court decides three cases relating to the issue of obscenity.

J. Royce Adams, who heads Avant Garde Theatres, and his son Terrence J. Adams, who is manager of the Village Theatre in the Central Park Plaza, have pleaded innocent. NAKED HUNTER is the film named in that indictment.

Loews’ Teck is charged with transporting the film BELINDA. Pleading innocent are Benjamin F. Abrams Jr., theatre manager; Loews Corp.; New Buffalo Amusement Corp.; Frank Arena; Aquarius Releasing; and Terry Levene.

Manuel A. Brown, head of Frontier Amusement Corp., has pleaded innocent in the transporting of the film KITTY’S PLEASURE PALACE.

Awaiting arraignment are George Dewey Michaels, president of the Palace Theatre, and its manager, Joseph DeMartino; Sherpix; Louis K. Sher; Marvin Films; Marvin Friedlander, and BM&E Theatre Corp.
                                                    -- Boxoffice (June 11, 1973, p.E-5)


"Aquarius Releasing's Terry Levene recently turned over a U.S. Treasury Dept. check for $94.80 to the Buffalo, N.Y. branch of the American Civil Liberties Union. Levene had been issued the check from the government in payment for expenses incurred by him in appearances in Buffalo in an obscenity hearing involving his pic, BELINDA. Levene called the money 'tainted' and turned it over to the Libertarians."
                                                    -- Variety, June 6, 1973, p. 5

Mystery Movie: EMPIRE OF EVIL (April 1983)

$
0
0


Less than a month after Ronald Reagan referred to the Soviet Union as an "empire of evil" during a speech before the National Association of Evangelicals in Orlando on March 8, 1983, something titled -- or more likely retitled -- EMPIRE OF EVIL showed up on a triple bill at the Memphis Drive-In in Cleveland, sandwiched between DEMONOID and BLOOD BEACH. We'd love to know the true identity of this mystery movie. Earlier in the week a few of our Facebook followers suggested everything from FORCE:FIVE and RAW FORCE to THE CASTLE OF FU MANCHU and the G-rated ARABIAN ADVENTURE, but the truth is we'll probably never find out what EMPIRE OF EVIL is unless a print with that title card or shipping label turns up -- or someone who actually attended this triple bill in April '83 comes forward with the answer.

UPDATE (8/23/14): The following ad comes from TOS reader Jesse Hoheisel, as evidence that ARABIAN ADVENTURE (1979) was reissued in the Twin Cities and elsewhere in 1982 under the title MAJIC AND THE EMPIRE OF EVIL. Frank Moreno, former v.p. in charge of distribution at New World Pictures, handled the film during this re-release. We did some digging and found out that it may also have been retitled TREASURES OF THE EMPIRE OF EVIL when Moreno stepped in as president of Almi Pictures later in '83.


"EMPIRE OF EVIL is obviously the truncated name of MAJIC AND THE EMPIRE OF EVIL," Jesse wrote to us on FB. "As for the R-rating, I'm sure the folks at the Memphis Drive-In are the ones who made the mistake." Advertising the G-rated ARABIAN ADVENTURE (which had already played cable TV by this point) as an R-rated film titled EMPIRE OF EVIL is a mistake that probably didn't make horror fans very happy!


Movie Ad of the Week: THE KILLER INSIDE ME (1976)

$
0
0


Burt Kennedy's film adaptation of Jim Thompson's 1952 pulp novel The Killer Inside Me -- which reunites FAT CITY co-stars Stacy Keach and Susan Tyrrell, then adds a dynamite supporting cast (Don Stroud, Keenan Wynn, Tisha Sterling, John Carradine, Julie Adams, Charles McGraw, John Dehner, Royal Dano, Pepe Serna) plus cinematography by William A. Fraker and a score by actors/musicians John Rubinstein and Tim McIntire -- opened in a couple dozen Chicago area theaters on October 15, 1976.

Blue Movie Monday: SWEET & SOUR (1974)

$
0
0


SWEET & SOUR (1974)

Starring
Mary Margaret
in the most sin-tillating debut of the year

Jamie Gillis
Star of THE SEDUCTION OF LYNN CARTER

Cindy West
Best Actress, N.Y. Erotic Film Festival

Marc Stevens
Star of THE NEW COMERS and DEVIL IN MISS JONES

Amy Mathiew
France’s answer to Marilyn Chambers

Selma Arthur
who stole the show in DEVIL IN MISS JONES

and a host of other surprise performances!

Directed by
H.V. Spyder
[Lloyd Kaufman]

Produced by
Jeffrey Michaels

Original Score by
Andrew Dolon

Mary Margaret proves that there ARE two sides to every woman in the most unbelievably erotic performances ever turned in by a young newcomer to the adult screen. SWEET & SOUR spans the entire emotional spectrum of a woman’s sexual fantasies, played against the background of the lustful and painful reality of a young girl’s survival in the big city. During its highly successful premiere engagement on Broadway, the wildly entertaining sex surprised and delighted both men and women alike, and prompted Screw magazine to immediately single out SWEET & SOUR as one of the best 10 films of the year...




Live Bait, Modesty Blaise Strips!

$
0
0


Live Bait, Modesty Blaise Strips!

by
Don K. Barbecue

Blank page staring at me, and moll I see besides in front of me is the cover to the 1966 Fawcett Crest paperback to one of my favorite Modesty Blaise adventures, wherein seen from behind Modesty charms a roomful of lethal rat bastid menfolks into stillness by walking into their room and stripping as if for action to her waist. Which, nude, I SAID knowing the Modster, is just enough time saved for her to waste them!


I first read that pback summer of 1966, which is a few waisted years ago-go. YOU ONLY LIVE TWICE played the Black Diamond in Coletown wayback then, as run by manager Frankie Muldoon, who once gave and a young lady and myself the downstairs lounge to ourselves, in that the door to the joint somehow had a Closed For Repairs sign mysteriously posted. In other words, a certain first love of my life & I had ourselves a THUNDERBALL.


Yeah, they don't make movies like the first few Bonds or women like that anymore. Although I'm not saying if I made like Bond downstairs and the Sabre Tooth cover and got to Nail her. He said, with Modesty.

'66 was also the year 20th Century Fox released the first film version of Modesty Blaise, she having been quite the hit as a newspaper strip in swingin''60's Britain, where she first blew in like a Gale...


...and found lasting a-Peal.


No doubt about it, no matter how many bad guys and spies creator/ scriptor/author O'Donnell threw at her, Modesty Beatle of 'em..


Thing was, she couldn't get past whatever schtupper-crass twits of the year at 20th decided to camp their Modesty film up, like the studio did to t.v.'s Batman, a move that however popular that year had many a Batfan raising, uh, Kane.


So, even though 20th pulled off the satyr-ikill superspy bit with OUR MAN FLINT and its sequel, the first film version of Modesty B. forever poisoned the well. As can be found, as detailed by patience of a saint Nathaniel Poggiali, over at the Paperback Film Projector blogsite, for which click here. Me, I get a few minutes into that loser of a Losey and, Ms. Vitti “B”-ing Roger Corman's favorite actress or no, Monican't stand it!


Oh, there have been other attempts at capturing our multi-media mistress of mayhem on film, like a certain 70's t.v. movie starring Ann Turkel, warriorette of the wasteland.


Thing had Modesty on a houseboat like John D. Mac's Travis McGee, for some reason. And for many years, as far as filmed Modesty went, that was The Last One Left.


Ah well, least Ms. Turkel got to complete the MB/Roger Corman connection and star in the man's HUMANOIDS FROM THE DEEP, which in its day had one of the biggest drive-in lines to get in ... like, outta Pummeled Dwarf, PA. to all most Joisey ... I ever saw, as creature featured with PIRANHA. And, since we're talking Temple of Schlock here, that's of fish smell!


Now that I think of it, if Corman liked Ms. Vitti so much, why didn't he ever double-bill her in BLONDES IN BLACK LEATHER with TOO HOT TO HANDLE? And hey, anybody out there got a 1-sheet to that one that's Cheri?


And speaking of black leather, another totally Ms.-guided, but profitable, tactic of selling Modesty Blaise graced many Mod B. book covers from Mysterious Press. . Attractive, certainly, but totally representative of Modesty in character or mostly dressed. Then again, maybe a woman came up with the idea of Sade covers, and some head guy leather.


Howl-ever, lotsa guys look at those book jackets this way, droll, pant, slobber! Or knot.


Sorry, but that Paperback Film Projector article has me thinking about Modesty in a major movie sort of slay.


Last but best of the MB adventures on film so far is Tarantino's MY NAME IS MODESTY, which is fine and moll that. Still, it's mainly a decent version of MB's origin story, then a bit more with the robbing the gambling joint caper, don'tcha casino?


What's that? Oh. Okay. I'll say it again: as to milady in the Black Diamond Theatre down below, she's time lust to me. Not so O'Donnell's creation Modesty. I've read all the novels from Modesty Blaise through, and I do mean through, her last, the final Cobra Trap. Way I hear it, in the American print Modesty meets a worthy end indead. Overseas versions I haven't seen yet, don't know if Garvin, her faithful male companion and adventurer really doesn't save them during their final battle, or does indeed pull them through with yet another act of pure courage and force of Willie.


In fact, been a while since I indulged in any of the various publishers who've handled the MB strip reprints over the years. Lessee, there were scads more before creator Peter O'Donnell's death, and the last one I got was about a returning mammoth, a one fun and funny MB adventure, case yer looking for wild and wooly.


Just creatively typing this I realize how much I miss the Modster, how I oughta try to catch up.

Modesty, who began as rather a female James Bond type, ran strip-wise from 1963 through 2000 through various artistic hands. Book wise, from the self-title Modesty Blaise to Cobra Trap, she stayed contemporary, current, yet all ways a killer with a conscience. Can't say that for, letch see, The Lady From L.U.S.T., huh? Nah, the race wasn't Eve-in close. No contest, either, who was probably the bedher Kiss My Assassin.


Same goes for the Baroness, “international playgirl and crack American superspy,” whom, I gotta admit, I once had a Dr. Thing for.


Ditto the comely Commander Amanda, in whose adventures I used to Revel-li.


Hecate, even the ever-lovely as played as Anne Francis Honey West, who began as a private dickette, went out as some kinda snoop her thigh, I SAID superspy. Butt, that's another Honey on Her Tail to bee discuss --


Wait, what's that buzzing sound from behind me. I turn, eyes following the sound, where there seems to be a white, rounded thing starting to come up through the flooring and EEEEK!-merge.

I dial 9 1 and then BONK! I catch a shout of “Incoming!” as something hits me on the haid. I see that dome-ish, shaggy top now has a white, disembodied arm near it, likewise sticking up from the carpet. I gape. The thing's hand points floorward. Like, behind me. I gaze there, to see this green-covered trade paperback, that obviously has literally floored my framed Italian movie poster to the '66 Modesty off-kilter and Losey.


What thuh? So what knocked my poster down? Why, it's a big book, green cover, back cover promising “Unknown Pleasures!” And instantly I'm back down in the depths at the Black Diamond, like, all of a sodden!


Wait. Calm down. Can that gal on the artwork be ...? Naw, but those lips, those eyes, all that face that survived so many hair-raising episodes of daring and danger! Yes, it is! It's Modesty, moll right, in something new called Live Bait, which ...


A voice from behind calls, “Hey, gimme a fratzen kratzen hand here already!”

Oh friggin' no. Last time I heard that voice he was riding off with Pyrrholoxia Shamelady in a Jules Verne-type airship in the skies. I snort. I haven't met his “Pyrry” ... sometimes “Purry” ... yet, but any gal hanging with him should instead be in disguise!


So I turn again, to see that white arm flapping out of the floor, voice below yelling “Hey, I need another hand here, can ya friggin' digit, ya idjit?”

Yup. It's my ever-mysterious, never distant enough relative. My one and only uncle, supposed superspy kinda guy. Member of something called “Master Assassins & Nukers of International Criminals.” You got it, he's my Unk from MANIC.

“So, Unk, whatcha doing with one arm and part of yer ugly dome sticking outta the floor like some evil spirit in a Dr. Strange comic book?”


“C'mon, kid, pull. I'm in a fix here. Said something to Pyrry that comparing her to Modesty Blaise, I'd sell her to Afghan slavers with 3-humped camels who'd tie her over those humps length-wise.”

Once I stop laughing I finally ask, “So, what did Pyrry say?”

I hear a chaw of spit hit the basement floor. “Hah! She said that was, I quote, 'the best offer from yer sorry self I heard all day.' Then she said 'Next time you tell a gal you'll sell her, make sure you know how to spell 'cellar.'”


Okay, he gives me a lil more time to quit chortling. I calm myself. “Alright, I'm done. Cool ghoul tech thing you got going here, though. Here,” I reach out, “lemme give ya a hand.”

Moments later Unk's himself, fully solid, no longer too transparent. “Hey, Unk,” I surmise as he begins raiding the fridge,” yer almost fully visi-bull!”

Unk meantime finds the world's oldest bag of CheezWaffies. I mean, who besides my Unk refrigerates Cheez Waffies? Man's completely snack attacky.


Having achieved nourishment Nirvana, Unk plunks himself on the sofa, rips open the bag and starts divan in. “Broughtcha a l present from our friends at Titan Books.”

“Ah, the people at Hard Case Crime. They got the Modster, huh?”

“Yeah. I recall when I first gave ya the hardback first Modesty, the one you see Travolta with in PULP FICTION in the John.”


“For which you have my eternal thanks. Not to say there wasn't some stuff I hadda consign to the septic tanks. Like Sam Durrell, wasted Edwards prove to Aarons.”


“No account for taste. You'll like the Modesty book. Three adventures. I particularly enjoyed 'Samantha & The Cherub,' a kidnap caper where Garvin gets to play a women's rights protester who yells 'Down with the bikini!'” Unk burps, makes motions you can imagine, dear or leer reader. “Now that's the type of organization I could really get behind.”


Nope, I won't even arse-k. Unk holds forth. “See, there's this kidnap by Brit bikers thing going down, and Modesty and Garvin recruit a gang of young ... like, kids ... to follow the nasty types incognito, like who notices kids, right? Worked for the Baker Street Irregulars, huh?” He winks. “Another series I got you into, copies of which from my shelves went to yers like magic to yer hearth and Holmes.”


“Huh. And here I thought they appeared by Sheer Luck."


“Uh huh. Anyway, the kid gang's cute as the Dickens.”


“Sorry, I more lean to horror and Micawber.”


Unk ignores me. “Just ask Pyrry, I'm not in Poe's tent.” I keep a blank face. “That's a joke, kid! Never mind. Now all these stories here got three things in common.”

“Like,” I say, “the camels.”

Unk gives me his oh for an Uzi look. “These three tales have two things in common. One, art by Enric Badia Romero. Two, they're all kidnap stories. Like, ya gotta figure, 'Life Bait' itself."


“Yeah,” I add, “the titular tale.”

Unk does his Beavis and Butthead: “He said titular. Uh huh huh. AND,” he spells it, “T A I L!”

“Yeah. Thanks to you my lit'ry range is thighed and bra'ed.”


I get ignored. 'Salright, I don't often get to hear Unk make with even half-way serious criticism of items he wings me with. “So how's story number three go with the, uh, udder set?”

Gotta keep things on Unk's level. Meaning, this case, he might rise himself. Which he does.

“Been saving it. Willie and Modesty get involved in the highest Andes, where a gang works with local priests to find village girls for the fortified villains to star in a certain evilest of them all entertainment venture. Meaning filmed sex and death films.”


I gulp distastefully. “Meaning --?”

“Yeah, kid. The, uh, r-e-a-l steada r-e-e-l thing.” Unk halts, makes a face. “ Whoa. I think I just disgusted myself. Anyway, for us the readers it's all, uh, out of sight and, um ... “

I help him out. “Unseen and un-screamed?”

“Yeah,” he admits. “How'd you know?”

I shrug. “Saw the Findlay horror flick once. Long on exploy fakery, short on good effects. Once was a-Snuff.”


“Yeah, I'll bet. Okay, in this story called 'Milord,' as in 'master,' on, while Modesty's getting a glimmer of what's going on, an incidental to the story character gets warned by another not to easily dis Modesty, she's the most dangerous woman in the world.”

“And she hates violence against women and children ... “

“Having been a refugee of war as a child herself, and the head of her own criminal network." Unk laughs. “No, she's not a prissy protester with whom to Ms.”

“Yer saying 'Down with the bikini!' isn't a slogan she'd go fur?”


Like I said, down to Unk's usual level. He's not usually like this. I wonder why.

Again he rises. As in, this time he really gets up, paces, looks steamed. I've known for ages of pages now years that Unk has a soft side. Sure, or he wouldn't be always running down the scum of the earth anywhere on Earth.

This moment, the man's staring out the window. Motionless. He doesn't even duck and sling any grenades when he sees a Charles Chips truck roll by. Right now, I don't think Unk would care if it was a Cheez Waffies convoy, the truck.


I wait. Puzzled. Giving him space.

He stays facing away as he gives his shoulders a, like I said, rise. His hands fly to his gun belt like Quicksilver on speed, as I hear him say the words “They've got who?”

Ah no, he's listening to his MANIC masters on ear piece or something. Whatever, he's got it covert covered.

Unk seems merely irritated until he goes “Ah, no!” Then “When, where?” Followed by "Okay, we don't know either one.” After which his voice goes Artick-ed off, “YET!”

Silence a sec. I know what's coming, even before he sez it. “And their deadline's when again?” A pause. “Kinda close.” Pause again. “I'm outta here in a shake and on the fly. Round up the gang with any and moll Modesty. Got it? I repeat, any and moll Modesty.”


He's hardly said “Over, out!” before he spins at me and ... starts to fade again and agun, get transparent. Okay, make that trans-Unkle.

“Son,” he calls me, and I'm not his son, so I know things are bad. “Son, I gotta fly. They got Pyrry.”

“The slavers?” I stammer.

Unk snorts. “Nah. HQ sez she'd already got them all, behind a local drone, uh, dairy bar.” He spits, hitting my luckily framed MB sheet. Times like this, what can ya expectorate?


“So, kid,” he sez, back with the “kid” stuff now. “Gotta fly. While I'm gone, fix that frame Modesty doesn't look like such a pane in the glass.”

Then I see, can it be, the start of a tear in his eye. That's right, since he only has one, uh, left. When asked, he always sez the price of another one's too “ex-orb-itant.”

And then he disappears, disembodied like that ghost of earlier, wisping this time through the ceiling up, up and away and a'ready to slay. Reason I think so, I swear I hear him issue an order of “Okay, open dossiers to 'Mission Make Like Modesty.' Yeah, yeah, they took the Live Bait. Let's give those expletive depleted bastids the Blaises!”

His voice suddenly softens as his words rain down on me. “Enjoy the book, kid! Try to have it finished for the next one time I get back, with Pyrry alive and whole locks of her!”

Hey, ya know what, even as I pick up the latest Modesty book and Unk rises ever upward to vanish in the highest of clouds, on that promise I take him real cirrusly.


And from damsels in distress danger my Unk will never flee,cy!


Murderous mean time, readers of this web .... of intrigue ... site could do well to check out Titan Books' reprinting of Donald Hamilton's straight as a bullet spy guy Matt Helm. When it comes to thrilling espionage done nasty and lethal, the Helm books in their time were top of the heaps of espionage thrillers done deadly. Anybody sez different, Eric'd 'em to me. And trust me, even if you disagree, I won't send Unk to give ya a wreckin' cruisin' of a bruisin.


Columbia managed to have a high-ho! old time with a series of four madcap movies with Dean Martin at the Helm. Schlocksters could Double-Oh-doo-doo worse than checking out Temple fave'rite Stella Stevens' delightful comedic flair in the Helm film THE SILENCERS. And why not, she wouldn't have unlanded her role in THE POSEIDON ADVENTURE without being a reel deep sinker!


Oh, and Pyrrholoxia Shamelady, who oftimes leans bold drool, I SAID old school, sez check out Titan's run of Helen MacInnes' now period piece thrillers. Not Temple material, but compared to, say, The 39 Steps, the ole gal's worth more than a Buchan fear, and can really gun barrel along when the villains are especially mean and Nazi. When it comes to tales of tension filled with her own certain kind of what Unk calls 'romansk' and suspense, Grand Mistress of Mystery MacInnes is, like one of her own book titles...


Movie Ad of the Week: ONE MORE MINUTE (1980) a.k.a. THE DAY AFTER HALLOWEEN (1981)

$
0
0


'Down Under' director Simon Wincer's first theatrical film, SNAPSHOT (1979), opened in Detroit on June 6, 1980 as ONE MORE MINUTE with a typically misleading ad campaign from distributor Group 1 Films.

"Don't open the door... Don't answer the phone... Don't look in the attic... It's there and it wants you!"

Based on that tag line, one might expect a vampire, werewolf, or chest-bursting alien -- but no, the terrifying "it" is actually a Mr. Whippy ice cream truck.

Four months later, Group 1 retitled it THE DAY AFTER HALLOWEEN to cash in on you-know-what, and when Mr. Whippy rolled into the New York area with this new moniker on February 20, 1981, the reception it received from horror fans was downright chilly!

Blue Movie Monday: Serena's autobiography now available through BearManor Bare!

$
0
0


Here's a bio that'll go right to the top of our 'must-read' pile: Bright Lights, Lonely Nights by Serena Czarnecki -- better known as Serena, "Porn Star Pioneer of the 1970s" -- is now available from BearManor Bare and can be ordered here.

Movie Ad of the Week: WHAT HAVE THEY DONE TO YOUR DAUGHTERS? (1977) a.k.a. THE COED MURDERS (1980)

$
0
0


Massimo Dallamano's LA POLIZIA CHIEDE AIUTO/POLICE CALL FOR HELP (1974) opened in 14 theaters in the New York area on March 18, 1977 under the title WHAT HAVE THEY DONE TO YOUR DAUGHTERS? Two years later, distributor Peppercorn-Wormser closed up shop and sold their library to Nicholas M. Demetroules of NMD Film Distributing (This explains why HOUSE OF EXORCISM, BAMBOO HOUSE OF DOLLS, MONDO MAGIC, DUEL IN THE TIGER DEN, THE SHE-BEAST and other Peppercorn-Wormser releases were still playing theaters in the '80s). Demetroules re-released the Dallamano film as THE COED MURDERS, and on November 28, 1980, sub-distributor Bedford Entertainment opened it on 21 screens in the NY area -- including a few of the same screens that had played it three and a half years earlier.


Movie Ad of the Week: Herschell Gordon Lewis' The Blood Shed (Chicago, 1968)

$
0
0


The Blood Shed, Herschell Gordon Lewis' short-lived attempt at Théâtre du Grand-Guignol, opened at 1331 North Wells Street in Chicago's Old Town on Friday, July 19, 1968. Before the Godfather of Gore moved in and painted it red, the building had been home to a restaurant called Mr. Pumpernickel. Lewis turned the kitchen into a projection booth so he could show horror movies, including his own, but the theater's raison d'être were the stage shows featuring characters like Wanda Werewolf, Irving Vampire, and especially Count Satan, who would simulate the throat slashing of audience members and even recreate the infamous tongue ripping from BLOOD FEAST. Daniel Krogh, co-author of The Amazing Herschell Gordon Lewis and His World of Exploitation Films (FantaCo, 1983), worked as "the non-union projectionist" as well as "sometime ticket taker and troubleshooter" at the Blood Shed, and provides a description of the theater and its gruesome live shows in his long out-of-print book (Chapter 11, "Butchery Live on Stage: The Saga of the Blood Shed Theatre"). Not one of Lewis' more successful business ventures, The Blood Shed -- later renamed Le Cinema Bizarre -- didn't stick around Old Town for more than a few months but remains a fascinating sidebar to his films and most likely inspired him to make THE WIZARD OF GORE two years later.












Compiled by
John W. Donaldson
and Chris Poggiali
br>
br>
Viewing all 402 articles
Browse latest View live


Latest Images