Speaker 1: We're all owned by the Syndicate Body and Soul or
should I just say Bunny.
Speaker 2: Hello?
Speaker 3: Filthy movie lovers, something weirdos and anti criterion brose to
the thirty seventh episode of The Sin Syndicate, where the
nights are special in the turned on world and every
weekend pop party includes a remote control racing track. My
name is Gentry Austen, writer and researcher, and I'm here
with my co host, adult film historian Casey Scott, And
in this week's episode, we are celebrating the Stoner's holiday
with a look at a film we have mentioned several
times before, but we have never covered in depth, the
nineteen sixty eight Manhattan shot Sexploiter from director Joseph Mangan
Smoke and fled.
Speaker 1: Light stands still during the day when we earn our
bread in the square world, but the nights the knights
are special in the turned on worlds of smoke and flash.
Speaker 3: But before we light up a few news and updates, Casey,
you're gonna correct yourself.
Speaker 2: Damn well. First of all, I always feel like I
have to say, first of all, I have to preface
things all the time.
Speaker 3: That's fine.
Speaker 2: Something that I've told a few people that maybe don't
know is that when I record all Right episodes, I
am very highly caffeinated, like I've had a pot of
coffee and then I typically will have like a diet
soda with more caffeine. So when I'm talking, sometimes I'll
stumble over words. Sometimes I'll think of things that are incorrect.
And one of the things I thought was incorrect was
Eddie and Fante being in Sweet Sugar when he is
not in Sweet Sugar. The film was even shot in Philippines,
was shot in Costa Rica, so that was a weird
error to make. I don't even think he's in any
Women in Prison films. I'm confusing him with somebody else
that was in like Women in Cages maybe or one
of the New World films. But no, he is not
in that. And I definitely wanted to mention that because
Eddie and Fante, looking at his resume, didn't make didn't
really make exploitation movies. He was a little classier than that.
He was not Vic Diaz, let's put it that way.
Vic Diaz did a lot more work in trashy stuff.
Speaker 3: So yeah, and to be clear, you're correcting yourself from
our last episode where we talked about the two Reviver
releases that he was in yep.
Speaker 2: Correct, yes, and also per Reviver. So that went over well,
thats going in depth over with the Reviver stuff I had.
I actually I had a good conversation with Oscar where
you know that I like to send voice memos. So
I sent Oscar like a I don't know, three three
minute voicemail. He sent me back a five minute voice memo.
So I was like, okay, breaking the record, breaking my record. Yeah,
it was great. So yeah, I need to I need
to get up there and visit. He wants me to
come up and visit, which obviously I need to see
him and Diino. But he did mention something we have
our text chain. He did mention that we could mention.
So the CRISP, the Chris Pajoli Reviver will not be
nonumber three. It will be number four. And I could
have sworn that Chris said it was number three, but
it might have been bumped, might have been rearranged. Yeah,
I don't know, so there might have been some rights
issues that delayed or something. But yeah, whatever it is,
whatever number three and number four, five, six, seven, eight,
I'm on board. So I don't want to know what
they are, just given to me, please.
Speaker 3: Yeah, Oscar was on The Celeste's show and I had
mentioned that he saw the He had mentioned that there
were some rights issues with number with I believe the
Chris Reviver. So I think that it did get bumped
just to kind of figure that stuff out right, right, right, right?
Speaker 2: And actually and this is when Yeah, I mean I
still love knowing. No, I love not knowing what they are,
you know, And I think, actually that's something I need
to ask. And maybe they discussed it is with the
I think we talked about we were wanting to go
out the frequency of when these would come out, and
I think it's once a quarter. I believe that would
make sense. So it's one every four months, and I
think that sounds like that's probably the plan. If it's
more frequent, I would I would eat it up, you know,
just if it was once a month, I'd be happy.
Speaker 3: I mean, it doesn't let's not do that to Oscar.
Speaker 2: No, Oscar has enough to worry about four months. It
is a lot, especially considering when you when you watch
videos of what he had to do. Yeah, when you
have to do all of that work with stuff that
is not necessarily ideal elements good grief. So yeah, every
when it's the labor of love, heavy on the labor, Yes,
heavy on both the labor and the love. There is
actual labor involved. Yeah, it's it's yeah. So yeah. Oscar
is great. And his last name is pronounced Bescher, as
in Bechamel and like Becker with a soft sage, so Bescher.
It's just good to and actually it's funny. I checked
a previous episode he did with Celeste and they discussed
that his name, his last name is pronounced. It is
pronounced one way by other people, but he pronounced it
is it a different way? So the way he pronounces
it is Besher. So yeah, but I think we'll just
stick to first names. Yeah, but Joli is different. And
I feel bad because I know Chris forher years and
I've been I've been mispronouncing his name, but I also
don't call him by his last name right, So, And
he is doing a signing with Grady and Mike Gingold,
I believe in a couple of weeks, and I will
go to that because I love both of them.
Speaker 3: It's a screening as well, isn't it? Or is that
a different no?
Speaker 2: I think it's a No, it's a Forbidden Planet, so
it's going to be the three of them together. They
have three different books to be promoting. I see, I
see Mike enough. He hosts a horror sc he holds
the Horror Trivia at at Rock Bar once a month
with Ted Ted Geogan, who directed we are still here.
So yeah, I see, I see Mike enough. I'm I'm
more excited to see Grady and Chris because I don't
see them hardly at all.
Speaker 3: So yeah, I'm excited for the new version of These
Fists Break Bricks. I've been I've been putting off buying
that ever since I heard that they were doing a
new version. So it's finally coming out.
Speaker 2: And yeah, finally picked that up. Well, my first edition
they signed it at Forbidden Planet, so I can't get
rid of my first edition.
Speaker 3: You have to get another signed version at Forbidden Planet.
Now you got to get the you gotta read do
it all over again.
Speaker 2: That's correct, and I'll hold on to both. Yeah, I
mean they they inscribed it with personal stuff for me,
so yeah, I can't get rid of it. But yeah,
I'm excited to see those guys. And uh, yeah, that's good.
That's gonna be fun.
Speaker 3: Or would you or would you bring your first edition
copy and have them sign it again? I don't know
which one.
Speaker 2: I would not do. No, I would actually Grady's really funny.
Grady's signatures tend to have a little sense of humor
with them, so I don't know, he could be like, two, Casey,
here we go again, Grady nitors or something. You know,
we'll see what he does. I feel like they both
had like standard things that they entered, but they personalized
there's for me a little bit.
Speaker 3: Yeah.
Speaker 2: Yeah, it was fun.
Speaker 3: But I was talking about this other other thing that
you have listed here that do you want to talk about?
Speaker 2: Yes, I think so. I think just you know, I
think to give an idea of kind of the challenges
that we run into in research.
Speaker 3: Well, there's someone that you want to contact.
Speaker 2: And yes, there's someone that I want to contact. Roadblocks, yeah, yes,
And the roadblocks are not necessarily the person that you're
trying to interview. The roadblock is another or other researchers
that are a little too territorial over these things. And
so this morning we I had a conversation with you
and Alex I had a conversation with Sean Langrick trying
to figure out where we go with contacting a certain
person because we have to work around this territorial who
makes things very difficult for anyone else to document this
history or you know, learn other people's stories and experiences
because it's all about the control. Yeah, I thought we
wouldn't have to deal with it. I was, you know,
heading the clouds, like, oh this is great, this is
so exciting we got this research going. I was, Oh,
here we go, so we will see what we can do.
You know. The good thing about it is the thing
about it is I'm in a better position now than
I would have been. God, even three years ago, I
would have totally spiraled and probably been in bed all
day and had a full mental breakdown. So now I
know that there is a larger community that is involved
with trying to get this story. There's a lot more
support and making sure that these stories are told. And
so yeah, I feel in a better mental health space
to a aproach this from a different way, and that's
what we're gonna do.
Speaker 3: You know a little bit more context too, is this
is related to secret places, secret things. So as you
have listened to us week after week, as I said
on Instagram, we will never stop talking about secret places,
secret things.
Speaker 2: No, and it needs a reviver, Oscar. We're going to
emphasize it needs a reviver. Let's get a print, let's
get going, Let's get the.
Speaker 3: Reviv going, and we want the full story. And this
would give us even you know, this would push us
even more. If we got confirmation that yeah, let's let's
do something, let's do a reviver, then then we would
absolutely go full bore on contacting some of these people.
And let's be clear, Uh, gatekeeping movies, that's bad enough,
gatekeeping human beings, that's just weird. Okay, don't be weird
people like this. Let's let's work together on these things
and get these stories out. Yeah, I mean, you're close
with Roberta.
Speaker 2: I've never said I've never told her to never speak
to someone. I've always said, if you want to talk
to Roberta, call, you can contact her in the same
ways that I do. You know, it's not that hard
to get a hold of her. I think people are
just scared of her. But yeah, I mean, Misty, Reagan,
Lee Carrol. There have been people that I've interviewed that
no one else has has interviewed since I've interviewed them,
and I'm like, go nuts, please, because my version, my interview,
my questions aren't going to be someone else's questions. I
could have overlooked something. I want multiple perspectives of someone's story.
I'm not I'm not the perfect interviewer. No one is.
There is no perfect interviewer. I will overlook something potentially,
you know. That's why I think the more people that
are involved in this, the better, you know. And I've
always felt that way, and I've never I don't experienced
this with anybody else. Like Michael Bowen's a great example.
We had him on the show Mychael Bowen does not
gate peep anything. Michael Bowen, if he knows that you're
legit and serious about it and you're not trying to
like shame people or bother people to harass people, he
will help you. And other researchers are the same way.
This is a this is a singular, unique situation that
I am not alone in experiencing. So I'm just I'm
glad that we're all kind of on the same page
and we're just trying to figure out the best way
to capture the story.
Speaker 3: You know, yeah, and this can not just.
Speaker 2: For the film, but to honor the person that we're
trying to interview, because this is a story that hasn't
been told by anybody else, including the person blocking the interview.
It wasn't covered. So I'm just kind of you know, yeah,
it's it's different. It'd be different if this was was
a person who doesn't want to talk, but the fact
that they have makes it more frustrating because it's just like, well, okay,
you know, so I don't know, we'll see where it goes,
but I did want to. I think I think it's
helpful to be as transparent as possible with some of
the issues with this. It's not and we've said this
on previous episodes, this is not This research is not
necessarily for the Week of Heart. And I say that
as someone who is relatively weak of heart, who will
have breakdowns and cry because I hit a dead end
or yeah, like, it's not for the Week of Heart,
but it's worth it because if you can get if
you can learn more and document more, then it's a
little piece of that puzzle. So the work is worth
it if you can get those little bits that you
can find. So yeah, I mean, the drive is there.
I just need to.
Speaker 3: Let's around, let's complete this puzzle together, everybody, let's all
put our pieces down.
Speaker 2: Yeah, which reminds me you have someone you need to
call to I know, I know, also related to this film.
Speaker 3: Yes, that's what I'm saying, Like Oscar, give us, goss Er,
give us like the thumbs up, like Okay, we're gonna
do it, and then that I'll like be a kick
in my pants to call this other person.
Speaker 4: Yeah.
Speaker 2: See, But Alex agrees. I think, like, for example, we
all waited too long to contact Sheep of Brick because
we were like waiting for the right project to do it.
And sometimes the right project is just that you want
to document it for for posterity, and then whatever comes
along the way that it can be useful for that's great.
So I need to get more into that mindset because
I have I have that that that Google doc I
have to share with you guys, the people that we
should be contacting as a group, just you know, trying
to do this reconnaissance. But all right, we both got
people to call.
Speaker 3: Yeah. Well, in lighter news, we.
Speaker 2: Have that's all lighter from here full because we just
had that Yeah, I mean, this was literally my entire
morning was trying to trying to bounce off of people. Yes,
it was. It was the first four hours of my day. Yeah,
so it was. It was a lot of trying to
figure out what the next steps are and trying to
get thoughts on it. So yeah, all onwards and upwards
from here.
Speaker 5: Yeah.
Speaker 3: So I am going to include a special segment with
our special correspondent, Jeffrey Patron. He has graciously agreed to
be our eyes and ears over in wind Gap, Pennsylvania,
who are putting on a Grindhouse triple feature. This is
volume two at their Gap Theater that's happening on Saturday,
April eleventh. We were not able to make it out there,
so thankfully Jeffrey was. And if you haven't been keeping
up with our constant rattling on about this, they are
apparently screening one of our lost and in limbo films,
one of mine on my top ten list, so obviously
we are very curious what it is. So we will
include that clip right here from Jeffrey, who is going
to give us a run down and recap of this
whole this whole screening. So here it is Jeffrey with
the report.
Speaker 6: Okay, this is my quick recap of what was shown
at the Gap Brindhouse Volume two. What I love about
these showings not just as the fact that they play
a lost movie, not just the fact that they play
a mystery lineup of films that they keep secret until
they show them. But what I love most of all
is the efflectic mix of trailers shown beforehand. So let's
dive right in with what the first reel of trailers
was before the first movie for the Gap Brindhouse Volume two.
Start out the night there was a trailer for a
film called at Last at Last, which I believe was
an English dub of an Italian film from nineteen seventy
five as Valentina the Virgin Wife, and also You've Got
to Have Part. Not sure where exactly the at Last
at Last title comes in, but following that there was
a trailer for Emmanuel The Joys of a Woman, also
from nineteen seventy five, I believe, and following that there
was a trailer for Fritz the Cat, the Ralph fact
she animated classic from nineteen to seventy two. Following that
there was movie number one, a Ron Garcia directed film
called Inside Amy starring James R. Swiney and Jane Mitchell,
as well as featuring a fairly not necessarily prominent but
a supporting rule from actor stuntman and occasional director Gary
kna Also featured in that film was a marquee of
some sort, some kind of location showing the film the
Byron maybe Lost film Love by Neighbor and his Wife,
And that was just I loved seeing that, especially in
that film, not that there was any footage of the film,
but just even seeing the title Offanda Lee was incredible
on a market. Following that, there was another lineup of trailers,
and those trailers were for the film's Nashville Girl I
believe in nineteen sixty seven, following that Fanny Hill from
nineteen sixty four and I think Nashville I might have
switched a Nashville Girl I think is seventy six, Fanny
Hill nineteen sixty four and Putney squoted nineteen sixty nine,
and that was a very fascinating mix. If not just
to see the Russbayer trailer for the original Fanny Hill,
that was a real joy. Following that, there was the
Joseph Frito directed Shanty Tramp, which was shot in Florida
and increase it. There's an added element where this definitely
feels more like a quote unquote cheapy than the first one.
There was definitely a real scrappiness to the production, but
in that scrappiness there's also a madness and inventiveness that
made that film incredibly watchful. Shanty Tramp I'm talking about
and fascinating tagline for the film She loved Rebels on Wheels,
although I'll have to say it doesn't hold as much
candle to the tagline for Inside Amy. She played the
swingers game. But back to Shanty Tamp, this was I
believe the only lead performance for actress Eleanore Dale. Also
in the film are Ray Arana and Bill Rogers. Bill
Rogers gives a particularly memorable performance as a sort of
southern traveling preacher, but also with a definite Elmer gantry,
kind of that he feels like a real con artist,
and I'm more than a con artist. He feels he
feels like a horned up con artist, and he doesn't
really do anything except be there and leave. But sometimes
the greatest characters in film can just be there and leave.
Following that, there was an even better lineup of tailers.
I know, it just gets better and better and better.
How could it? Well? You show the trailer to The
Lost Sandy Johnson adaptation of Justine also known as Justine
The Erotic Excitement of Eve from nineteen sixty seven, and
following that there was a trailer for in Hot Flood
of nineteen sixty eight, and following that there was a
trailer for a film called Hot Thrills and Warm Chills
from nineteen sixty seven, and that just those trailers together
had a great just a great energy of just unbridled.
This is the grit, This is the griminess. This, this
is this is the kind of stuff that you'd be seeing.
Fritz the Cat is nice, you know, Hutney Squope is nice,
But these films are their dirty pictures. Son following that
there's movie three, the Lost Some of the Night. The
third film of the Night was a nineteen sixty seven
film called Playpen Girls. Yes, that's right, Playpen Girls. We've
all been leading up to this moment where I try
and talk about Playpen Girls so much so that I'm
not really talking about any of the other movies because
I'm still trying to talk about Playpen Girls. Sometimes a
movie works into your mind and it just stays there,
and that's Playpen Girls. Sometimes you just get a fantastic
trailer and a movie that doesn't make any sense, and
that's playpen Girl. Sometimes you get the greatest thing in
the world, and that's Playpen Girls. What is Playpen Girls?
I hear you screaming, I feel it in my phones.
I want to tell you, I don't know.
Speaker 7: I I truly am struggling to come up with an
answer for what what this movie is except the greatest
thing in the world, and it is.
Speaker 6: It's the greatest thing in the world, and you need
to see it.
Speaker 8: So you are Michael. The productions, the Gap Theater.
Speaker 9: Gap grind House, and what drew me to these screenings
is not just the mystery element, but.
Speaker 8: The big thing is the lost film moment.
Speaker 9: And with the first screening you played Hot Hands of Love, Yes,
and that had some I didn't I wasn't there for
that screening, but that had some audio issues, if well
not audio issues, but it's that was a unkind of
finished film in a sense seemed to be from or
was it just bad audio? What was the What was
the case is? How would you describe it? It was
a Spanish film production that was then post dubbed into English,
kind of in the vein of a lot of the
Spanish produced films in the New York area. They would
be shooting in Spanish, all the actors were speaking Spanish,
and then they would be post dubbed into English for
wider market appeal, especially in the sexploitation market. And that
was the case with that one. Would you say a
similar circumstance would make a similar film? Have you ever
heard of a film called The Deadly Organ.
Speaker 8: Similar situation where it was a Spanish import and then
post dubbed into English.
Speaker 9: But I thought that was a great thing. I watched
that recently and I thought that was fantastic. But I'm
sure I'm sad that I wasn't able to be And
that's sort of another if you're not here, is there
ever going to be another chance where the gap might
theoretically show not not a lost film, but like Girls
on a forty Seconds Stooter, the Andy Mulligan film, or
The High Yellow where things like that they.
Speaker 8: Can always come back, if you know, if people want them,
or people want them, they can always be brought back later.
But I don't like to play things.
Speaker 9: You gotta be here in sort of the attitude, and
I love that because it.
Speaker 8: Can always come back, but it's better to be here
when it's played. It's a great theater and you can
never know when it's gonna come back or if it
even can come back sometimes.
Speaker 9: And where where is this beautiful theater located?
Speaker 8: For just the reater, It's wind Gap, Pennsylvania, about an
hour and a half from New York City, about an
hour and a half from Philly.
Speaker 9: And I Gentry, this is going to be for this
since indicate podcast Gentry and the Casey they not slandered,
but they they've called this place the boon out in
the Boone Docks, and I don't think that's fair.
Speaker 8: I'd call it that we're definitely kind of more out
in the boonies compared to like a lot of the
big city theaters that are doing this kind of programming,
more off the beaten path.
Speaker 5: But I.
Speaker 9: Fully agree on that front. Where are these films coming from?
Are these exhoomed film prints from Harry Guero that some
of them.
Speaker 8: Come from Harry's collection, and the lost film Tonight and
the one of the Last Show, those are both from
my collection.
Speaker 9: Okay, and I just really want I was I was
assuming it wasn't all from that, and I'd really love
to hear more about you, and like, how how do
you find these films? What's the go off in any
direction that you'd feel.
Speaker 8: I'm a big fan of grindhouse exploitation, adult feature films.
Occasionally they come up onto the market or get offered
to me for sale, and okay, I grab them when
I can, because, especially with operating this place, the chance
to get to screen them for an audience is what
they're meant to be for.
Speaker 9: As a bit of a stoner, I've always loved a
particular kind of exploitations, like I love the marijuana film,
like the the don't do drugs. These are bad. I
always thought those were. Do you think there's ever gonna
be one of those? Or would that fit into the
like I don't even know what the like almost education,
pseudo educational, even drug stores or even mondo.
Speaker 8: I'll play whatever people are willing to come out for it. Whatever,
if people are willing, if I can get the founts
to make a theme and people come out, how much
money do I have to pay for a smoke of evil?
That's a question for Harry. And if we can find
a print.
Speaker 9: That's another thing with these you can't find prints like
Andy Milligan, there's like no prince like it. That was
pretty changed my life in ways that are probably gonna
be negative. But this is a big question of kind
of sort of one that I'm surprised I didn't start with.
But with these screenings, what's your goal, like, just as
someone who as a film collector, as a film enjoyer.
Speaker 8: Show someone a film they haven't seen before, get them
to come out and see something that they wouldn't normally
see or even have the opportunity to see. What about tonight?
It's so special to you? The big thing is if
you really care about film preservation and the theatrical experience,
especially in this day and age where everything's going digital. Yeah,
it's great getting to watch these movies at home streaming
it or on DVD, but they were meant to be
seen in the theater. Seeing a lost exploitation film with
a crowd of people, to all get to collectively experience
that at once instead of by yourself on the couch. Yeah,
theatrical exhibition is very important and it helps to foster
more film preservation by allowing us to continue doing these
kind of shows, keep finding more movies and getting them
screen stuff that might not be viable for a home
video release, but we can find a print and show
at and give you an opportunity to see it with
the crowd and get the crowd reactions in real time.
Speaker 9: Not to take up too much more of your time,
but this is a second gap grind house. Yes you've
already announced the third one. I want to do more.
I really hope in the future, maybe this in syndicate.
Maybe they could respond to a screening, Maybe they could
even come out for screening.
Speaker 8: Lot of those hosts, both.
Speaker 9: Of them, I know they're a big fan and some
good friends with Casey.
Speaker 8: I've known him for years, very knowledgeable, super knowledgeable, and
we had been a long time at the bar in
flash Pott on forty second the street. That sounds incredibly.
Speaker 9: Andy Mulligan will find a way into effyy. Thank you
so much for thank you. You know it's great about
going to a mystery screening or just any kind of screening.
You got to spend a night on this case. Because
it's a Saturday into a Sunday. Some might even argue
a weekend with a room full of strangers.
Speaker 3: So smoking flesh. This is a personal favorite of both
of us. Right, Casey, you've got a historical five star
rating on letterboxed.
Speaker 2: Is that only for you? It only went down half
a star? Oh for for I believe for the way
that the wrap up. I think the wrap up is lazy,
but everything else before it is just really stellar stuff,
just really stellar stuff. It feels like it feels like
a it feels like a whole reel basically that he
could present to someone saying, look, I can make a movie.
Speaker 3: Yeah.
Speaker 2: But you know, and this is only one of two
movies that he directed. The other one was literally twenty
years later, so you know, he was not a director.
He didn't. I think he was kind of like Ron Garcia.
And then he preferred the cinematography. He didn't like the directing.
Speaker 3: But we'll get into that a little bit. All right, Well,
good to see it. It hasn't dropped too much in
your estimation.
Speaker 2: No, I agree with you. I think the ending kind
of it's lazy. It feels like they had to pat
it so that it was I think the ending, the
ending is that montage is like five minutes and I'm
just like, oh, it couldn't be sixty three minutes. Sixty
eight is more acceptable. So it was just kind of
like this could have been This would have been great
at sixty three. Just cap it off.
Speaker 3: Yeah, yeah, so this is our four to twenty episode. Here,
you have a note here? Do we partake.
Speaker 8: The record?
Speaker 3: Do? I don't know.
Speaker 2: It's not it's it's legal legs or less. Yeah, is
it legal in Minnesota?
Speaker 3: Uh, it's so messy. It is more or less. Yeah,
but yeah, like certain shops will can only carry certain things.
They're still working out the legality of like percentages of
THHC and all that goofy stuff. But yeah, I enjoy Uh.
I enjoy a little vape and a little gummy every
now and then.
Speaker 2: Yeah, I do. Not my I am one of those
people because I think it's because I'm so fucked in
the head. I get maid, Yeah, I get paranoid. I
was watching an episode of Penn fifteen. There was an
episode where focused on like the mom on this show,
and there was I was watching with my sister, and
my sister is like a professional gummy lead person. She's
in California, so she's that's what she does. And I
thought for some reason the show she was going to
be like a secret agent or a spy, and so
someone was trying to kill her. That was not the
plot of the episode at all. It's just in my mind.
I was like, Oh God, this is gonna get really dark.
What's gonna happen? So, yeah, I can't. I'm a drinker.
I drink, which is worse for me than just doing
a gummy or you know, having a little imbibement. But
in this movie did not make me want to change
my opinion on that in terms of whether I should
indulge more.
Speaker 3: Yeah, I'm trying to think is it's not necessarily a
super It's not a negative portrayal of weed. It's more
of a negative.
Speaker 2: No, it just didn't look like it did not look
like my the kind of thing that I would enjoy
doing at like a party with people I would rather drink.
Speaker 3: And yeah, I don't like smoking around other people, that's
for sure. It does freak me out a little bit.
Speaker 2: If I could get around a table and eat a
shit ton of a butterbrickle ice cream, I absolutely would.
Which now, and that was a funny thing. I was like,
that sounds so familiar. It's not sold as butterbrickle that
much anymore. It's more like a if you have like
a heath Bar ice cream, It's kind of like that.
Which who doesn't love that?
Speaker 3: So yeah, yeah I.
Speaker 2: Would, and I love it. I love when it cuts
back to them and it looks like they ate half
of the fucking container. I'm like, they are high as fuck. Yes,
they absolutely had to eat half of the container of
ice cream.
Speaker 3: Yeah, that's the munchies scene that they have to add.
Speaker 2: Yeah, yes, which was great.
Speaker 3: Yeah, but I guess we should. We can read the
synopsis here from Smoking Flesh. This is off the back
of the VHS box that was released from Something Weird
in ninety six. It's also in their catalog from the
same year, catalog number one, so this was a pretty
early release from Something Weird video. The synopsis is Turk,
a cool swinger, throws a pot and sex party to
end all others at his groovy love pad. Anything goes
local hoodline crash this happening scene, and as the party
goes into full swing, Turk slips one of the bad
guys a cube of LSD and he flips out on
a way bad ascid trip, completely out of control. He's
carried out of the love in not to be missed
by the drugged out, sex crazed hipsters who continue their
erotic explorations. Yes, that's a good synopsis, but I think
it misses one key part, which is like the first
twenty minutes they're waiting for the drugs. That's like a
key part of the film.
Speaker 2: Right, But yeah, that's not going to excite someone to exceed.
Speaker 3: Yeah, watch this movie hanging around the bunch of people
hang out and wait for the guy on the motorcycle
to show up. But I actually love that part of them.
Speaker 2: Yeah. I think you described it as like it's a
sexplantation hangout movie, which it is. I mean there's no plot.
I kind of it reminded me of Can't Hardly Wait,
where it's just basically a party where there's no story.
It's just a bunch of characters interacting, which is fine,
you know, I don't I think when you have something
that looks the stylish, it's kind of like submission, very
very different in terms of the experience of it, but
it's something that's fun to just sit with and like
soak in. It's just so it's really just beautifully done.
Speaker 3: Yeah, and the rest of the release history here. So
I mentioned VHS ninety six from Something Weird and then
it was released as an Image double feature two thousand
and four, and then it has not been seen again.
Speaker 2: It's been a long two years.
Speaker 3: Jesus, long time. So you know, ag for released that
drug a Rama s VHS collection. I think that was
a little last year.
Speaker 2: But I'm but the bummer is that those three were
released on Image DVDs. So the sbhs had that Something
Weird bug on them, don't they.
Speaker 3: Yeah, but we don't have to go down this road again.
Speaker 2: No, it's not great. I'll just hold a lot of
my DVDs, but I will get that Blu Ray at
some point because there is something on there that I wanted.
I need to get rid of my DVD R and
why not do that?
Speaker 3: Yes, So the issue with yeah, that drug Rama was
put out svhs because there was you know, rights issues
or element issues with getting those restored. But that is
not the case with Smoking Flesh. Good news. Smoking Flesh
does have the original thirty five milimeter elements with Stephen Morowitz.
They are there. These were picked up as part of
the second movie lab Raid, So it's in it's Stephen's hands.
I think this is definitely due for a restoration, so
we'll have to shoot him a message. I don't know
what what what would you package this with?
Speaker 2: Though I was thinking about this, I kind of you
know what I kind of like to do. There were
there were there were two CD sets that came out
a couple of years ago from this music journalist named
John Savage, and he did a series John Savage Is
nineteen sixty six, John Savages nineteen sixty seven, in sixty
eight sixty nine. I think she did sixty five too,
And I kind of feel like it would be kind
of nice to do a collection of three very different
films from like a given year, So like nineteen sixty eight,
we can do Smoke and Flesh from New York, we
can do a California film, we can do a Florida film,
we can do you know, from anywhere else and give
it gives some kind of context of what was going
on in all these different places in one year and why,
And then that actually gives a good idea of why
the genre is so diverse and interesting, because you could
put three or four completely different films together be like
this was all playing in one year, so you could
get all these different takes on sexploitation. That's kind of
the way I would do it, because I there really
aren't a lot of and I noted this in the
notes in terms of like drugs missing drugs and sexploitation
not really a thing in New York didn't really happen
that frequently.
Speaker 3: Plus I feel like that angle has been played out,
like you know, the drug rama just came out like
the drug.
Speaker 2: Like double California for features.
Speaker 3: Yeah, I don't know.
Speaker 2: I like the idea of trying to do something a
little more. I don't know. I kind of liked that idea,
and that wasn't that I also started. I actually started
thinking about that because of The Reviver, where the theme
of arriv two was the Philippines. The film with Robber
One was the Carolinas. And it's like, well, this theme
would just be like nineteen sixty eight. Let's go back
in time to nineteen sixty eight and see what the
hell's going on. We actually have two years to pitch
that for a sixtieth anniversary kind of release. Oh yeah,
so maybe time to put a little bug in somebody's
ears to maybe.
Speaker 3: Do that Yeah, I like that idea.
Speaker 2: Yeah. I think a collection of maybe a two discs set,
two films each on two films on each disc. I
think it would cover a lot of interesting territory and
also be able to check a lot of titles off
of a list that maybe don't belong with other films.
They wouldn't be good singles, they wouldn't they don't really
match with doubles. And that's just kind of where I'm
at right now. I'd love it, Yeah, But.
Speaker 3: I'd like that idea if you're into sexploitation, as Lisa
also agrees with us here, Like sixty eight sixty nine,
some of the best years, some of the best stuff
came out, So I think it would be pretty It
wouldn't be difficult to find some good films from that
year to complete this set.
Speaker 4: Yeah.
Speaker 2: Well, even like Help on a Female is sixty eight,
and that's in California, and that's such a different film,
but even watching that with this is just kind of
like so wildly different. And Girls Come To is ninety
sixty eight, that's in New York. That's a Florida newdest
camp movie. Like for no reason, Suburban Roulette is like
sixty seven sixty eight. That's you know, so there are
so many different paths you can take with different films.
I think it's just I think it's an opportunity to
be creative with trying to get these films out and
try to market them to different people. Yeah, I don't know.
That's yeah, that would work for this film.
Speaker 3: I think I really like it.
Speaker 4: Yep.
Speaker 3: All right, so we've got speaking of like acid Yeah,
what year was Acid Eaters?
Speaker 2: Acid Eaters was sixty eight, So is this year.
Speaker 3: Sixty eight as well? Okay, yeah, yeah, that's it's funny
because yeah, as you mentioned in the show notes as well,
they are these films have the same theme where it's
kind of like regular people partaking in drugs, like on
the weekend.
Speaker 2: Yeah, and it opens very similarly. It's that that's that
clock ticking, it's the montage of people working. It's a motorcycle.
Got someone on a motorcycle. It's like, it's right there,
it's so, it's so and so it's interesting. I I
that was something I didn't get to do because I
got distracted by other stuff. I wanted to see the
earliest that Acid Eaters was released, to see if did
this hit New York before this was produced, was Yeah,
I feel like it might have been, or maybe the
other way around, you know, I don't know. For the record,
I cannot stand Acid Eaters. Yeah, gorgeous to look at, terrible,
just not not not funny, stupid, it's just not good. Yeah.
Speaker 3: Yeah, I think I'd agree with you in terms of, yeah,
the humor is not good, but I do want to
see that restored.
Speaker 2: And I do too, just just just because.
Speaker 3: I believe AGFA is working on something. They've been kind
of hinting at something. We don't have any incident information here, Okay,
I'm I'm not spoiling anything, but they have they have
posted clips from the Negatives, So yeah, I think that
they've got that.
Speaker 2: Seems like that matches them more than it would distripis
to be completely honest, because I think that, especially they
did the drug rama party, I think it makes sense
to have that angle uh first exitation for them, So
that would be a good match and that Yeah, I
mean the cinematography of that is this bold, beautiful, gorgeous
color and it's I think Dave Friedman shot it, which
is also crazy. I believe he shot it really, which
is yeah. I believe, so I think I I think
he shot it.
Speaker 3: Like holding the camera or like directing a photographer.
Speaker 2: Well, cinematographer doesn't always hold the camera. That's a camera operator. Yeah,
so yeah, I believe cinematographer. I don't remember who the
camera operator was, but yes, Byron Mabe, who only made
Let's be Let's Be Real, like two good movies. Maybe
not a good filmmaker. And uh, but yeah, that would
be great to see restored. But the compare. Yeah, it's
so weird that the parallels between these two. But yeah,
one is in color, ones in gorgeous black and white
like they It's a very interesting contrast between the two.
Speaker 3: If I remember, Acid Eaters gets a little darker at
the end with regard to like what happens when you're
on drugs, This one doesn't add.
Speaker 2: Yeah, no, this one doesn't. I mean a little bit,
because it's kind of like, well, if someone you could
have a bad trip, I think, because you're a bad person.
If there's some nasty, stadistic biker that takes acid, then
it's gonna like mess you up. But it's not something
like The Hard Road or Mantison Lace where she loses
her mind and butchers people. It's a very different take
on drugs.
Speaker 3: Yeah, so you mentioned New York. Yeah, they didn't really
do too many drug films around this time. She goes
to pot. I have not seen that yet.
Speaker 2: It's lost.
Speaker 3: Oh okay, well then that and.
Speaker 2: Turn onto Love, which is John Albertson, which is interesting
because John Albertson worked with the production supervisor of this
on on cry Uncle, who executive produced cry Uncle, So
that weird connection. But yeah, those are the only two
things I can think of that were really like marketing
the films as drugs and sex together. It really was
not a New York thing. There were exploitation films about
the dangers of drugs, but yeah, they didn't combined the
two like like California did. But California is also where
like you know, there was it was San Francisco, it
was La It was. It was very different seeing the
New York.
Speaker 3: Yeah, I feel like New York you'll get more like Heroin,
You'll get more Heroin shooting up and it's like.
Speaker 2: Or like in Hot Blood where she takes like whatever
smack or PCP or whatever. Yeah, it is very that
I think of New York, I think of Heroin. I
do think. I don't think of I don't think upon
her lsd. I think of Heroin. It's it's it's a
hard it's a hard place to lift, folks. I'm telling you, yeah,
you want you want it down or you don't want
an upper.
Speaker 4: Hi.
Speaker 8: Se baby, everybody's here.
Speaker 4: It were all ready for the man.
Speaker 10: He had a slight detour, but he's on the right
path now, Okay, I'll see you soon.
Speaker 8: Don't hang me up.
Speaker 3: So the production here, this is the one and only
imp production action correct Imperial Pictures.
Speaker 2: Yes, I found another Imperial Pictures that was there's another
independent company that made films that you like, artists distributed,
not the.
Speaker 3: Same No, yeah, no, And this is pretty much all Manhattan, correct,
I mean you're.
Speaker 2: A Manhattan yep. Yeah, yeah. Except they must have gone
somewhere because there's that sequence that's in the Lincoln Tunnel.
So they obviously went into the tunnel to either they
started in Jersey and went into the Lincoln Tunnel or
they yeah something. That's the only other thing I can
think of. Most of the outdoor locations you see are
Greenwich Village because you can see the Grove Street. I
think it's a Grove Street path Station actually, so that
is people coming in from Jersey to go to work,
and there's a few other locations that I'm like, Oh,
I walk by that when I go to Christopher Street.
Speaker 3: Yeah, So who do you think was involved with production
besides Joseph Manngen.
Speaker 2: I think that's it. I don't have any other theories.
I mean the thing that the thing. The thing to
note with all of these people on the crew, they
all started with Barry Mayhon, so they were making really cheap,
terrible pieces of shit for Barry, and then this was
kind of like them breaking out and being like, you
know what, we can do better. So they did better.
This was not distributed by Barry, which I think is
crazy because that kind of is like taking the opportunities
that Barry gave you to work on films for the
first time and then be like, well, no, we'll handle this.
We don't. We don't want to. We don't want you
to make any money off of this, Barry. So it's
very interesting.
Speaker 8: Yeah.
Speaker 3: Joseph Manjen and the editor of Phil Fitzpatrick both worked
on Hot Skin, Cold Cash before this for Barry.
Speaker 2: Ian Merrick worked with him. Dog Angel did the sound
on Unforbidden Flesh was Barry Mayon produced. Harry Petrissek works
with him, I believe the script girl on the lighting
assistant worked on Run, Swinger, Run and Go Time with
a Bad Girl. So like all of these films, they
all they all did all of this base like apprentice
work on these little quickies with Barry, and then completely
obliterated him with this film. Verry, Barry could never. Barry
could never, you know, but this is you know, this
is just too stylish. I mean, Barry could make something
as plotless as this, but you would feel that length
that would be a long sixty sixty eight minutes.
Speaker 3: Yeah, yeah, Like the camera in this is never really
stationary for too long.
Speaker 5: You know.
Speaker 3: I was just rewatching some parts of Potskin Cold Cash,
and it's a very I mean I like that film
to a certain extent, but it's a very too cameras,
pretty static, basic shots. Yeah, but this, Yeah, there's some
stylish stuff in here, not to mention. Yeah, all that
street footage, it's it would have taken some time to
set up those street shots, don't you think.
Speaker 2: Yes, well, a lot of the shots, that whole sequence
that's under the bed, it's crazy. Yeah, that's crazy. The
the the sequence with like the swinging light in the
in the attic, the overhead. Yeah, like the camera he
is so he's so playful with the camera because he
wants to see what he can do. He's like, I
just that's what makes it so interesting. It's obviously he
it's obvious that he is having like a creative ball
with this because he just he wants to do something
different than what Barry has been asking him to do,
which is, here's this, here's the setup. Move the pan
the camera if you need to. Yeah, it's like it's
simple and cheap. And this does not look simple or cheap.
It looks like they really took the time with it.
It might have been shot in a weekend, but they
wanted to make it look like it was bigger than that.
And I think that I think they succeeded.
Speaker 3: Yeah, so that is interesting that they went out and
just formed their own little production company and this is
the one and only. And I don't know, Yeah, we
don't know what happened. In terms, I didn't it doesn't
seem like it got much play. Did you dig around
a bit?
Speaker 2: Strangely? I found this was on IMDb, of all places,
and I was like, where did this come from? It
was released with, it did get play, as we found,
But the big thing that I found was it was released,
it was reissued with. It was paired with a reissue
of Heavenly Bodies by eve Meyer, And I don't know
if that means that eve Meyer distributed this in California.
I don't know if they were the California distributor. That's
kind of the frustrating thing. This is one of those
films there is no footprints, so we don't know. Joseph,
as we'll go into, didn't do interviews, didn't talk about
these films. There's no documentation in periodicals of the time.
He died very early before anyone could speak to him,
though honestly he was around when this came out on VHS.
I'm a little bummed that nobody reached out to him
after seeing the VHS, but that's just that's kind of
the way it is for a lot of these films.
I think people were afraid to reach out to people
or didn't know how to. But there are so many
things involved with this that we're just never gonna know.
We don't know who Imperial Pictures is, We never probably
never will. We don't know about the distribution. We don't
know who we handle distribution. We probably never will. We
don't know how well it's a theatrically, probably never will.
I think the important thing to focus on with this
is what it meant in terms of man Gene's career,
because from here it was just like NonStop. I think it.
I think it made people in the industry pay attention
because I think, honestly, if you're basically in New York
making sexpectation and you're working for Barry Mayhon exclusively, I
don't think people are gonna take you seriously about your
technical skill, which is like there is no technical skill
involved with a Barry Mayhon film. So I think this
is kind of like, listen, I can make your movie
look good. I can light I can light your women well.
I can I can edit it really really crisply so
that it flows really well. I think it was. It
feels like much more of a calling card for him
to be like I'm here, hire me, like this is what.
Speaker 9: I can do.
Speaker 3: Yeah, like you said, yeah, there's not much out there
on Joseph Manjen So you know, I was dating around
and I found Steven Scarlatta you know, he's a film producer.
He did that Shark'sploitation documentary. He's directed films. He did
a podcast all about Neon Maniacs of all things, Yeah,
which Joseph Manjen shot, So you know, he did a
I don't know how many episodes. It was nine. It's
a you know, a series podcast. And I'm like, there's
got to be something on Joseph manjing in here and
I listened, and the editor on Neon Maniacs, Timothy Snell,
he was the only guy who really had anything to
say about him. And I'm just going to kind of
paraphrase here. This is all from Steven Scarletta's podcast. He said,
Joe was a Brooklyn Nite, a longtime New Yorker, a
very like neighborhood kind of guy. He was thin framed,
a vegetarian way back in the day before it was cool.
He had very long hair. He kept he kept mentioning that,
like he had very long hair, but he looked older
than he was. And the running gag, like on the
set of Neon Maniacs was like how old is Joe?
Because nobody could figure it out. He used to drive
tow trucks, which I have found evidence of. He also
said he was a welder and an artist. He like
made sculptures. Joe was part of the urban Brooklyn scene
back in the seventies, like Red Hook area, And that's
pretty much it. That's kind of the picture we got
of Joseph Mangin. And again I looked in our buddy
Stephen Thrower's book Nightmare USA, because he's got that big
chapter on David Durston, and there's no mention of Joseph Mangin.
So just like, gosh, gimme something here, guys.
Speaker 2: No, you found some good stuff though for some other
people on some later x yation films he made. Because
let me tell you, I've been looking too, because you know,
he shot a lot of stuff that I really like
and not easy, I think, because he was someone who
wanted his work to speak for himself. It sounds like
it sounds like he didn't want attention. He was not
a self promoter. He was a journeyman photographer. He didn't
want the attention.
Speaker 3: You know. He did again he did I Drink your
Blood after a blue sex tet. So obviously him and
durst And got along well enough there.
Speaker 2: Right, And I don't remember if he's mentioned on that release,
because I have that release and there's there's a commentary
and I Drink Your Blood and a commentary on Blue
Sex Tet. But I don't think Jack Damon says anything
on the Blue Sex Tet commentary because I listened to
it and it's actually not a great commentary. He doesn't
even mention that he did Rent a Girl. He does
not talk about the rest of his career other than
that film.
Speaker 3: Yeah, the picture I get is, yeah, he was just
a pro behind the scenes again. Yeah, another quote from
Timothy Snell from that Neon Maniac podcast. He was just
talking about how Joseph was. He loved lighting, like that
was what he really liked to do. So you know,
maybe you know, obviously you only did these two director,
he directed twice in his whole career. You know, lighting
and camera work was his passion and he could be
The quote was he was a very fastidious lighter, which
I mean, look at this black and white, like you
said that that hanging chandle or that hanging light scene
in the attic of smoking flesh. Maybe that's a great scene.
Speaker 2: Yeah, amazing, But then there's also it makes me think
of that scene in Squirm, where the that entire sequence
where that whole house has no lights, it's like one
little it's like, you know, a candle or like a
flashlight or something, and that whole that whole thing is
just impeccably lit and photographed for that particular film.
Speaker 3: Yeah, and there was also, yeah that mentioned on you
mentioned Squirm. Yeah, apparently Lieberman the director was not doing
right when shooting that or when you know that together.
Speaker 2: Yeah, maybe there's a reason why he's only directed what
five movies. Yeah, he's he's kind.
Speaker 3: Of difficult and apparently Yeah, Joseph Manjen kind of saved
his ass and kind of guided that production a bit
in terms of, hey, let's not shoot this sequential order
because that's insane. Nope, that's there's a reason why nobody
does legitimately insane.
Speaker 2: Exactly what are you, Andy Warhol, Yeah, we're not doing that.
Speaker 3: So you kind of, yeah, helped get that thing back
on schedule by just shooting, shooting, shooting as much footage
as you can and figured it out later.
Speaker 2: Yeah.
Speaker 3: Yeah, just a pro Yeah. Squirms amazing. I love Squirm.
Speaker 2: I love Squirm two. I think it's really it's it's
I'm not yeah, that was when I first saw not
an MSc three K. Actually I think I saw it,
someone suggested it. I think I saw on an old
mg MBHs.
Speaker 3: So this is actually really good like this, yeah, and
I mean we'd be remiss. Also to mention he shot
a bunch of porn, very good porn.
Speaker 2: I feel like, very good typically typically a good track
record in porn. I think he was selective of as projects.
And also I think the big ones that he did
were connections back to his softcore days. So essentially there
were people who worked with in softcore that then did hardcore,
like Jerry Denby. He did Erica one, a pleasure plantation
for Jerry Denby, and then he did Whatever Happened to
Miss September for Denby, and that one's really well shot.
He does really good, good photography of Tina Russell in
that she looks. Some of her best footage is in
that film. And then Kamal Harulu who we worked with
with the Barry Mahon group, uh, and then he shot
Feelings and I think Blue Ecstasy. So the two of
the two Leslie Bovet Star vehicles for for Kamal Harulu,
and those are really well done. Blue Ecstasy is blue.
Ectasy is another one. Vandger Sindram has that and they're
they're not sure they want to really, he said, I
beg Joe to put out those last two Kamal Har
Rulu movies.
Speaker 3: Yeah, I've seen. I saw Lustful Feelings that I haven't seen.
Speaker 2: Yeah, glue Actasy's good. It's Leslie bove In like a
dual role. She plays sisters and by that by that
time that was a few years after she had definitely
developed as an actress. So she's much better in that
than she is in Lustful Feelings. I think she you know,
she took more time, but yeah, lustful Feelings is great.
They need to release that. And when she was bad.
Those are the last two Hurulu movies that they have
the negatives too, So put them out as a pikorama.
Just dump them. I don't need extras. Just put them
out restored. Please.
Speaker 3: The other kind of odd balls, too, are a couple
like costume pictures, Naughty Victorians and Captain lust. He's yeah,
if you watch these, his pseudonym is Joe Mann, so
look for that. But uh, naughty Victorians.
Speaker 4: Yeah.
Speaker 3: Another like, according according to the cast, like ten thousand
dollars film like this was a very very low budget film.
It doesn't look it. It looks pretty sumptuous, and I.
Speaker 2: Think he's someone who with a visual eye. He really
tries to make it look like a period pieces. It's not.
It looks of the time, like he takes really good
care with the lighting and the framing and everything. Yeah,
he's just it's very interesting his background that and that's
why it's frustrating we don't know more about him. I'm like,
where did he learn this stuff? If he was from
like a working class background and was involved with truck
driving and things like that, where did he develop his
visual eye? Was he into photography? Like where where did
he find this? Did he go to film school? Did
he work on industrial films?
Speaker 10: Like?
Speaker 2: That's a frustrating thing about him is that he left
such a great collection of films that he worked on,
and we just don't know that much. Because I also
feel like the people he worked with, for whatever reason,
didn't think to ask questions of him and learn more
about him. So I'm glad that the guy in Theomaniacs
actually was able to share stuff about him because nobody
else has same. Yeah.
Speaker 3: Yeah, there's that weird thing on IMDb under Joseph's biography,
where it says he was a stunt parachute specialist turned photographer.
He began his career shooting surfing and adventure documentaries. But
I don't I couldn't find any evidence of where this
information is coming from.
Speaker 2: No, and that bio is by someone named Charles Manngen.
He didn't have a son, so I don't know who
Charles me and a brother that's no longer with us.
I found his widow and he had a daughter. He
did not have a son, So yeah, but honestly, the parachuting, clearly,
that's the Barry connection clearly. Yeah, and Ian Merrick too,
because Ian Merrick is we'll go over met Barry at
the World Skydiving Championships and what do you do when
you skydive? You have parachutes. Yeah, so he might have
even been on like the US team at those championships
for all we know.
Speaker 3: Yeah, very interesting.
Speaker 2: You know, I hate suppositions, but this is gonna be
an episode of a lot of suppositions, because you know, yeah,
well we're on the case. Unfortunately, everything that is available
to researchers just does not paint the clearest picture of
this guy.
Speaker 3: Yeah, this is for Alex DeSanto here. I forgot to mention.
You know when when Timothy Snell, the editor of Neon Manix,
was talking about Joe loving to light, Yeah, I forgot
this quote. He was like, Joe's favorite way to light
was pa rs with tinfoil. He would mold the tinfoil
to get the right bead, very painterly. He wasn't one
to just put up a bank of lights and blast
the set. So that's for Alex. I know how much
he loves the intricacies of lighting, especially black and white lighting.
Speaker 4: Yeah.
Speaker 2: Actually Chris probably would eat that up too.
Speaker 4: Yeah.
Speaker 2: Different kind of different kind of lighting, but you know,
film lightings, yeah, next door to photography lighting. Yeah.
Speaker 3: Is there anything else we should say about Joe before
we move on.
Speaker 2: Well, he was by coastal He would go back and
forth between New York and cow for you. He shot
Cinderella for Michael Pataki. Yeah, I forgot to gorgeous, gorgeous
widescreen photography, and that that is so Compare that to
Alice in Wonderland and it's like night and day. Like
no offense to Joe Barto who shot Alice in Wonderland
Night and Day. Cinderella looks like a major Hollywood production.
Speaker 3: Wow, you know yeah, I guess we haven't even mentioned
some of his biggest films which he did in the eighties,
which is he did Alligator. Everybody's seen the Alligator for
The Chases yep. And he did The Sword and the
Sorcer for Albert Pion.
Speaker 2: Yeah.
Speaker 3: Have you seen Alone in the Dark.
Speaker 2: I like Alone in the Dark. And actually I was
just adding to the notes. Alone in the Dark is
where he met his wife. Oh, because his wife was
So his wife is Adrian Hamalian or Himelian. I need
to reach out to her. Obviously, she was shockingly the
assistant director on Alice, Sweet Alice, so she was you know,
East Coast based, but then she became a very prolific
script supervisor. So she was the script supervisor on Alone
in the Dark, and so I believe that's where they
met because she also then was the script supervisor on
Neon Maniacs. She was just a serious supervisor on like, oh,
starts a crazy movies, Don't Masters of the Universe, Bill
tis Ex on Adventure, Don't Tell Him? On The Baby
Theater's Dead nine and a half weeks Critters. She also
worked on Community in the Office, two of my favorite
TV shows, So like she's she's retired now. She was
incredibly prolific script supervisor and when he passed in I believe,
what was the two thousand and six, I think two
thousand and six. Yeah, yeah, she was several years younger
than him, So she is still around, and I feel
like if we're going to get a larger picture of
who he was, I feel like Adriam would be able
to assist with that. So I'm I am reaching out
to her to see if she would like to do
a conversation about him. Though this is the twentieth anniversary
of his passing, so I feel like that that might
be difficult, But I think actually now would be maybe
the best time to discuss him, twenty years after he passed,
because not enough people are talking about him.
Speaker 3: No, yeah, a little celebration. Maybe she wants to get more, Yeah,
get his story out there.
Speaker 2: Yeah, so well, she she has to say. But he
also came back to New York and did Mother's Day
for Charlie Kaufman. Yeah, with his wild and then he
did Yeah, his his resume is nuts, but yeah, good,
interesting guy. He I think he shot almost the entire
series of Swamp Thing in the nineties.
Speaker 3: Yep, I noticed that too. Yeah, after Neon Maniacs, he
mostly did TV it's it looks like And maybe those
were connections either that he made, maybe Adrian helped make
some of those connections, or he had a.
Speaker 2: Good calling card. I think yeah, he had a good resume.
I'm sure that that helped. He reminds me of Ron Garcia. Yeah,
and that ron Garcia showed up, did the work, that
was it. When he does when he does interviews, like,
he's very u humble and he likes to downplay the
work that he did. And also he doesn't really you know,
he didn't really like being a director. So yeah, yeah,
definitely I can see that comparison.
Speaker 3: We mentioned. Phil Fitzpatrick was a very Mayhon guy. He
edited Hot Skin, war More, Beds, Some Like a Violent
Assistant director and Run Swinger Run. He was also the
editor on this. Anything else to say about.
Speaker 2: Phil not a clue that name is way too common?
Speaker 5: Yeah, no, no, but again, yeah, just another Erry Mayhan
guy that tagged along when they were breaking out from
the shadow of Big Berry.
Speaker 3: Ian Merrick production supervisor, English because.
Speaker 2: Yeah, this is an important one in America. I mean,
he's also the big success story out of this film. Yeah.
So he was a British guy emigrated to the US
in the sixties. He was a photo journalist. He had
trained at Foxville, Potos and Baron Studios in London. He
met Barry Mayhon at the World Skydipping Championships where Ian
was captain of the British team and Barry because Barry
liked to do this. That's the thing about Barry. I
don't think he cared about anyone's technical qualifications. He's like,
you're a friend of mine, I'll give you work, and
I'm just like, great Barry. Okay. So he made Merrik
the vice president in charge of productions of Barry Mayhon
Productions and he oversaw eight films. I don't know what
all those eight are. I imagine there's some that he's
not credited on, because, as you know, Barry films don't
always have credits. He produced a fighter pilot drama called
The Angry Sky for Barry that was made in nineteen
sixty six. It apparently was never formally released, but a
premiere happened at Augie Hoffmann Surf Club in Ortley Beach,
New Jersey in nineteen sixty six. And I don't know
where that film went, but apparently obviously something dear to
Barry's heart if it's about a fighter pilot, because that's
Barry's story. He was production supervisor on Sound Like a Violence,
which was Barry, which was Kamal Harulu, and also Pleasure Plantation,
and who worked on both of those, Joseph Mangin. Uh So, yeah,
he's stuck with He stuck with Joe on a bunch
of these things. He produced for John Avilson. But the
big thing was, I mean, he was so close to Mangen.
He did this movie called The Black Panther. He went
back to the UK and did it and was based
on true story and Mangine shot it. That's when you
know that it's somebody that you want to work with,
you dragged them over to the UK to shoot, you know.
I think it's the only movie that he made in
the UK. I think he just came back to the
US and just continued doing stuff. Relocated to California where
he worked on Apocalypse Now for Francis Poucoppola, and he
developed the script of what would become flash Dance, and
then apparently he devised the original concept for et which
I don't know. I love to know more about that.
He became the head of production development Hendale, which was
a big studio at the time. They did Platoon and
also The Last Emperor, the Berdulucci movie, and I think
all there, most of their stuff was purchased by MGM.
I believe when they went out of business. He's still around.
I need to contact him because he is the only
person on this production crew that I think is around.
He's eighty four to only. He was interviewed for the
Italian release of The Black Panther on DVD, but I
can't get a I can't find a copy of that.
And for whatever reason, he was not included on the
BFI flip side Blu ray of that movie, and I
don't know why that is. Yeah, I don't know why
that is.
Speaker 3: It's like a sit down interview, not a commentary, right, No,
it's an interview, all right. Well, Doug Angel sound another
Erry guy?
Speaker 2: Yes, yeah, same, same same story, nothing more, nothing more
on him. And he also did sound on some Kamalfa
Rulu movie. So once again, these people hanging tight and
helping each other when they moved to hardcore.
Speaker 3: Yeah, Harry Petrick, check second cameraman.
Speaker 2: Yeah, this is he's. This was an interesting journey because
I was kind of like, well, this guy he was
so he worked so much for other people. This was
kind of his only Barry connection. He didn't work for
Barry or anybody else, at least credited that I can find.
He was mostly connected to Sandy Johnson. He shot all
the good Sandy Johnson stuff, including teenage Gang Debs. And
he was also assistant camera on Girl from Sion and
then that was a CIP movie, and so he worked
after CIP split up, he worked for Johnson and Denby.
He shot Pleasure plant he was He worked on Pleasure
Plantation as well. So he stuck with his with his
buddies as usual. So this guy, he was a Czech,
a Czech immigrant. His mother was this woman named Monica
Patri Czech. She was a professional opera singer. She emigrated
to America to sing at the Metropolitan Opera and unfortunately
her second husband that she had, this guy named Gustav,
died in nineteen fifty five, so she had to retire
from performing and take over his textile business and Passaic,
New Jersey. So Harry, which he's credited as Harry h
a r r Y, his actual name is is Harry
Harry h A r I, which is the check spelling now.
She claimed in a newspaper interview that Harry was allegedly
her son from her first marriage to a European diplomat,
but then Gustav, her second husband, adopted him. But Harry's
second name, his middle name is Gustav. So it makes
me wonder if that's just a fanciful story that she
liked to tell, or if Gustav was actually his father.
And you know, he grew up in Florida because his
Monica's third husband, this guy Harold Schlanger, relocated there with
with Monica and Harry. He I think he graduated from
High Scho in Florida. He served in the Army in
the fifties. He was Company D in the eighth Infantry
Division and spent time in there in Europe. And then
somehow that's the thing, there's a blank space between all
of this stuff about his family connections in his life,
you know, in Jersey, in Florida, and then there's the
stuff in New York where he becomes a cinematographer and
assistant cameraman for Johnson and Denby and then Sam Katah.
He did one Sam Kataw movie and then he directed
a movie which I think was called Shootout at Beaver Falls,
which was lost, and then he went back to Jersey.
In like the early seventies, he stopped making movies. I
found a newspaper article where it described him as a
commercial artist and his mother was a very successful social
lighte in Asbury Park, New Jersey. He lived in a
cottage on her estate in Asbury Park, and I found
a picture of him Circra nineteen seventy three.
Speaker 3: Who is this girl he's standing?
Speaker 2: Not a clue, it's just social gathering. Not a clue. Yeah,
it's just it's some girl from Jersey. He became the
VP of a company called American hydro Lines in the
nineteen eighties, and they were supposed to develop a commuter
service on hydrofoils between Asbury Park and New York City,
and I think that that went busting, didn't happen, so
he left the company and joined a company called Sledge
Disposal International in Manhattan, which the name says it all.
It was disposing of Sledge. I keep finding I keep
finding the little articles about him being a noted collector
of Faberget eggs and antique porcelains that were worth a fortune,
so he was known for being a very wealthy collector.
I think he died in twenty twenty three, but I
cannot find a confirmation of that. I have found his daughter,
who's now a freelance photographer in New Jersey, and I
need to reach out to her to kind of get
a story. But the thing about it is he only
did films for five years, six years, and then everything
else was all these other businesses and taking care of
his mom's estate and all this other stuff. So I
don't know if she would even know that her father
was a photographer and an assistant cameraman on these exploitation movies.
A lot of them are lost anyway, there's very few
of his movies that are around because the Sandy Johnson.
Speaker 3: Again, yes, speaking to Sandy like that would be the reason.
I mean, look, we want to hear your story as well, Harry,
but we want to hear about Sandy as well, because
there's not a whole lot of personal anecdotes about.
Speaker 2: Say, well, we can reach out to I want to
reach out to Sandy's kids for those Yeah, yeah, I
want to Sandy's kids will tell us what we need
to know.
Speaker 4: I would.
Speaker 2: I want to hear about Jerry Denby because Jerry Denby
doesn't have any kids anymore, and so that's what I
want to know. Jerry Denby is a bigger mystery than
Sandy Johnson, to be honest. Yeah, but yeah, Harry Petrisek
is and he typically worked as Harry August now and
I will just say it not the best, not the
best photographer. The stuff that exists of him where he's
credited as chief cinematographer, it's it's boiler play, gets the
job done. It's nothing too fantastic. Pleasure plantation is not great,
but it's not very well photographed. He's no Joseph Manjeene
opening it that way. No, I agree, No, he's not. Yeah.
The last two crew members that are credited as the
script girl and the lighting assistant, and they both worked
on Run Swinger Run as well. Yeah, Jane Sweat the
script girl and why the lighting assistant and yeah, so
it really is just a group of people who work
with Barry that just struck out on their own.
Speaker 3: That's yeah, he pulled a lot of people from the
Barry repertoire.
Speaker 2: Well, I think when you're making a movie quick and
it's going to be your first one, you want to
work with people that you know can get the job done.
So obviously he'd experience that with them on the Barry
films because Barry, I'm sure that Barry didn't tolerate any
kind of nonsense on his set, so he knew they
had to be done quickly and efficiently, you know, So
that makes sense. You want to work with people that
you know can get the job done.
Speaker 10: What do you have in mind?
Speaker 11: The webber loses the race, has to take off not
a good clothes Now, we'll keep on playing until either
one of us is in his or how birth they
sort of a grand Prix script. Do be kicked and
looking for an excuse to take your clothes off?
Speaker 4: Anyhow?
Speaker 11: I get the jag War anything a little hot as
eyes on it.
Speaker 3: Well, let's talk about some actual performers here. Yeah, I'm
going to skip to the bottom of this list here
because she's one of the first people we see, is
Kristen Steen. She is technically the first person is one
of the first people we see because she's in the bed.
Speaker 2: With Frank Censer. Yeah, yes, and they're both not credited
in IMDb. Yes, you know, that's just you know, that's
I That's why I like being good with faces. I'm
good with recognizing people. Well, doesn't mean I'm going to
update the imdby as you know it, right, that's up
for you.
Speaker 4: That's up.
Speaker 2: That's up to other people to do that. If they
want to, they can. But you know, if you know,
you know, and that's not me gatekeeping shit, that's just like.
Speaker 3: I might correct this four because it does bother me.
I want to see Kristen Steen's you know, filmography in
a clear and concise way. But yeah, she's credited as
Anne Brandt in this.
Speaker 2: I adore her, so yeah, I absolutely recognize her every time.
Speaker 12: Yeah, you call her a lithe blonde actress. Yeah, this
might be her first movie. Actually might be your first movie,
which if it is, if it was shot in sixty seven,
she was seventeen years old when she made this.
Speaker 2: Hoping that's not the case, I mean, could be, could be.
She's born in nineteen fifty, so she would have been
seventeen in nineteen sixty seven. I like the idea that
she maybe was eighteen as you did these nude scenes.
Speaker 3: Yeah, we'll just well, we'll just say she was eighteen.
Speaker 2: Yeah, because the earliest screening we could find her this
was May sixty eight, so I would hope that it
didn't take five months to edit this. Yeah.
Speaker 3: But yeah, another kmal connection there, because she was Yeah,
Forbidden Flesh, she was in that, and again Barry, Yeah,
she was in some of his Red Barren movie. Apparently,
I don't know, we don't.
Speaker 2: I don't know if that's true.
Speaker 3: Yeah, apparently, I don't.
Speaker 2: I don't know where that's from. Maybe it's maybe someone
recognized her in the press book. I wouldn't. I wouldn't
take that as gospel. All right. She's definitely in the Procure,
She's definitely erotic, Fanning Hills, definitely in the mind Blowers.
She is she in Flying Out pay Later? Isn't she
on the poster?
Speaker 3: Or if she was another one of those cases where
she wasn't credited but she was in it, I can't remember,
but Sherry Winters for sure was.
Speaker 13: Well.
Speaker 3: Yeah, what else can we say about Christine Stein? I
don't think we've covered I mean, we covered her a
little bit and when we talked about submission, you know, she's.
Speaker 2: In we did, I went into great detail.
Speaker 3: Yea, So maybe we don't need to spend a whole
lot of time on Christine Steen.
Speaker 2: She's still around. I need to reach out to her.
Speaker 3: She has a few speaking lines in this. She's kind of,
i mean, other than.
Speaker 2: Cheery Waters, kind of the female lead, the main girl. Yeah. Yeah,
she is the female lead, the catalyst, and the last
act is around her.
Speaker 6: Yeah.
Speaker 3: The whole crux of the movie is based around her
being wrecked.
Speaker 2: You know, it opens and closes on her technically. Yeah.
Speaker 3: So yeah, that she she's the girl that these pool
Hall bikers are apparently looking for.
Speaker 5: Mm hmm.
Speaker 3: Like I have to listen really closer to get some
of the dialogue. I'm trying to remember what they want
to do with her. You know, they're going to the
house to find her. Do they want to like rough
her up?
Speaker 2: They don't all want to. They're going because their buddy
wants to. The rest of them are just there, right.
Speaker 3: The one guy who she apparently like, you know, ghosted.
Speaker 2: Ride right and she didn't think it was anything right, exactly.
Speaker 3: Right, He's yeah, he wants to go. I don't give
her a piece of his mind or something. Anyways, and
she's at the party.
Speaker 2: Yeah, well he does more than that. I mean he
wants to rape her. He wants to go to rape her. Essentially,
there you go. Yeah, but he does.
Speaker 3: To be clear, he does it because there's a key
line that's a.
Speaker 2: Long time that they're up there. It's a long time
that they're up there. So I believe that he did
rape her, but he did not kill her, which I
think was who was afraid of?
Speaker 3: Oh okay, yeah, because there's a lie in a dialogue
like I'm gonna let you go this time or something
like that.
Speaker 2: Yeah. Yeah, that's a long time for them to be
up there for something not to have happened. Yeah, I'm
just saying, I'm just saying.
Speaker 3: So this is a rouffie. Technically, I guess we can
call this a roughie.
Speaker 2: Huh No, No, that one just one one sequence. Now,
I think it has to be thematically ruffian.
Speaker 3: But you don't. This is all in the shadows, to
be clear. Is yes, And actually this this movie is
actually pretty light on nudity. I shouldn't say that it is.
Speaker 2: Yeah, it's not great, it's not that graphic. It's not.
Speaker 3: Yeah, it's not too good to itous. The sex scenes
are not much if.
Speaker 2: It's mostly there's mostly just topless scenes.
Speaker 3: Yeah, I must just goofing around the topless stuff. So
we mentioned Cherry Winters. We want to say real name
of Cherry.
Speaker 2: Winters dead so you can yes, sorry, yeah, I mean
she's she's no longer with us. You have the death
death holds no secrets, so you can go ahead and
tell you her real name is.
Speaker 3: Yeah, it's a born April eighth, nineteen thirty five in Pennsylvania,
Christy Wilson. We've found plenty of evidence, yeah, that she
was a nightclub singer.
Speaker 2: I think, I think Bowing and Alex both confirmed that, like, uh,
what's your face? McNair was a singer, and then we
found there's pictures showing that she had like a record contract,
and shit, I'm shocked that nobody gave her an opportunity
to do that, Yeah, both of them. Honestly, we have
to the young singing in flesh and lace, so why
don't we have right singing for these two? It's very unusual,
very unusual.
Speaker 3: Yeah, apparently Sherry had a paramount recording contract.
Speaker 2: But yeah, it was very interesting.
Speaker 3: You don't know if anything was ever. I mean, there
were plenty of people bands, artists that had contracts that
never actually released anything, so.
Speaker 2: Right doesn't necessarily mean anything. They could have toured them,
and I think there might have been a situation where
they signed the contract based on her success and then
they were she was supposed to continue touring and developing
that reputation and she just didn't you know she was
actually if you look at she's born nineteen thirty five.
She started performing in Jersey and on the East Coast
in like nineteen fifty nine. She was twenty nine years
old when she started, not exactly young, and so by
sixty five, she's like mid thirties when she starts doing
these films, Like that's the music industry is a cruel
beast and they would want someone younger, not someone in
their mid thirties trying to be a songstress or like
a bombshell. I think it kind of reminds you like
a Jennifer Well. It's like, there's only so long you
can keep doing the touring act until you hit your thirties,
and it's like, what are you doing unless you're tempest
storm where you have moneymakers, you know, you you have
you have the ticket sellers. Not everyone had that opportunity.
Speaker 3: It's also interesting, yeah, that she started doing sexploitation, like
right around the time of this supposed paramount contract. So yes,
either they didn't know she was doing it, or that
didn't work out and she started doing quote unquote sex films.
Speaker 2: Yeah, I don't know. She passed away, so we'll never know.
Speaker 3: Yeah, but her part in this is I mean yeah again,
like it's it's it's topless stuff, but it's not you know,
it's nothing too riske. All the all the all the
quote unquote risky stuff she does is out of the frame.
It's it's this this great Joseph Man Jean shot where
it's all under the bed, like you said, and it's
all insinuated by feet, right.
Speaker 2: Right, But it's not as like there are other filmmakers
who would make that look really lame. And the way
that he shoots it and edits it is very effective.
Especially by that time in sixty eight, you have to
be a little more. Yeah, you couldn't be phoning it
in terms of the sex appeal. So I could see
this still like turning people on in this film.
Speaker 3: What else do we have to say.
Speaker 2: That guy that she is with tomic crazy. I'm into
that guy. I don't know he's call me crazy? Oh
the yeah, okay, not the guy who thinks the husband
is hitting on him and gets up. He is, like
you know what he's like? He is like he I
feel like Joe casts several people who were just like
truck driver friends. Yeah, that guy's clearly a Brooklyn truck
driver who's just like Wander is like, yeah, she will
do this. He's not an actor, didn't really he do
you get a little side rear nudity in the edge
of the frame. Yeah, but yeah, it's it's not much else,
but yeah, I'm into that guy.
Speaker 3: You know what's funny is like I was watching it
and I was like, this is totally a Casey type,
very much my type, exactly.
Speaker 2: Alex Mans. Alex Man is a little too in shape
for me. I need someone who's a little roly poly. Yeah,
I need a little I need a layer of fat.
I need someone who can stay warm in the winter. Yeah.
I love alex Man, but he's yeah, he was always
a little too built for me.
Speaker 3: Yeah, what's the funny line? He says, you know when
he thinks he's getting hit on.
Speaker 2: He's like, uh, it's like something I maybe open minded,
but I'm at that open minded.
Speaker 3: Yeah, he's like, I'm old fashioned enough to like women.
That's what he says.
Speaker 2: Yeah, yes, exactly. This is a good line. He's there,
pot but he is old fashioned enough to only like women. Yes.
Speaker 10: I liked that.
Speaker 2: The guy's like, no, you don't understand we're we're doing this.
I need you to have sex with my wife. I
think as you put it, he's in the cuckchair taking
photos total with bright flashbulbs, and there's some really good
editing with the cut from the flashbobs to some other scenes,
like it's very inventively done. Yeah, it's not standard at all.
Speaker 3: But if you look at that, you know that under
the bed shot with the three of them in that room,
the chair is not very far from where they are.
Speaker 2: So he's like, it's a New York City apartment room.
You're not going to get that much space in between
the two. I was impressed that this place had an attic. Yeah,
it's like, where is this apartment? There are places like
that in the East Village, for sure, but I I
don't it's like.
Speaker 3: A ground floor house. It looked the exterior shot almost.
Speaker 2: Looks like, you know, when there isn't there a walk
up ore, there's stairs to go up.
Speaker 3: Well, you have to watch again. No, I don't. I
don't think.
Speaker 2: I think there are stairs to go up. And then
it is an apartment. Yeah, I mean if it's a townhouse,
is basically an apartment. There's a lot of rooms too,
Like there's like four or five rooms. So I'm like,
how's this guy forwarding this?
Speaker 3: Well, maybe he's got a number of people living there
and chipping in on rent.
Speaker 2: Well, actually that's kind of what you do if you
have parties like this, you should be charging people to
get in a little bit and then that covers basic costs. Yeah,
five bucks.
Speaker 3: Yeah you mentioned Alex Man mm hmmm. He's yeah, the.
Speaker 2: Personal friend Rip. Yeah, yeah, I missed that guy. He
was wild, very brusque, very brusque.
Speaker 3: I think kind of get that feeling from what I've
seen of his stuff. Yeah, he was.
Speaker 2: He got very involved with like the boxing world in La.
He moved out to La in like the mid to
late seventies. He still did bit parts in acting and things,
but he also got very involved. He became a bouncer
at a nightclub and you know, hung out at like
you know, a boxing boxing ring, a gym with different
boxers and things. So he was involved with that world. Yeah,
he was definitely like a classic Brooklyn tough guy.
Speaker 3: Yeah, what's the tattoo? What is that tattoo on his arm?
Speaker 2: I don't remember. I don't recall.
Speaker 10: I don't know if.
Speaker 3: Alex DeSanto has looked more closely at that.
Speaker 2: Sure Alex knows every inch of that man's body, probably
he would know. That's the weird thing, Alex Man, I
can only be so attracted you because I know the
guy was you know, I knew him and I became
relatively close with him when we spoke a lot, and
so yeah, I can't It's yeah, I'm like that with
any man I interviewed, Like, I can't be that attracted,
like Eric Edwards or like any of the people that
I interview. It's just like well or Jeffrey Eagle. When
I ed Jeffrey Eagle Rest in Peace, same thing, I
was like, well, I really can't find you attractive these now.
I meant you met your wife, like you know, it's
you know, it's it's different. But Alex Man Actually, something
else that destroys the illusion about alex Man is he
he did a few hardcore films and major would problems.
Was was not Yeah, it was not into doing hardcore.
It was a situation where I think he did it
to like pay some bills obviously, And once you see that,
it's just kind of like, oh, well that's not that's
not great either. So yeah, that that's not very Uh,
that's that's that Ruin's the fantasy too.
Speaker 3: Yeah? What was that weird uh Sarno movie I just
watched with him in it? Yeah, the young Erotic, which
is Laura Cannon close to hardcore at times?
Speaker 2: Yes, And isn't Tally in that too?
Speaker 4: Yeah?
Speaker 2: Yes, which they were friends.
Speaker 4: Yeah.
Speaker 2: So they all lived in the same building, Alex Man,
Tally Cochran, Patrick Wright, Linda Boyce, and they all had
competing casting agencies. But Alex and Pam's Tally told me listen,
they had a casting agency. There was no competition. They
were they didn't know what they were doing. They're the
people that they represented were like strippers that wouldn't show
up to work, so people wouldn't wouldn't call them to
get people. They would called Linda and then would departed
and retired. They would call me because I represented all
the good people that Linda had. So he was also
married to a woman named Pamela Man, who not the
Pamela Man from the Radley Metster movie no relation, but
Pamela Man got jealous of Linda Boyce because Linda and
Alex were close. Linda and Alex, you know, were they
both had the same astrological sign. They were very close,
and Pamela punched Linda Boyce in the face. They got
into a physical fight. I think Linda Boyce, though I
think Linda Boyce won, if I recall correctly. Tally told
me this, and Alex confirmed Alex don't come for Linda Boyce. Well,
I'm sure you know he was aware of it, but yeah,
because I remember Tally told me that, and I talked
to Alex right after. And you know, when you're doing research,
it helps to get you You really kind of need
confirmation for more than one person for a story. So
I was like, so, Tally told me that pam him
got into a physical fight with linded boys and he said, oh, absolutely,
more than once. He's oh my god. So yeah, yeah,
Alex a very interesting guy. Very interesting guy. I miss him,
very very very interesting guy.
Speaker 3: Yeah, this period in his career, he wasn't doing a
lot of speaking roles.
Speaker 2: This is a good example, which is interesting because he's
a good actor. I just I think people cast him
because he had a visual look to him. I think
it took like Sarno to give him stuff to do.
I think Sarno finally gave him opportunities.
Speaker 3: Yeah, where you finally get to hear his very Brooklyn voice.
Speaker 2: Yeah, yes, right, and then uh, he's in Malibu High
And also I drink your blood shot by Man Jean.
So it's nice, nice connections there. Yeah, I miss him.
He got he developed tongue cancer and he had to
he went through a major chemotherapy and couldn't talk for
a while. I had called him at one point, and
I got a call back from the woman he was dating,
who I believe was either a clown or a mime,
and she said, Alex told me to call you back.
He's really sorry. He's been going through chemo. He can't talk,
and we don't know if we're he's gonna talk again.
And so I was like, oh my god, no, And
that was the last I heard. We emailed a few
times after that, but he was yeah, he was not
doing good. He did not take kimo. Well yeah, yeah, Well.
Speaker 3: The other big sexploitation performer in this movie is Janet
bans It. She's aspiring actress who plays your life strip
Grand Prix.
Speaker 2: Yes, I love that sequence. Another another example of something
I feel like. Man Geen was like, let's what kind
of how can I make this visually interesting? How can
I show off all these different skills, because the editing
is what makes that interesting. Otherwise does if it was
if it was Barry Mahon, the camera would be there
and you would just have two people watching stuff going
a thing. Yeah, yeah, No, he edits it like it
is and pre you know, like it is. So it
is so well done, and that is so stupid strip
Grand Prix. It's like so stupid. The concept is stupid,
but you buy it because of the way that it's
sold in this film. And she's adorable, she's you know,
we love Janet Banza. She was on several people's Mount
Rushmore's of New York's Exploitation for a reason. I think
she was in the most movies of anybody. I don't
think she said no to a role. No, no matter
what it was, she wanted to keep working. And it's
interesting because I finally dug into like her footprint in
the press in New York at that time. She showed
up in columns starting as early as nineteen fifty nine
like Society, spir No, just like hot, like little blurbs
like like you know, pop culture, New York culture things,
kind of like you know, Sheba Brit those columns that
she Brit her name be dropped.
Speaker 3: In trying to get that kind of thing, trying to
get noticed.
Speaker 2: Yeah, yes, it is that kind of thing where essentially
you want people to know actress Jane Advansit from Dallas
or this this this. I found a very interesting article
where it said that she was a bit player in
Walts of the Tour Doors off Broadway in nineteen sixty
and she claimed that she would inherit thirty million dollars
in from her family's Texas real estate connections when she
turned thirty. Well, she turned thirty nineteen sixty four, and
she had to be in movies like this, So I
don't think that was an accurate I don't think she
inherited thirty million dollars. And I believe Sean Langreck has done.
Sean Langrick actually has convinced me that I think that
she did die. I think we've said in a few
episodes that her Social Security number is still active, which
I just verified today it is still active. But he
provided the most evidence, the most convincing evidence of why
she's dead and why she's buried where she is in California,
yet when she had no connection to California. Sean le
Sean because Shawn is good like that. Sean, Sean digs
deep and finds his ship.
Speaker 3: Yep, does he does he think it was a suicide.
Speaker 2: There's no, there's no other evidence it would have been
anything otherwise.
Speaker 3: Okay, yeah, that's a serious.
Speaker 2: Yeah, No, there's no there's no other evidence it's anything otherwise.
I don't even think there's a death certificate. That's the thing.
And you know what I'm gonna have to do, Well,
it's not homicide. I don't think it would be documented
in the Hall of Records at New York at at
New York City Hall of Records, like I went to
try to find the homicide for land where that's that's
tough to trace. It wasn't reported in the papers. So yeah,
I think he's going by the headstone that popped up.
But I do wonder about the suicide, actually because I
think it's a convenient story, but we haven't found anybody
to confirm that that's the case. I think it helps.
It's a helpful narrative if you're trying to sell the
idea that the women who made these movies are sad
and portrait and miserable. I know, yeah, and so I
don't want it to be true.
Speaker 3: And I know you've gone back and forth on this
as well.
Speaker 2: Yeah, I mean yes, because she's so important, because I
love her so much, and I don't want it to
be true. I think that's you know, one of the
last newspaper articles I found about her was she had
just got a part in this movie called Dirty Mouth,
which is on the endangered list on Temple of Shlock.
It's a unofficial Lenny Bruce biopic which I think was
suent to oblivion. I have a copy because God loved
Bill and Walt Olson. They have a copy and sent
me a copy, so I have a copy of it.
I need to watch it to see if she's in it.
But that newspaper article was in May nineteen seventy one,
May twenty fourth, nineteen seventy one, two months before she
died July seventy one. So one would see that and think, well,
she was getting good parts, not just in sex movies.
But then you don't know what's going on in someone's life.
So I don't know. I think the narrative that is
being pedaled is convenient and kind of matches because people
in their mind think that matches. But I need more
evidence and I don't think we're going to get it.
Speaker 3: Yeah, not to linger on this too long, but where
did the suicide conjecture ever come from?
Speaker 4: Yeah?
Speaker 2: I don't know. I feel like maybe I feel like
maybe somebody said that it happened and it became truth,
kind of like how people said Sandy Dempsey died when
she did not, or at least a Delayo died when
she did not. All it takes is one person to
say it and then it becomes gospel.
Speaker 3: It's been spread so far and wide at this point. Yeah,
and that's why I ask. I'm like, where is this
coming from? Because I've seen it. I've seen it in
YouTube comments, I've seen it on Facebook. I'm like, you know, where,
let's maybe like cool it on this until there's some
kind of confidence.
Speaker 2: I don't love it, especially because they wouldn't plaster that
on her headstone, like suicide, Like they wouldn't say it
after the date. Yeah, they wouldn't do that. So without that,
without any kind of report in the paper, without a
death certificate, without a family member confirming, it's just unverified
rumor that tracks with people saying she was depressed, except
I don't know who anybody spoke to who remembered her
from that time we still alive, who said, oh, yeah,
she was really depressed. Like even John Emeiro can't confirm
that in his book. He's like, well, I was told
that she killed herself, which really surprised me because she
really she seemed like she was fine. And I'm just like,
maybe she was. Maybe that's not what happened. Maybe that's
not what happened. So the question is still remains. Sean,
I don't think he'll mind me saying this. He is
in touch with I think her last surviving relative that
he could find, and he has said he knows less
than I do, OK, And he's and he's related to her,
and I'm just like, God, yeah, it's it's frustrating. It's yeah,
I mean the research that he did confirm that, Like, yeah,
he was trying to find any family member of hers
and they all died either before her or like very
soon after her.
Speaker 4: Yeah.
Speaker 2: So yeah, it's just it's one of those situations. I
hate the speculation. I would like the confirmation in the meanwhile,
I will just love watching her smile and be happy
in these films and not and not tell myself that
she was miserable while she there was misery behind that smile.
Speaker 10: You know, brickle If when I died to take with
me one personal treasure, this would be fun, a brickleied
scream that wouldn't.
Speaker 2: Be very past to where yo, hollies, don't you think
it would melt prather quickly.
Speaker 4: The latterie would get you to know more than your share.
Speaker 3: Yeah, I might have to. I might have to put
her on my Mount Rushmore because you did. I don't
know if she was so she was.
Speaker 2: I think she was in the most movies from that period.
She didn't say no to.
Speaker 3: A job, and a lot of it's still uncredited in
a lot of places. Yes, Oh I showed you Blue
sex Step again. Another connection's not credited Durstin and Joe
man Jean.
Speaker 2: She was surprised. Yeah, when he said to that, I
was like, oh my god, Wow, that's crazy. Yeah, it's
very weird. I found a new an article from nineteen
sixty where she was at one of those artists and
models ball and she looks so different twenty two years old.
She looks very, very different. She kind of looks like
Georgina Spelvin at that age.
Speaker 3: Yeah, I see the face there though, Yeah, I mean yeah.
Speaker 2: And I found another article of sixty three that describes
her as a former manicurist to get her break on
Naked City. And then there was another article where it
said that she appeared in television. She also was a
bit part in the movie Love with the Proper Stranger
with Natalie Wood. She was she had a bit party
in the Broadway show Act One with George Hamilton and
Jason Rowe Ours Junior. She did all sorts of different
jobs as models, like she did some kind of modeling
for Johnson Wax for surfboards. She went to appear to
cocktail parties in New York and she was interviewed saying
that she just got a big part in value of
the dolls, and now I have to go watch that
again to see if I can find her. She's supposed
to be in Lilith, the Gene Seaberg movie, and I
think I spotted her in that. I need to go
back and see if I can get a screenshot. But
she kept working, she hit the pavement. I found an
article where she went to Florida for dinner, theater engagement.
Like she took jobs. She wanted to work, she wanted
to be successful. She was in an Albert Viola movie
called Interplay, which I don't know if that ever came out.
She did radio appearances, which now I need to research
those because I want to hear Janet as Janet. I
want to know if those radio recordings are around. Yeah,
I just I have so many questions about her and
watching her in this movie. I think she's fine. She's
better in stuff like Mini's Love. I love her in
Miniskirt Love, and there's other stuff that she's better in.
But I mean, she just there's a reason why she
kept getting hired and people kept coming back to her,
and it wasn't just because she would take her clothes off. Yeah,
I think I get the impression that she was someone
that people liked having around. She was reliable and she
was fun to work with. You know, she was paying
the ass that would not have called her back like
she could have been. A Laura of Canon. Laura Cannon
had a bad reputation for being a little too princess. Well, yeah,
it's a little too full of herself, Janet Bansa. You
get the impression that she just took the jobs because
she wanted to keep working and she wanted to develop
into something. So that's why, in my heart of hearts,
I don't want to believe that she took her own
life because I don't. I don't like that narrative. If
it's true, so be it, But I don't like that narrative.
Speaker 3: We've got, uh, Natara here, always a fun face, queen.
Speaker 2: I love her. Yeah, And you know how hard it
is to just research that name as.
Speaker 3: A singular Natara.
Speaker 2: It is not possible. I'm done to know who this
woman is. Three features in a short and that's all
we have.
Speaker 3: Yeah, she's it's yeah in an Electronic Lover. She's got
a pretty bold scene in that the Yeah.
Speaker 2: And she's in some like a violent which is Barry
Kamal and then she's in that little short that Barry
Mahon short as a model, gorgeous, obviously a model, incredible posture,
very regal, carries herself like a queen, which she is.
I love her speaking voice. She has an accent that
I cannot place. It's like British slash maybe Jamaican something.
I just she is so alluring and fascinating, And because
you don't see black women in these films, it's especially
tantalizing because I want to know what her story was.
I want to know what her life was like, patting
the pavement, getting modeling gigs, being in expectation. Where is
she now? Does she retire? Is she like around the
corner from me and Queen's raising, you know, with with grandkids?
Speaker 3: And I love her part in this movie. Yeah, she
has a lot of quite a bit of speaking and yeah,
like you said, her voice is very distinct. Very regal
is the you know, refined is what she said here?
Speaker 2: Yeah, very refined. Yes, you feel like she went to
like elocution school, modeling school. With the posture like you
you get the impression of the Yeah, she's super class,
super class, And that's why I'm just like, guys, you
can New York people cast her more unless you just
decide she didn't want to do it anymore. It's another possibility.
Speaker 3: She's very natural feeling. Did you get that as well
in this movie?
Speaker 2: She yes, Yeah, it doesn't seem like there's there doesn't
seem like they're lines. It seems like it's improv Honestly,
it doesn't seem mannered or yeah, when I say refined,
it doesn't. Yeah, it does not seem like it's it's
mannered speech at all. It seems very very natural, very natural.
Speaker 10: And I like that.
Speaker 3: She's just, you know, she's just another part of the party.
You know, they don't make up. Nobody's making any like
racial jokes about her that you'll sometimes get in these things, Right,
She's just.
Speaker 2: She's not she's not objected by, she's not othered. She's
just one of this modley group of people that's in
the party waiting for the hash to show up. And
then she shares a tub of ice cream with this dude.
Speaker 3: Yeah, it's just a it's a very non sexual almost
like foreplay before you know what I'm saying. It's them
just sharing this ice cream. Is is just a fun
little thing, right, They eventually do more after.
Speaker 2: But with the but it feels like it's but it
feels like it's something maybe like it feels with movies
like this, where it's very light on plot and the
characterization is slight, but just enough that you can like
kind of I get the impression that like they had
feelings for each other, but it took the hash and
the ice cream to kind of like follow through on it,
like there's a reason they went to the kitchen with
each other and kind of we're just like, you know,
oh yeah, I'm hungry, let's see something.
Speaker 6: Yeah.
Speaker 2: It's like it's it's.
Speaker 3: Very real to life. I feel like, you know, we've
been in those situations at parties before, at a house.
Speaker 2: Party, you're shooting the ship with somebody and just like,
let's see where this's goes.
Speaker 3: And feel oh yeah, it's feeling right. Let's take it
to the next level.
Speaker 2: Yeah, yeah, it's great. It's great. I think it's the best.
She looks. I don't know, Electronic Lovers really shot well too.
She doesn't photograph badly. She looks good in everything she did.
Speaker 9: Yeah.
Speaker 2: I love her so much, so so much.
Speaker 3: Electronic Lover. That's scene. It's like shot in a it's
not even like a room. It almost looks like a
truck trailer. It's a very strange. Yeah, if I remember
it correctly.
Speaker 2: Yeah, I need to revisit. Maybe that's another one for
a future episode. Two. Yeah, I feel like somebody, maybe
it's Shawn somebody else. I feel like somebody was researching
that director. Yeah, and we found some good stuff. So
I'll figure out who that was and see if we
can maybe have them on and see what they've found out.
But it's yeah, I love that movie. Very unusual film.
Speaker 3: Yeah, like I mentioned, h I should have mentioned earlier.
But this film Smoking Flesh is on cultpics dot com,
so oh good, it's easy to find.
Speaker 2: Yes, I guess Dister Picks is fine. Stephen is fine with.
Speaker 3: That, or maybe until Stephen finds out that it's on
cultpicks dot com.
Speaker 2: He could, he could, he could care less, he could
give a ship. Yeah, if he's not doing anything with it, honestly,
he shouldn't care. It's like, you know, don't be a
Howard Winners about it. Don't don't have a hissy fit
and not exploit the film you have. Sorry, Steven, I
love you, but that is what it is it is
Fancy's Friday on Cultpicks? No interesting, okay, mister picks.
Speaker 4: So yeah.
Speaker 2: I mean we also didn't mention the actual star of
this movie. Who is Frank Spencer?
Speaker 4: Yes?
Speaker 3: Who is Frank Spencer?
Speaker 2: A good question with a name is nondescriptives? That good luck?
He he used pseudonyms on virtually everything. He worked a
lot with Sarno. He was in Uh, he worked with
Luke Kampa, he was come on, let my come on baby,
light my fire miniskirt? Love cool at baby? Who's in?
Goes to pot? Uh? Who was in so much other stuff?
I mean he he was a very regular and he
used fake names on almost everything. Fank Spencer might not
even be his run name for all I know. This
is this is one for Bowen. Potentially, I think the
fact that he was in so many Sarno's he might
have gotten a clue of who he was. That's the
only route that I would potentially go down.
Speaker 3: I've seen him in a bunch of stuff, but I
can't pick out one role that he was that he
did that really jumped off the screen to me.
Speaker 2: Yeah, I don't know, not even like well, yeah, because
he's usually like a character actor. I mean, he is
the lead in Miniskirt Love, he's the nephew. He's also
the lead and cool at Baby, he's the he's the
asshole guy who's kind of in charge of everything. And
then he's in the pill with Monica Davis, those inserts
for the testing Babi's reissue for George Weiss. But yeah,
he just keeps popping up and stuff, and it's always
under a different name, so it's very it's weird. Like
I spotted him in this JESU Ghost to Pot trailer
and that's nineteen seventy, like he was still doing this
stuff and he looks really haggard. He's like foreman Shane
Haggard in that trailer. I'm just like, sir, it might
be time too, hey, hang your boxer shorts up and
stop doing these films.
Speaker 3: How would you describe Frank Spencer? Like Physically, he's just
kind of a.
Speaker 2: Tall He's like a lanky brunette. Sometimes he's like clean cut,
but in films like sometimes in films like this, he
has longer hair, kind of like a like a Beatles'
length hairdoo. The thing about it is, I know Frank
Spencer when I see him, just because I know I've
seen him in so many of these films, but describing
him as difficult, especially because we know you have white
guy face blind this, so it's.
Speaker 3: Not gonna help white blonde girl blindness.
Speaker 2: That's crazy to me. But like Kristen Steen, like if
I put a picture of Christen seen next to like
Daniel we May you would know the difference, right, yeah, Okay,
well then maybe you don't have blonde girl. But trying
to get other blondes from that era, there weren't that
many Uda Ericksson. Oh yeah, in New York. She has
a very distinctive profile.
Speaker 3: Yes, the nose, the nose.
Speaker 2: Kristen Stein definitely has that. And even in the seventies
when like she has very different hair, you know because
of the profile, like through the looking glass she has
terrible hair. Alice in Wonderland, you can definitely tell that
profile sometimes Sweet Susan, yeah, because she only had that
long like you know, kind of like yeah, like a
hippyish kind of hair up to like I don't know,
the early seventies.
Speaker 3: I think those are the main players in this film.
I mean, those those Pool Hall guys.
Speaker 2: No clue on those I recognize the one guy, the
one guy that is the rapist. I recognize him from something,
but I don't know what. The guy who is doing
the race car drive, No, I'm sorry, the guy who
looks like there's a guy who looks like Jim Nabors,
who is the guy who gives Frank Spencer the acid
and then he puts it in the water. That guy
looks like Jim Nabors. I know I've seen him somewhere,
but he also looks like maybe another Brooklyn truck driver
that Joe called and was like, it's not a sex role,
just we just need you to show up and look
beefy and great. There's there's a lot of attractive guys
in this movie. It's like there's a lot of it.
There's a lot of attractive guys in this movie.
Speaker 3: When Charlotte and.
Speaker 13: I were first married, we had have to be a
normal sex fight. And then I developed a very serious
range of a condition an operation follow and well, and
then I discovered that I wasn't able to fulfill my
customed late duties, you know what I mean.
Speaker 9: So we work at a solution that would be agreeable
to both Welter. Lets me have relations with a partner
of my choice, and I know him watch and he
enjoys it.
Speaker 3: I was looking to see if maybe one of these
guys that we don't know is was Joe was Joe Manngen,
But I don't think they fits.
Speaker 5: Yeah.
Speaker 2: No, And he was a cinematographer, so unless he had
Harry August because he was second camera and someone else
was assistant camera. Oh, Phil Fitzpatrick, that's the potential. But
I don't feel like Joe because we know that Joe
liked to downplay everything and not center himself. I don't
see him appearing in this movie. Yeah, it doesn't jive
with It doesn't jibe with what we know about him.
But I wondered that too. I thought about it too,
but then was like, it doesn't really all in all,
it doesn't seem like something he would do. It seems
like he would give roles to his friends because he
constantly was involved with doing stuff with people he liked.
And also it feels like he took this projects quite seriously.
Speaker 3: So yeah, you can tell technically, Yeah, it's his first big,
I mean more or less solo project. Yeah, I mean yeah,
that like that montage at the end, you know, we
kind of said, you know, we wish the ending was
a little stronger, but it's a nice montage. It's shot well,
you know, all the fish tank stuff. I mean, who
doesn't love a sex scene shot through a fish tank?
Speaker 11: You know that.
Speaker 2: I didn't mind because I hate when Metzker does it. Yeah,
but I didn't mind it here because Metzker did it
in It wasn't Carmen.
Speaker 3: Baby, Everybody's done it. Franco did it.
Speaker 2: I mean, Metzger did it first, and it makes no
sense for his and he only did it to basically
distract from the fact that he had no nudity in
the film. I forget. It might have been The Dirty
Girls potentially. I'm trying to remember. All of those movies
are terrible. Don't get me started on metzkerg again. Yeah,
there's just so much style in this, and that's why
I kind of like, this is kind kind of like submission,
submission again. And then I get that people would be like, well,
nothing happens in this, Like what stuff does happen? It's
just it's more about style over substance, which is that's
why I call it the can Hardly Wait of New
York's Exploitation because can hardly Wade has enough story either.
It's a bunch of characters thrown together and you're following
these characters. There's no story there.
Speaker 3: Yeah, can't.
Speaker 2: Hardly.
Speaker 3: Waite has a really good soundtrack too, doesn't it.
Speaker 2: So speaking of the soundtrack, I wish I knew what
the soundtrack was. It's really good garage rock instrumentals that
aren't library music, and it could be it could be originals.
We don't know. No credits, but I've tried just xaming it.
Nothing nothing so but it's very good.
Speaker 3: Yeah, you mentioned submission too, and again this is like
submission track. When I'm watching this, I can just see
how good it would look with from that original camera
negative restore.
Speaker 2: Now, let's see submission would be a good in a
sixty nine collection. Give us a sixty nine collection.
Speaker 3: Yeah, hey, we could start a whole series here. We'll
start with the sixteen.
Speaker 2: I feel like sixty eight is a good starting off
point because it's twenty twenty six, and if we two
years to finesse this and figure out what to do,
I feel like that would give us enough time to curate.
As Dino hates to put it, a package of four
nineteen sixty eight films restored from original like negatives which
are there with a little bit of a historical context.
And yeah, do it for sixty eight, sixty nine to
seventy even into seventy one potentially because software didn't really
die until way later. But and then go backwards, go
back sixty seven, sixty six, sixty five, or do volume one,
do filmsusato and do the volumes sixty eight, Volume one,
sixty eight, Volume two, sixty eight, Volume three. Yep, Yeah,
I like it all right, especially when you have a
movie that's like sixty eight sixty eight minutes like this,
and it doesn't really match with anything else. It's so
very distinctive. The only other thing I could think of
that it could possibly go with was Blonde on a
Bum Trip, But that's such a different movie. Is yeah,
I know, but I'm saying like they had shoved it
on there for some reason. That's the only possible thing
I can think of that it could be paired with,
because it is another New York film involving LSD. But
this is really mostly about the HASH, not about the LSD,
and the moods of both of them are wildly different.
Speaker 4: This movie, I.
Speaker 3: Think is a good sexploitation intro. If you're listening it
out there, you're a big sexploitation fan, you want to
maybe show a friend a movie. This one is good.
I mean, it's not too strong, if you know what
I'm saying. It's got cool music, cool visuals, attractive people,
it's short, looks great. Yeah, I don't, I just can't. Yeah,
I love this movie. I think it's great. I'm fine.
I'm glad we finally got a chance to cover it
for Stoner Holiday.
Speaker 2: It's also more diverse than one would think, too, and
so you kind of get that approach to it. It's
like it's not all like, it's not all pretty blondes
and like ugly middle aged guys you keep their boxes on.
Speaker 3: And yes, you know exactly.
Speaker 2: It's definitely that's a weird thing. It's kind of a
good intro, but it's also not representative of the genre
because it's not the typical thing you would expect. But
that's why I'm glad. I'm glad we revisited because I
was wondering about my five star review and I was like,
am I misremembering how much I love this? And I
really wasn't it went down very little in my in
my review of it. No, I I love it, and
it goes down real easy, and it's just gorgeous to
look at, gorgeous to look at. It's it's you know,
it's good. Just put it on the background too, because
there's no you don't have to follow the plot. It's
just nice to look at. There's also we didn't talk
about the acid trip in this yah where it goes
to negative and there's more really interesting editing and things. Yeah,
it's an interesting acid trip.
Speaker 3: I like it because it's not excessive. It's a he
does a little trippy stuff, like you said, with that
negative flipping, but he doesn't go he's not going like
full psychedelia with it. Which no, it doesn't.
Speaker 2: Flip to color like Alison Assland. Yeah, they don't have
the budget.
Speaker 3: Again that New York influence where it's like, you know,
let the California boys do that kind of mm hmm,
crazy stuff, right right. So Yeah, but it is.
Speaker 2: Also it's not judge Yeah, that is different in the
California films that it's not It isn't judgmental. By the
end of the movie, everyone had smoke ye go back
to they go back to work in the morning or whatever. Yeah,
it's just kind of like, yeah, it is, it is
what it is. We we smoke, bought, and had sex,
and guess what, our lives aren't ruined.
Speaker 3: Yeah.
Speaker 2: None of us jumped out a window, none of us
got murdered, like yeah, none of us had to go
get an abortion after, Like, none of that bullshit that
you would see in something earlier from California.
Speaker 3: Yeah, the montage at the end is numerous couples just
having stone sex apparently and going back to work the
next day. Yep.
Speaker 2: It is very pro drugs and pro sex, which we love,
which is a very rare combination. It's like the opposite
of Ruckway for a Dream, which is terrible, which is
anti drugs and anti sex.
Speaker 3: Well, you know what we didn't talk about was the
strange Robert Crumble looking bald headed weirdo. We talked a
little bit. No, is it a bald cap.
Speaker 2: I think it might be. You just think it's a
weird shaving job.
Speaker 3: I think that's just his normal head because you can
see his veins.
Speaker 2: I don't know. This is another situation though that we
see this on a lot of exploitation where the cow
the cast names are fake and all the crew members
names are real, which is just like great, now we'll
never know who these people are, which I guess is
intentional because they have more to lose because they're on camera.
So I guess that is the thinking there. It's like, well,
the crew, it's not a big deal. The cast is
right there in your face. They could get in trouble,
so it doesn't help when you're a researcher though, But yeah, no,
this is Yeah, this is definitely one I remember than
we did The Disconnected that that was one of the
first questions was what do you want to see restored
in twenty twenty six, And I said this one because
I do think it's a really good gateway movie. It's
very accessible. It's not uh, it doesn't have the tasteless
inness that a lot of New York's expectation might have
for some people. Even the attic assault sequence, it's very
it's much more about the style than the actual substance
of that sequence. Yeah, and yeah, it's just it's just
it's just incredibly accessible. It goes by really quickly. Yeah,
it's a really good Yeah. I just yeah, I'm hoping
that more people see it, especially if it's on if
it's on Cult Pics, absolutely go watch it.
Speaker 10: Yeah.
Speaker 3: Absolutely, Actually looks like it's on Night Flight as well.
If people have that service.
Speaker 2: Get on it, go watch you need y'all need to
go watch this, I'm telling you. I know we say
that about a lot of the stuff we cover, but
this is a this is a really this is a
really good one, guys, you know it's really good one.
Speaker 3: Then. Yeah, I was thinking about that too recently, where
you know, there are people who don't want to listen
to our episodes until they've seen the movies.
Speaker 2: So true, that is true.
Speaker 3: Look, we're not going to cover popular stuff that just
because it's popular and because it's easily accessible. We're gonna
cover whatever we want to cover here, Like can.
Speaker 2: We eventually just Steve apostle Off. We're not gonna do
Worgy the Dead. We're gonna do I don't know, dropout wife. Yeah,
We're something people that want to talk about.
Speaker 3: Probably, Yeah, but I understand yeah that people want to
see these movies, and this one's easy to find and hopefully.
Speaker 2: Twenty twenty eight, yep, so we got two years. Let's
figure out. Let's let's uh let's program a sixty eight collection.
We're supposed to have Steven on a couple months. Anyway,
we'll have to pitch that to him live. Let's see
what he says. Yeah, because as far as I know,
they don't have twenty twenty eight on the books yet. Yeah,
as far as I know, that could have changed.
Speaker 3: Do we need to warn Stephen before he comes on
that we're gonna be assailing him with demands?
Speaker 2: You think I haven't told him this? Okay? Listen, Stephen.
Stephen is like my older brother from another mother. We've
been there so much. We're trauma bonded from so much stuff.
We Yeah, no, no, there's nothing I wouldn't tell. See
when I trust that man with my life?
Speaker 4: N people, I think it was the mouth of the people,
things with the.
Speaker 14: Other person, something set sometimes people presents of things pass
another thing.
Speaker 15: The people.
Speaker 10: Than b Thank you for listening to hear more shows
from the Someone's Favorite Productions podcast network.
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