Speaker 1: We're all owned by the Syndicate Body and Soul or
should I just say Bunny?
Speaker 2: Hello, Filthy movie Lovers, Something Weirdos and Anti Criterion Bros.
To the twenty seventh episode of The Sin Syndicate, the
only podcast that knows all your problems can be solved
by a man named Gig and the best things in
life happen outside of books. My name is Gentry, Austin
writer and researcher, and I'm here with my co host,
adult film historian Casey Scott. And in this week's episode,
we are joined by best boy Alex DeSanto, who will
be joining us for a look at two nineteen sixty
five New York City s exploitation films from a man
named Tony Orlando, not that Tony Orlando, Lust in the
Flesh and the Washington Square shot Hot Nights on the Campus.
But first, let's talk corrections, news and updates in the
exploitation world. We're recording this the day after Black Friday,
so let's discuss the big news coming out of Something
Weird And this strip picks the announcement of the new
series of If I Am Correct from the press release single,
double and triple features that are going to be focused
on the film of David F. Friedman, starting with the
adult version of Jectyall and Hyde and The Erotic Adventures
of Zoral. How we feel on Boys?
Speaker 3: Did they say single release?
Speaker 2: Yeah? I read that in the press release as well,
and I was a little confused about that, So I know,
I'm yeah.
Speaker 4: From what I know, No, But if anything were to
be a good single release, it would have maybe been
Doctor Jekyl. So I can't see that's got a nice
horror album start out.
Speaker 3: Starlett would be good Bye itself except the Goats with
Darcy Blows, but it only exists in that in that
foreign print, So yeah, mead release. Pretty sure Blows is
just a little bonus. What's fine because Darcy Blow sucks. So,
like you know, I don't really care to see that restored.
It's it should be. Yeah, I don't care if that
movie's landfill. Sorry, Dave.
Speaker 4: I'd say just historical interest extra at the very least.
I still like it. Things like this existing.
Speaker 3: But when you see Alan Patrick very early Alan Patrick, Yeah,
it's the hero romantically.
Speaker 4: Yeah, exactly, It's got some people in it.
Speaker 3: I like, these look gorgeous. There's the shots we've seen well,
and it's funny. I am friends with the guy who
does the subtitling for those, so he sent me a
screenshot of him subtitling Bob Cressey's dialogue and Zoro and
I was just looking around the subshot. I was like,
holy hell, these look amazing good grief, Like, you know,
the restorations from DVD look good for that time, but
these colors pop. I am so excited. Yeah, I'm yeah,
these look absolutely stunning.
Speaker 2: Yep, I'm excited for these two. I get why they
went with uh these first two because obviously there's the
Renee bond in Jekyl and Hyde, which you know she
has a certain horror and the horror angle. Yeh. And
I'm curious to see the responses because personally, I think
Zora is great. I think it's actually really funny. Casey's
shaking his head kind of.
Speaker 3: I think I did a whole Freeman rewatch. I give
a historical interest rating. I don't love it as much
as uh as uh as me or Jacquelin Hyde is
way better.
Speaker 4: It's just overlong, that's all. It really has a long
with it. It's just overlong, that's it. It's still a
good film and it and I can see why it
was again the other first because that was like Dave's
biggest one even terms of like release everything, like that's
the one A lot of people even from way back when,
are like, oh I saw that one. I saw that.
I saw that, Like Zar was his ultimate baby kind of.
I mean, she freak might now be, but in terms
of like success and things like that, Zar was really
a landmark film for him.
Speaker 3: Yeah.
Speaker 2: The money is like on the screen there for that one.
Speaker 3: Yeah, and I think seeing it restored might actually change
my opinion because that has happened where I'll get a
blue way of something and I'll be like, oh this
this impacts me differently now, you know. So uh yeah, no,
I'm excited. Uh. And the exciting thing for me is
so I I was privy to the whole planning of
this from the very beginning because Lisa and Steve reached
out to like a big group of people. We kind
of whittled it down to people who were available and
wanted to contribute. And so yeah, now there's essays from Lisa,
obviously Austin Miller, who is, like I think at this
point he's the pre eminent Dave Freeman guy, and which
is great because I don't think we have a Dave
Friedman guy like so to speak, except for like Lisa
and Mike were the Dave Freeman guys. And Sean Langrick,
who's great and you know, he did a lot of
research on the actresses across those two films, so I'm
very excited to read what he has to say. And
Laura Helen Marks, who's fantastic, who has a lot of
background in like period piece erotic cinema. She did the
commentary for Naughty Victorians. For Vinegar Syndrome, I wrote a
really good book. Oh gosh, I forget the name of it,
but it was like it was about Victorian era pornography
and how it translates into contemporary pornography. So I'm very excited,
like this is it's a really good package right out
the gate. I'm really it's yeah, and they're going to
continue to be great just because I have I'm kind
of involved with all of them. Yeah, it was tough
to sit on this for a while, you know.
Speaker 2: Yeah, I'm yeah. So I think you should pick up
the special edition if you're thinking about it, because, like
Casey said, there's some great writing in there that adds
a lot of context. So yeah, we're looking forward to
more releases coming from that collection. I kind of joke
to our friend Dakota that this is kind of like
our Pink line, it's the Freedman line.
Speaker 3: It's word of I guess I kind of agree with that.
Speaker 2: I mean, it's like a huge name in this exploitation
world is getting his own dedicated line, kind of like Sato.
Speaker 4: Yeah, sure, sure.
Speaker 3: I don't know if we have one of those. I
feel like Sarno is our version of the Pink line
if we got but we've already We've been spoiled with
Sarna releases for years, so I guess this makes sense
if the only the only the equivalent I could think
of his Novak, if we finally got somebody actually raiding
the Novaks and releasing them in quality editions, Like I
saw the You see the screenshots of Zoro and Jacquelin
Hyde and you're like, how amazing would like Romeo and
Juliet Look, yeah, you know, how amazing would kiss me quick?
Look like you know, you just think of the colors
popping off the screen, and I'm just like, this is great.
But somebody also I would love somebody to raid those
Novak faults and liberate those films from the iron hand
of Carmen Well.
Speaker 2: Next up, we discussed our mount Rushmore of New York
City sexploitation actresses last episode. So we put a call
out to our patreons to give us their mount Rushmore.
So we're gonna list off a few of those, and
there was sort of yeah, okay, I'll just let him
speak for themselves. So all we got our friend Klawon,
who just started his own podcast called The Late List.
Clon says, right, Bree Campbell, Wait, Audrey Campbell, I always
get those mixed up, Audrey Gamble.
Speaker 3: Wait wait wait wait wait wait is it Aubrey.
Speaker 4: Or Audrey Audrey?
Speaker 3: Audrey Audrey? What are you having a stroke?
Speaker 2: What's going on?
Speaker 3: Going on?
Speaker 2: You're in this You're in the frozen patio right now,
and my brain is.
Speaker 4: I will tell you that everyone send prayers to Gentry.
He's really suffering for this episode.
Speaker 3: She thinks Audrey Campbell is Aubrey.
Speaker 2: He needs your help, all right, Clawon, Audrey Campbell, Jerry Miller, GG,
Darlene and June Roberts. No complaints there, Yeah, Jerry Miller.
I hadn't thought of her. What's Jerry Miller's best role?
Speaker 3: Flesh, the Warhol film. She doesn't like. That's why that's
an interesting choice for sexuitation, because she did the Peter
Woodcox well one Peter Woodcock and then a few others.
Speaker 4: She did Kiss Me Mean on sixty ninth. But no,
she's yeah, she's of which area's warhole? Like, I don't
think of her exploitation.
Speaker 3: She's great in flesh. She's really great in that.
Speaker 4: Yeah, flesh and tracks.
Speaker 3: That's a very interesting choice. I forget that she's this
exploitation girly and then she's in high Rise doing like
a topless dance that hardcore film.
Speaker 2: We've got John Charles. His picks are Jennifer Wells, GG, Darlene,
June Roberts, and Audrew Campbell. So we've got another vote
for Audrey and another vote for Jennifer, and then we've
got Alex Holmes. He gives his list as June Roberts,
Darlene Bennett, Sharon Kent, and Peggy Stephens are all really
good too.
Speaker 3: Yeah, Sharon Kent's a good one too.
Speaker 2: Still no votes for Don Bennett, huh, And I don't.
Speaker 3: Know what's going on. Yeah, well she.
Speaker 4: Was only with Sor She's really only with Sarno though,
like she does an encompass Yeah, she's not as encompassing
if you ask me.
Speaker 3: Well, that's true. That is true. Everyone else worked with
multiple other people. That is true.
Speaker 2: So I think Gig Darlene and June Roberts and Jennifer
Wells are definitely probably are three of the top picks.
I'd have to do that to me.
Speaker 3: We talked about the Jennifer Wells of it all.
Speaker 4: Actually, I am changing mine with Jennifer Wells. I switched
it out to Jeane Roberts.
Speaker 3: Now, yeah that makes sense.
Speaker 4: Oh you're switching now, okay, Oh yeah, a couple of
days ago I switched randomly.
Speaker 3: Oh my god. Tell the sculptors they're getting to work
on that mountain. You need to mix. Sure you switch
it out in time ship.
Speaker 1: Yeah.
Speaker 3: Well June slightly.
Speaker 4: Smaller than Jennifer. They can fix up.
Speaker 3: Sure, she's smaller than es exactly.
Speaker 2: All right, Well, thanks for everybody writ nan. Yeah, on
that topic. Yeah, on that topic. Sort of adjacent is
we are considering doing a n A episode. Casey and
I have talked about this, so send us your questions.
This could get ridiculous, but we'll see what happens. Yeah,
anything's exploitation related, send us an email. It's listed in
the show notes. Message us on Instagram, Facebook, wherever you
can find us. Just send him in. We'll collect him
and we'll do an episode. If you have a question
that's specific to myself or Casey or you know. Even
if Alex can't show up for the episode, we can.
Speaker 4: Oh, I will. I'm nervous, but I will.
Speaker 3: So there's anything that Alex did not cover in our
three hour Milligan episode, yes, then that he didn't answer,
please send it because he will have the answer absolutely,
or anybody connected to those movies, he'll know.
Speaker 4: Last night, I just had a bad dream that we
were gained the worst answers ever, funny.
Speaker 2: Enough, like what I dreamt.
Speaker 3: I think there's everyone.
Speaker 4: Being really condescending, like why do you have that opinion
about that movie? About that very specific?
Speaker 3: So no, I'll stand ten too's down. I'm like, listen,
my opinion is my opinion. I don't know what to
tell you exactly.
Speaker 2: Well, it can change, it can change, you know, Yeah,
so wide open. Any questions. Send him in. We'll sift
through them and hopefully we get enough to put an
episode together.
Speaker 3: Yeah. I think that's exciting.
Speaker 4: Well with our with our ramblings. Yeah, it's probably gonna.
Speaker 3: Be six hours.
Speaker 4: Yeah, just six questions, four questions, especially four hours, especially
if it's an open opinionated questions. Oh yeah, oh the debate.
Speaker 2: Yeah, if you want to be anonymous, that's fine too.
Just you know, let us know when you send a question.
Speaker 3: Yeah, yeah, to credit you.
Speaker 2: Yeah, Casey, I think you have a correction, and Alex
has a correction.
Speaker 1: Yes.
Speaker 3: Mike McCollum, God love. Mike reached out and made it
more clear of why he can affirmed that I've in
Spain was a cinematographer of In Hot Blood, which I
didn't put the two to two together because he is
credited on In Hot Blood as Van an Apse, right,
so it's I've in Spain without the eye backwards. And
so I was just like, oh, yeah, that's so obvious.
So I don't know why that didn't click with me.
So yeah, he just wanted to make that very clear
that it wasn't that. Yeah, that was it was so
glaringly obvious, and that's how he was able to basically
confirm that that's who shot in hot blood.
Speaker 2: Okay, yeah, Alex.
Speaker 4: Yeah, because this is not correct at all. I'm not
going to let this live down. Unlike what someone said
on the last episode, I do not remotely think that
the submission and to Boucher's campaign are the exact same
who said that. Hmmm, I don't know, Gentry, where are
you doing stalking my old something weird groups When I
was a teenager, I.
Speaker 3: Know these posters are a decade old in some cases.
Yeah changed, Yeah.
Speaker 4: Folks, I started integrating myself into this world as a teenager.
As a child, I did not know what I was doing.
I did not know what I was talking about half
the time, even if I thought I did so in
all honesty for most people's safety pre twenty twenty, Grain
of salt, my friends, Grain of salt. Because I just
went back then.
Speaker 2: Okay, good to know.
Speaker 3: That's why I'm glad my DVD driving reviews are offline, honestly,
because anything that I wrote that was inaccurate is now lost. Yeah.
Speaker 4: No, I'm like, I need to go back on there
and sif through some things.
Speaker 3: I mean, one of the most egregious things that I
ever said, and thank god, ess not alive. Is that
I accused Pallas Satory of leaving film and becoming a
prostitute in Rome and you could pick her up on
the street in Rome, which was not true. And I'm
now friends with her on Facebook and she luckily didn't
see that.
Speaker 2: Yeah, So.
Speaker 3: I'm really glad that those reviews because or rumor, and
that rumor was obviously inaccurate. Because yeah. So yeah, a
lot of a lot of stuff that I'm really glad
is not out there anymore.
Speaker 4: So yeah, yeah, And.
Speaker 2: I mean if you listen to our podcast now, you
know Casey does not fuck with rumor at all. And
that's the reason.
Speaker 3: Oh I don't know, that's that's one of the reasons
why exactly. Yeah, no, I need multiple sources to confirm.
And yeah, no, she's such a sweetheart too. I don't
know why nobody's interviewed her for anything. I mean, she's
wide available. She should have got on images in the
convent that release. I don't know why they didn't interview her.
I had that update, so Gary Juden, the star of Submission.
So I email Michael Premenger, who I think I told
you last episode that I had found a series of
scripts that were copyrighted to Gary Juden and Michael Premenger.
Michael Premmenger wrote nothing in common. He was a stand
up who became a screenwriter, and so he was a
stand up around the time he did these scripts of
Gary Juden. So I found his email and I said,
I'm trying to find tout stuff about Gary Juden. He
seems to have vanished after nineteen seventy and I found
nothing about him. So he wrote back pretty quickly, Actually
I haven't seen Gary in fifty years. That I was
by then living in Los Angeles, and he showed up
one day. He had, I believe, been living in Hawaii.
My brother visiting La, even stayed with Gary in LA.
And then Gary was gone. How on earth did you
find his name? We met at a party in New York,
talked and decided to write together. Simple as that. I
did the typing, no computers yet, and almost all the writing.
How did you find these scripts? I don't have copies,
and I had to write back and tell him they're
just readster. The Copyright Office of the Copyright Office has them.
Gary was, as far as the seventies go, a true hippie.
His wardrobe consisted of two pairs of bell bottom jeans
and a denim shirt. He was a nice, good guy
with a sweet girlfriend. He helped me get out of
the Bronx and into the real world. Quote unquote, I
hope you find him. And that was it. That's nice.
A little bit, a little bit more info. The guy
who was in submission, he was a kind of hippie
ne'er dwell who got into writing. Yeah, and I have
no other trail to go on for him.
Speaker 4: That's still good. Actually, it's really good.
Speaker 2: And it does kind of more or less confirm that
he was the probably co writer or writer on Submission.
Speaker 3: Absolutely, and probably the J and S and J production. Yeah, yeah,
which makes sense because if you're writing a sex quotation script,
he would absolutely give yourself all the sex scenes except
for Joel Fernandez with his baby then girlfriend, the blonde
girl who's just our Felicia.
Speaker 2: Yeah.
Speaker 3: Yeah, but yeah, I'm glad you dropt back to me,
got back to me very quickly.
Speaker 2: Yeah, so nice.
Speaker 4: Anything with the Savage brought, anything with the Savage productions,
anything at all, the smallest scrap with these two.
Speaker 5: Well.
Speaker 3: I also emailed Kemper Peacock. I didn't hear back, and
I need to call him. Actually, the holidays made it
tougher because people are getting ready for holidays. They don't
want to be harried and stuff like that. But yeah,
the research continues.
Speaker 2: Well that's the sexploitation news desk. Let's talk about the
man of the hour here, which is Tony Orlando. So
not much discussed about Tony besides what we've heard from
Chuck Smith. Do you want to give sort of a
bio Casey.
Speaker 3: The basic bio is I don't have any other information
pre nineteen sixty two. But he started as a theatrical
agent in Philadelphia. And by that I mean he was
he had like a talent agency which he opened in
July nineteen sixty two in Tuber Building in Philadelphia, so
kind of kind of a big deal. And so that
was not that long before Chuck met him, and he
the Chuck Smith met him, and they wanted to and
he wanted to do a movie because Chuck was in
Philly doing industrial films, I believe, and so he cronic
cross paths with this guy, Tony Orlando, and he said
he wanted to make a movie. Now the movie was
apparently he co wrote the script with a guy named
Bron Collier who was in LA, and so it's very
strange that already we have an East coast west coast collaboration,
but it's also not a New York based collaboration. It's
phil It's Philadelphia, which is which was a big it's
still a big music town. But it's produced by a
DJ named Red Benson and Jimmy Meyer or James E. Myers,
that's the guy who co wrote Rock around the Clock.
And we've talked about him a ton because he also
was involved with Dingle Dangle, which we talked about, and
he was the fabulous bastard from Chicago. So he went
out to LA and was involved with exploitation and even
directed some hardcore stuff. So all these different music people
connections is how these different actors got involved. There was
a singer named Joan Weber who had a hit called
let Me Go Lover. There was a guy named Dick
Lee who was from Your Show of Shows, which was
a since Caesar TV show, but by nineteen sixty three
when they made this like That's he was pat way
past his prime. And then there was an Algolson sounded
like Norman Brooks by nineteen sixty three, I can imagine
that that line of work had probably dried up as well,
So we're talking like not top musical talent. Really. The
big coup though, is they I don't know if it's
a coup, but they cast an actress name actress. They
cast a woman named Lilian Reese. She was let me
tell I found so much ink on this woman. She
was kind of like Liz Renee of Philadelphia and that
she was involved with these underworld figures. But actually she
was worse than Liz Renee because Liz Renee, I think
just did jail time for refusing to testify against I
think Mickey Cohen. Lilian Reese was involved with like a
major theft, a major burtary of a cold baron's home,
and she was involved with a big, big time mobster.
So she was like the darling of the tabloids. And actually,
while while they were shooting The Block, which is the
film that it eventually became, she was like on trial.
She was going she was in and out of court
while they were shooting this movie. At the time, she
owned a she also owned a nightclub called the Celebrity Room.
And it's interesting you'll find newspaper ass for the Celebrity
room with her picture in it next to it, which whatever.
So parts of the movie were shot there. But I
need like a movie or a documentary or a book
about Lilian because known as Tiger Lil what a story.
Speaker 2: Wasn't there plans to make a movie about it? I
thought there was.
Speaker 4: She is only in one compilation book of Philadelphia based
crimes and that's about it. One of the funny parts too. Actually,
one of the things I was also reading is that
she bought that club with cash the exact amount that
was stolen.
Speaker 3: Mm hmm.
Speaker 4: She was like she was like Liz Renee's evil twin
in a way.
Speaker 3: Yeah, yeah, yeah, Brunette East Coast version of Lis Renee.
Speaker 4: Basically yes, like in show business, course you kind of
had to deal with like the mom and things that,
especially like live. So of course, like people like Resnee
Liz Renee had to. You just kind of had to
in certain territories, but you did not have to go
as far as Lillian did.
Speaker 3: No. I mean she she wasn't just on the periphery
of organized crimes. She was like actively involved with organized crime.
She was committing crimes with the mob.
Speaker 4: Like like like witnesses were being killed as the trial
was going off, like it didn't stop. Yeah, the crimes, Yeah,
crimes kept on happening during the trial, around the trial.
Speaker 3: It's crazy, so like, and then she got her Her
trial ended in a hung jury. But then there was
a second trial and that was the one that was
occurring during the making of the Block. And then she
was convicted in sixty four, and then she appealed, and
then eventually the charges were dropped in nineteen seventy. But
this is a long gestating thing. So apparently she got
away with this scott free. Essentially she uh So, I'm
dying to see it, and I keep finding I keep
finding articles referring to the Block as starring Lilyan Reese
in bold So like, here's a big deal in Philadelphia
that this huge person, uh was was put in this movie.
It's kind of like if they Lorena Bobbitt had been
cast in something. It's kind of like, oh my Godna Bobbitt,
that's amazing, you know. Uh so you actually to Bobbitt
justified this crime. I'm Lilyan Reese just seemed like a
bad girl because she enjoyed it. So she did for
the thrills.
Speaker 2: The other comparison is maybe the girl from the that
British affair, Oh, Christine.
Speaker 3: Keeler, you know, yes, very yes, because then she well,
and that's the funny thing. The plot of the block
really sounds like Lilian's life. It's it's very similar. So
it's kind of so when I see that, like, oh, yeah,
we wrote this script with this guy in la I'm
just like, really, I feel like you just opened the
papers in Philadelphia and read about Lillian Reese and.
Speaker 4: Or just did they make some changes.
Speaker 6: They knew?
Speaker 3: Yeah, just a few, yeah, because I'm sure they didn't
want any kind of repercussions, and if they wanted her
to be in it, they had to make it seem
like she was not a willing participant and that she
was in the right you know.
Speaker 2: Well the three synopsis, Yeah, what is this synopsis from?
That's just from Echo?
Speaker 3: Wasn't this from Charles Kilgore's Echo?
Speaker 2: Yeah? From Charles Kilgore's Echo. Lillian Reese is blackmailed by
her gangster boyfriend after he gets her mixed up with
a porno camera man. He kills her when she threatens
to go to the police. The police in pursuit, he
hides out in a Hooker's apartment and tortures her before
being accidentally killed. So I don't think Charles saw this movie.
Nobody's that we know, nobody's seen it.
Speaker 4: No, but you could have had a press book or
a Fichu told him possibly too.
Speaker 2: Yeah, yeah, So what's the deal with the block?
Speaker 3: Where is this?
Speaker 2: What happened to it?
Speaker 4: It got distributed by American film distributors.
Speaker 3: I don't know how.
Speaker 4: Chuck just once said that Tony Orlando knew Stan Bordon
maybe for music earlier on that. Yeah, yeah, so it
was so it was distributed by yeah, American film distributors
and just didn't go anywhere because it was it did
not have any sex. It was an exploitation crime film
pretty much, and that was not what Stan Bordon was
handling at the time. He was It was all skin,
It was all skin. It was not the right person.
It could have done better if you know, like AIP
maybe got it or something like that, but Stan was
not the right guy. Stan wasn't the right guy to
handle it. So it just didn't really go anywhere.
Speaker 2: It just even with the Reese thing, it didn't nothing
happened because she's.
Speaker 3: Mostly I mean, yeah, I think she's it's mostly local,
Like it would definitely hit the It definitely hit like
the not the circuit, but you know what I mean,
like the news, the news reports, and so it would
get picked up in different papers across the country. But
it's like it's local. It's yeah, it's it's you're casting
a local, it's a notorious local celebrity. Yeah, it doesn't
really mean much like down south at right or anything
like that. So yeah, you just didn't go anywhere. But
like as as Casey like found, it did get a
few odd bookings here and there, but's again probably why
it has vanished because it also just did not go far,
so less places for prints to show up. I have
heard a rumor Vinegar Center might have a print, but.
Speaker 4: Which would be fantastic because yeah, it sounds like this
sounds like the greatest Chuck Smith Tony Orlando collaboration, the
tightest really and stuff. Also because Chuck Chuck claimed that
of course Tony didn't exact never really directed anything before,
so he was mostly just over his shoulder telling him
what to do.
Speaker 2: Right, I kind of think that Chuck was over his
shoulder for all of these to be honest.
Speaker 4: Oh yeah, yeah, Chuck.
Speaker 3: Chuck was behind Well, yeah, I found I found that
newspaper article where he was he he directed. He was
scheduled to direct a play in Philadelphia right after the block,
like literally several months after the block, So somebody was
getting him to somebody was getting him to direct the
least local theater at the very least. But yeah, it's
tough to It's tough for me to. It's tough to
gauge how much he directed. When the movie, the two
movies we're going to talk about are so steeped in
style and that's very Chuck and so, and they're all dubbed,
so you really don't know, I feel like direction in
this kind of movie where it's obviously it's all post
up and like shaped in the editing room is tough
to tell.
Speaker 2: Which Chuck did.
Speaker 4: He was also the editor, Yes, Chuck.
Speaker 3: Was the edit or too right, So it really do
really feel more like like Chuck movies, even though Tony
takes like as much credit as he can give himself
on these movies, you know, to make himself seem like
an od tour less.
Speaker 2: Than the flesh Feelds, maybe a little bit more twenty Orlando,
but we'll get.
Speaker 3: There possibly, yeah, possibly.
Speaker 2: Well yeah, like you said, if there's a print, that
would be a good triple feature, like you guys have
said the block. Yeah, well Hot Nights on the Campus
and that has been put out on Blue Ray. So
but I think that's not a print.
Speaker 1: It is.
Speaker 4: Yeah, that is that a print, and it would be
more fit. It wasn't really fitting with that was really
odd ball Blu Ray. None of the films really fit together.
It was just the Prince we have.
Speaker 3: How did they market them? We're HD.
Speaker 4: The rest were just eight eight SD driving something?
Speaker 2: Was it driving like pack?
Speaker 3: It was like all night I had all night drive,
all night drive in Marathon, all night grindhouse drive in
Marathon or something, which is.
Speaker 4: Aka I found Princess or Junet.
Speaker 3: Well, no, they found the camera negative de Velvet Trap.
Oh yeah, I found the only print of Marcie that exists. Yes,
tailor of the Dean's wife. They got a print. And
then the other two were shut Up and Dealing Sex
and the college Girl and therese were SD those are
from prints, but like Velvet Trap was major. I'm the
one who convinced them to get that negative, and I
did it by psyching them out and saying that Mike
it was. It was Mike Brainy's one of his top
ten most wanted titles, and they able to beat him
to it. I don't think Mike had ever heard of it.
So I just wanted to see the damn thing. So
I told them. I made them. I fed into their
competitive egos and had them buy that camera negative and
then release it. And they were so mad because they're like, oh,
this is terrible and it's black and white. It's not
going to sell. I was like, I don't know, Mike
really wants it, so you know, do you want to
compete with Mike or not.
Speaker 4: There weren't any other exploitation films negatives they left behind it.
They are on the shelf somewhere that no one's touched.
Speaker 1: No.
Speaker 3: I mean, well, you know what they would do. They
would lie that what happens they found. They found Tom Ward,
who used to be what I think twenty first century
film distributors maybe or he was involved with demension. And
tom Ward had dementia, and so they would call him
up and say, remember you distributed this movie, and they
would get him to basically sign away saying that he
distributed this movie and that he wants to take it
out of storage away from the lab. So they did
this for a movie after movie after movie after movie
for all these negatives and camera negatives that were sitting
and rotting in labs. Not the most moral and legal thing, obviously,
But with that, that's why we got like a lot
of the camera negatives that they got access to. I
think that's how we got black Estoppo's camera negative was
from that tom Ward scam job. Yeah, a lot of
their camera negatives. I think swinging barmeads with somebody else.
But yeah, anyway, long diversion, they've got the co Red boys.
Speaker 2: Yeah, I am curious to see the block, but I
don't know if it's going to be the masterpiece that
Alex maybe thinks it is.
Speaker 4: I'm not to say masterpiece.
Speaker 3: I just have faith in it. Yeah. I think if
you go into an expecting a sleezy film noir, yeah,
like like the like the weird noir titles like Seventh
Commandment or something like that, where you're just dealing with
like dirty people in an urban setting doing sleezy things
and and basically stuff that the majors wouldn't touch because
it was still against the production code. I think if
you go in expecting that, then you probably will enjoy it.
I think that's the case for a lot of movies.
I don't think you should go in thinking it's gonna
be Yeah. No, no, that's exactly what because most of
them are not going to be a sexy, good time.
So you have kind of have to be like, Okay,
what are the what's the angle where I can get
find a way in here?
Speaker 2: I want to see the location? Yeah, the absolutely stuff.
Speaker 4: Yeah.
Speaker 3: Yeah, they shot a lover Philly. Yeah, they shot a
loiver Philly. So I'm intrigued in seeing it.
Speaker 5: Yeah.
Speaker 3: And also it's funny Chuck was not supposed to have
photographed that. I think he was supposed to be assisting
this guy named Manuel Whittaker who apparently pissed off Jimmy
Myers and got fired because he said there was something
that he couldn't do in terms of photography. And then
Chuck he was like, no, Chuck. He asked Chuck in
front of the guy, can you do this? And Chuck said, yeah,
no problem, and he said okay, Manny, you're fired. He
kicked him off the set and continue with Chuck. So
I'm like Okay, that's a way to get your foot
in the door. Just be like, yes, I can make
that happen.
Speaker 4: So also, folks, the block doesn't look like Chuck's later stuff.
It was all done on a tripod. It was not
the white angle handheld lens that it was less than
the flesh. It's a very different beast.
Speaker 3: So I wonder about well also, and he well, he
edited it. I'm thirty five millimeters. But wasn't there something
where they lost, like a reel of the negative.
Speaker 4: They lost a reel of naked when they were trying
to match it, and they had to Oh god, this
is always awful. They had to dupe from the work print,
which is always awful. It always looks bad.
Speaker 3: I wonder how that looks now, Yeah, you can probably
tell the difference.
Speaker 4: Oh yeah, probably yeah, oh yeah, it probably looks like
an eight compared to everything else.
Speaker 2: Let's just say, right, yeah, I wonder how long the
scene is, yeah, that they had to dupe in.
Speaker 3: Yeah, it'll be the great real you know, ten ten minutes,
possibly for thirty five probably ten ten, twelve minutes maybe.
Speaker 5: Yeah.
Speaker 3: But after that was the creation of Chat Productions. So
Tony still wanted to keep going after the Block. So
actually I've found an article where he he was planning
to make three pictures. He ran to Hollywood after making
The Block, and he was going to do a movie
called Horn, which starred Lillian Reese and the story of
a fading stripper who's supporting an alcoholic trumpeter, which sounds
like young Man with a Horn. Isn't that just the
Doris Day movie? Wasn't that the whole plot of young
Man the Horn where Thank You Had He was not
an alcoholic, he was a drug addict in that I believe.
I haven't seen that in years, but I'm just like
we've seen that it came out in nineteen fifty.
Speaker 7: Maybe he was going to make a sexier version of that, Yeah,
sexier version because he's a stripper, right right, And of
course those movies never happened, so it's interesting and they're
still trying to make Lily and Reese happen.
Speaker 3: Actually, I found an article where she was she found
a Hollywood agent that was trying to sell her story
to a studio in Hollywood at the time that The
Block was being made, and there were no takers apparently,
because nobody in Hollywood knows who the hell she is,
like the story is interesting, but it's like, well, you know,
maybe not for us.
Speaker 4: People around her are winding up dead. I'd be scared
of her.
Speaker 3: Exactly right, exactly. But so after that was the creation
of Chat Production. So Tony wanted to continue working with
Chuck after that experience, and so he found two guys too,
joined the two of them, so it was four people.
It was Tony, it was Chuck. It was just goy
named Harry Finn, who was another theatrical agent who then
who also produced musical reviews in Philadelphia. So I found
I found some articles where he put on like, you know,
not burlesque, but like kind of like follies, local follies
with local musical performers. And then a guy named Tommy,
last name unknown and probably a good thing because he
was a bank he was he was a bank official,
and Chuck and his cameraman, I think it was Tony
Spalo wasn't.
Speaker 4: I don't think he was there. I think it was Orlando.
Speaker 3: I don't know it was it was uh Tony Orlando.
They went into me with this guy Tommy at the
bank vault, and uh Tommy asked for how much money
they thought they needed and they said five K, and
he handed them five k in cash. It was almost
like the equivalent of like in the seventies when the
mob would give like shawnka Sello cash to go make
his weekend wonder Porno and you know, like, here's five k.
Do what you gotta do?
Speaker 4: Yeah, no, chairs, they're sitting on bags of money as seeds,
and he just reaches into his pocket and counts out
the money and goes there.
Speaker 3: That is so crazy. Yeah, yeah, so more.
Speaker 4: Than one banker too, because the producer of Sitting in
the Suburbs was also a banker. There's another banker as
well who actually got caught for doing that. This guy
didn't seem to right, so funny.
Speaker 3: Well, and actually and there's another bank guy, the Kemper
Peacock was involved with. That's how he got involved with
sex movies was through that bank guy. What if it's
the same guy. Because Farno, so I wonder he didn't
do some suburbs, but he did, like right.
Speaker 4: After he got well the banker, I know he also
financed one or two other films of Sarno's too. So
the suburbs just coming to mind. Pandora, he also did
Pandora mess Cox. Uh, there might be one or two others.
Speaker 3: Hmmm.
Speaker 2: The block didn't do well, so they thought that they
would do another film, but with more sex and nudity.
That's less than the flesh essentially, right, that's what they
got the five k for.
Speaker 4: Yeah.
Speaker 2: Yeah, so they're probably selling it to this guy like, hey,
we're gonna make this sexy movie. I can't miss you know,
blah blah blah.
Speaker 4: Okay, right, yeah very much. Or the reason was, well,
the only reason our previous film did not do well
was because there was no skin.
Speaker 3: Yeah right, and this one has a good amount of it. Yeah,
they really upped up the ante in this one.
Speaker 5: Last night I dreamt I came back once again, back
to this island where I lost Myra. The shadowy, vastness
of the ocean frightened me. The calming voice told me,
I must go to the water's edge. So the sea
is a giant mirror where Van sees himself. Like most steamers,
I was possessed with a supernatural magic, and I felt
myself drift over the strangely hardened sand. I could feel
the wind, I could smell the salt air, and once more,
I was on the beach in front of the cottage.
The dream is always the same.
Speaker 2: Yeah, so less than the flesh.
Speaker 3: Where's this shot Brigantine, New Jersey. Yeah, and it was
shot in on the on the Jersey shore in like
September or in October, so it was freaking cold. So
all those scenes in the water and on the dunes, it.
Speaker 4: Looks someone who grew up beside the beach. It looks
very I just tell that's freezing right there.
Speaker 3: That's cold. So yeah, props of those actors because good grief.
Speaker 4: So yeah, they all were brought out to Brigantine, New Jersey.
Why who knows. We don't like they knew someone who
had a house there. It was like like come on down,
nothing like that for some reason. Well, it's visually great
at the very least for what.
Speaker 3: He probably look to it.
Speaker 4: Yeah, for sure, Yeah, visually I really like this film
in particular.
Speaker 3: It's a good calling card for Chuck. I think, yeah,
it shows what he's capable of. And there's a lot
of outdoor photography in it too, so like we're used
to Chuck shooting in like apartments or on the New
York City street, so for him to be shooting outside
with like the sun and on the beach and everything
like that. It's like, oh wow, this is Chuck in
a very different environment than we're used to seeing him,
and he does a really good job.
Speaker 2: Yeah, let's talk about who else was involved with this
before we talk about the film itself. I have thoughts
about yeah, but so, yeah, Chuck was cameraman, editor. Who
else was involved with this beyond the chat guys that
you have listed?
Speaker 3: Yeah, well, I feel like they weren't even involved. Yeah,
Tommy were a money man and yeah, so basically it
was just Tony and Chuck. They were the creatives. They're
not even credited on the movie, Harry and Tommy, You're
not credited.
Speaker 4: They were probably silent.
Speaker 3: They're silent partners. Which is so funny because Harry had
no problem taking credit for these movies in newspaper articles
in Philly papers, but his name is nothing on it.
And also I think on one of the later movies
he described he said he's a company called Dashoba Productions.
That's what it is, actually, it says Harry Finn would
have Bentown's better known nightlife figures has turned to movie making.
Harry's Dashoba Productions just completed shooting in Brigantine Beach. The
picture Less Than the Flesh is a story of what
allegedly goes on in suburbia. It was produced, written, and
directed by Anthony Orlando, who directed the Lilian Restar The Block.
And that's in October nineteen sixty four. So that's how
you know that they shot in September on October, and
that's why it looks freaking cold on the Jersey Shore.
It's off season.
Speaker 2: I mean, I guess it's suburbia.
Speaker 5: I don't.
Speaker 2: I wouldn't.
Speaker 3: It's yeah, no, so not. I mean, eventually you go
back to some apartments, but it's more like, because it's
just not the city, they're just trying to differentiate it, right,
It's more like a vacation. It's like a vacation sex movie.
It's kind of like it's like deep inside. Yeah, it's
like the Beach House, yes exactly, or like Roberta's later
Fire Island movies. It's kind of like, let's go, let's
get out of the city and go go on vacation
to the closest place we can go, which is the
Jersey Shore in this case, because who wants to go
to Long Island.
Speaker 4: Which is so interesting to me a bit, just because
they were also like experimenting with doing this film in
a way, like Chuck has always always said, I never
saw a sex film before shooting of these or something
like that. So to take everyone all the way to
New Jersey for what really was an experiment at the
end of the day, is very interesting decision.
Speaker 3: Yeah.
Speaker 2: Yeah, Chuck had said like this was his introduction to
sexploitation films. It kind of looks it a bit, but
I think he's got it down, knew.
Speaker 4: Yeah, also he just he was also just accomplished enough. Again,
he came from industrials and things like that. He of
course one of the things he'd love to say is
that he would, of course also steal things from bigger movies.
What was the film that inspired one or two scenes? God,
there's a list. Oh, A Place in the Sun was
one that inspired a bunch of sequences for this one,
like some dance, like some of the stuff in the
orgy sequence and things like that. A Place in the
Sun was an inspiration for this one. And there's other
films that I know not for this is very obvious.
Speaker 3: The beach is very from here to eternity. That's very Yeah.
Speaker 4: Yeah, yeah, so he was also like leaning on devices
that he knew were trying true to also help give
him a sense of direction with where to go for
this stuff too. Yeah right, and also those great director Yeah,
he read those really great like film theory Eisenstein books
that really like just told you how to convey different
types of emotions through the camera through camera work and
things like that. So he had a bunch of different
little things that he was going with. And also he
had already seen Werner Rose shooting one of the Olga films,
because that's where he got he figured out to use
a handheld airflex with the widest possible lens without great distortion.
So he saw someone else doing it already and then
just copied that and copied the right guy too.
Speaker 3: Yes, exactly. Werner was probably the best photographer up to
that point.
Speaker 4: Yeah, so Chuck was kind of a nice perfect storm
at this time if you ask me.
Speaker 3: But you can see that you can see the genre's
look change with Chuck. I feel like the look of
these films changed with Chuck. And I don't know if
it's because people were seeing I don't know if people
were actually want to watch these movies. I don't know
if they were just watching trailers, but like the look
of it. The look of these films definitely changes with Chuck.
Speaker 4: I think, well, it's also the most economic way of
shooting these, especially MOS is to just have your two
lights or three lights. You're bouncing half of them so
you don't have to move them around as much if
the light's bouncing around a small apartment, and then you're
just running around with a handheld camera, not having to
do any setups, just unless unless it's like a wind
unless you have to wind it up. Of course, you're
hardly actually stopping unless you have to like get your
actresses to do some direction. It was just like Chuck
just said, like this wasn't an intentional style. It was
the easiest way to do this, the.
Speaker 2: Easiest and quickest. Yeah, you mentioned the MOS style. Did
you guys notice at the beginning it actually credits the voices,
the dubbed voices.
Speaker 4: I do intend to look into those at some point
because that's very interesting. I don't recognize any of the
voices because there's one or two voices, but like Doris
Wishmen and other things I will recognize, but not these ones.
Speaker 2: Yeah, In that Echo interview as well, Chuck was like
kind of proud of how many voices they had compared
to like Doris's you know, four five voices. You know,
they've got like a dozen or so.
Speaker 4: Yeah, I wonder where they went and did that instead of.
Speaker 3: Different rates Hot Nights on the campus. Yeah, to one narrator,
it's like, Okay, that's fine though, because I love the
narration and hot Knights in the campus.
Speaker 2: But yeah, so I but yeah, this is like there's
a lot of dialogue in this one. It's pretty well
synced as well to their to their mouths.
Speaker 3: It's not badly done.
Speaker 2: Yeah, it's not badly done at all.
Speaker 4: Yeah, yeah, no, it was probably just also a yeah,
it does seem like a very elaborate thing to do,
so I can see why they didn't do it again
maybe yeah, and stuff because also realistically the thought was,
as even said, like, I didn't really think the audience
is going to care anyway, So why do we need
to have every single character have a voice? They're not listening,
they should be looking.
Speaker 5: You know, I could just hear her sick philosophy.
Speaker 1: The only way to save the marriage is for husbands
and wat is to share each other's love. Is it's
ridiculous to think that a human being can share the
same bed his entire life. Even animals don't do it.
After all, what force is it?
Speaker 6: Not?
Speaker 1: Nature? Certainly, it's all a matter of economics, community, property,
and a few screaming brass So for that, millions of
men and women force themselves to continue sleeping together.
Speaker 5: She had expounded this theory so long that she even
believed it herself. Was more defense than a belief, because
my wife could not admit that she was what she was,
an implemaniac.
Speaker 2: Let's do the quick synopsis for this one again. I'm
gonna quote from hill Gore's echo. Myra knew the we
is raped by a mugger, but does not tell her
husband Mark. While on vacation, they become involved with another couple,
asexual Bob and promiscuous Helen. Ultimately, Myra is attracted to Karina,
a lesbian, but the two women are killed in a
house fire.
Speaker 3: Such a simplified version.
Speaker 2: There's a lot more.
Speaker 4: It's a little more, not than Yeah, there's a lot
of depth to this. It's very surprising.
Speaker 3: Yes, and it's eighty minutes, which is mammoth for a movie.
Of this, of this era, and I'm just like, Okay,
I feel like we can probably cut down on some
of this.
Speaker 4: Yeah, that's the only one thing I have against sex.
Speaker 5: I do like this movie.
Speaker 4: It is like essentially Manchester accomplish a couple.
Speaker 2: Swapping movie or a partner swapping at its core. But
I think it's a.
Speaker 3: Lot not willingly.
Speaker 1: It's not.
Speaker 3: It's not a knowingly couple swapping movie. It just happens
because two of the people involved are monsters. Yeah, it's
swapping because of a sexual rift.
Speaker 4: Yeah, Myra's Myra's husband is just enraged that she will
not that she's too afraid to have sex with him.
Myra does never tell Yeah, yeah, yeah she's frigid.
Speaker 3: Raped on her wedding night, raped after I got married. Yeah,
and he.
Speaker 4: Pretty much he pray. It does not take him long
of hanging out with the other couple with Helen for
him to be like, well, Myra's not doing much.
Speaker 3: And I mean it's a weird swap though, because honestly, like, yeah,
we will go over more of the cast, but like
the four leads, no idea who any of them are,
so I feel like we can read them to filth.
So the actress playing Helen looks like the leading lady
from the room. Blonde, black eyebrows, not I'm for some reason,
it doesn't exactly line up a room, not exactly the lead.
Speaker 4: He has a great bitch look to me, though, I
don't know what. She has a good like stowy, scurdy
bitch look. And that's about all she is is she
just walks into a room and it costs people.
Speaker 2: Yeah, I'm just like this.
Speaker 3: This shows how new they were to the New York's
exploitation genre, because what are we doing with these four leads?
I mean, we have more interesting people at the party
that we do like. But then Marlene Eck is also
I think very good. She comes in later in the
movie and I like her anyway, but yeah, like and
then the one guy, the cheating husband, the guy Bob
looks or not Bob Mark with these tattoos looks like
Gary sonisee uh and you can see his tan lines
like pale as hell. It is just it's not those
two deserve each other, honestly, because the other couple, Yeah,
the two, the two nice ones are much more attractive.
I will say that the girl that plays Meyra always
has her headband on and she looks kind of familiar.
And then the guy who plays the asexual, which I
don't think he's a sexual. I don't think he's tired
of his wife's bullshit.
Speaker 4: With He's just exhausted.
Speaker 3: He's exhausted, Yes, exactly, he's exhausted. Yeah, yes, he's he's
just worn out. He is not Joseph V. Perry. That
is a IMDb inaccuracy. Joseph V. Perry was a very
well established character actor on TV and film, way older
than this guy in this movie. So once again IMDb
strikes again.
Speaker 4: They're not bad looking.
Speaker 3: Yeah he's bad looking. I like both of them, and
I think they're fine in it. You know, that's another
reason why MS works. I think for Chuck, I think
because he was so focused, and maybe even Tony. I
think if you're so focused on the technical aspect of it,
then you don't have to worry about directing these actors
at all, Like he Basically, it's the direction that you get.
And I don't even know in terms of like a script,
they don't really have dialogue to worry about, so it
really is more about telling the story visually and making
sure that enough people get naked on camera. That you
can sell the movie, so you know it's about it's
about visual narrative and enough nudity to sell uh to
this expectation audience.
Speaker 4: Yeah, chucksfield making is very expressive, like if something, if
someone's upset, the camera will likely shake and lurch. If
someone is you know, doing this, it'll like etch the
energy of that character. Ag.
Speaker 2: Yeah, there's that part where she's like in a hay
she's like my vision. She's talking about a mental haze
and the screen goes like cloudy.
Speaker 3: Yeah, I remember, yeah, which I like, Yeah, I mean
it's once again they're like they're playing with different techniques
and seeing what sticks, and they're trying out different tricks.
That's that's why it's like, as as slow going as
narrative gets and as not that compelling the four leads are,
there's just enough that keeps me invested visually that I'm like,
I like seeing where it's going and I like seeing
what these you know, nofice exploitation filmmakers are coming up
with as they're kind of working their way through this genre,
and there's enough nudity in it, like actually the sequence
where the guy takes his boxers off and I almost
he takes this the camera moves at the last moment,
and I'm just like a second or this is like, yeah,
sixty five six shots, sixty four? Really sixty five? I
was like, yeah, it's a little too early for that.
But I was like, do I see pubes? I might
see some pubes.
Speaker 1: No.
Speaker 3: I was just like, good gravy. But yeah, I even
that for someone brand new to this, I think he
gets it pretty pretty quickly, you know what the what
the gist of the genre is.
Speaker 2: Yeah, I think the main problem, like you have already said,
is that you get to the part he's seen with
like Gig and Darlene, and you're like, why are these
people not this the main cast members.
Speaker 3: It's like you can know who they were yet. Yeah,
they know that they've been around the business. They'd work
with Barry Mahon, they'd worked with Werner, you know, Geez.
Darlene has a big role in fifty thousand BC Nudes
on the Rocks so like, and in Nudes on Tiger Reef,
which I guess is the sixty four as well, isn't it.
So like, Yeah, they don't know who these women are,
so that's why of course they they they have to
translate over to Hot Nights on the Campus because Chuck
remembers them, probably because they were so memorable to work
with on that set.
Speaker 2: I wonder if on this set he already knew, like, Okay,
the next movie, we're going to cast these girls like
in main parts. Yeah, yeah, because the leads in this movie.
Speaker 3: And Marlene is also translated over to Marlene moves over
to Yeah.
Speaker 2: Yeah, the leads in this movie, Like you said, they
don't work in anything else, so it didn't know they
were where.
Speaker 3: I don't think they were actors. They could have just
been models, because they're not. They're not giving professional actor
to me, no, no to me.
Speaker 6: Yeah.
Speaker 2: Maybe that was who knows, maybe that was where Tony's
friends or some of his Philly friends who was to
go on.
Speaker 4: To vocals, right, yeah, like the makeup artists came from
Philadelphia and stuff. This is the one like transitional Philadelphia film.
Speaker 5: Yeah.
Speaker 3: Well yeah, well yeah, because well we yeah, we didn't.
I don't think we mentioned that. The Iris Hunter So yeah,
Iris Hunter, who was the assistant director on this and
did the makeup and then did the makeup on Hot
Nights on the Campus. She was a Philly TV personality.
She played a bunny on a children's TV show in Philadelphia,
and then she recorded an album as Bunny Iris, which
is like a children's thing. So for her then to
graduate to doing sexpotation movies with Tony Orlando, I'm like,
were they involved? It seems like an interesting move to
make from Philly to New York and do sex bixation
movies when you have this career in children's entertainment and
you're using your real name on the movie as well,
I believe.
Speaker 4: Yeah, very interesting because yeah, why come to New York
just to help out? Go ahead?
Speaker 3: Yeah, Well, and then she stays for Hot Nights on
the campus, so it's just kind of like, Okay, so in.
Speaker 2: The same role as assistant assistant.
Speaker 3: The assistant director, she's I think, no, she's just the
makeup artist on Hot Nights on the campus.
Speaker 4: On the set, Chuck just says she was helping out
behind the scenes.
Speaker 3: Yeah, that's like, that's like a Tony thing. That's like
she wants to hang out with Tony and be his
girl on the set, just like, Okay, who was she?
Speaker 2: Yeah, it might have been one of those cases, Yeah,
where she wants to keep an eye and I.
Speaker 3: Am oh, I see what you're saying. Yes, that was
why Roberto was on the set of That's why she
was the star of Taking Naked, because she didn't trust
Michael with all the other women. She got tired of
him doing other Noondiy movies. Also, I noticed on Lesson
in the plus the credits, the lab is credited as
All Service Labs, which I've never heard of. Yeah, so
immediately it was like, where can I find him film
about All Service Labs? I can't find anything. It's it's possible.
Speaker 4: But then it makes you wonder, why do we have
the negative to this because we stand bored of American
film had it.
Speaker 3: That's interesting, So I guess it must have been processed
at in Philly at that All Service Labs potentially, and
then when Stan bought it, then he moved the negative
over to Movie Lab. But then the sound is magno
sound or the editing. I think it's Magno sound is
credited too, but they maybe had a magnet sound in
Philly too. It's possible. Maybe I don't know.
Speaker 4: I've sworn I've seen that credit before, but nothing's coming
to mind as to what it was. It could have
been a small lab.
Speaker 3: It felt new to me because I was just like,
I've never heard of that. Yeah, it was. It was
very interesting. I was like, well, there's some reason we
had the negative to this, but we don't for hot
nights on the campus. But it's the Borden. It's the
bording thing. Yeah, that makes sense.
Speaker 2: M hm, well I see a note. So was this
actually put out on VHS? I don't think I've ever
seen it? Yeah, something we're chess of this, okay.
Speaker 3: Yeah, everything something weird put out They always put out
on VHS. First.
Speaker 4: It could have been a slightly later one so it
just wasn't around as much. I think they could have
come out but.
Speaker 3: Later when it opens with the copyright, isn't the copyright
like ninety six?
Speaker 4: The logo is like the image err logo?
Speaker 3: Oh no, the logo is an old logo.
Speaker 2: It's like it's is it bubble it's bubble font the
bubble one yeah, yeah, which is way older.
Speaker 3: So yeah, I know they if it was in their
first ninety let me check. I think it is in
there in their first ninety five to ninety six catalog.
Speaker 4: Yeah, has I've come out at least some point. There's
so many something weird tapes though it's really hard. I know,
I know, to keep up with everything.
Speaker 3: I have it first listed in my because I had
my inventory on a Google doc for all the something
weird stuff. The catalog Supplement number twenty one was the
first time that I had a list. So it might
be later, but I don't know. But it definitely came
out on VHS. Essentially, anything new, anything something weird always
VHS first, or VHS concurrent with the DVDR.
Speaker 4: Yeah, they held with VHS for a while there.
Speaker 3: They only did a very few DVD only titles, very few. Yeah,
because they had people. Lisa would tell me that we
still she would complain about it in the forums. I'm like,
so we still have people that are sticking to their VHS.
They don't want to upgrade to dvdrs and these are
like old school people. And then eventually they started dying out.
So eventually they just stopped selling the vhs. But I
think they still got complaint letters from people like, well,
I don't want to upgrade to DVDR DVD, I want
to stick to going to VHS. It's like it's outdated.
We're not doing vhs anymore.
Speaker 5: This is my wife, Helen Helen and I were married
about four years. We had to get married when we
were sixteen. We didn't love each other, we didn't even
want each other. And it was as if they didn't
want it that way either, because the baby died at birth?
Speaker 2: Was there any evidence? This was plain as l and
the F Did you see that anywhere in any newspaper ads?
Speaker 3: Do you know how hard it is to search for that?
You think there's no way in hell I searched for that, gentry?
Are you kidding me?
Speaker 2: You spent an hour this morning doing just that.
Speaker 3: I was researching other people.
Speaker 2: And because I saw that, I think I know in
the f.
Speaker 3: That's like me searching for submission for submission. And yeah,
I could have done the Alex Alex trick and searched
by the searched by the tagline, but I didn't. The
title was.
Speaker 4: Probably censored in some places because the word lust was
on other things and flesh too.
Speaker 3: Both of them.
Speaker 2: Well, as you see in that other ad, the rust
and the fresh that alternate titling.
Speaker 3: Yes, so that's hilarious. So that in Wilmington, Delaware, April
nineteen sixty five. So basically the ad says, so, first
of all, it opened, it premiered in It premired in
Wilmington April sixteenth, nineteen sixty five. And then on the
twenty first, they run another ad that replaces the title
with Rust and the Fresh and says, once in a
great while, even the sensor blushes. Such a film is
less than the flesh. When the sensor sensors his own ads,
you know, this show is simply wild, a must. And
I'm just like, oh, you didn't do it because the
local censorship. We just did it because you want to
make it sound hot. Yeah, and call it Rust in
the Fresh. It was just so crazy.
Speaker 2: And and then you have the real title right in
the in the ad coffee below it, so it's like
you're not censoring it. Clearly, it's right there.
Speaker 3: Yeah, it's not good, but that's fine. But yeah, yeah,
well it's kind wild.
Speaker 2: What's the deal here? Yeah with this judge, Like it
was clearly like the title seemed like it got Tom
in trouble more than anything.
Speaker 3: Uh well, this was in Philly, which is so funny.
It happened in Philly. I wonder if this is it
is really it's real? No, no, no, no, they wouldn't
name an honorable judge and all these district attorneys and
all these people.
Speaker 2: The people too, is running around with these mobsters. Maybe
they paid someone off to this judge, hey, potentiary.
Speaker 3: The district attorney's office. They would not, they would sue
the paper for publishing this.
Speaker 2: No, this is advocate all right, go ahead.
Speaker 3: Yeah, you don't need to do that. With these turtles
in the sixties, they weren't. Yeah, if it's if it's
an oppressed book question, if it's a newspaper, yeah, it's
kind of on record, yes, especially if it's a legal thing.
Speaker 2: Calculated.
Speaker 3: Yes. So essentially it was playing with Passion in the Sun,
which is a crazy double feature because that's also the
Girl in the Geek the Dale Barry movie with the
which is which I love.
Speaker 2: But god, any Sandy Beach double feature there's like, yeah, but.
Speaker 3: One is a somber character drama and the other is
a wild insane import from Texas.
Speaker 4: Like they are not they they do not go to
both of beaches.
Speaker 2: That's all I'm saying.
Speaker 3: Yeah, yes, that's true. Okay, yes, yeah, right exactly. But
it's funny because so essentially it was showing at the
Art Spruce Theater and the Devin it was showing in
two places, So this was a situation where it was
showing in two places in Philadelphia, so they probably were,
you know, sharing a print. Probably, I don't possibly not
so a judge. It's not listed in this in this article,
but there's another one I found which I didn't include,
where he was actually invited to see it because and
that sounds like a publicity stunt, because they wanted to
invite him, but then so he went he saw it.
It says the dirict district attorney requested him to see it,
which is different from the other article, which says he
was invited by the management of the theater, so he
went to go see it, and he said the district
attorney wanted the judge to decide and it's alleged obscenity.
Before acting on the application for seizure warrants on this film,
he said it was filthy and disgusting. It was obscene.
It was obscene and devoid of cultural or artistic value.
Prominent themes were wife swapping and adultery. So they replaced
it with Crazy, Wild, and Crazy, which is arguably the
best movie Verry Mahon movie that has ever been made.
It is a bunch of outtakes that actually Chuck edited.
Speaker 4: Chuck edited, Yeah.
Speaker 3: Chuck edited, So you get one Chuck edited movie replaced
by another Chuck edited movie. That movie is impossible to
get furrough.
Speaker 4: Well, he's wide. He was just negative and said, just
just just just just pretty much edited it. By looking
at the negative.
Speaker 2: It's a surreal masterpiece.
Speaker 4: Just put it in a flash. It is terrible, crazy,
It was terrible skin.
Speaker 3: But the funny thing is, so they go to get
the print and it's nowhere to be found. They go
to they go to seize the print and it's not
on the premises. So someone hit it, yes, And then
also the local the district attorney in Philly says, this
is a matter of hardcore pornography. He said, referring to
the film Less in the Flesh. Little did he know,
literally five years later we would have actual hardcore pornography.
So he has no idea what he's in store for.
Speaker 4: He's never been invited to the firehouse parties, he's never
seen something projected on a bed sheet.
Speaker 3: No, the judge, the judge, the judge in question says,
maybe he shouldn't have gone to see that movie after all,
And the judge's opinion the picture was scandalous and raw
and was calculated to arouse people's emotions. The film was
gone when County Detective Show Up showed up to the theaters,
so he acknowledged that he views Wait a minute, yeah,
so since the film has been withdrawn, there's nothing for
the judge to act on. They also showed Hot Bed
of Sin, which I don't know what that is. I'm
intrigued by.
Speaker 4: What the Michigan import och it's nothing. Yeah, it's a
nothing movie.
Speaker 3: Oh it's French. A couple of dancers performing in that club.
Speaker 4: Yeah, it's.
Speaker 5: Yeah.
Speaker 3: So it's basically a French movie with no sex in it.
Speaker 4: Yeah, which maybe if we're lucky. Had an additional ten
second shot of Paceti's been put on nipples in Michigan.
Speaker 5: Yeah.
Speaker 3: I don't have nothing games in this cast either. Yeah,
this is what day? Was it?
Speaker 4: Originally nineteen fifty something, probably.
Speaker 3: Nineteen fifty, nineteen fifty one, post war, post war French cinema. Yeah.
Speaker 4: Dave Friedman once said Michigan's films were old enough to vote.
Speaker 3: In this case, that is true, but they they're old
enough to have their period, yes, I think or have
their first boner.
Speaker 4: Yes, yeah, fourteen year olds moving were garbage.
Speaker 3: Yes, exactly.
Speaker 2: Well, I'm curious that Judge didn't mention the the gay scenes.
I wonder why he didn't call that out. Is like
what really tipped him off or like put him over
the edge, because I could I could see that like
freaking him out, the two like little gay parts in
this movie.
Speaker 4: And even the lesbian part because abnormal, abnormal sexuality or whatever.
Speaker 3: You know, And I love that. It's another like it's
another like wildly butched lesbian that we've seen from like
chained Girls and stuff. I'm like, what I love. We
love the but we love the butch queens.
Speaker 4: What I love even more is how easily Myra goes
for it too as well. She's just incredible. Is like nothing, Yeah,
Myra is just like, yeah, I guess it's good for
my husband to do this because I can't.
Speaker 3: Yeah, I guess I'll hang out with this les I
guess it's okay. Yeah that orgy I'm here.
Speaker 4: Yeah, this guy's nice, though, It's okay.
Speaker 3: There is nothing going on behind those eyes literally dead zone. Yeah,
That's why I'm just like that. She you know, it
is what it is it's really not about for this film,
and I've said this, you know, it's interesting. I've been
watching a lot of films lately where the narrative is
not that important. It's but the visual. So like I
just watched Cries of Pleasure, that Franco movie last night,
which like wove its spell over me, and I was
just like, this is so great. This is kind of
like that where it's just like you just have to
be drawn into the visuals and what Chuck and Tony
are doing visually in terms of their storytelling. And that's
what makes it interesting. It doesn't make it any kind
of lost masterpiece, but it's so interesting to see like
these baby steps into sexploitation really kind of confidently. Like
the handheld cinematography is good, the editing is good, the
really good lusive use of locations. Yeah not goa lie.
Speaker 4: I could have watched this on silent for the first
time and still pretty much got the story. Yes, it's
that good at visually conveying the story. I like, now
that I think about it, it makes it. It conveys
enough that yeah, you can't prety much piecea together. It
could be a good sun film even.
Speaker 3: Yeah, that's a sign of a good visual storyteller if
you're able. And as the editor of this movie, he yeah,
he knew what he was doing so well. I will
never stop singing Chuck's praises ever. So you know, I
think he was. I don't think he gets he gets
he gets credit, but I still don't think it gets
enough credit.
Speaker 4: No, Because again I was thinking about this recently, how
horribly boring would Doris Wishman's New York films be if
they were shot like her nudies, they would be so
much more stale like Cee. David Smith is also partially
what shaped our love.
Speaker 3: Of Doris of some icons as well, like Doris.
Speaker 4: Wishman absolutely and stuff too, and even later hardcore films
as well. That it doesn't get talked about enough either.
We mostly talked about exploitation in the years, but he
also had his hardcore days as well. That has he
been involved in EDDY releases with the hardcore stuff back
in the day.
Speaker 3: I I convinced him to an interview. I wrote all
the questions, and then media blashers wouldn't fly me down
to do the interview myself. Oh fuck, So I never
got to meet him, but I did all the research
and all the questions because the people interviewing him had
no idea who he was. Follow up questions, Yeah, it's
on that release. And that was funny because I did
the commentary with Howard and he continued to call him
Carl Davis and I was like, well, he's going to
be on the release as c Davis Smith, Like he's
not hiding anymore, but h And also he did a
commentary on one of his terrible Leonard Kirkman quickies for
After Hours. Oh I believe, Yeah, I forget. It might
have been in flight Service.
Speaker 1: I think.
Speaker 3: A very good commentary. Obviously, he talks about the ins
and outs of the Kurtman factory and why it was sleezy,
sleazy set up, and yeah, it's it's the I think.
I think it's the only reason I had that DVD
because the movies are terrible, obviously because they're Kurtman garbage.
But yeah, obviously, yeah, commentary is terrific. Yeah, it's really good.
Speaker 2: Wow, I gotta find that.
Speaker 3: Yeah, I think it's in flight service. Yeah.
Speaker 2: I think when I had watched The Sexploiters back in
the day, I think that's maybe how me and you
connected Alex, I think you had mentioned that you should
listen to this commentary track, which.
Speaker 4: That's one of the first things.
Speaker 2: Yeah, I think we talked about that, and you're this
will give you like everything you need to know about.
Speaker 4: Oh yeah, I said next to next to the Mike
Rainy David Freeman commentaries, this is the absolutely essential sexploitation
commentary that exists out there. I agree, it is absolutely essential. Listen, listening,
I can't think of another old Guard commentary that's as
good besides Chuck or Dave.
Speaker 3: Yeah.
Speaker 2: Yeah, we were so blessed that Chuck was so available,
you know, at that time period, and that he was
just happy to talk and he was on the internet.
Speaker 4: Yeah, there would be so much more confusion about these Yeah, that's.
Speaker 3: Why I got mad when he didn't do something where
didn't get him for a commentary for a girl from
si N. I was like, he's available and he'll do it.
All you have to do is ask.
Speaker 4: Yeah, he definitely feeled in a lot. Go ahead, go ahead.
I'm saying he filled a lot of gaps for us,
which is like so blessed Ye Twisted sex would never
known who was Joe Productions, who was Jerry Denby, who
was Sandy Johnson?
Speaker 3: So many Actually, we wouldn't know nothing in Orlando if
Je hadn't talked know nothing about it, we wouldn't There's
a lot of manuking to Doris, the names of a
lot of Doris's crew, and like her connections to different people.
Speaker 4: Yeah, he's greatly. He really laid out how the nucleus
of New York exploitation worked pretty much and kind of
how things bled into another from one person like Barry
may Hunt's probably the one who got him the girls
for less of flash at least, like said, I know
what her two because who else would he have known
at that point? And he had done a bit of
work with Barry Mayhon on matching for a lot of people.
Barry was there the go to like casting guy at first,
which is why it's so crazy.
Speaker 3: He's like, I don't remember anything about these girls. I'm like,
what do you just remember their phone numbers?
Speaker 1: You were? You were?
Speaker 4: What are you talking about?
Speaker 3: He was so dismissive of them, I'm like, you work
with them on everything, you didn't like, you don't remember
any conversations you had with them or anything, or why
you would recommend them to other people.
Speaker 4: Yeah, he was like the first one who really started
photographing them at first.
Speaker 1: What was that like?
Speaker 3: Like, what were they like at first? Right? Exactly things.
He must have been good because he was able to
work with so many of the same people over and over.
Speaker 4: I want to learn more about DARNLEYE. Bennett's potential conquests
with famous people that she would always boast about.
Speaker 3: Girl whatever, Okay, honey, that's funny. I mean Darlene Bennett,
wouldn't you. I wouldn't obviously for obvious reasons. But I
mean she well, Darley, she had She was statuesque, gorgeous,
had great personality, you know, great lipstick, great looks. Right.
Speaker 2: The thing with Darlene too, is though you had to
hit her from like the right angle I've noticed, and
Chuck was good at it.
Speaker 3: No lying down shots either, because she does not look
good lying down, which I noticed. And hot nights on
the campus. I'm like, probably could have cut that. But
that's just you know, that's just me. That's just me
being overly critical of Darlene.
Speaker 2: Talking about people behind the scenes. Real quick, So is
Tony Spauller the guy under the sink in that party scene?
Speaker 3: That's hot? Nights on the campus. Not this one.
Speaker 4: No, no, no, he's he's he's under the sink with
the other guy about to start making out.
Speaker 3: Yeah, well do they make out?
Speaker 2: Are they like getting close?
Speaker 4: They're like about there, they're getting close to Like it
doesn't show anything, it doesn't show anything.
Speaker 3: No they are, Yeah, it doesn't show anything. But it's
definitely it's.
Speaker 2: Hard to know that spala or not, because I don't
know if we've ever seen him. We've heard of him
working with Schuck.
Speaker 4: But yeah, no, fun to think got him.
Speaker 3: But that's about it. I mean, somebody added that could
have been bowing for all I know. Yeah, somebody adds
something that that's most of a deep cut. I was like, Okay,
they wouldn't just randomly say Tony Spalas and this is
the guy under the sink.
Speaker 2: Yeah, that's why I asked.
Speaker 3: That seems a little too a little too known. That's
kind of like adding Jerry Denby as the doctor in
Hot Nights on the Campus, Like you're not going to
necessarily know what Jerry Denby looks like unless you know, Yeah,
I thought.
Speaker 4: Him, Well, you could do Jerry Denby eventually, because he
was pointed out in the Sexploiter's commentary and Denby's visually distinct,
like I didn't look at the credits first. It was then, yeah,
I didn't look at the credits first. I go, there's
Denby as the doctor. That's him obviously with the little mustache.
Speaker 8: Right college Town, USA, the buildings look different. The campus
has chained from city to city, but each college town
has one thing in common. Each fall, its population is
increased by the students who full of hopes and ideals,
arrive and are absorbed into the pattern of college life.
Some of these students are now away from home for
the first time. They will experience a new found freedom.
They are on their own.
Speaker 2: Before we move over to hot nights on the campus,
there's this photo here of the from the New York
Daily News right after completed shooting of Less Than the Flesh.
Is that correct? The timeline here that Darlene and June
we're in a this photo, This ball. What's this about, Casey.
Speaker 3: It's it's an Artists and Models ball to builtmore hotels.
Speaker 2: Is this like a competition?
Speaker 5: What is it?
Speaker 3: It's a gala. I have no idea. That's that's the
only thing. It's basically a photo it's an excuse for
the Daily News to run a photo of girls and
bikinis and say something happened at the Biltmore.
Speaker 5: Yeah.
Speaker 2: Yeah, and that's that.
Speaker 3: There's no attaching article about it. She's gonna like this happened.
But it's one of the only instances that Darlene Bennett
actually appears in the paper in any shape or form. Uh.
And it's vividly her and it's with Jim Roberts.
Speaker 4: Also, here's the thing. But despite the fact that she's
listed as Don Sawson, that looks like her sister beside her.
Speaker 2: Yeah it is, yeah, it is.
Speaker 3: Yeah, Well that's Don Sawson is in Don will Swinson
was the name that I believe was their real last
name was Darlene and Donnwson. So that makes sense.
Speaker 4: Those are small's balls could be really kooky apparently.
Speaker 3: I mean they look like it from this spect some
real weirdos, some real strange folks. These girls are hanging
around a lee tars and bikinis in November in New
York in nineteen sixty.
Speaker 2: Four, and there's rich guys like around.
Speaker 4: There's real devins and models ball in Mondo key holes.
You can see what type of things normally went on
at those things. That was a real ball in that movie.
Speaker 3: Well, then I guess we have an idea of what
happened there. It's kind of yeah, and it's funny looking
at this, you can tell that I can't be talking
about I can't. No, I can't be talking bad about
Dawn again.
Speaker 2: She finding this picture?
Speaker 3: No she doesn't.
Speaker 2: Okay, it's hard to tell you.
Speaker 3: No, she doesn't. Does not know, she does not, No,
she does not. But yeah, this is only a month
after shooting wrapped, because that newspaper article says right here
it wrapped on October around October sixth Yep. Well, so
the yeah they got for newspaper articles, So we have
a timeline.
Speaker 2: Well, give us the timeline. When did they start shooting
after wrapping? Okay, so Lest Than the Flesh wraps.
Speaker 3: Or they're going to question Chuck's version of events.
Speaker 2: When did they start shooting hot nights?
Speaker 3: So he says the partners were happy with the money
they got from Less Than the Flesh, and they give
them money to make the hot nights in the campus.
Less Than the Flesh did not come out until January
sixty five. Was the earliest screening that I could find
of that and then shooting Wrapped on Sin Campus aka
Hot Knights on the Campus on February seventeen, nineteen sixty five.
So you're saying that the returns in a month were
enough for them to be like okay, and basically and
it wasn't a wide release either, So we're talking about
returns based on what two cities maybe that could be cities?
Speaker 2: Do you think else?
Speaker 3: I don't know. I'm not sure I will stand in
that series of events.
Speaker 4: Well, also, Stanbordon also normally bought these films outright right
as well, So that's a little odd because everyone else
says he bought them for on ten to fifteen thousand,
which is their negative cost plus back. So I mean,
if that could have also been the case, true, Chuck
may have thought eventually that there would be more money
coming in like advanced plus, but I wasn't San Bordon's thing.
That wasn't a thing at all. But so they would
have gotten to probably at least like ten thousand back
Wrapt the Bad which is kind of a good sign
no matter what, that a five thousand dollars movie would
be smart again to do, Like, Okay, this experiment paid off,
Let's do it again. Now that we know we have
a little system going here right and go to any
it seems a bit more like that's how it could.
Speaker 3: That makes more sense to me, especially because the movie
didn't really open wider until March of sixty five. At
that point, that was like a month after shooting. Shooting
wrapped on hot nights on the campus, which was, according
to Chuck, only a two day shoot. So yeah, that
timeline is a little wonky for me, But I think
you're right. I think that's probably what it is. If
if stand bought them, bought that like late sixty four,
and then plan it for a release to premiere on
January first, nineteen sixty five, at this one screening, then
if you paid well and on time, then that would
have given them enough time to turn around to pay
the you know, pay the chat partners back and then
say okay, we'll start shooting. But then again they're shooting
again in February nineteen sixty five. Why they continue to
shoot in like the cold, Well, they're indoors at least,
but we don't in nineteen sixty five in New York,
Jesus Ray at least are not. At least they're not
at Jersey Shore.
Speaker 4: Yeah, we don't know how well the heating was. I
will say that we don't know how well the heating
was in the apartment. But the very least they're not
half naked outdoors.
Speaker 3: Thank god Jesus. Yeah, exactly.
Speaker 2: Well, and the outdoors scenes like when Gigi's walking around
like Washington Square, she's not like completely bundled up, but
she's definitely not like in shorts of a T shirt.
Speaker 4: So yeah, some people kind of wear like coats and stuff.
Speaker 2: It's free.
Speaker 3: I look at seasonably warm for February. She didn't. Yeah,
she's right.
Speaker 5: Yeah.
Speaker 3: And I just have to say, if I was in
this park in nineteen sixty five, jus Arlene walking in
the park with a turban and sunglasses looking like she
just walked off the French riviera, I would lose my shit.
It's just like, what is going on? Who is this
movie star whore I've never heard of?
Speaker 4: The whole movie could have been that.
Speaker 3: Also, she has the accent, so if you if she
says anything like, oh my god, this must be some
international movie star who like I, who is gonna make
a big splash. Maybe she's the new Bardeux, Like she's
really like she really is giving, like I'm gonna walk
through wesn'to the Square park and make an impact this
college student dressing like she's going to a movie premiere.
Those are my.
Speaker 4: Favorite moments, just because Yeah.
Speaker 2: She's like doing the too love thing. Yeah yeah, walking
around with my head up and she's.
Speaker 4: Doing it fabulously too. Oh she looks incredible.
Speaker 3: Yeah, she's great.
Speaker 2: This is Gig's movie as much, if not more than
Bad Girls Go to Hell.
Speaker 4: I'm like she has more personality in this one than
Bad Girls.
Speaker 5: Yeah.
Speaker 4: Yes, Gg's a lot more lively in this and the
actual and the dub on her voice actually sounds more
like Gigi, even though we already know her voice, Like
it looks like it could have been her. If you're
an audience member who's actually like looking at Gigi, she
saund the woman actually sounds like her age and things
like that over Doris Wishman's yeah regular voices too. Yeah, yeah,
I agree, good things. Yeah, and it backs different. She's
only just getting assaulted the whole time. Half the time,
she's just want.
Speaker 3: To have much fun, really, except when she's dancing with
Darlene in the apartment. Yeah, and Bad Girls m hm.
She's a put upon a woman.
Speaker 2: She gets to like cry in this one and stick
her head in the oven and try to commit suicide,
and yeah, she gets.
Speaker 3: To takes a really good stunt hit in that in
the stairwell scene, like oh yeah. And that makes sense
because if Chuck was like, well, I was really impressed
with her and I recommended her to Doris, it had
to have been on the strength of this movie because
she was able to if it was shot in two
days and basically ad libbed. It doesn't seem like she
seems like she can give whatever is thrown at her,
like Okay, this is what we're doing in this scene,
and it seems very natural. It doesn't seem she doesn't
seem caught off guard. She doesn't seem like, okay, am
I going to make this work. She's just very natural,
which is something I think if you see her in
like nudes on the rocks and other stuff, you know
she's a natural on camera. But I think when she's
actually has to act, even though you don't hear her voice,
I think she's very good. She knows what's up and
she knows what to do. Very rare and at this
time in New York's exploitation to have.
Speaker 4: You know, not everyone could be like an Audrey Campbell
yeah and be like that competent as well, like the
Darling Bennett. I'm sorry, I love love your girl, but
she don't think you could really like snap to that.
I think you have to sit for a moment and
like contemplate it.
Speaker 3: J and Robert the same thing. Like lot of our
favorites are not and stuff. Yeah, she like Gigi could, Yeah,
like she could, she could do what she needed to do.
Speaker 2: She could get into it. Well, you mentioned nudes on
the rocks, Like, yeah, she's playing against like comedians in
that film, and you can tell, like she's she's with it,
she's snappy, she can like retort, yeah, it's yeah, Yeah,
she's got she's just got it.
Speaker 4: You can tell. Yeah, she does have comedic timing in
that as well too.
Speaker 3: Yeah. So it's only like and that was what two
years before this, So she's like, God, she was like
twenty nineteen or twenty when she started. She was so young.
That's very impressive to me when you think about how
young she was and she was doing all this stuff.
We make you forget everything.
Speaker 1: We sure you a real big on up a longer time.
Speaker 2: I know, my dear, but we're not married, and they
said we're going to get married.
Speaker 1: Oh sure, yeah, you're getting married.
Speaker 3: We are getting married.
Speaker 4: Yeah, now maybe now we're married.
Speaker 6: I always tell.
Speaker 1: Mother i'd had a big wedding.
Speaker 4: I wish she was in a Sarno film, just out
of curiosity. I would have been very curious to see her.
Speaker 5: Yeah.
Speaker 3: Yeah, I'm not sure what he dialogue to Joe with,
like June roberts On a lot of stuff like actually
flush and Lace just in June Roberts in that. Yes,
she's in Later Lives. Yeah, so she shows up in
these things. Yeah, so I'm kind of like, why not Jigi. Yeah,
he had no problem with accents because she we brit
had an accent. So it's not even that. Maybe it
just wasn't. I don't know, that's a good question.
Speaker 4: I think it's just one of those serendipity things. They
just just never crossed past the right time.
Speaker 3: Not even like Pandora in the Magic Box. Well that
was earlier than I think.
Speaker 4: That was before she even she only claims, and of
course we cannot collaborate this, that she was in Lash
of Lust.
Speaker 3: But I'm sorry.
Speaker 4: I take Joe Sarta with a grain of salt at
times with his memory. Yeah, so that's the only possible
thing we have. But nothing of Lash of Lust has
ever shown up to cooperate it.
Speaker 2: I'm trying to think if there's any other movies where
you can hear her actual voice other than nudes on
the rocks.
Speaker 3: All the Berry Mayhons killed yea beast that killed women.
She has dialogue in that, Okay, and several of the
shorts she has dialogue in. Yeah.
Speaker 4: The problem is I just forget Mayhuns right after I
watched them, so I couldn't tell you.
Speaker 3: I just remember the voices. Yeah, Like I know Darlene
has a very New York accent. Yeah, I can hear
Darlene Sharon Sharon Kent sounds, you know, like a professional. Yeah.
I definitely remember voices. That's it. I don't remember anything
else about them. I'm just like, don't I remember she's voice?
Because who could forget it?
Speaker 1: You know?
Speaker 2: Yeah, it's so cute, cute.
Speaker 3: We love that the same and June sounds like she's
reading a grocery list and everything.
Speaker 4: Which I don't know.
Speaker 3: I love that girl, don't try That's why you don't.
Speaker 4: I've been waiting hours again to a newdis camp.
Speaker 2: She just has she doesn't have time for your bullshit.
Speaker 4: Yeah, and the only time when she emotes is in
heat of madness, when she doesn't have time for his bullshit.
Speaker 3: That's right, kidding in a cage. She emotes when she
pelts the heckler with ice cubes, which is great. Oh yeah,
those ice cubes back in the guy. That's the only
good thing about that whole shitty movie.
Speaker 2: Pretty much. Jane robertson, Yeah, Hot Nights is yeah, like
you said, very different from Luss than The Flesh. Audio wise,
this is pretty much straight mos narration. But I know Chuck,
it's that his wife at the time had done some
narration for him in the past. So I wonder if
it's his wife, his then wife.
Speaker 3: Oh, I wonder. It's interesting. And I keep forgetting Chuck
was married at this time.
Speaker 2: Yeah, how can you forget? He always says, like, all
these girls, you know, we're hitting on me, But I
was a moral man. I was married at the time. Well,
he tells that story all the time.
Speaker 3: I just I don't know why I keep forgetting that.
Speaker 4: I don't know why Chuck just getting energy.
Speaker 3: I don't know why.
Speaker 2: To Chuck is just like a big, big, cuddly bear
kind of guy, you know, I don't. I'm just I
guess there's a type. Yeah, Casey, he loved the bears, right,
he's not a bear.
Speaker 5: That sad.
Speaker 2: He's just like a bigger guy.
Speaker 3: No bears, and there are no bears in sexpoitation.
Speaker 2: He doesn't have any hair. Yeah, he doesn't have facial hair, but.
Speaker 3: No, you know who a bear is. Paul Smith from Pieces,
that is a bear, and you don't see guys like
that in sexploitation of this era. Even Patrick Wright not
really a bear. Okay, he's not fat enough, not hairy enough. Yeah,
he has to have more clearly. In fact, I know
nothing about the bear gay scene. I will do a shark, yeah,
I will send you a chart exactly. Yeah. There are
no bears really in expectation. So that's why it's kind
of strange that I find Sandy Johnson so attractive because
he's not at all my type. But he just is.
Speaker 4: Yeah, he just is.
Speaker 3: Yeah, it's just attractive. Yeah, he's just very sexy. I
don't know.
Speaker 2: Yeah, so how did Sandy show up in this? Just
they just needed they need somebody.
Speaker 3: Yeah, and well he was an actor first, so like
he was an actor in Chicago and then he came
out to New York to become an actor. And of course,
like most actors, stumble into expectation because it's work and
it's money. And I guess he had a lot of
fun working on these because then he stepped behind the
camera and started directing them and writing them and created
a co created a company.
Speaker 4: I mean, you know, it wasn't he Jerry Denby and
someone else already in partnership before CIP even happened. They
did sexploiters in secret society.
Speaker 3: No, that's different. I know what you're thinking of. It
was it was somebody else. Yeah, it wasn't it was
something else. It wasn't Denby. Now I'm trying to remember now.
Speaker 4: Ok Yeah. Because also beautiful blooding the Bear came out of.
Speaker 3: That, right, and that was well, that was Al Rubin.
That was Al Rubin and Al Rubberne to theater, so
theater with the Cassavetties of it all and all the
New York actings, so that that connection makes sense, the
Al Rubin of it all. Yeah, Okay, So yeah, that
I think that's the case.
Speaker 4: Yeah, because I know he'd been involved in production beforehand.
Speaker 2: He's built a stand stunning in this which I think
is a great.
Speaker 3: Accurate Why does he build.
Speaker 2: It the very end he's blast And why is he
in it so little? I mean he's he has a
his part's important, but it's not. It comes at the
last act of the movie.
Speaker 3: Basically, No, you're thinking of the wrong guy. What he
is the guy who gets an implied blowjob from Gigi Darlene.
He's the guy the first guy she goes to that
says I can't help you. That's Sandy Johnson. He does
not play gig the guy at the end of the movie.
I don't know.
Speaker 4: He's the guy she flirts with at the party.
Speaker 3: Else she meets at the party. Is that guy that
is Sandy Johnson?
Speaker 4: Yeah, he has kind of sandy hair. Yes, Sandy Sandy
first guy.
Speaker 3: And then john is the second guy. And that's a
guy with the weird Dario Argento hair that looks like
it has been painted on.
Speaker 1: Ye.
Speaker 3: So, and I don't know who that is either. And
then the other guys. What Sandy plays a guy who's
what like an un athletic scholarship or something I forget,
or he's in like sports medicine, which makes sense because
he kind of looks like a like a college or
high school, like you know, track star or something.
Speaker 2: Okay, I'll have to go back and get Okay. So
Sandy's the guy at the party scene. Does he appear
again after the party scene?
Speaker 3: Yeah? She gives him a blowjob, okay, and then she
goes to him saying she's pregnant and he rejects her immediately.
He's the first guy who rejects her.
Speaker 2: Yeah, isn't it He says he's he says he's impotent,
or he Yeah, no.
Speaker 3: That's John. She just like show before we started recording.
What is it? Do you have black and white white
guy face blindness? I think all these three guys are
the same. I must oh no see Sandy Johnson dream Bote.
I absolutely know who Sandy Johnson is. The other two
guys couldn't pick him out of a lineup. One is
dowier than the other, and that's the only difference between
the two of them and the guy with the Daria
argenta weird hair. Yeah, yeah, you're you're black and white
white guy face blindness.
Speaker 2: Did you see my note Alex about the music. What
art have you heard of any of these art? Blakely,
Wayne Shorter, Jimmy Smith recordings. Apparently that's someone had said
that that's where this music one that.
Speaker 3: Stuff and came up. Maybe the actual tracks.
Speaker 4: Yeah maybe. Actually I was going to with this. I
forgot to, I hope so because I did.
Speaker 3: Like some of the opening credits is the same same
theme song opening credits from Beautiful, the Blood and the
Bear as.
Speaker 4: Well in one or two tracks I already heard in
Less Than the Flesh as well.
Speaker 3: Yes, the one that sounds like the Awesome Powers theme. Yeses, Yeah,
it's in both party scenes. Yeah, it's like a low budget,
sped up version of the Austoin Powers theme.
Speaker 5: I know.
Speaker 4: I was like, can you please use another track? I know,
kids version of Yeah, while they're while they're doing the
most adult things in the world. They're drinking cocktails instead
of fruit punch. You get this like in their in
their underwear. Yeah, what with the heat on?
Speaker 3: Hopefully because it's February in New York.
Speaker 2: Well, we're already this deep. But let me read the
synopsis on it here again from Echo. Gigi Darlene is Sally,
a student from Indiana, attending college in New York City.
She is shocked at the wild party thrown by her roommates,
which culminates in an orgy, but eager to fit in,
she decides to model her behavior after them. After taking
on two lovers, a middle aged college professor and a student,
she becomes pregnant and contemplates a back alley abortion, but
changes her mind after meeting the brutal female abortionist. Fearful
that her life is ruined, she attempts suicide but is
saved by her roommate's boyfriend. That's a good synopsis.
Speaker 4: The synopsis released five other films.
Speaker 3: It's One Naked Night, except yeah, really.
Speaker 4: Oh Gentry, I didn't know. You know what Cognac Naked
was about. Nice too.
Speaker 3: It's a very typical like expectation.
Speaker 2: Does she visit an abortionist than One Naked Night?
Speaker 4: That's like the one thing.
Speaker 3: That's the one thing that's added. I believe, but it's
I think she doesn't. She kills herself for some reason
I don't remember. Is it because she was raped or
she was a drug addict? I don't I need to
watch it.
Speaker 4: But it's the same device of young innocent girl comes
to New York. Her roommate is alternative. For some odd reason.
She tries to establish her life in New York, but
then runs a foul of something to which only a lovely,
handsome man can save her from, and either she gets
pregnant or she kills herself, or she has something going
on with the lesbian at one point at the very least.
Speaker 2: Yeah, one naked night. I don't there's no pregnancy. I
think she just like gets pushed over the edge because
she does inappropriate stuff at an orgy or something. Right, Yeah,
she said, you.
Speaker 3: Love that movie. I need to rewatch that one. I
just quite like that one.
Speaker 4: Yeah, I didn't when I saw it, but I'm gonna
rewatch it. It's okay.
Speaker 3: Restoration I think changed my mind on it because then
I could see how actually well made it was, And.
Speaker 4: No, I saw that what my real problem. I really
did not like the lean Lady for whatever reason. Yeah,
I liked everyone else around her. I was not happy
to be following her.
Speaker 3: Yeah, that makes sense that track.
Speaker 4: I think that was my problem. It was well made,
like it's a good film.
Speaker 3: But yeah, but Audrey the leading lady, Yes.
Speaker 4: Audrey's the best.
Speaker 3: Yeah, and everything she's good and everything.
Speaker 4: Yeah, just give me an Audrey Campbell highlight reel of
that movie and I'll be happy.
Speaker 3: Audrey Campbell in the location footage.
Speaker 4: Yeah, exactly, exactly, know, I like.
Speaker 3: It so much more of course.
Speaker 2: Yeah, she's a lodging in that movie too. Yeah, Audrey's
always like some evil lesbian because.
Speaker 3: She's very severe, you know it, totally.
Speaker 4: She just has that good luck.
Speaker 3: Yeah, that very right here. Audrey Campbell's here right exactly.
Speaker 2: Back to the hot roommates, Yeah, hot nights on the campus.
So before we can talk.
Speaker 3: About Sandy, because I have a lot to go over
with Sandy.
Speaker 2: But let's talk and then we'll talk about Sandy.
Speaker 3: Yeah, your meats are great. It's like a it's like
a who's who I would love very much.
Speaker 4: Kind of always surprised when I see Joanna Mills outside
of a Sarto felm.
Speaker 3: Yeah, same, yes, yes, yes, this, Yeah, it's very surprising.
Speaker 2: That is a wig she's under right in this?
Speaker 3: Are you kidding? Yes, everyone in that dorm room is
wearing a wig except for Judy Green. Yeah, yeah, you're right,
and is wearing a hideous wig. So she's that And
you said you have trouble recognizing her. She looks so
different from less than the flesh because less than the
flesh is her actual hair. And then she's underneath this monstrous,
this rat hair monstrosity.
Speaker 2: Yeah, yeah, she looks so different. But her nose, Marlene,
That's how I spot her is her nose. For whatever reason,
she's got kind of a feline nose. I don't know,
that's how I identify it. But yeah, we got Joanna
Mills doing very little, but she's here as one of them.
I mean she she she sends Sally off to the abortionist.
I guess that's her, like, right, she.
Speaker 3: Sends her to the horrible, like has she been the apparently? Yeah,
she didn't have a problem with it.
Speaker 4: She heard about it. I remember this, Okay, No, no,
she heard about a well known of someone who's like hot,
held in like pretty much high regard for doing these things.
Is this woman I've heard of? I know a good
abortionist because someone else told me she was good. Here
you go, held held in high regard.
Speaker 3: Literally, that's it. I was like, I hear, this woman's
really great. The reviews are in. She's great. You need
to go.
Speaker 2: She's got a fireplace.
Speaker 3: I mean it's warm, and she's going to toss the
baby into the fire off. I know, you can tell.
I don't know how abortions work.
Speaker 2: No, the way it's framed, it's like, yeah, it is
like what's going on with this fireplace? That's the first
thing we see when we go to this abortionist back alley.
Speaker 4: It like sets the energy of the whole scene.
Speaker 2: Yeah.
Speaker 3: I guess it's almost like walking back in time too.
It's like walking back to like the tenement era of
the early nineteen hundreds, or it's like she's steeped in
like very anti ustern European, anti Semitic stuff where it's
just like, no, you can't trust these people from the
old country.
Speaker 5: Yeah.
Speaker 4: Yeah, she looks like she had turned hell if you
ask me honestly.
Speaker 3: Yes, knowing that was probably intentional, Yeah, which is why like, wait,
you did this in two days and you were able
to come up with this enough creative touches. It doesn't
seem like it was improvd as he went along. It's
very impressive.
Speaker 2: Yeah, and even that really impressive. Yeah, that room has
like yeah, I don't know the way it's it's shot,
it's it's wider, it's but yet it's still kind of claustrophobic.
I don't know that room is. I can see it
in my mind. It's it's good.
Speaker 5: Yeah.
Speaker 1: The photographer said it's so casually, but I wasn't even
ready to be shocked. He simply said, I think you're pregnant.
Speaker 2: Judy Adler is. I love how she's introduced as like
the loner, and then she's like the party girl, doesn't.
Speaker 3: Want to hang out in the kitchen with the girls,
like she wants to be on her own.
Speaker 6: I don't know.
Speaker 4: I guess she because she's an infamy. Actually she's picked me.
She wants the attention of men. Yeah, she only so
she doesn't care.
Speaker 3: Yeah, I guess I'll join you guys, Yeah, to pick
me exactly right.
Speaker 2: She is like on the top of that pyramid, too,
isn't she?
Speaker 4: Isn't she on the bottom? I was still a her
on the bottom?
Speaker 3: Okay, interesting, Maybe they tried different ones.
Speaker 4: Yeah, because my magazine has her on the bottom, and
I'm like, she moves have to rewatch it some odd reason.
Speaker 3: Yeah, I love Judy in black and white an rewatch it, right, gentry?
Speaker 2: Yeah, that scene, I love that party scene is the best.
Speaker 4: Yeah, yeah, I love how Darlene is able to teleport
as well, who disappears from a couch instantly. It does
somehow ditches like something. The two men the closest you
could get.
Speaker 2: Yeah, it looks like that. What those white vibrators that
you see a couple of years later all over sexploitation.
Speaker 4: It kind of does. But I don't think those existed
by this point.
Speaker 3: Yeah, I'm not sure.
Speaker 4: I don't think so, or at least for just mail
order who knows. Yeah, very obscure.
Speaker 2: Yeah, Judy has that great scene where Chalk is probably
on the ground shooting up as she's being carried away
and her hair drags over him.
Speaker 4: Yeah, it's cool, hands down, one of my favorite shots.
He is so gorgeous and black and white. I wish
more for stuff wasn't black and white. Yeah, the Confessions
of a Bad.
Speaker 3: Girl be so good as noir. I still love that
movie though. Yeah, it's one of my It's one of
the better Maeons. I think specifically because of herm Those
maons only worked because of the women that are in it.
I think, you know, it's one of those situations. Yeah, Yeah,
I'm a little too fair with several Maons.
Speaker 2: I always going to find, like Judy, something about her
looks really modern. Do you guys agree, Like she looks
she doesn't look as dated, not in a bad way,
but like you could pull out of this. She doesn't
look like a sixties actress to me.
Speaker 4: No, she looks like someone I was just friends with. No, literally, yes,
I've met many ladies her age.
Speaker 5: Very right.
Speaker 3: It is the HAIRTC. Lisa Percercci looks like June Roberts obviously,
so so much so that I think that they are
related and we will figure that out. But I also
think that Judy Adler is giving we super true tree
as well. I think it's like a very contemporary kind
of like vibe, and it reminds me of Lisa a lot.
Speaker 4: Yeah, that cut is still a thing, just as simple
of the bangs and stuff. Yeah, no, yeah, yeah, we
love that they both had very like non sixties intense poofy.
They just have very regular hair styles.
Speaker 2: Yeah, totally the hair.
Speaker 5: Yeah.
Speaker 2: At the end, Judy's like you know, at the very
end of the movie where Gigi's characters kind of has
a happy ending whatever, and it cuts to the roommates
all like this is our sad nymph of life. They're
like in the kitchen, like washing dishes. Judy gives this
look of like she realizes it, like, oh, this is
the life. I mean, it's just a little subtle thing
I like about Gdy.
Speaker 4: You're right, I did notice that.
Speaker 3: Yeah, and so wait and there's something else. So Gigi
is a freshman, correct, she's got it transferring in from
Indiana to like it has to be n Yu because
that is and while you alone, that is where there
is housing near Wassington Square. And I'm just like, Okay,
she's at a dorm uh in a place. So I'm like,
are these girls like sophomores? Because I feel like they've
they have lived in experiences and they've been living together
for a while. So that was something I didn't remember about.
Speaker 2: This or their friends beforehand. And maybe they were able
to get housing together.
Speaker 3: I don't know, it's possible.
Speaker 2: Who knows.
Speaker 3: Yeah, I just think it's interesting to have like this
commra's we established. Yeah, it's not like they're not all
getting to know each other. They're all like they know
each other's kinks apparently, like they know that one doesn't
like to show up until men are there, you.
Speaker 4: Know, they like no second year my friends do the
same thing with a freshman like, no, not the same thing.
Speaker 3: I mean, like take it.
Speaker 5: No not.
Speaker 3: I was gonna say, oh, they corrupted and they correct
made her get pregnant and get an abortion.
Speaker 4: I mean, this movie did make me wish miss college again,
but I'm not gonna say why.
Speaker 3: It maybe miss when I first moved to New York,
that's for sure. It definitely reminded me of I moved
to New work because of movies like this, because I
was like, oh, it was exciting. I don't care about
I don't care about you know, I can't get pregnant,
so I won't have that. I don't have that issue,
so I can. I can go and bang as many
dudes as I want, but babies don't live, so I'll
be fine. So uh yeah, I you know I was.
I was just fine. But uh yeah. It's very interesting
to watch her walk down a lot of the streets
that like I walk down as a student. It's very
connective experience with Gigi.
Speaker 2: When I watched this love it, I would like to
recreate like Gigi's walk around.
Speaker 3: That would have been fun with the turbine.
Speaker 4: Next time I go to New York and bringing a
turb and I play on turb just down Capri pants.
Speaker 2: If we get this re re released, we can do
like the location feature at you know then and now
absolutely someone can.
Speaker 4: Dress up and have and have would be only mos
and an over Dubya. I went to see the place
where Hot Nights on the Campus was filmed sixty years ago.
I was enamored by the look of the building as
I walked up. How could this really be the same
place that Gigi Darlene got aboard it got abortioned in.
I had to find out.
Speaker 3: That idea we should know. See, Basically, the Tony Orlando
Tiple feature has to happen, and that has to be
an extra.
Speaker 4: Absolutely, Well, we've got enough good info for good extras. Yeah,
Lily Reese has to have a.
Speaker 3: Whole extra on ourself. We got to talk about.
Speaker 4: Yes, the CIP like got lock ground to cover for
that release.
Speaker 3: There's in Gigi. There's the whole thing about Gigi in
her life and her crazy life. Yeah, there's so much
to talk about.
Speaker 4: That book like can be over one hundred pages.
Speaker 3: Like, come on, I know, let's go district picks. I
know they would too.
Speaker 2: Yeah, Tony Orlando's seven beauties here we come.
Speaker 3: Yeah, seven beauties. I guess there's seven. Yeah. Five, Yeah,
I don't know.
Speaker 2: Yeah, well maybe not a beauty. But who is the
abortionist Gertrude Cross?
Speaker 3: True Cross. She was an editor of Less Than the Flesh. Yeah,
and she's also when Bad Girls Go to Hell, she's
the landlady who at the end of the movie. She's
the landlady whose son is the detective who's like, I
know who you are. So she's the one who like
takes her in at the end of the movie. Oh yeah, yeah.
So I'm sure she was brought onto that project by
Chuck because she was she got involved with the Block
is where she. I think she got started with the
Block with Tony. So I think she was another Philly
person that came up to New York and just like
hung around for a bit and worked with Chuck. Especially
if she was assistant editor, then I mean she worked
with Chuck, which I find is really interesting. I wish
that maybe he did talk about her another interview we
don't know about.
Speaker 4: Maybe with Bowen, But yeah, so far when we have
interview wise, we have three that we know about.
Speaker 3: With Chuck.
Speaker 4: Regarding these, we have echo, we have rialto and we
have Bowen. So if anyone else has anything that they
would love to share, is the Bowen stuff published or
you just oh the commentary? Oh yeah, I'm I'm pretty
much just lumping that as an interview. I'm pretty much
just lumping those.
Speaker 3: That those all in together. But those are the three
that we know. So anyone else we know that might
have something, But at.
Speaker 1: What point will they be satisfied? Each kick must be
newer and bigger with certain things, there's no turning back.
Speaker 2: Alex has included some photos in our show notes, so
you know, shout out to our patreon again. We'll put
up our show notes.
Speaker 3: Oh yeah, you guys, where did you get?
Speaker 4: You're really going to start to like our patreon because
we are posting more than just show notes.
Speaker 6: Well.
Speaker 4: Also, our show notes have a lot of stuff in them.
The behind the Scene.
Speaker 3: Forty one paw the behind the.
Speaker 4: Scenes photographs I located this. This is always the case
with these. They were in the They were in a
se exploitation magazine that was featuring Hot Nights on the
campus as there the Daring Special Special preview film. It
was an issue Yeah, Daring Films and Books, Volume one,
number five, normally these magazines had one film in particular
that they were featuring, and normally it was one that
like Marvin, the photographer publisher of these was actually on
set doing. But seems like with some of the the
these ones, one of the guys was sending over sets
of really great photos for this magazine because there's also
they also did a really good feature on band which
had behind the scenes photographs. But pretty much this magazine
has a preview issue, which is preview of the movie,
which is mostly a collages of stills. Everyone that they
always within these collages of stills normally slip in a
couple shots of a cameraman filming the action, which is
of course the same thing for High Knights on the campus.
It's very rare, however, that we normally get behind the
scenes of the New York stuff because they were not
there on set photograph. You know, a lot of the
actual like onset photographs come from the publisher whose name
I'm completely missing right now, who would actually go onto
the sets of these and shoot the photos.
Speaker 3: And that's how we got into the stuff publishing. No,
it wasn't night. No, this was much cheaper than night
because night was much bigger scale because night was Adam Night,
not at Adam Film World.
Speaker 4: It's on the tip of my tongue. I think it's
like Marvin something. But he actually like worked with the
We actually went onto the sets and shot photos for
the LA stuff, so they always always have behind the
scenes stills, but of course New York still stuff. He
normally got like a set of eight x tens that
were like the regular ones that theaters would get, but
the someone at CIP was actually giving him even more,
Like I said, because this has as you'll see in
our show notes, some photos of Chuck and who would
believe is Tony Spala manning the air flex with gg
Darlene and things like that, and with the band one
that was a special preview for band that had photos
of Jerry Denby shooting subsequences, and the band feature happened
to have that photo of Chuck shooting Lost in the Flesh.
That's where that shot in the show notes comes from,
because they recycled Lost in the Flesh footage, so naturally
still has also got slipped into the mix. And unfortunately
they're very tiny. They're two inches, yeah, but.
Speaker 2: You get the idea, Like I love seeing these because
you know, you see how close Chuck can get with
his you know, with his moving camera, which is what
gives it that unique look. It's like he's right up
in their face with this thing. Yeah, and he can
like lay down on the bed and get all those
crazy sexploitation shots and between the legs and all that
fun stuff.
Speaker 4: So yeah, wide lenses were the best for secumitation films
in small apartments. Makes them look bigger, just a lot
easier set up your shots. They not get lights in
the way. Just again, economics, really just economics. So I
was wondering, I've wondered about this. Who was shooting their
stills actually, as well as with the Doris Wishman stuff.
We only ever hear about Chuck shoot like being cinematographer,
But who was shooting all these stills?
Speaker 2: I wonder if Tony was doing that as well.
Speaker 3: Yeah, yeah, it's possible because if he wasn't because there's
very few actual credits that he has on the Wishman movie,
So it's possible that he was doing stills maybe both,
just because they weren't credited on the actual film and
we just don't know, you know.
Speaker 4: Who, Yeah, I assume, Yeah, I was thinking it might
have been Tony Spaala at the very least. So yeah,
there's two cameramen we identified. It's pretty probably Tony Spala
as a second one, folks, because Chuck would have probably
pointed out if he was working with another cameraman as well.
But yeah, the other ones Tony. That's the only photos
we kind of have of Tony, which does not really
help with the lust in the flesh credit, just kind
of similar dark hair.
Speaker 2: Yeah, before we talk Sandy, do you maybe we should
talk about Band real quick, because I mean it's a
lost film, Like you said, it was pieced together with
a lot of stuff from Luston.
Speaker 3: Yeah. Well, the reason why Band even happened was because
of what happened to Tony.
Speaker 4: Yeah, that's very true, which.
Speaker 3: I can't find any death notice of this, but yeah,
apparently he died while having heart surgery in a Philadelphia
hospital soon after production rapped, So we're talking like for
early sixty five. He's gone. But I can't find any
anything in Philadelphia papers about this, which is interesting. I'm
not saying it didn't happen, I just find it strange
that he's noted in papers and then for whatever reason,
that's not noted.
Speaker 4: So yeah, new York though, did he not get surgery
new York around this time?
Speaker 3: It was Philadelphia? He died in Philadelphia. Oh really Okay,
yeah he died. He went back to Philly to get
his surgery and died in the hospital. Oh that's what
I'm like. It would have been Yeah, I should have
been in the Philly papers very least, I would think.
Speaker 2: You think so, you think that would have been in
the papers. I mean it's it wasn't like malpractice or anything.
Speaker 3: It was, no, but it would have been in the
papers because families post death notices there. You know, there
are obituaries and stuff for like funerals and memorial services
and stuff. So that's more of what I'm talking about,
kind of like the Sandy Johnson thing that's in there
is by the family, Like the joet Land where is
by the family, Like oh yeah, like those death notices.
I'm not talking like an article written by journalists. I'm
talking about like a notice that's submitted to the paper
for them to print from like the family.
Speaker 4: Well, yeah, that can also eventually lead into Sandy because
it's on the campus. Was was kind of what helped
form Crown International Pictures, the company.
Speaker 3: That stay that name that long, No, because they didn't
figure out they didn't know somehow that there was a
West Coast company already called Crown Pictures.
Speaker 4: Yeah. So two of the films have that Hot Nights
on the Campus, and then band has the full Crown
International Pictures and then they changed it to c IP
and Crown International. Where are the notes? It was an
amalgamation of I know, Jerry Denby, Sandy Johnson, and there
was a fourth.
Speaker 3: Guy, Suck, and there was another Tony.
Speaker 4: Yes, there was.
Speaker 3: I know a lot of tones.
Speaker 4: Yeah, so they amalgamated to not only they weren't to
produce and also distribute, like they distributed some things that
they did not remotely handle, but.
Speaker 3: Supposed to be The Whips Women was originally supposed to
be c I P. And then they went out of busines,
so then it moved over to Chlly somehow.
Speaker 4: Okay, I'm a press book.
Speaker 3: Where there's a Kelley Films is pasted over the original
press book which says distributed by c IP so uh
West Coast. But then that was Jerry Denby, so.
Speaker 4: Yeah, well Jerry Denby was was it? It's hard to
tell when CIP fully closed, but I feel like Jerry
Denby was also doing his Jode stuff because Joe Productions
was also happening. That was just Jerry, but Jerry would
get Chuck to help him.
Speaker 3: Right well. I think they closed because Sandy moved over
to Chancellor, did he not? I think we discussed that
they closed became the head of Chancellor and was sixty seven.
Speaker 4: They closed because of disagreements between Al Rubin and and money.
Speaker 3: Oh no, I think it was because I thought Chuck
said that Jerry Denby it was a snake.
Speaker 4: Yes, yeah, I make Jerry Denbil all the time. But yeah,
Jerry Denby was a snake, as many apparently have said.
So that was pretty much why why yeah, why why
CIP went and Jerry was doing all sorts of things
behind this I can tell because Jerry was also doing
Joe at this time. He was gained financing from Chillie
Wilson to do a couple like Honey, which was distributed
by CIP. Was Chillie Wilson finance and stuff. So yeah,
I could see him having conversations and doing things behind
their backs because he was kind of the money hustler
guy for the stuff as well too. But yeah, Hot
Nights on the Campus Folks comes out from Crown and
does well. As Casey has managed to chronicle, it did
very well actually for them.
Speaker 3: Huge kept playing until nineteen sixty nine. Oh really, yes,
it kept playing as late as ninety sixty nine because
it was a hot, popular title and people would just
throw it on a double bill or triple feature.
Speaker 4: Wow.
Speaker 2: He even played up there in Mini.
Speaker 3: I just kept going. It did well. We have an
article to go over about that. But yes, some some
holier than now person wrote a letter to the editor
about the theaters where they were showing on Nights on
the Campus. Oh really, yeah, it's a good read. I
was like, Gentry, this is uh, this is called.
Speaker 2: I'll have to check my book. I have a book
on Minneapolis the History of Minneapolis Theaters, to see what
they say about the theater, the Theedar Theater here. But
where do you want to go from here? Because we
haven't talked about Sandy yet?
Speaker 3: Well, band, I mean, what is there to say about it?
Mostly just stuff from the previous movies. Yeah, band is yeah,
that's all really.
Speaker 2: Yeah, And they posthumously put Tony's name on it because
he directed less than the flesh.
Speaker 3: I think it is only fair because he directed them,
so yeah, yeah, I would hope they put his name
on it. You know.
Speaker 4: Yeah, it incorporates quite a bit of lesson the flesh.
You could see samples again in the show notes. And
then they added some neat stuff, like enough that makes
me want to see it out of curiosity. They added
the tarantula torture scene. Judy Adler gets a nail hammered
through her hands.
Speaker 3: At one point.
Speaker 4: Yeah, like, which is also funny because in censor Judy
gets her legs cut off. Yes, no, yeah, Judy really
gets it in the in the compilation screaming thing.
Speaker 2: That's why maybe.
Speaker 4: Yeah, yeah, I was really startled by that scene. It's oh, Barry,
you can actually do stuff. So yeah, band, it does exist.
Who knows if we'll ever see it?
Speaker 2: What do you mean it does?
Speaker 4: How the neck exists? Yeah, it's around okay, yeah, no, no,
it showed up a couple of years ago. Well it
get seen, who knows?
Speaker 2: Well, can you help us, because can you push some
people talk?
Speaker 3: Let's talk after recording. Well, give me your name. I
see there's a million there's a million other films that
are going to handle so who knows I am. Honestly,
that's not the top of my list either, So no,
it's not.
Speaker 4: But I'm just pointing out fun fact there's possibility on something.
Speaker 3: It needs to be as like a bonus feature on something.
I don't need to see it.
Speaker 4: Yeah, it's a curiosity piece for me.
Speaker 3: Especially if it's just made up of mostly other stuff. Yeah,
it's just like whatever.
Speaker 4: Yeah, exactly, I'm pretty okay. I've seen less of the flash.
It's fine, it's fine.
Speaker 1: As I read, I experimented, I thought of the theories
of love from Alvid to the Kamasutra, gaining confidence not
only in myself but in my ability to give and
receive love. I was no more at a stumbling, awkward child,
but truly a woman.
Speaker 3: Well, so I knew once I knew, I need to
find more about Sandy because I know the last one
time we talked about it and you had mentioned that
he died in a car accident, and Chuck mentioned that,
and I was like, well, I need to find infel
about this because it has to have been documented somewhere.
So I was doing research. First of all, I found
a very weird article that seems like a premonition of
the way he was going to die from September nineteen
sixty five where he had a car accident where the
car it was on a rainslick pavement. The car rolled
over and landed upright in a parking lot and he
somehow survived. And so that was nineteen sixty five, So
he already had a brush with death in a car
in nineteen sixty five. So after The Vixen's aka Friends
and Lovers, which was the I think he kind of
went for broke with that and that went that was
voice everywhere, but I don't think it did great business.
He left New York returned to Illinois around seventy two
seventy three. He bought a farm. Like he got away.
He was done with the he was done with the city,
done with every city, done with cities, yes, exactly. And
he started acting again in local plays and he also
directed a few local plays. So he got involved with
like what he originally set out to do, which was
to get involved with stage and become an actor. So
he was there for a couple of years and then
he relocated. He sold his farm around nineteen seventy seven
and relocated back to Chicago. But it was for it
was after his son Michael, was attacked and permanently disfigured
by a dog. And there is a documentation of a
court case where he sought damages for the dog bite.
Essentially because he had to keep going back and forth
between his farm and Chicago for his son to get
treated and taken care of, they just uprooted and just
moved to Chicago so that his son could be taken
care of on a more permanent basis. So he was
there around seventy seven. They were awarded, you know, seven
grand for that dog bite, which I don't know what
that is in today's money, but I don't know if
that even covers their medical expenses. But unfortunately, the last
we hear of him, so he died in a car
accident in Michigan on June eleventh, nineteen eighty three, and
he was forty forty six, forty six years old, very young.
He was in the I believe he was in the
passenger seat of a car being driven by somebody else
and the driver was trying to turn the car around.
They made a wrong turn, and so he pulled in
somewhere to turn around, and then he pulled back out
and this giant truck plowed into the car and killed
everyone in the car, and I believe except for one passenger,
including a little boy. There was a little boy in
the car. The driver of the truck survived, but yeah,
Sandy unfortunately died. He left behind three sons. Michael is
the one that was the victim of the dog mauling,
and then he had two other sons. I feel like
I would like to reach out to these sons at
some point just to see what they remember about Sandy.
His I feeling is very underdocumented in general. But the
crazy thing is I also found that his ex wife,
a woman named Benta, who I believe is must be
German from that name, she sued both drivers in the accident,
which actually that means she sued the estate of the
dead driver of the car that Sandy was in. She
sued the truck driver, and she sued the trucking company.
She sued all three of them about a year later
for damages. And I'm guessing sued because you know, I'm
guessing that she she eventually had to now take care
of all three kids, and I imagine Sandy was contributing
to taking care of those kids. So she's like, well,
you took you took my ex husband away, and now
I can't raise these kids, and so I'm trying to
get money for my family and one of I don't
know if they settled.
Speaker 2: Yeah yeah, yeah, one of them.
Speaker 3: One of them requires a lot of care. Right, So
I don't have any evidence that they settled or if
she won. But that's the last any mention of Sandy
Johnson anywhere. Is this article of his ex wife's suing.
And she's passed away because I researched her to try
to find her, and I forget when she passed away.
But yeah, Sandy a very interesting guy. Gone way too soon, yeah,
way too young.
Speaker 2: What are we thinking with Sandy Johnson's filmography? Like what
have we what's been put out? What still would you
like to see put out?
Speaker 3: Everything?
Speaker 4: We don't have anything, I know.
Speaker 3: Yeah, here's the thing is lost beautiful bloody in the
Bear and most of most of misconduct. That's it. Yeah,
it's all that's gone.
Speaker 2: Yeah, I know we talked a lot about his stuff
in the are lost in a limbo series, But I'm
once again appealing to you guys for knowledge of anything
that exists.
Speaker 4: Yeah that well, it's also awful is that Sandy would
have known because a lot of them were chancellors and
he ended up owning Chancellor.
Speaker 3: It ends with Sandy, unfortunately, it ends with Sandy.
Speaker 4: Yeah, because a lot of his stuff was Chancellor. The
only other one I could think of that was lost
that isn't Chancellor is a secret society which has a
lot of roommates in it, even Joanna Mills. Actually that
was Bob Cressy.
Speaker 3: So the lab that was holding all the Chancellor stuff
closed and that stuff is gone, so that all you
can hope for is that theatrical print to turn up.
Those negatives are gone, So that's what it boiled down
to and black and white prints.
Speaker 4: Yeah, that's four. That's four of his films which are
tragically because they look good and a Cornice and who
was in them were really well done, well made. I
mean Justine shot in Puerto Rico, like yeah, that's so
that was my that was flew them all to Puerto
Rico and put them up in hotels and like, yeah,
they got their vacation.
Speaker 3: Is on that list? The singles and fidelity American.
Speaker 4: Style, Oh, Vixen's as well.
Speaker 3: Vixen's which apparently played in Ontario.
Speaker 4: Oh yeah, so Vixen's has a slightly higher chance. I
know one or two of the chancellers also played up
here games and how they.
Speaker 3: Played up there? Oh games people play?
Speaker 4: Oh yeah, yes, that played up here. I know that
played up here.
Speaker 3: Yeah, so that was another sandy.
Speaker 2: Yeah, remind me how Beautiful Bloody and the Bear survives.
Speaker 3: Is there a Novas bought it?
Speaker 4: Yeah, so thanks to Novak for at least behind that.
Speaker 2: I'd like to see that show up is. I don't
know how you would release that.
Speaker 3: It's only six or three minutes. You can't release it
on his own, and I don't know. You keep talking
about bonuses. Novak doesn't do bonuses. The problem. They would
still charge the same licensing fee, so you can't shove
it on as a bonus.
Speaker 4: That's the problem.
Speaker 3: You get the money back for the license.
Speaker 4: It would be fun with kiss Me Quick, but it's
it's not worth it, like.
Speaker 3: It's a weird double feature.
Speaker 9: Though it is, But that is so crazy, there's very opposite.
And well you do put beautiful blood in the bear, it's.
Speaker 3: Never gonna happen. Well it was. It didn't make sense
with Behind Locked Doors either. I thought that was a
stupid pairing. Yeah, exactly, that's what I'm trying to make
it either.
Speaker 2: I'm trying that it's such an odd ball nudy that
it doesn't fit with the nudy cuties, it doesn't fit
with the roughies, it doesn't fit really with the gore films.
Speaker 4: It's trying to think of another bloody nudy.
Speaker 3: All that skirt already came out. Yeah, it made sense,
but yeah, Love Goddess has already came out. Yeah, all
the gory nudies are already out except for that one.
So it's just gonna have to languish in the Novack fault.
I guess I'm not I'm not crying about it.
Speaker 4: It's not possible. It's impossible to find through various.
Speaker 3: Ten minutes are kind of the best thing about that movie. Yeah, Yeah,
the rest is completely forgettable Mayon style crap.
Speaker 2: Yeah, you could have a photography.
Speaker 4: Yeah, you can lie to me that someone took an
unreleased Mahon film and tacked on a new ending. Yeah,
and I would believe that. I would believe that.
Speaker 3: It is so Mayhon and I'm just like, I thought
we were done with this shit. It's oh my god.
Speaker 2: Yeah, it's not the photos studio stuff. Yeah, it looks
nice though, the colors are really pretty.
Speaker 3: The colors popped.
Speaker 4: Yeah, but it's like you know that film.
Speaker 3: That's all well and good, but when the Novaks are
asking top dollar for a licensing fee for a sixty
three minute nudy that you have to release on its
own or a double feature with something else, that's just
not yeah yeah, not top priority.
Speaker 4: Yeah no, Unfortunately, the Sandy Johnson Library.
Speaker 2: Is kind of I kind of I kind of knew that,
but I just wanted to ask again in case you just.
Speaker 3: Wanted to bring the mood down.
Speaker 5: Is that what it is?
Speaker 3: You really just wanted to bring it make us all
depressed and angry? After I talked about how Sandy was
obliterated by its rocket fea.
Speaker 4: So, by the way, Sandy was obliterated and we can't
see any of his movies as kid was disfigured. See
this has been a great episode. See yah. Yeah, your
questions and guys questions.
Speaker 3: The story is horrible. Yeah, ask us more stories of
which other horrible sexploitation stories you want to hear because
we know all of them.
Speaker 4: The premonition, oh my god, the fact that he was
died in nineteen sixty five, and then it came true.
Speaker 3: Just yeah, exactly. He flipped his car and walked away
crazy and seat belts before seatbelts were mandatory, he somehow
survived flipping his car.
Speaker 5: Oh god.
Speaker 2: Well, speaking of cars, did you guys notice the car
in Hot Nights on the Campus? That little car when
she's hanging her head out the window to get air
after trying to kill herself. You see that little sports car.
It's the same sports car that Gigi drives around in
in File X for Sex. Really yeah, take a look again.
It's so I wonder if it's her car for Chuck's car.
Speaker 3: I like, I feel like it's crazy for anyone to
own a car in New York.
Speaker 4: Yeah, that's the thing. But I do love the visual
of turban gg R glasses riding around a little sports car.
Like I love the image.
Speaker 3: It makes sense.
Speaker 2: I have to check if it's the same sunglasses too,
because then you know what I'm talking about. You watched
File X for Sex recently, didn't you?
Speaker 3: Out there?
Speaker 4: And was I not one that I struggled to pay
attention to it?
Speaker 2: Like, you know, do you remember the scene when she's
like picking up you guys.
Speaker 4: Oh, she's the weird like Nymphoe.
Speaker 2: Yeah, and she's driving around in this car.
Speaker 3: Oh yeah, the thing she shot I think because that
came out long after she'd retired, like a year.
Speaker 4: Yeah, okay, I kind of remember where you're talking about. Yeah,
I can't remember.
Speaker 2: The car anyway.
Speaker 3: Yeah, and try to give himself a sex scene at
the end of the movie, which is I like this
like movie like that. He's ever It's the most graphic
thing he's ever given himself to do on camera, because
Girl from Si N is more like comedy and goofy. Finally,
ex for sex is like he's taking his shirt off,
he's getting down at early. I'm like, Chuck, you don't
need to do this. No, that's weirdly uncomfortable. It's Sandy
not available.
Speaker 4: That's a weirdly comfortable Chancellor.
Speaker 3: Then reason scene.
Speaker 4: Isn't even uncomfortable. It's just annoyedly long. There's the Bennett
sisters getting together.
Speaker 2: A little Yeah, they're getting pretty close.
Speaker 3: Yeah, there's Yeah, I was not happy about Perverted. It's
fireless for sex colon the Perverted.
Speaker 2: Yeah, it's not as.
Speaker 3: Gross as the Molesters, though. That is the most revolting
movie that was ever imported for a sexploitation audience. That
entire movie is just like, isn't something.
Speaker 4: The Molesters Isophelia. The Molesters German entry. Yes, it is
a very serious okay, so let me explain. Let me
explain this. So The Molesters Folks is a very very
serious German drama, very dark, very nasty. About the footage
that we have is two episodes of child of stories
centered around child predators praying against children, using them. An
American distributor bought it and added in a ten minute
kind of feature on various other perversions, like you will
see the voyeurs. There's a two minutes on voyeurism, there's
two minutes on sato masochism, a woman's getting whipped in
a basement, and there's one more thing about a fetishist
who likes to sniff women's underwear, steals them and stuff.
So the trailer is mostly that, it's mostly you will
see the sadis the look snatchers, the fetishists, blah blah
blah blah blah. These are the molesters, like proper adult behavior, right,
What you really get is a really upsetting and very
serious take on pedophilia.
Speaker 3: There is a scene in that trailer though, with the
little bit yes that is very shocking too. Yeah, what
the what fucking audience is a score? It's like, it's
really crazy director distributed by Aristocrat Films.
Speaker 4: That had a lot of problems. It had a lot
of problems, shocking left it played here in Canada though.
I have a photo of the Molester's huge god on
Young Street. One of our main is on one of
our main is veins, a huge molester's marquee.
Speaker 3: Funny enough.
Speaker 4: I don't know who told this story. It's just launched
in my brain. We're severe and so off, but I
love this. They were once putting up a billboard for
that somewhere, and an old man walks by and looks
the distributor that is gonna make so much money on this.
I think it did well in some areas. He looks,
and he looks up at the billboard. He goes, oh,
I didn't they made a sequel to the mole People.
The Molsters.
Speaker 3: So stupid? Yeah yeah, yeah, And then I think something
weird put it in the twist and sex category, and
that's probably the most repulsion that is actually beyond. Oh
my god, they went so far stuff. Yeah, it's just
like were they thinking they went you can or whatever
and bought this at a film market and thought I
can sell this as a sex movie to adults. They
gave up promotional whistles your safeguard against the molester's whistle
for they had children.
Speaker 2: Why did you have that so close to your desk?
You had that like right.
Speaker 3: Through the window, gentry, come on exactly. I don't know,
but help.
Speaker 4: It's they put out so much. They've put so much
money advertise on movie. Oh my god, I need it.
Was just like the door panel door panels forty by
sixties available all sorts of lobby like so much, so
much ten years before. Once in a while they they
pop up everyone so.
Speaker 3: Long ten years before solo they put out so could
run exactly. Molesters. Yes, and I know that, and that's
all that matters. And I think I rated The Molesters
like high a letter box, just because since well, Matt,
something is.
Speaker 2: You didn't rate it at all.
Speaker 3: I don't seriously, oh you don't even have it.
Speaker 6: I need to.
Speaker 3: I think I need to rewatch it. But I think
I I think I looked at my rating. I was like,
that's really high for a movie that made me sick
to my stomach, So I have to rewatch it.
Speaker 4: I don't know, it's a really well made film. It's
just upsetting. Like I respect how good it is.
Speaker 3: It's what the Americans did with it. Yeah, the original
German version is probably very different. It's what the Americans did,
and that the Americans preferred it.
Speaker 4: It feels grosser because of yeah, because of how they
try to sell it.
Speaker 3: We ruined it. Oh, we destroyed it.
Speaker 2: There's a review here on Letterbox. I've seen Solo, I've
seen Irreversible, I've seen Happiness, and this is easily up
there in terms of how uncomfortable it is to sit through.
Speaker 3: Yep. I could not believe it when I bought it
because I was like, I don't I don't even think
I read the description when I bought it because I
was just like trying to get all the twisted sex stuff.
So I just ordered it all and then I was like, molesters, Oh,
this is going to be interesting. And as I'm watching Why,
there are a lot of Yeah, there's a lot of
focus on this kid. Here, where is this going? And
then I said, then I read the back of the
DVD R and I was like Jesus Christ, like because
something myself. Oh I.
Speaker 4: Back in the day, I would occasionally watch trailers a
long time before I could actually like have get a
copy of the film. So I knew that was waiting
for me the whole time. I knew exactly.
Speaker 3: I don't think I see what's.
Speaker 4: Going to happen.
Speaker 3: Oh, I don't remember film molesters, maybe compilation films, maybe
Sandy Johnson, I don't remember. So we have the Molesters,
but we don't have the Sandy Johnson filmography.
Speaker 4: Yeah, that's the crime. I mean, that's the crime we
don't have.
Speaker 3: We don't have Peggy Stephens as the maybe the first
cinematic version of a Marquis de Sad heroine. We don't
have that. Yeah that's upsetting. Yeah.
Speaker 4: Two good Peggy Stephens films, Honey and Honey, Yeah, which
was also c I P. That's a c I P title,
which unfortunately hasn't shown up. C IP is a bit weird.
Speaker 3: So there's so Jerry Denby, there's a whole thing. I
think we'll save this for a Jerry Jerry Denby episode.
We'll tell I don't know what that would even be
pleasure plantation maybe with Linda Boyce, which is kind of fun.
It's it's I told you guys about the actress that
was murdered. Yes, they interviewed they found her body in
New York Daily News, lasted her dead body it found
in the alley, and then interviewed Sandy and Jerry because
she was in the Twisted Sex and they have in
the article of her from the movie.
Speaker 4: So I found the ad.
Speaker 3: That's a little that's a little tease. We will talk
about that in another episode because I feel like we've
gone deeper than we deep, deep, deep into this, and
I feel like that's more Jerry Denby. Even though Sandy
directed the Twisted Sex.
Speaker 4: No, Jerry directed Twisted Sex.
Speaker 3: Oh did he? Oh, that's right, we had that conversation.
Speaker 4: Yes, yes, he was into the darker stuff.
Speaker 3: That's right. That's right, because that was one that I
think Chuck confirmed because I think.
Speaker 4: Sandy that was production. That was Jerry Denby production, JO production.
Speaker 3: Yes, that's it, So we'll talk about that.
Speaker 4: Okay, Yeah, well, I guess it's crazy tepnically an update,
it's typically an update though, Oh that's circus.
Speaker 3: We talked about Twisted Sex.
Speaker 4: It's an update, Yeah, an update.
Speaker 2: From Austin and Limbo several months ago too.
Speaker 4: This is a really good one too.
Speaker 5: Well.
Speaker 3: It is crazy because then Shelley Wilson in the article, So, yeah,
like this actress Sharon Lewis, who was the daughter of
another popular actress and who was related to like diplomats
in England and things, was a working actress and she
had appeared in the Twisted Sex. And so this article
interviews both Sandy and Jerry where they talk about they
worked with her on this one scene and it's a
sequence in the a sequence in the movie that I
don't really remember. I don't recognize it.
Speaker 4: Oh, from I read it, it was a she she
falls into a lesbian relationship for some reason. That's the
crux of her, that's the crush.
Speaker 3: She's like a dancer or something. She's like a dancer
that gets hurt by a man and then then so
she decides to shack up with her girlfriend. I think
that's a situation.
Speaker 4: She kind of looks similar, she has similar hair in
a similar look to Judy Adler actually a little bit
and still and stuff.
Speaker 3: Yeah, right, And they talk in the article about both
Jerry and Sandy talk about like they were, they were
they could have made her a star, like she was
very good in the movie. But they really in addition
to the did you actually describe what happened to her
in the article?
Speaker 4: Do you describe what? Why is she in the article?
At first? In the first place, Oh, well, she was murdered.
Oh yes, folks, she was murdered brutally.
Speaker 3: She was brutally murdered and found in an alley. Her
pockets contained twenty one dollars in cash and three house keys,
no other clue to her identity. She was unidentified for
a long time.
Speaker 4: And they showed the photo I think came through.
Speaker 3: They showed the photo. They show them full photo of
her in her little white go go boots, and then
they say white boots were favored by Sharon. She wore
them for the sunny day photo, one of many of
herself in her apartment. But then they have her contorted
body wearing the same boots in a lot when she
was found. But then the really interesting thing, which is
pure exploitation. So at the theater where they were showing
the twisted sex which I forget which one it was,
but they name it here nativly slativly. Yes, it's at
the Tivoli. They had it. They said, Sherry Lewis, which
is the fake name she gave in the movie. Is
Sherry Lewis in Twisted Sex. They changed it to Serry
Lewis and small twisted sex and big is the original.
They flipped it so now it's as Sharon Lewis in
big letters Twisted Sex in small letters. To cash in
on the big thing in New York is this dead
girl named Sharon Lewis. So they want people to come
see this dead girl in a sex movie.
Speaker 4: Scroll down to the final page I put in the
newspaper ad two that points her out. You've read about her.
Speaker 3: You've read and heard about her at the World Card,
the Twisted set at the Tbili. That's crazy. It's they
discuss Uh yeah, they discussed their process. They were supposed
to shoot, They were supposed to have a different actress
who ended up not being available, so they stumbled upon
this girl and she did the role. It's much more
in depth than we're going into, but the articles are in.
The article is in the show notes. It's really fascinating.
Chlly Wilson is name dropped because she I think that
they shot in her studio, yeah, which was above her theater.
I think they knew. I think they mentioned that. So
it's interesting. And I only found it just because I
was trying to find any kind of mention of Sandy
Johnson in the paper and that turned up.
Speaker 4: Have we heard of crazier publicity for a exploitation film
that's really out there?
Speaker 5: No, this is.
Speaker 3: Probably more depraved than well, it's probably it's I'm trying
to think it's more depraved than like people saying, like
a sex movie was shot online the spawn ranch where
the Manson family lived into the Tate La Bianca murders
is grotesque, But this is worse because it is cashing
in immediately on her body being photographed and published in
a paper and the same day or the same with
the next day, it's immediately like, come see this dead
girl in a sex movie, see this dead girl naked? Right,
It's just like that's that's very uh grotesque, that's sexpotation,
show business. Yeah, that's the business that Sandy couldn't wait
to leave behind when he went back to He bought
a farm and ran back to Illinois.
Speaker 2: Yeah, okay, we can't end there, you guys, we can't
end there. Let's end this by saying something nice about
Hot Nights on the Campus, which, for the record, I like,
still yeah, we all okay? Good because after watching All
the Sam Lakes and then watching even Lost in the Flesh,
watching Hot Nights on the Campus is like kind of
a warm blanket film, don't you think? Do you know
what I'm saying? Honestly, like classic New York City sexploitato, it's.
Speaker 3: Very representative of the type of film that I like,
Ye New York's exploitation, and that's that's why it's something. Yeah,
it is like it's it's comforting because it's familiar. And
also it has enough it's almost wall to wall actresses
that I love, so it makes it so much easier
to spend time with them, and lots of good location footage,
I mean that handheld cinematography, Like it's yeah, it's Sandy
Johnson looking hot. You know, it's you know there is
just I don't have anything really bad to say about
the movie. I mean, it's not perfect. It makes it
sounds like I'm saying it's perfect, but it's just like
it ticks all my boxes. So it's great comfort, somebody
that I can come back to. It's very comfort food. Yes,
it's very like it's like a bag of Hokies. Yes,
it's very like. I'm gonna curl up with my bag
of Hokies.
Speaker 2: And I think we have a new T shirt idea
something Sandy Johnson hot, Sandy Johnson hottest director, producer. I
don't know, Well, we'll brainstorm that one.
Speaker 3: He's up there. I mean more, Rossler's more attractive to me.
But yeah, Rosstler is like the end all for me
in terms about almost a bear. Rostler is almost a bear.
Speaker 4: Yeah, you're right, he should be.
Speaker 2: What more does he need to be a bear?
Speaker 3: He needs to be heavier?
Speaker 2: Oh heavier?
Speaker 3: Okay, needs like he needs a belly.
Speaker 2: What's the what's the weight limit? Is there a weight
limit here?
Speaker 3: It's not weight, it's image. Bear is all about the image.
You have to be burly. You know who's a bear?
Stephen Thrower, who I just lested after and a letter
by saw that Stephen Thrower is a bear. A burly
guy with facial hair. That's a bear. Stephen Thrower is
a bear.
Speaker 2: Okay, it's a It's a ratio of things You're not
just saying that because he is gay.
Speaker 3: No, but being gay helps there are three. Yeah, I
prefer no, but being gay helps.
Speaker 6: The conte language.
Speaker 1: With all that happened, I thought that nothing would shock me.
But I was wrong. I had started to walk into
the other room when I saw them, Shanette and Judy.
I stood there a moment, too horrified to say or
do anything. It just didn't seem possible. These were things
that you read about, but they never happened outside of books.
Speaker 2: Thank you for listening to hear more shows from the
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