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Speaker 1: We're all owned by the Syndicate Body and Soul or

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should I just say Bunny?

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Speaker 2: Hello, Filthy movie Lovers, Something Weirdos and Anti Criterion Bros.

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To the twenty seventh episode of The Sin Syndicate, the

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only podcast that knows all your problems can be solved

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by a man named Gig and the best things in

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life happen outside of books. My name is Gentry, Austin

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writer and researcher, and I'm here with my co host,

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adult film historian Casey Scott. And in this week's episode,

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we are joined by best boy Alex DeSanto, who will

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be joining us for a look at two nineteen sixty

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five New York City s exploitation films from a man

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named Tony Orlando, not that Tony Orlando, Lust in the

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Flesh and the Washington Square shot Hot Nights on the Campus.

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But first, let's talk corrections, news and updates in the

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exploitation world. We're recording this the day after Black Friday,

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so let's discuss the big news coming out of Something

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Weird And this strip picks the announcement of the new

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series of If I Am Correct from the press release single,

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double and triple features that are going to be focused

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on the film of David F. Friedman, starting with the

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adult version of Jectyall and Hyde and The Erotic Adventures

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of Zoral. How we feel on Boys?

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Speaker 3: Did they say single release?

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Speaker 2: Yeah? I read that in the press release as well,

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and I was a little confused about that, So I know,

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I'm yeah.

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Speaker 4: From what I know, No, But if anything were to

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be a good single release, it would have maybe been

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Doctor Jekyl. So I can't see that's got a nice

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horror album start out.

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Speaker 3: Starlett would be good Bye itself except the Goats with

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Darcy Blows, but it only exists in that in that

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foreign print, So yeah, mead release. Pretty sure Blows is

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just a little bonus. What's fine because Darcy Blow sucks. So,

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like you know, I don't really care to see that restored.

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It's it should be. Yeah, I don't care if that

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movie's landfill. Sorry, Dave.

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Speaker 4: I'd say just historical interest extra at the very least.

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I still like it. Things like this existing.

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Speaker 3: But when you see Alan Patrick very early Alan Patrick, Yeah,

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it's the hero romantically.

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Speaker 4: Yeah, exactly, It's got some people in it.

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Speaker 3: I like, these look gorgeous. There's the shots we've seen well,

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and it's funny. I am friends with the guy who

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does the subtitling for those, so he sent me a

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screenshot of him subtitling Bob Cressey's dialogue and Zoro and

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I was just looking around the subshot. I was like,

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holy hell, these look amazing good grief, Like, you know,

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the restorations from DVD look good for that time, but

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these colors pop. I am so excited. Yeah, I'm yeah,

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these look absolutely stunning.

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Speaker 2: Yep, I'm excited for these two. I get why they

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went with uh these first two because obviously there's the

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Renee bond in Jekyl and Hyde, which you know she

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has a certain horror and the horror angle. Yeh. And

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I'm curious to see the responses because personally, I think

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Zora is great. I think it's actually really funny. Casey's

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shaking his head kind of.

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Speaker 3: I think I did a whole Freeman rewatch. I give

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a historical interest rating. I don't love it as much

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as uh as uh as me or Jacquelin Hyde is

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way better.

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Speaker 4: It's just overlong, that's all. It really has a long

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with it. It's just overlong, that's it. It's still a

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good film and it and I can see why it

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was again the other first because that was like Dave's

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biggest one even terms of like release everything, like that's

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the one A lot of people even from way back when,

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are like, oh I saw that one. I saw that.

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I saw that, Like Zar was his ultimate baby kind of.

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I mean, she freak might now be, but in terms

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of like success and things like that, Zar was really

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a landmark film for him.

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Speaker 3: Yeah.

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Speaker 2: The money is like on the screen there for that one.

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Speaker 3: Yeah, and I think seeing it restored might actually change

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my opinion because that has happened where I'll get a

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blue way of something and I'll be like, oh this

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this impacts me differently now, you know. So uh yeah, no,

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I'm excited. Uh. And the exciting thing for me is

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so I I was privy to the whole planning of

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this from the very beginning because Lisa and Steve reached

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out to like a big group of people. We kind

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of whittled it down to people who were available and

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wanted to contribute. And so yeah, now there's essays from Lisa,

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obviously Austin Miller, who is, like I think at this

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point he's the pre eminent Dave Freeman guy, and which

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is great because I don't think we have a Dave

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Friedman guy like so to speak, except for like Lisa

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and Mike were the Dave Freeman guys. And Sean Langrick,

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who's great and you know, he did a lot of

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research on the actresses across those two films, so I'm

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very excited to read what he has to say. And

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Laura Helen Marks, who's fantastic, who has a lot of

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background in like period piece erotic cinema. She did the

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commentary for Naughty Victorians. For Vinegar Syndrome, I wrote a

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really good book. Oh gosh, I forget the name of it,

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but it was like it was about Victorian era pornography

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and how it translates into contemporary pornography. So I'm very excited,

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like this is it's a really good package right out

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the gate. I'm really it's yeah, and they're going to

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continue to be great just because I have I'm kind

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of involved with all of them. Yeah, it was tough

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to sit on this for a while, you know.

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Speaker 2: Yeah, I'm yeah. So I think you should pick up

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the special edition if you're thinking about it, because, like

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Casey said, there's some great writing in there that adds

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a lot of context. So yeah, we're looking forward to

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more releases coming from that collection. I kind of joke

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to our friend Dakota that this is kind of like

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our Pink line, it's the Freedman line.

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Speaker 3: It's word of I guess I kind of agree with that.

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Speaker 2: I mean, it's like a huge name in this exploitation

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world is getting his own dedicated line, kind of like Sato.

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Speaker 4: Yeah, sure, sure.

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Speaker 3: I don't know if we have one of those. I

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feel like Sarno is our version of the Pink line

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if we got but we've already We've been spoiled with

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Sarna releases for years, so I guess this makes sense

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if the only the only the equivalent I could think

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of his Novak, if we finally got somebody actually raiding

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the Novaks and releasing them in quality editions, Like I

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saw the You see the screenshots of Zoro and Jacquelin

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Hyde and you're like, how amazing would like Romeo and

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Juliet Look, yeah, you know, how amazing would kiss me quick?

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Look like you know, you just think of the colors

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popping off the screen, and I'm just like, this is great.

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But somebody also I would love somebody to raid those

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Novak faults and liberate those films from the iron hand

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of Carmen Well.

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Speaker 2: Next up, we discussed our mount Rushmore of New York

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City sexploitation actresses last episode. So we put a call

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out to our patreons to give us their mount Rushmore.

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So we're gonna list off a few of those, and

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there was sort of yeah, okay, I'll just let him

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speak for themselves. So all we got our friend Klawon,

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who just started his own podcast called The Late List.

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Clon says, right, Bree Campbell, Wait, Audrey Campbell, I always

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get those mixed up, Audrey Gamble.

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Speaker 3: Wait wait wait wait wait wait is it Aubrey.

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Speaker 4: Or Audrey Audrey?

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Speaker 3: Audrey Audrey? What are you having a stroke?

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Speaker 2: What's going on?

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Speaker 3: Going on?

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Speaker 2: You're in this You're in the frozen patio right now,

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and my brain is.

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Speaker 4: I will tell you that everyone send prayers to Gentry.

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He's really suffering for this episode.

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Speaker 3: She thinks Audrey Campbell is Aubrey.

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Speaker 2: He needs your help, all right, Clawon, Audrey Campbell, Jerry Miller, GG,

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Darlene and June Roberts. No complaints there, Yeah, Jerry Miller.

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I hadn't thought of her. What's Jerry Miller's best role?

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Speaker 3: Flesh, the Warhol film. She doesn't like. That's why that's

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an interesting choice for sexuitation, because she did the Peter

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Woodcox well one Peter Woodcock and then a few others.

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Speaker 4: She did Kiss Me Mean on sixty ninth. But no,

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she's yeah, she's of which area's warhole? Like, I don't

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think of her exploitation.

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Speaker 3: She's great in flesh. She's really great in that.

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Speaker 4: Yeah, flesh and tracks.

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Speaker 3: That's a very interesting choice. I forget that she's this

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exploitation girly and then she's in high Rise doing like

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a topless dance that hardcore film.

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Speaker 2: We've got John Charles. His picks are Jennifer Wells, GG, Darlene,

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June Roberts, and Audrew Campbell. So we've got another vote

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for Audrey and another vote for Jennifer, and then we've

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got Alex Holmes. He gives his list as June Roberts,

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Darlene Bennett, Sharon Kent, and Peggy Stephens are all really

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good too.

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Speaker 3: Yeah, Sharon Kent's a good one too.

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Speaker 2: Still no votes for Don Bennett, huh, And I don't.

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Speaker 3: Know what's going on. Yeah, well she.

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Speaker 4: Was only with Sor She's really only with Sarno though,

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like she does an encompass Yeah, she's not as encompassing

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if you ask me.

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Speaker 3: Well, that's true. That is true. Everyone else worked with

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multiple other people. That is true.

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Speaker 2: So I think Gig Darlene and June Roberts and Jennifer

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Wells are definitely probably are three of the top picks.

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I'd have to do that to me.

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Speaker 3: We talked about the Jennifer Wells of it all.

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Speaker 4: Actually, I am changing mine with Jennifer Wells. I switched

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it out to Jeane Roberts.

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Speaker 3: Now, yeah that makes sense.

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Speaker 4: Oh you're switching now, okay, Oh yeah, a couple of

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days ago I switched randomly.

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Speaker 3: Oh my god. Tell the sculptors they're getting to work

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on that mountain. You need to mix. Sure you switch

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it out in time ship.

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Speaker 1: Yeah.

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Speaker 3: Well June slightly.

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Speaker 4: Smaller than Jennifer. They can fix up.

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Speaker 3: Sure, she's smaller than es exactly.

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Speaker 2: All right, Well, thanks for everybody writ nan. Yeah, on

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that topic. Yeah, on that topic. Sort of adjacent is

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we are considering doing a n A episode. Casey and

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I have talked about this, so send us your questions.

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This could get ridiculous, but we'll see what happens. Yeah,

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anything's exploitation related, send us an email. It's listed in

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the show notes. Message us on Instagram, Facebook, wherever you

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can find us. Just send him in. We'll collect him

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and we'll do an episode. If you have a question

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that's specific to myself or Casey or you know. Even

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if Alex can't show up for the episode, we can.

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Speaker 4: Oh, I will. I'm nervous, but I will.

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Speaker 3: So there's anything that Alex did not cover in our

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three hour Milligan episode, yes, then that he didn't answer,

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please send it because he will have the answer absolutely,

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or anybody connected to those movies, he'll know.

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Speaker 4: Last night, I just had a bad dream that we

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were gained the worst answers ever, funny.

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Speaker 2: Enough, like what I dreamt.

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Speaker 3: I think there's everyone.

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Speaker 4: Being really condescending, like why do you have that opinion

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about that movie? About that very specific?

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Speaker 3: So no, I'll stand ten too's down. I'm like, listen,

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my opinion is my opinion. I don't know what to

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tell you exactly.

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Speaker 2: Well, it can change, it can change, you know, Yeah,

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so wide open. Any questions. Send him in. We'll sift

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through them and hopefully we get enough to put an

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episode together.

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Speaker 3: Yeah. I think that's exciting.

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Speaker 4: Well with our with our ramblings. Yeah, it's probably gonna.

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Speaker 3: Be six hours.

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Speaker 4: Yeah, just six questions, four questions, especially four hours, especially

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if it's an open opinionated questions. Oh yeah, oh the debate.

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Speaker 2: Yeah, if you want to be anonymous, that's fine too.

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Just you know, let us know when you send a question.

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Speaker 3: Yeah, yeah, to credit you.

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Speaker 2: Yeah, Casey, I think you have a correction, and Alex

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has a correction.

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Speaker 1: Yes.

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Speaker 3: Mike McCollum, God love. Mike reached out and made it

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more clear of why he can affirmed that I've in

237
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Spain was a cinematographer of In Hot Blood, which I

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didn't put the two to two together because he is

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credited on In Hot Blood as Van an Apse, right,

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so it's I've in Spain without the eye backwards. And

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so I was just like, oh, yeah, that's so obvious.

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So I don't know why that didn't click with me.

243
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So yeah, he just wanted to make that very clear

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that it wasn't that. Yeah, that was it was so

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glaringly obvious, and that's how he was able to basically

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confirm that that's who shot in hot blood.

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Speaker 2: Okay, yeah, Alex.

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Speaker 4: Yeah, because this is not correct at all. I'm not

249
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going to let this live down. Unlike what someone said

250
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on the last episode, I do not remotely think that

251
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the submission and to Boucher's campaign are the exact same

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who said that. Hmmm, I don't know, Gentry, where are

253
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you doing stalking my old something weird groups When I

254
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was a teenager, I.

255
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Speaker 3: Know these posters are a decade old in some cases.

256
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Yeah changed, Yeah.

257
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Speaker 4: Folks, I started integrating myself into this world as a teenager.

258
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As a child, I did not know what I was doing.

259
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I did not know what I was talking about half

260
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the time, even if I thought I did so in

261
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all honesty for most people's safety pre twenty twenty, Grain

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of salt, my friends, Grain of salt. Because I just

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went back then.

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Speaker 2: Okay, good to know.

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Speaker 3: That's why I'm glad my DVD driving reviews are offline, honestly,

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because anything that I wrote that was inaccurate is now lost. Yeah.

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Speaker 4: No, I'm like, I need to go back on there

268
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and sif through some things.

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Speaker 3: I mean, one of the most egregious things that I

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ever said, and thank god, ess not alive. Is that

271
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I accused Pallas Satory of leaving film and becoming a

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prostitute in Rome and you could pick her up on

273
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the street in Rome, which was not true. And I'm

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now friends with her on Facebook and she luckily didn't

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see that.

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Speaker 2: Yeah, So.

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Speaker 3: I'm really glad that those reviews because or rumor, and

278
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that rumor was obviously inaccurate. Because yeah. So yeah, a

279
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lot of a lot of stuff that I'm really glad

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is not out there anymore.

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Speaker 4: So yeah, yeah, And.

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Speaker 2: I mean if you listen to our podcast now, you

283
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know Casey does not fuck with rumor at all. And

284
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that's the reason.

285
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Speaker 3: Oh I don't know, that's that's one of the reasons

286
00:15:32,120 --> 00:15:35,559
why exactly. Yeah, no, I need multiple sources to confirm.

287
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And yeah, no, she's such a sweetheart too. I don't

288
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know why nobody's interviewed her for anything. I mean, she's

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wide available. She should have got on images in the

290
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convent that release. I don't know why they didn't interview her.

291
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I had that update, so Gary Juden, the star of Submission.

292
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So I email Michael Premenger, who I think I told

293
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you last episode that I had found a series of

294
00:16:06,720 --> 00:16:10,519
scripts that were copyrighted to Gary Juden and Michael Premenger.

295
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Michael Premmenger wrote nothing in common. He was a stand

296
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up who became a screenwriter, and so he was a

297
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stand up around the time he did these scripts of

298
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Gary Juden. So I found his email and I said,

299
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I'm trying to find tout stuff about Gary Juden. He

300
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seems to have vanished after nineteen seventy and I found

301
00:16:26,960 --> 00:16:30,480
nothing about him. So he wrote back pretty quickly, Actually

302
00:16:31,120 --> 00:16:33,720
I haven't seen Gary in fifty years. That I was

303
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by then living in Los Angeles, and he showed up

304
00:16:35,679 --> 00:16:38,320
one day. He had, I believe, been living in Hawaii.

305
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My brother visiting La, even stayed with Gary in LA.

306
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And then Gary was gone. How on earth did you

307
00:16:44,759 --> 00:16:47,200
find his name? We met at a party in New York,

308
00:16:47,639 --> 00:16:50,399
talked and decided to write together. Simple as that. I

309
00:16:50,480 --> 00:16:53,360
did the typing, no computers yet, and almost all the writing.

310
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How did you find these scripts? I don't have copies,

311
00:16:56,240 --> 00:16:57,840
and I had to write back and tell him they're

312
00:16:57,879 --> 00:17:01,480
just readster. The Copyright Office of the Copyright Office has them.

313
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Gary was, as far as the seventies go, a true hippie.

314
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His wardrobe consisted of two pairs of bell bottom jeans

315
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and a denim shirt. He was a nice, good guy

316
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with a sweet girlfriend. He helped me get out of

317
00:17:12,440 --> 00:17:15,440
the Bronx and into the real world. Quote unquote, I

318
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hope you find him. And that was it. That's nice.

319
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A little bit, a little bit more info. The guy

320
00:17:20,960 --> 00:17:25,000
who was in submission, he was a kind of hippie

321
00:17:25,079 --> 00:17:28,240
ne'er dwell who got into writing. Yeah, and I have

322
00:17:28,559 --> 00:17:31,920
no other trail to go on for him.

323
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Speaker 4: That's still good. Actually, it's really good.

324
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Speaker 2: And it does kind of more or less confirm that

325
00:17:38,880 --> 00:17:43,440
he was the probably co writer or writer on Submission.

326
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Speaker 3: Absolutely, and probably the J and S and J production. Yeah, yeah,

327
00:17:48,519 --> 00:17:51,279
which makes sense because if you're writing a sex quotation script,

328
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he would absolutely give yourself all the sex scenes except

329
00:17:55,680 --> 00:17:59,440
for Joel Fernandez with his baby then girlfriend, the blonde

330
00:17:59,440 --> 00:18:00,680
girl who's just our Felicia.

331
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Speaker 2: Yeah.

332
00:18:02,680 --> 00:18:05,839
Speaker 3: Yeah, but yeah, I'm glad you dropt back to me,

333
00:18:05,920 --> 00:18:06,920
got back to me very quickly.

334
00:18:07,039 --> 00:18:09,279
Speaker 2: Yeah, so nice.

335
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Speaker 4: Anything with the Savage brought, anything with the Savage productions,

336
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anything at all, the smallest scrap with these two.

337
00:18:16,359 --> 00:18:16,519
Speaker 5: Well.

338
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Speaker 3: I also emailed Kemper Peacock. I didn't hear back, and

339
00:18:19,200 --> 00:18:21,519
I need to call him. Actually, the holidays made it

340
00:18:21,559 --> 00:18:23,440
tougher because people are getting ready for holidays. They don't

341
00:18:23,440 --> 00:18:26,599
want to be harried and stuff like that. But yeah,

342
00:18:26,839 --> 00:18:28,000
the research continues.

343
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Speaker 2: Well that's the sexploitation news desk. Let's talk about the

344
00:18:45,160 --> 00:18:49,960
man of the hour here, which is Tony Orlando. So

345
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not much discussed about Tony besides what we've heard from

346
00:18:56,039 --> 00:18:58,440
Chuck Smith. Do you want to give sort of a

347
00:18:58,480 --> 00:18:59,519
bio Casey.

348
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Speaker 3: The basic bio is I don't have any other information

349
00:19:03,759 --> 00:19:06,960
pre nineteen sixty two. But he started as a theatrical

350
00:19:07,000 --> 00:19:09,559
agent in Philadelphia. And by that I mean he was

351
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he had like a talent agency which he opened in

352
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July nineteen sixty two in Tuber Building in Philadelphia, so

353
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kind of kind of a big deal. And so that

354
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was not that long before Chuck met him, and he

355
00:19:24,319 --> 00:19:26,759
the Chuck Smith met him, and they wanted to and

356
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he wanted to do a movie because Chuck was in

357
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Philly doing industrial films, I believe, and so he cronic

358
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cross paths with this guy, Tony Orlando, and he said

359
00:19:38,359 --> 00:19:41,960
he wanted to make a movie. Now the movie was

360
00:19:42,759 --> 00:19:44,559
apparently he co wrote the script with a guy named

361
00:19:44,599 --> 00:19:47,000
Bron Collier who was in LA, and so it's very

362
00:19:47,039 --> 00:19:50,279
strange that already we have an East coast west coast collaboration,

363
00:19:50,960 --> 00:19:53,359
but it's also not a New York based collaboration. It's

364
00:19:53,400 --> 00:19:56,039
phil It's Philadelphia, which is which was a big it's

365
00:19:56,079 --> 00:19:58,400
still a big music town. But it's produced by a

366
00:19:58,480 --> 00:20:04,440
DJ named Red Benson and Jimmy Meyer or James E. Myers,

367
00:20:04,480 --> 00:20:06,480
that's the guy who co wrote Rock around the Clock.

368
00:20:07,039 --> 00:20:09,240
And we've talked about him a ton because he also

369
00:20:09,839 --> 00:20:12,640
was involved with Dingle Dangle, which we talked about, and

370
00:20:13,039 --> 00:20:16,279
he was the fabulous bastard from Chicago. So he went

371
00:20:16,319 --> 00:20:20,000
out to LA and was involved with exploitation and even

372
00:20:20,039 --> 00:20:24,440
directed some hardcore stuff. So all these different music people

373
00:20:24,480 --> 00:20:28,680
connections is how these different actors got involved. There was

374
00:20:29,160 --> 00:20:32,160
a singer named Joan Weber who had a hit called

375
00:20:32,200 --> 00:20:34,240
let Me Go Lover. There was a guy named Dick

376
00:20:34,359 --> 00:20:36,559
Lee who was from Your Show of Shows, which was

377
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a since Caesar TV show, but by nineteen sixty three

378
00:20:40,200 --> 00:20:43,400
when they made this like That's he was pat way

379
00:20:43,400 --> 00:20:46,359
past his prime. And then there was an Algolson sounded

380
00:20:46,400 --> 00:20:49,240
like Norman Brooks by nineteen sixty three, I can imagine

381
00:20:49,240 --> 00:20:52,480
that that line of work had probably dried up as well,

382
00:20:52,559 --> 00:20:58,359
So we're talking like not top musical talent. Really. The

383
00:20:58,440 --> 00:21:01,559
big coup though, is they I don't know if it's

384
00:21:01,599 --> 00:21:04,960
a coup, but they cast an actress name actress. They

385
00:21:05,000 --> 00:21:09,920
cast a woman named Lilian Reese. She was let me

386
00:21:09,960 --> 00:21:16,000
tell I found so much ink on this woman. She

387
00:21:17,440 --> 00:21:21,480
was kind of like Liz Renee of Philadelphia and that

388
00:21:21,799 --> 00:21:25,640
she was involved with these underworld figures. But actually she

389
00:21:25,720 --> 00:21:27,519
was worse than Liz Renee because Liz Renee, I think

390
00:21:27,640 --> 00:21:30,480
just did jail time for refusing to testify against I

391
00:21:30,519 --> 00:21:34,319
think Mickey Cohen. Lilian Reese was involved with like a

392
00:21:34,359 --> 00:21:39,160
major theft, a major burtary of a cold baron's home,

393
00:21:40,559 --> 00:21:42,680
and she was involved with a big, big time mobster.

394
00:21:43,119 --> 00:21:46,279
So she was like the darling of the tabloids. And actually,

395
00:21:46,400 --> 00:21:50,720
while while they were shooting The Block, which is the

396
00:21:50,720 --> 00:21:54,240
film that it eventually became, she was like on trial.

397
00:21:54,400 --> 00:21:55,759
She was going she was in and out of court

398
00:21:55,799 --> 00:21:58,000
while they were shooting this movie. At the time, she

399
00:21:58,079 --> 00:22:02,839
owned a she also owned a nightclub called the Celebrity Room.

400
00:22:03,240 --> 00:22:05,440
And it's interesting you'll find newspaper ass for the Celebrity

401
00:22:05,480 --> 00:22:08,559
room with her picture in it next to it, which whatever.

402
00:22:09,480 --> 00:22:13,680
So parts of the movie were shot there. But I

403
00:22:13,759 --> 00:22:17,000
need like a movie or a documentary or a book

404
00:22:17,160 --> 00:22:21,799
about Lilian because known as Tiger Lil what a story.

405
00:22:22,039 --> 00:22:24,599
Speaker 2: Wasn't there plans to make a movie about it? I

406
00:22:24,599 --> 00:22:25,839
thought there was.

407
00:22:26,920 --> 00:22:31,039
Speaker 4: She is only in one compilation book of Philadelphia based

408
00:22:31,039 --> 00:22:34,480
crimes and that's about it. One of the funny parts too. Actually,

409
00:22:34,519 --> 00:22:37,079
one of the things I was also reading is that

410
00:22:37,440 --> 00:22:41,960
she bought that club with cash the exact amount that

411
00:22:42,079 --> 00:22:42,680
was stolen.

412
00:22:43,640 --> 00:22:44,119
Speaker 3: Mm hmm.

413
00:22:45,759 --> 00:22:50,079
Speaker 4: She was like she was like Liz Renee's evil twin

414
00:22:51,400 --> 00:22:52,000
in a way.

415
00:22:51,960 --> 00:22:55,640
Speaker 3: Yeah, yeah, yeah, Brunette East Coast version of Lis Renee.

416
00:22:55,680 --> 00:22:58,799
Speaker 4: Basically yes, like in show business, course you kind of

417
00:22:58,799 --> 00:23:00,799
had to deal with like the mom and things that,

418
00:23:00,880 --> 00:23:03,079
especially like live. So of course, like people like Resnee

419
00:23:03,319 --> 00:23:05,240
Liz Renee had to. You just kind of had to

420
00:23:06,720 --> 00:23:08,599
in certain territories, but you did not have to go

421
00:23:08,640 --> 00:23:09,799
as far as Lillian did.

422
00:23:10,359 --> 00:23:13,039
Speaker 3: No. I mean she she wasn't just on the periphery

423
00:23:13,079 --> 00:23:17,000
of organized crimes. She was like actively involved with organized crime.

424
00:23:17,079 --> 00:23:20,640
She was committing crimes with the mob.

425
00:23:21,000 --> 00:23:24,680
Speaker 4: Like like like witnesses were being killed as the trial

426
00:23:24,799 --> 00:23:29,720
was going off, like it didn't stop. Yeah, the crimes, Yeah,

427
00:23:29,799 --> 00:23:32,599
crimes kept on happening during the trial, around the trial.

428
00:23:33,119 --> 00:23:36,960
Speaker 3: It's crazy, so like, and then she got her Her

429
00:23:37,599 --> 00:23:41,200
trial ended in a hung jury. But then there was

430
00:23:41,240 --> 00:23:43,240
a second trial and that was the one that was

431
00:23:43,279 --> 00:23:46,200
occurring during the making of the Block. And then she

432
00:23:46,279 --> 00:23:50,000
was convicted in sixty four, and then she appealed, and

433
00:23:50,000 --> 00:23:52,680
then eventually the charges were dropped in nineteen seventy. But

434
00:23:52,759 --> 00:23:55,559
this is a long gestating thing. So apparently she got

435
00:23:56,000 --> 00:24:02,000
away with this scott free. Essentially she uh So, I'm

436
00:24:02,039 --> 00:24:03,839
dying to see it, and I keep finding I keep

437
00:24:03,880 --> 00:24:08,920
finding articles referring to the Block as starring Lilyan Reese

438
00:24:08,920 --> 00:24:12,279
in bold So like, here's a big deal in Philadelphia

439
00:24:12,319 --> 00:24:16,359
that this huge person, uh was was put in this movie.

440
00:24:16,400 --> 00:24:19,920
It's kind of like if they Lorena Bobbitt had been

441
00:24:20,000 --> 00:24:23,519
cast in something. It's kind of like, oh my Godna Bobbitt,

442
00:24:23,640 --> 00:24:27,880
that's amazing, you know. Uh so you actually to Bobbitt

443
00:24:28,039 --> 00:24:32,440
justified this crime. I'm Lilyan Reese just seemed like a

444
00:24:32,519 --> 00:24:36,359
bad girl because she enjoyed it. So she did for

445
00:24:36,440 --> 00:24:38,440
the thrills.

446
00:24:38,519 --> 00:24:43,039
Speaker 2: The other comparison is maybe the girl from the that

447
00:24:43,119 --> 00:24:44,720
British affair, Oh, Christine.

448
00:24:44,400 --> 00:24:49,119
Speaker 3: Keeler, you know, yes, very yes, because then she well,

449
00:24:49,200 --> 00:24:51,880
and that's the funny thing. The plot of the block

450
00:24:52,519 --> 00:24:59,160
really sounds like Lilian's life. It's it's very similar. So

451
00:24:59,319 --> 00:25:01,359
it's kind of so when I see that, like, oh, yeah,

452
00:25:01,400 --> 00:25:03,519
we wrote this script with this guy in la I'm

453
00:25:03,559 --> 00:25:05,519
just like, really, I feel like you just opened the

454
00:25:05,559 --> 00:25:08,720
papers in Philadelphia and read about Lillian Reese and.

455
00:25:08,920 --> 00:25:11,119
Speaker 4: Or just did they make some changes.

456
00:25:12,240 --> 00:25:12,680
Speaker 6: They knew?

457
00:25:13,160 --> 00:25:15,759
Speaker 3: Yeah, just a few, yeah, because I'm sure they didn't

458
00:25:15,759 --> 00:25:18,400
want any kind of repercussions, and if they wanted her

459
00:25:18,440 --> 00:25:20,200
to be in it, they had to make it seem

460
00:25:20,319 --> 00:25:23,400
like she was not a willing participant and that she

461
00:25:23,720 --> 00:25:25,839
was in the right you know.

462
00:25:26,480 --> 00:25:29,759
Speaker 2: Well the three synopsis, Yeah, what is this synopsis from?

463
00:25:30,039 --> 00:25:30,839
That's just from Echo?

464
00:25:31,279 --> 00:25:33,759
Speaker 3: Wasn't this from Charles Kilgore's Echo?

465
00:25:34,039 --> 00:25:37,920
Speaker 2: Yeah? From Charles Kilgore's Echo. Lillian Reese is blackmailed by

466
00:25:37,960 --> 00:25:40,400
her gangster boyfriend after he gets her mixed up with

467
00:25:40,480 --> 00:25:43,400
a porno camera man. He kills her when she threatens

468
00:25:43,440 --> 00:25:46,039
to go to the police. The police in pursuit, he

469
00:25:46,200 --> 00:25:48,960
hides out in a Hooker's apartment and tortures her before

470
00:25:49,079 --> 00:25:53,039
being accidentally killed. So I don't think Charles saw this movie.

471
00:25:53,079 --> 00:25:55,400
Nobody's that we know, nobody's seen it.

472
00:25:56,400 --> 00:25:58,319
Speaker 4: No, but you could have had a press book or

473
00:25:58,799 --> 00:26:01,400
a Fichu told him possibly too.

474
00:26:01,519 --> 00:26:04,039
Speaker 2: Yeah, yeah, So what's the deal with the block?

475
00:26:04,720 --> 00:26:05,240
Speaker 3: Where is this?

476
00:26:05,519 --> 00:26:06,240
Speaker 2: What happened to it?

477
00:26:06,519 --> 00:26:10,359
Speaker 4: It got distributed by American film distributors.

478
00:26:10,480 --> 00:26:11,160
Speaker 3: I don't know how.

479
00:26:11,319 --> 00:26:15,160
Speaker 4: Chuck just once said that Tony Orlando knew Stan Bordon

480
00:26:15,559 --> 00:26:19,279
maybe for music earlier on that. Yeah, yeah, so it

481
00:26:19,400 --> 00:26:24,200
was so it was distributed by yeah, American film distributors

482
00:26:24,319 --> 00:26:27,960
and just didn't go anywhere because it was it did

483
00:26:28,039 --> 00:26:32,200
not have any sex. It was an exploitation crime film

484
00:26:32,880 --> 00:26:35,559
pretty much, and that was not what Stan Bordon was

485
00:26:35,640 --> 00:26:39,319
handling at the time. He was It was all skin,

486
00:26:39,440 --> 00:26:41,559
It was all skin. It was not the right person.

487
00:26:41,720 --> 00:26:44,240
It could have done better if you know, like AIP

488
00:26:44,480 --> 00:26:47,160
maybe got it or something like that, but Stan was

489
00:26:47,200 --> 00:26:48,920
not the right guy. Stan wasn't the right guy to

490
00:26:48,960 --> 00:26:52,759
handle it. So it just didn't really go anywhere.

491
00:26:53,079 --> 00:26:56,960
Speaker 2: It just even with the Reese thing, it didn't nothing

492
00:26:57,039 --> 00:26:58,079
happened because she's.

493
00:26:57,960 --> 00:27:01,960
Speaker 3: Mostly I mean, yeah, I think she's it's mostly local,

494
00:27:02,400 --> 00:27:05,680
Like it would definitely hit the It definitely hit like

495
00:27:05,799 --> 00:27:07,440
the not the circuit, but you know what I mean,

496
00:27:07,519 --> 00:27:10,200
like the news, the news reports, and so it would

497
00:27:10,240 --> 00:27:12,599
get picked up in different papers across the country. But

498
00:27:12,640 --> 00:27:15,960
it's like it's local. It's yeah, it's it's you're casting

499
00:27:16,039 --> 00:27:20,079
a local, it's a notorious local celebrity. Yeah, it doesn't

500
00:27:20,079 --> 00:27:23,720
really mean much like down south at right or anything

501
00:27:23,839 --> 00:27:27,319
like that. So yeah, you just didn't go anywhere. But

502
00:27:27,480 --> 00:27:29,920
like as as Casey like found, it did get a

503
00:27:30,000 --> 00:27:34,200
few odd bookings here and there, but's again probably why

504
00:27:34,519 --> 00:27:37,480
it has vanished because it also just did not go far,

505
00:27:37,799 --> 00:27:40,920
so less places for prints to show up. I have

506
00:27:41,039 --> 00:27:44,400
heard a rumor Vinegar Center might have a print, but.

507
00:27:45,279 --> 00:27:49,559
Speaker 4: Which would be fantastic because yeah, it sounds like this

508
00:27:49,680 --> 00:27:55,039
sounds like the greatest Chuck Smith Tony Orlando collaboration, the

509
00:27:55,160 --> 00:27:58,400
tightest really and stuff. Also because Chuck Chuck claimed that

510
00:27:58,559 --> 00:28:01,920
of course Tony didn't exact never really directed anything before,

511
00:28:02,039 --> 00:28:05,000
so he was mostly just over his shoulder telling him

512
00:28:05,000 --> 00:28:05,359
what to do.

513
00:28:05,839 --> 00:28:07,680
Speaker 2: Right, I kind of think that Chuck was over his

514
00:28:07,720 --> 00:28:09,640
shoulder for all of these to be honest.

515
00:28:09,720 --> 00:28:12,200
Speaker 4: Oh yeah, yeah, Chuck.

516
00:28:12,640 --> 00:28:16,039
Speaker 3: Chuck was behind Well, yeah, I found I found that

517
00:28:16,079 --> 00:28:20,960
newspaper article where he was he he directed. He was

518
00:28:21,160 --> 00:28:25,599
scheduled to direct a play in Philadelphia right after the block,

519
00:28:26,319 --> 00:28:29,279
like literally several months after the block, So somebody was

520
00:28:29,480 --> 00:28:32,440
getting him to somebody was getting him to direct the

521
00:28:32,839 --> 00:28:36,640
least local theater at the very least. But yeah, it's

522
00:28:36,680 --> 00:28:38,359
tough to It's tough for me to. It's tough to

523
00:28:38,480 --> 00:28:41,000
gauge how much he directed. When the movie, the two

524
00:28:41,079 --> 00:28:44,240
movies we're going to talk about are so steeped in

525
00:28:44,400 --> 00:28:48,079
style and that's very Chuck and so, and they're all dubbed,

526
00:28:48,240 --> 00:28:51,799
so you really don't know, I feel like direction in

527
00:28:51,920 --> 00:28:53,880
this kind of movie where it's obviously it's all post

528
00:28:53,960 --> 00:28:55,960
up and like shaped in the editing room is tough

529
00:28:56,039 --> 00:28:56,599
to tell.

530
00:28:56,680 --> 00:28:57,480
Speaker 2: Which Chuck did.

531
00:28:57,799 --> 00:28:59,799
Speaker 4: He was also the editor, Yes, Chuck.

532
00:28:59,640 --> 00:29:01,359
Speaker 3: Was the edit or too right, So it really do

533
00:29:01,519 --> 00:29:04,519
really feel more like like Chuck movies, even though Tony

534
00:29:04,680 --> 00:29:07,599
takes like as much credit as he can give himself

535
00:29:07,839 --> 00:29:10,279
on these movies, you know, to make himself seem like

536
00:29:10,279 --> 00:29:12,200
an od tour less.

537
00:29:12,039 --> 00:29:14,720
Speaker 2: Than the flesh Feelds, maybe a little bit more twenty Orlando,

538
00:29:15,079 --> 00:29:16,359
but we'll get.

539
00:29:16,240 --> 00:29:18,160
Speaker 3: There possibly, yeah, possibly.

540
00:29:18,799 --> 00:29:21,640
Speaker 2: Well yeah, like you said, if there's a print, that

541
00:29:21,720 --> 00:29:23,680
would be a good triple feature, like you guys have

542
00:29:23,799 --> 00:29:26,960
said the block. Yeah, well Hot Nights on the Campus

543
00:29:27,079 --> 00:29:29,160
and that has been put out on Blue Ray. So

544
00:29:29,559 --> 00:29:30,880
but I think that's not a print.

545
00:29:31,920 --> 00:29:32,119
Speaker 1: It is.

546
00:29:33,880 --> 00:29:35,759
Speaker 4: Yeah, that is that a print, and it would be

547
00:29:35,880 --> 00:29:37,839
more fit. It wasn't really fitting with that was really

548
00:29:37,880 --> 00:29:40,799
odd ball Blu Ray. None of the films really fit together.

549
00:29:41,599 --> 00:29:43,640
It was just the Prince we have.

550
00:29:44,519 --> 00:29:46,119
Speaker 3: How did they market them? We're HD.

551
00:29:46,359 --> 00:29:50,160
Speaker 4: The rest were just eight eight SD driving something?

552
00:29:50,519 --> 00:29:52,279
Speaker 2: Was it driving like pack?

553
00:29:52,400 --> 00:29:55,519
Speaker 3: It was like all night I had all night drive,

554
00:29:56,599 --> 00:29:59,160
all night drive in Marathon, all night grindhouse drive in

555
00:29:59,240 --> 00:30:00,759
Marathon or something, which is.

556
00:30:00,799 --> 00:30:03,599
Speaker 4: Aka I found Princess or Junet.

557
00:30:04,839 --> 00:30:07,720
Speaker 3: Well, no, they found the camera negative de Velvet Trap.

558
00:30:08,799 --> 00:30:12,640
Oh yeah, I found the only print of Marcie that exists. Yes,

559
00:30:13,799 --> 00:30:16,440
tailor of the Dean's wife. They got a print. And

560
00:30:16,559 --> 00:30:18,279
then the other two were shut Up and Dealing Sex

561
00:30:18,319 --> 00:30:20,039
and the college Girl and therese were SD those are

562
00:30:20,079 --> 00:30:22,640
from prints, but like Velvet Trap was major. I'm the

563
00:30:22,680 --> 00:30:24,920
one who convinced them to get that negative, and I

564
00:30:25,039 --> 00:30:27,039
did it by psyching them out and saying that Mike

565
00:30:27,200 --> 00:30:29,400
it was. It was Mike Brainy's one of his top

566
00:30:29,480 --> 00:30:31,920
ten most wanted titles, and they able to beat him

567
00:30:31,960 --> 00:30:33,799
to it. I don't think Mike had ever heard of it.

568
00:30:35,079 --> 00:30:37,519
So I just wanted to see the damn thing. So

569
00:30:37,680 --> 00:30:42,119
I told them. I made them. I fed into their

570
00:30:42,200 --> 00:30:45,400
competitive egos and had them buy that camera negative and

571
00:30:45,400 --> 00:30:48,000
then release it. And they were so mad because they're like, oh,

572
00:30:48,039 --> 00:30:49,519
this is terrible and it's black and white. It's not

573
00:30:49,559 --> 00:30:51,599
going to sell. I was like, I don't know, Mike

574
00:30:51,680 --> 00:30:53,720
really wants it, so you know, do you want to

575
00:30:53,759 --> 00:30:54,640
compete with Mike or not.

576
00:30:57,079 --> 00:31:00,519
Speaker 4: There weren't any other exploitation films negatives they left behind it.

577
00:31:00,680 --> 00:31:04,039
They are on the shelf somewhere that no one's touched.

578
00:31:04,960 --> 00:31:05,000
Speaker 1: No.

579
00:31:05,279 --> 00:31:06,920
Speaker 3: I mean, well, you know what they would do. They

580
00:31:06,960 --> 00:31:11,400
would lie that what happens they found. They found Tom Ward,

581
00:31:11,480 --> 00:31:13,640
who used to be what I think twenty first century

582
00:31:13,680 --> 00:31:16,359
film distributors maybe or he was involved with demension. And

583
00:31:16,480 --> 00:31:18,720
tom Ward had dementia, and so they would call him

584
00:31:18,759 --> 00:31:22,119
up and say, remember you distributed this movie, and they

585
00:31:22,119 --> 00:31:25,240
would get him to basically sign away saying that he

586
00:31:25,680 --> 00:31:27,559
distributed this movie and that he wants to take it

587
00:31:27,640 --> 00:31:29,839
out of storage away from the lab. So they did

588
00:31:29,920 --> 00:31:32,440
this for a movie after movie after movie after movie

589
00:31:32,519 --> 00:31:34,599
for all these negatives and camera negatives that were sitting

590
00:31:34,599 --> 00:31:41,720
and rotting in labs. Not the most moral and legal thing, obviously,

591
00:31:41,920 --> 00:31:44,279
But with that, that's why we got like a lot

592
00:31:44,319 --> 00:31:46,160
of the camera negatives that they got access to. I

593
00:31:46,240 --> 00:31:49,880
think that's how we got black Estoppo's camera negative was

594
00:31:50,079 --> 00:31:54,480
from that tom Ward scam job. Yeah, a lot of

595
00:31:54,559 --> 00:31:58,039
their camera negatives. I think swinging barmeads with somebody else.

596
00:31:58,119 --> 00:32:02,480
But yeah, anyway, long diversion, they've got the co Red boys.

597
00:32:03,200 --> 00:32:05,200
Speaker 2: Yeah, I am curious to see the block, but I

598
00:32:05,279 --> 00:32:07,799
don't know if it's going to be the masterpiece that

599
00:32:07,960 --> 00:32:09,160
Alex maybe thinks it is.

600
00:32:10,480 --> 00:32:11,759
Speaker 4: I'm not to say masterpiece.

601
00:32:11,759 --> 00:32:14,000
Speaker 3: I just have faith in it. Yeah. I think if

602
00:32:14,039 --> 00:32:17,240
you go into an expecting a sleezy film noir, yeah,

603
00:32:17,359 --> 00:32:20,920
like like the like the weird noir titles like Seventh

604
00:32:20,920 --> 00:32:24,000
Commandment or something like that, where you're just dealing with

605
00:32:24,160 --> 00:32:27,799
like dirty people in an urban setting doing sleezy things

606
00:32:28,359 --> 00:32:31,920
and and basically stuff that the majors wouldn't touch because

607
00:32:31,960 --> 00:32:34,559
it was still against the production code. I think if

608
00:32:34,599 --> 00:32:37,960
you go in expecting that, then you probably will enjoy it.

609
00:32:38,200 --> 00:32:39,599
I think that's the case for a lot of movies.

610
00:32:39,599 --> 00:32:41,880
I don't think you should go in thinking it's gonna

611
00:32:41,880 --> 00:32:44,079
be Yeah. No, no, that's exactly what because most of

612
00:32:44,119 --> 00:32:45,680
them are not going to be a sexy, good time.

613
00:32:45,759 --> 00:32:47,359
So you have kind of have to be like, Okay,

614
00:32:47,720 --> 00:32:50,200
what are the what's the angle where I can get

615
00:32:50,440 --> 00:32:51,319
find a way in here?

616
00:32:51,480 --> 00:32:55,319
Speaker 2: I want to see the location? Yeah, the absolutely stuff.

617
00:32:55,960 --> 00:32:56,160
Speaker 4: Yeah.

618
00:32:56,759 --> 00:32:59,000
Speaker 3: Yeah, they shot a lover Philly. Yeah, they shot a

619
00:32:59,039 --> 00:33:01,359
loiver Philly. So I'm intrigued in seeing it.

620
00:33:02,240 --> 00:33:02,440
Speaker 5: Yeah.

621
00:33:02,799 --> 00:33:06,160
Speaker 3: And also it's funny Chuck was not supposed to have

622
00:33:06,680 --> 00:33:09,400
photographed that. I think he was supposed to be assisting

623
00:33:09,480 --> 00:33:13,920
this guy named Manuel Whittaker who apparently pissed off Jimmy

624
00:33:14,000 --> 00:33:16,519
Myers and got fired because he said there was something

625
00:33:16,559 --> 00:33:19,920
that he couldn't do in terms of photography. And then

626
00:33:20,000 --> 00:33:22,039
Chuck he was like, no, Chuck. He asked Chuck in

627
00:33:22,079 --> 00:33:25,079
front of the guy, can you do this? And Chuck said, yeah,

628
00:33:25,119 --> 00:33:28,160
no problem, and he said okay, Manny, you're fired. He

629
00:33:28,400 --> 00:33:31,000
kicked him off the set and continue with Chuck. So

630
00:33:31,079 --> 00:33:34,200
I'm like Okay, that's a way to get your foot

631
00:33:34,240 --> 00:33:35,799
in the door. Just be like, yes, I can make

632
00:33:35,839 --> 00:33:36,279
that happen.

633
00:33:36,880 --> 00:33:40,200
Speaker 4: So also, folks, the block doesn't look like Chuck's later stuff.

634
00:33:40,240 --> 00:33:43,279
It was all done on a tripod. It was not

635
00:33:43,440 --> 00:33:47,119
the white angle handheld lens that it was less than

636
00:33:47,160 --> 00:33:49,440
the flesh. It's a very different beast.

637
00:33:50,160 --> 00:33:52,920
Speaker 3: So I wonder about well also, and he well, he

638
00:33:53,079 --> 00:33:55,359
edited it. I'm thirty five millimeters. But wasn't there something

639
00:33:55,400 --> 00:33:57,359
where they lost, like a reel of the negative.

640
00:33:58,039 --> 00:34:00,839
Speaker 4: They lost a reel of naked when they were trying

641
00:34:00,880 --> 00:34:03,920
to match it, and they had to Oh god, this

642
00:34:04,079 --> 00:34:06,559
is always awful. They had to dupe from the work print,

643
00:34:06,640 --> 00:34:09,159
which is always awful. It always looks bad.

644
00:34:09,320 --> 00:34:11,519
Speaker 3: I wonder how that looks now, Yeah, you can probably

645
00:34:11,559 --> 00:34:12,199
tell the difference.

646
00:34:13,039 --> 00:34:15,440
Speaker 4: Oh yeah, probably yeah, oh yeah, it probably looks like

647
00:34:15,440 --> 00:34:17,280
an eight compared to everything else.

648
00:34:17,360 --> 00:34:20,800
Speaker 2: Let's just say, right, yeah, I wonder how long the

649
00:34:21,239 --> 00:34:23,119
scene is, yeah, that they had to dupe in.

650
00:34:23,480 --> 00:34:27,360
Speaker 3: Yeah, it'll be the great real you know, ten ten minutes,

651
00:34:27,440 --> 00:34:31,760
possibly for thirty five probably ten ten, twelve minutes maybe.

652
00:34:32,000 --> 00:34:32,199
Speaker 5: Yeah.

653
00:34:32,760 --> 00:34:36,599
Speaker 3: But after that was the creation of Chat Productions. So

654
00:34:36,760 --> 00:34:40,199
Tony still wanted to keep going after the Block. So

655
00:34:40,280 --> 00:34:43,039
actually I've found an article where he he was planning

656
00:34:43,079 --> 00:34:46,320
to make three pictures. He ran to Hollywood after making

657
00:34:46,400 --> 00:34:48,440
The Block, and he was going to do a movie

658
00:34:48,480 --> 00:34:50,840
called Horn, which starred Lillian Reese and the story of

659
00:34:50,920 --> 00:34:54,559
a fading stripper who's supporting an alcoholic trumpeter, which sounds

660
00:34:54,760 --> 00:34:57,280
like young Man with a Horn. Isn't that just the

661
00:34:57,320 --> 00:34:59,719
Doris Day movie? Wasn't that the whole plot of young

662
00:34:59,760 --> 00:35:02,239
Man the Horn where Thank You Had He was not

663
00:35:02,280 --> 00:35:04,719
an alcoholic, he was a drug addict in that I believe.

664
00:35:04,840 --> 00:35:06,599
I haven't seen that in years, but I'm just like

665
00:35:06,920 --> 00:35:08,880
we've seen that it came out in nineteen fifty.

666
00:35:09,039 --> 00:35:11,440
Speaker 7: Maybe he was going to make a sexier version of that, Yeah,

667
00:35:11,639 --> 00:35:15,079
sexier version because he's a stripper, right right, And of

668
00:35:15,159 --> 00:35:18,320
course those movies never happened, so it's interesting and they're

669
00:35:18,320 --> 00:35:19,840
still trying to make Lily and Reese happen.

670
00:35:21,719 --> 00:35:25,480
Speaker 3: Actually, I found an article where she was she found

671
00:35:25,519 --> 00:35:28,000
a Hollywood agent that was trying to sell her story

672
00:35:28,239 --> 00:35:30,840
to a studio in Hollywood at the time that The

673
00:35:30,920 --> 00:35:34,000
Block was being made, and there were no takers apparently,

674
00:35:34,639 --> 00:35:37,440
because nobody in Hollywood knows who the hell she is,

675
00:35:37,559 --> 00:35:40,440
like the story is interesting, but it's like, well, you know,

676
00:35:41,119 --> 00:35:41,880
maybe not for us.

677
00:35:42,199 --> 00:35:44,440
Speaker 4: People around her are winding up dead. I'd be scared

678
00:35:44,480 --> 00:35:44,840
of her.

679
00:35:45,639 --> 00:35:50,800
Speaker 3: Exactly right, exactly. But so after that was the creation

680
00:35:50,920 --> 00:35:54,000
of Chat Production. So Tony wanted to continue working with

681
00:35:54,119 --> 00:35:59,920
Chuck after that experience, and so he found two guys too,

682
00:36:00,159 --> 00:36:01,840
joined the two of them, so it was four people.

683
00:36:01,960 --> 00:36:05,280
It was Tony, it was Chuck. It was just goy

684
00:36:05,360 --> 00:36:08,039
named Harry Finn, who was another theatrical agent who then

685
00:36:08,239 --> 00:36:11,000
who also produced musical reviews in Philadelphia. So I found

686
00:36:11,159 --> 00:36:13,559
I found some articles where he put on like, you know,

687
00:36:14,679 --> 00:36:18,840
not burlesque, but like kind of like follies, local follies

688
00:36:18,880 --> 00:36:22,000
with local musical performers. And then a guy named Tommy,

689
00:36:22,440 --> 00:36:27,639
last name unknown and probably a good thing because he

690
00:36:27,719 --> 00:36:30,039
was a bank he was he was a bank official,

691
00:36:30,519 --> 00:36:34,760
and Chuck and his cameraman, I think it was Tony

692
00:36:34,800 --> 00:36:35,559
Spalo wasn't.

693
00:36:35,960 --> 00:36:37,800
Speaker 4: I don't think he was there. I think it was Orlando.

694
00:36:37,800 --> 00:36:43,920
Speaker 3: I don't know it was it was uh Tony Orlando.

695
00:36:44,440 --> 00:36:46,559
They went into me with this guy Tommy at the

696
00:36:46,639 --> 00:36:50,360
bank vault, and uh Tommy asked for how much money

697
00:36:50,800 --> 00:36:52,760
they thought they needed and they said five K, and

698
00:36:52,800 --> 00:36:55,800
he handed them five k in cash. It was almost

699
00:36:55,880 --> 00:36:58,599
like the equivalent of like in the seventies when the

700
00:36:58,719 --> 00:37:01,440
mob would give like shawnka Sello cash to go make

701
00:37:01,480 --> 00:37:04,760
his weekend wonder Porno and you know, like, here's five k.

702
00:37:04,960 --> 00:37:05,719
Do what you gotta do?

703
00:37:06,159 --> 00:37:09,679
Speaker 4: Yeah, no, chairs, they're sitting on bags of money as seeds,

704
00:37:09,719 --> 00:37:12,039
and he just reaches into his pocket and counts out

705
00:37:12,079 --> 00:37:13,440
the money and goes there.

706
00:37:14,320 --> 00:37:17,679
Speaker 3: That is so crazy. Yeah, yeah, so more.

707
00:37:17,599 --> 00:37:19,559
Speaker 4: Than one banker too, because the producer of Sitting in

708
00:37:19,599 --> 00:37:22,159
the Suburbs was also a banker. There's another banker as

709
00:37:22,239 --> 00:37:25,079
well who actually got caught for doing that. This guy

710
00:37:25,119 --> 00:37:27,800
didn't seem to right, so funny.

711
00:37:28,440 --> 00:37:31,039
Speaker 3: Well, and actually and there's another bank guy, the Kemper

712
00:37:31,079 --> 00:37:34,840
Peacock was involved with. That's how he got involved with

713
00:37:34,880 --> 00:37:38,119
sex movies was through that bank guy. What if it's

714
00:37:38,159 --> 00:37:43,320
the same guy. Because Farno, so I wonder he didn't

715
00:37:43,320 --> 00:37:45,679
do some suburbs, but he did, like right.

716
00:37:45,639 --> 00:37:48,440
Speaker 4: After he got well the banker, I know he also

717
00:37:48,519 --> 00:37:50,960
financed one or two other films of Sarno's too. So

718
00:37:50,960 --> 00:37:54,079
the suburbs just coming to mind. Pandora, he also did

719
00:37:54,599 --> 00:37:59,360
Pandora mess Cox. Uh, there might be one or two others.

720
00:38:00,360 --> 00:38:00,719
Speaker 3: Hmmm.

721
00:38:01,639 --> 00:38:05,320
Speaker 2: The block didn't do well, so they thought that they

722
00:38:05,360 --> 00:38:08,760
would do another film, but with more sex and nudity.

723
00:38:08,840 --> 00:38:11,719
That's less than the flesh essentially, right, that's what they

724
00:38:11,800 --> 00:38:12,679
got the five k for.

725
00:38:13,719 --> 00:38:13,960
Speaker 4: Yeah.

726
00:38:14,039 --> 00:38:16,360
Speaker 2: Yeah, so they're probably selling it to this guy like, hey,

727
00:38:16,400 --> 00:38:18,920
we're gonna make this sexy movie. I can't miss you know,

728
00:38:19,320 --> 00:38:20,079
blah blah blah.

729
00:38:20,679 --> 00:38:24,119
Speaker 4: Okay, right, yeah very much. Or the reason was, well,

730
00:38:24,199 --> 00:38:26,480
the only reason our previous film did not do well

731
00:38:26,599 --> 00:38:27,760
was because there was no skin.

732
00:38:28,199 --> 00:38:30,920
Speaker 3: Yeah right, and this one has a good amount of it. Yeah,

733
00:38:30,960 --> 00:38:33,320
they really upped up the ante in this one.

734
00:38:35,400 --> 00:38:39,599
Speaker 5: Last night I dreamt I came back once again, back

735
00:38:39,639 --> 00:38:44,239
to this island where I lost Myra. The shadowy, vastness

736
00:38:44,320 --> 00:38:47,679
of the ocean frightened me. The calming voice told me,

737
00:38:47,719 --> 00:38:50,840
I must go to the water's edge. So the sea

738
00:38:51,079 --> 00:38:57,039
is a giant mirror where Van sees himself. Like most steamers,

739
00:38:57,719 --> 00:39:01,280
I was possessed with a supernatural magic, and I felt

740
00:39:01,320 --> 00:39:06,480
myself drift over the strangely hardened sand. I could feel

741
00:39:06,519 --> 00:39:10,880
the wind, I could smell the salt air, and once more,

742
00:39:11,400 --> 00:39:13,360
I was on the beach in front of the cottage.

743
00:39:15,159 --> 00:39:16,760
The dream is always the same.

744
00:39:25,599 --> 00:39:27,039
Speaker 2: Yeah, so less than the flesh.

745
00:39:27,559 --> 00:39:31,199
Speaker 3: Where's this shot Brigantine, New Jersey. Yeah, and it was

746
00:39:31,239 --> 00:39:33,519
shot in on the on the Jersey shore in like

747
00:39:33,639 --> 00:39:37,840
September or in October, so it was freaking cold. So

748
00:39:38,000 --> 00:39:40,320
all those scenes in the water and on the dunes, it.

749
00:39:42,079 --> 00:39:44,920
Speaker 4: Looks someone who grew up beside the beach. It looks

750
00:39:45,079 --> 00:39:47,400
very I just tell that's freezing right there.

751
00:39:47,880 --> 00:39:51,920
Speaker 3: That's cold. So yeah, props of those actors because good grief.

752
00:39:52,559 --> 00:39:56,239
Speaker 4: So yeah, they all were brought out to Brigantine, New Jersey.

753
00:39:56,880 --> 00:40:01,199
Why who knows. We don't like they knew someone who

754
00:40:01,360 --> 00:40:04,119
had a house there. It was like like come on down,

755
00:40:05,159 --> 00:40:07,880
nothing like that for some reason. Well, it's visually great

756
00:40:08,159 --> 00:40:10,599
at the very least for what.

757
00:40:10,760 --> 00:40:11,920
Speaker 3: He probably look to it.

758
00:40:12,079 --> 00:40:15,519
Speaker 4: Yeah, for sure, Yeah, visually I really like this film

759
00:40:16,079 --> 00:40:16,760
in particular.

760
00:40:17,440 --> 00:40:19,559
Speaker 3: It's a good calling card for Chuck. I think, yeah,

761
00:40:19,639 --> 00:40:21,639
it shows what he's capable of. And there's a lot

762
00:40:21,679 --> 00:40:24,679
of outdoor photography in it too, so like we're used

763
00:40:24,679 --> 00:40:26,800
to Chuck shooting in like apartments or on the New

764
00:40:26,880 --> 00:40:28,880
York City street, so for him to be shooting outside

765
00:40:28,920 --> 00:40:31,960
with like the sun and on the beach and everything

766
00:40:32,039 --> 00:40:34,000
like that. It's like, oh wow, this is Chuck in

767
00:40:34,079 --> 00:40:37,079
a very different environment than we're used to seeing him,

768
00:40:37,280 --> 00:40:38,639
and he does a really good job.

769
00:40:39,400 --> 00:40:43,280
Speaker 2: Yeah, let's talk about who else was involved with this

770
00:40:43,440 --> 00:40:46,400
before we talk about the film itself. I have thoughts

771
00:40:46,440 --> 00:40:50,880
about yeah, but so, yeah, Chuck was cameraman, editor. Who

772
00:40:51,000 --> 00:40:54,400
else was involved with this beyond the chat guys that

773
00:40:54,480 --> 00:40:55,039
you have listed?

774
00:40:55,199 --> 00:40:58,039
Speaker 3: Yeah, well, I feel like they weren't even involved. Yeah,

775
00:40:58,880 --> 00:41:01,280
Tommy were a money man and yeah, so basically it

776
00:41:01,400 --> 00:41:03,280
was just Tony and Chuck. They were the creatives. They're

777
00:41:03,320 --> 00:41:06,079
not even credited on the movie, Harry and Tommy, You're

778
00:41:06,119 --> 00:41:06,639
not credited.

779
00:41:06,679 --> 00:41:07,920
Speaker 4: They were probably silent.

780
00:41:09,000 --> 00:41:11,519
Speaker 3: They're silent partners. Which is so funny because Harry had

781
00:41:11,599 --> 00:41:14,800
no problem taking credit for these movies in newspaper articles

782
00:41:14,880 --> 00:41:17,679
in Philly papers, but his name is nothing on it.

783
00:41:17,719 --> 00:41:21,119
And also I think on one of the later movies

784
00:41:21,960 --> 00:41:24,920
he described he said he's a company called Dashoba Productions.

785
00:41:25,800 --> 00:41:28,559
That's what it is, actually, it says Harry Finn would

786
00:41:28,559 --> 00:41:31,440
have Bentown's better known nightlife figures has turned to movie making.

787
00:41:31,599 --> 00:41:35,519
Harry's Dashoba Productions just completed shooting in Brigantine Beach. The

788
00:41:35,639 --> 00:41:37,559
picture Less Than the Flesh is a story of what

789
00:41:37,679 --> 00:41:41,320
allegedly goes on in suburbia. It was produced, written, and

790
00:41:41,440 --> 00:41:45,320
directed by Anthony Orlando, who directed the Lilian Restar The Block.

791
00:41:46,039 --> 00:41:49,840
And that's in October nineteen sixty four. So that's how

792
00:41:49,880 --> 00:41:51,760
you know that they shot in September on October, and

793
00:41:51,840 --> 00:41:54,880
that's why it looks freaking cold on the Jersey Shore.

794
00:41:54,920 --> 00:41:55,719
It's off season.

795
00:41:56,559 --> 00:41:58,239
Speaker 2: I mean, I guess it's suburbia.

796
00:41:58,400 --> 00:41:58,800
Speaker 5: I don't.

797
00:41:59,159 --> 00:41:59,599
Speaker 2: I wouldn't.

798
00:41:59,679 --> 00:42:03,599
Speaker 3: It's yeah, no, so not. I mean, eventually you go

799
00:42:03,719 --> 00:42:08,320
back to some apartments, but it's more like, because it's

800
00:42:08,360 --> 00:42:11,480
just not the city, they're just trying to differentiate it, right,

801
00:42:11,880 --> 00:42:14,320
It's more like a vacation. It's like a vacation sex movie.

802
00:42:14,360 --> 00:42:16,920
It's kind of like it's like deep inside. Yeah, it's

803
00:42:16,920 --> 00:42:22,119
like the Beach House, yes exactly, or like Roberta's later

804
00:42:22,199 --> 00:42:24,599
Fire Island movies. It's kind of like, let's go, let's

805
00:42:24,679 --> 00:42:26,440
get out of the city and go go on vacation

806
00:42:26,639 --> 00:42:29,199
to the closest place we can go, which is the

807
00:42:29,320 --> 00:42:31,239
Jersey Shore in this case, because who wants to go

808
00:42:31,280 --> 00:42:32,239
to Long Island.

809
00:42:33,400 --> 00:42:35,199
Speaker 4: Which is so interesting to me a bit, just because

810
00:42:35,199 --> 00:42:37,960
they were also like experimenting with doing this film in

811
00:42:38,039 --> 00:42:40,440
a way, like Chuck has always always said, I never

812
00:42:40,559 --> 00:42:42,639
saw a sex film before shooting of these or something

813
00:42:42,679 --> 00:42:44,480
like that. So to take everyone all the way to

814
00:42:44,559 --> 00:42:48,440
New Jersey for what really was an experiment at the

815
00:42:48,519 --> 00:42:50,519
end of the day, is very interesting decision.

816
00:42:50,960 --> 00:42:51,159
Speaker 3: Yeah.

817
00:42:51,239 --> 00:42:53,800
Speaker 2: Yeah, Chuck had said like this was his introduction to

818
00:42:54,280 --> 00:42:58,599
sexploitation films. It kind of looks it a bit, but

819
00:42:58,719 --> 00:43:02,760
I think he's got it down, knew.

820
00:43:03,800 --> 00:43:07,800
Speaker 4: Yeah, also he just he was also just accomplished enough. Again,

821
00:43:07,880 --> 00:43:12,280
he came from industrials and things like that. He of

822
00:43:12,360 --> 00:43:15,199
course one of the things he'd love to say is

823
00:43:15,280 --> 00:43:21,280
that he would, of course also steal things from bigger movies.

824
00:43:21,519 --> 00:43:27,079
What was the film that inspired one or two scenes? God,

825
00:43:27,159 --> 00:43:30,079
there's a list. Oh, A Place in the Sun was

826
00:43:30,199 --> 00:43:33,559
one that inspired a bunch of sequences for this one,

827
00:43:33,719 --> 00:43:35,079
like some dance, like some of the stuff in the

828
00:43:35,239 --> 00:43:37,599
orgy sequence and things like that. A Place in the

829
00:43:37,719 --> 00:43:40,280
Sun was an inspiration for this one. And there's other

830
00:43:40,400 --> 00:43:43,440
films that I know not for this is very obvious.

831
00:43:43,639 --> 00:43:46,400
Speaker 3: The beach is very from here to eternity. That's very Yeah.

832
00:43:46,519 --> 00:43:50,119
Speaker 4: Yeah, yeah, so he was also like leaning on devices

833
00:43:50,159 --> 00:43:52,880
that he knew were trying true to also help give

834
00:43:52,960 --> 00:43:54,679
him a sense of direction with where to go for

835
00:43:54,800 --> 00:44:00,280
this stuff too. Yeah right, and also those great director Yeah,

836
00:44:00,440 --> 00:44:03,239
he read those really great like film theory Eisenstein books

837
00:44:03,280 --> 00:44:06,519
that really like just told you how to convey different

838
00:44:06,559 --> 00:44:10,159
types of emotions through the camera through camera work and

839
00:44:10,199 --> 00:44:11,840
things like that. So he had a bunch of different

840
00:44:12,000 --> 00:44:15,719
little things that he was going with. And also he

841
00:44:15,840 --> 00:44:20,400
had already seen Werner Rose shooting one of the Olga films,

842
00:44:21,400 --> 00:44:25,840
because that's where he got he figured out to use

843
00:44:26,119 --> 00:44:30,159
a handheld airflex with the widest possible lens without great distortion.

844
00:44:30,440 --> 00:44:33,920
So he saw someone else doing it already and then

845
00:44:34,000 --> 00:44:37,760
just copied that and copied the right guy too.

846
00:44:38,000 --> 00:44:40,800
Speaker 3: Yes, exactly. Werner was probably the best photographer up to

847
00:44:40,880 --> 00:44:41,239
that point.

848
00:44:41,519 --> 00:44:43,400
Speaker 4: Yeah, so Chuck was kind of a nice perfect storm

849
00:44:43,440 --> 00:44:45,320
at this time if you ask me.

850
00:44:45,960 --> 00:44:49,320
Speaker 3: But you can see that you can see the genre's

851
00:44:49,599 --> 00:44:54,239
look change with Chuck. I feel like the look of

852
00:44:54,320 --> 00:44:56,920
these films changed with Chuck. And I don't know if

853
00:44:56,920 --> 00:44:59,840
it's because people were seeing I don't know if people

854
00:44:59,840 --> 00:45:01,400
were actually want to watch these movies. I don't know

855
00:45:01,440 --> 00:45:04,239
if they were just watching trailers, but like the look

856
00:45:04,320 --> 00:45:07,920
of it. The look of these films definitely changes with Chuck.

857
00:45:08,039 --> 00:45:10,440
Speaker 4: I think, well, it's also the most economic way of

858
00:45:10,480 --> 00:45:14,039
shooting these, especially MOS is to just have your two

859
00:45:14,159 --> 00:45:20,360
lights or three lights. You're bouncing half of them so

860
00:45:20,440 --> 00:45:21,880
you don't have to move them around as much if

861
00:45:21,920 --> 00:45:25,639
the light's bouncing around a small apartment, and then you're

862
00:45:25,760 --> 00:45:29,639
just running around with a handheld camera, not having to

863
00:45:29,719 --> 00:45:32,719
do any setups, just unless unless it's like a wind

864
00:45:32,800 --> 00:45:34,360
unless you have to wind it up. Of course, you're

865
00:45:34,400 --> 00:45:37,360
hardly actually stopping unless you have to like get your

866
00:45:37,360 --> 00:45:39,840
actresses to do some direction. It was just like Chuck

867
00:45:39,920 --> 00:45:42,320
just said, like this wasn't an intentional style. It was

868
00:45:42,360 --> 00:45:45,760
the easiest way to do this, the.

869
00:45:45,840 --> 00:45:50,360
Speaker 2: Easiest and quickest. Yeah, you mentioned the MOS style. Did

870
00:45:50,400 --> 00:45:53,440
you guys notice at the beginning it actually credits the voices,

871
00:45:53,960 --> 00:45:54,960
the dubbed voices.

872
00:45:55,639 --> 00:45:58,679
Speaker 4: I do intend to look into those at some point

873
00:45:58,800 --> 00:46:02,840
because that's very interesting. I don't recognize any of the

874
00:46:02,920 --> 00:46:05,880
voices because there's one or two voices, but like Doris

875
00:46:05,920 --> 00:46:09,280
Wishmen and other things I will recognize, but not these ones.

876
00:46:09,880 --> 00:46:12,159
Speaker 2: Yeah, In that Echo interview as well, Chuck was like

877
00:46:12,480 --> 00:46:15,119
kind of proud of how many voices they had compared

878
00:46:15,119 --> 00:46:20,039
to like Doris's you know, four five voices. You know,

879
00:46:20,119 --> 00:46:22,039
they've got like a dozen or so.

880
00:46:22,480 --> 00:46:26,079
Speaker 4: Yeah, I wonder where they went and did that instead of.

881
00:46:26,840 --> 00:46:30,679
Speaker 3: Different rates Hot Nights on the campus. Yeah, to one narrator,

882
00:46:31,519 --> 00:46:34,519
it's like, Okay, that's fine though, because I love the

883
00:46:34,599 --> 00:46:36,039
narration and hot Knights in the campus.

884
00:46:36,159 --> 00:46:40,239
Speaker 2: But yeah, so I but yeah, this is like there's

885
00:46:40,280 --> 00:46:44,039
a lot of dialogue in this one. It's pretty well

886
00:46:44,239 --> 00:46:46,960
synced as well to their to their mouths.

887
00:46:47,360 --> 00:46:48,280
Speaker 3: It's not badly done.

888
00:46:48,440 --> 00:46:49,880
Speaker 2: Yeah, it's not badly done at all.

889
00:46:50,119 --> 00:46:52,840
Speaker 4: Yeah, yeah, no, it was probably just also a yeah,

890
00:46:52,840 --> 00:46:54,559
it does seem like a very elaborate thing to do,

891
00:46:54,719 --> 00:46:56,480
so I can see why they didn't do it again

892
00:46:56,920 --> 00:47:00,679
maybe yeah, and stuff because also realistically the thought was,

893
00:47:01,480 --> 00:47:03,920
as even said, like, I didn't really think the audience

894
00:47:04,079 --> 00:47:07,119
is going to care anyway, So why do we need

895
00:47:07,199 --> 00:47:10,280
to have every single character have a voice? They're not listening,

896
00:47:10,360 --> 00:47:11,079
they should be looking.

897
00:47:11,360 --> 00:47:14,519
Speaker 5: You know, I could just hear her sick philosophy.

898
00:47:15,920 --> 00:47:18,639
Speaker 1: The only way to save the marriage is for husbands

899
00:47:18,679 --> 00:47:21,360
and wat is to share each other's love. Is it's

900
00:47:21,480 --> 00:47:23,840
ridiculous to think that a human being can share the

901
00:47:23,920 --> 00:47:27,519
same bed his entire life. Even animals don't do it.

902
00:47:28,239 --> 00:47:29,679
After all, what force is it?

903
00:47:30,039 --> 00:47:30,079
Speaker 6: Not?

904
00:47:30,360 --> 00:47:35,199
Speaker 1: Nature? Certainly, it's all a matter of economics, community, property,

905
00:47:35,239 --> 00:47:38,440
and a few screaming brass So for that, millions of

906
00:47:38,519 --> 00:47:41,440
men and women force themselves to continue sleeping together.

907
00:47:42,000 --> 00:47:44,679
Speaker 5: She had expounded this theory so long that she even

908
00:47:44,760 --> 00:47:49,039
believed it herself. Was more defense than a belief, because

909
00:47:49,079 --> 00:47:51,599
my wife could not admit that she was what she was,

910
00:47:52,199 --> 00:47:53,159
an implemaniac.

911
00:47:53,679 --> 00:47:55,920
Speaker 2: Let's do the quick synopsis for this one again. I'm

912
00:47:55,920 --> 00:48:00,159
gonna quote from hill Gore's echo. Myra knew the we

913
00:48:00,519 --> 00:48:02,800
is raped by a mugger, but does not tell her

914
00:48:02,920 --> 00:48:07,320
husband Mark. While on vacation, they become involved with another couple,

915
00:48:07,920 --> 00:48:13,280
asexual Bob and promiscuous Helen. Ultimately, Myra is attracted to Karina,

916
00:48:13,440 --> 00:48:15,960
a lesbian, but the two women are killed in a

917
00:48:16,039 --> 00:48:16,559
house fire.

918
00:48:18,360 --> 00:48:19,920
Speaker 3: Such a simplified version.

919
00:48:20,559 --> 00:48:21,360
Speaker 2: There's a lot more.

920
00:48:21,440 --> 00:48:23,880
Speaker 4: It's a little more, not than Yeah, there's a lot

921
00:48:23,920 --> 00:48:25,880
of depth to this. It's very surprising.

922
00:48:26,679 --> 00:48:29,639
Speaker 3: Yes, and it's eighty minutes, which is mammoth for a movie.

923
00:48:29,679 --> 00:48:32,679
Of this, of this era, and I'm just like, Okay,

924
00:48:32,800 --> 00:48:34,440
I feel like we can probably cut down on some

925
00:48:34,559 --> 00:48:34,719
of this.

926
00:48:35,400 --> 00:48:37,199
Speaker 4: Yeah, that's the only one thing I have against sex.

927
00:48:37,320 --> 00:48:38,559
Speaker 5: I do like this movie.

928
00:48:39,079 --> 00:48:42,760
Speaker 4: It is like essentially Manchester accomplish a couple.

929
00:48:42,599 --> 00:48:46,440
Speaker 2: Swapping movie or a partner swapping at its core. But

930
00:48:46,679 --> 00:48:47,239
I think it's a.

931
00:48:47,239 --> 00:48:48,599
Speaker 3: Lot not willingly.

932
00:48:49,360 --> 00:48:49,599
Speaker 1: It's not.

933
00:48:49,880 --> 00:48:53,840
Speaker 3: It's not a knowingly couple swapping movie. It just happens

934
00:48:54,199 --> 00:48:59,480
because two of the people involved are monsters. Yeah, it's

935
00:48:59,480 --> 00:49:02,559
swapping because of a sexual rift.

936
00:49:03,000 --> 00:49:08,760
Speaker 4: Yeah, Myra's Myra's husband is just enraged that she will

937
00:49:08,840 --> 00:49:11,000
not that she's too afraid to have sex with him.

938
00:49:11,599 --> 00:49:16,440
Myra does never tell Yeah, yeah, yeah she's frigid.

939
00:49:17,320 --> 00:49:20,840
Speaker 3: Raped on her wedding night, raped after I got married. Yeah,

940
00:49:20,960 --> 00:49:21,920
and he.

941
00:49:22,000 --> 00:49:24,559
Speaker 4: Pretty much he pray. It does not take him long

942
00:49:25,480 --> 00:49:28,119
of hanging out with the other couple with Helen for

943
00:49:28,280 --> 00:49:30,840
him to be like, well, Myra's not doing much.

944
00:49:31,559 --> 00:49:35,920
Speaker 3: And I mean it's a weird swap though, because honestly, like, yeah,

945
00:49:36,159 --> 00:49:38,000
we will go over more of the cast, but like

946
00:49:38,480 --> 00:49:40,639
the four leads, no idea who any of them are,

947
00:49:40,920 --> 00:49:42,360
so I feel like we can read them to filth.

948
00:49:42,840 --> 00:49:47,880
So the actress playing Helen looks like the leading lady

949
00:49:47,960 --> 00:49:54,599
from the room. Blonde, black eyebrows, not I'm for some reason,

950
00:49:55,360 --> 00:49:59,559
it doesn't exactly line up a room, not exactly the lead.

951
00:50:00,000 --> 00:50:01,679
Speaker 4: He has a great bitch look to me, though, I

952
00:50:01,760 --> 00:50:06,199
don't know what. She has a good like stowy, scurdy

953
00:50:06,280 --> 00:50:08,440
bitch look. And that's about all she is is she

954
00:50:08,760 --> 00:50:10,599
just walks into a room and it costs people.

955
00:50:11,360 --> 00:50:12,639
Speaker 2: Yeah, I'm just like this.

956
00:50:13,519 --> 00:50:18,679
Speaker 3: This shows how new they were to the New York's

957
00:50:18,679 --> 00:50:24,239
exploitation genre, because what are we doing with these four leads?

958
00:50:24,320 --> 00:50:26,519
I mean, we have more interesting people at the party

959
00:50:27,119 --> 00:50:30,519
that we do like. But then Marlene Eck is also

960
00:50:30,639 --> 00:50:32,519
I think very good. She comes in later in the

961
00:50:32,559 --> 00:50:35,559
movie and I like her anyway, but yeah, like and

962
00:50:35,639 --> 00:50:39,480
then the one guy, the cheating husband, the guy Bob

963
00:50:39,719 --> 00:50:43,920
looks or not Bob Mark with these tattoos looks like

964
00:50:44,000 --> 00:50:47,880
Gary sonisee uh and you can see his tan lines

965
00:50:47,920 --> 00:50:52,719
like pale as hell. It is just it's not those

966
00:50:52,760 --> 00:50:56,320
two deserve each other, honestly, because the other couple, Yeah,

967
00:50:56,440 --> 00:51:00,000
the two, the two nice ones are much more attractive.

968
00:51:01,559 --> 00:51:04,440
I will say that the girl that plays Meyra always

969
00:51:04,480 --> 00:51:06,599
has her headband on and she looks kind of familiar.

970
00:51:07,079 --> 00:51:11,000
And then the guy who plays the asexual, which I

971
00:51:11,039 --> 00:51:13,239
don't think he's a sexual. I don't think he's tired

972
00:51:13,280 --> 00:51:15,119
of his wife's bullshit.

973
00:51:16,360 --> 00:51:17,760
Speaker 4: With He's just exhausted.

974
00:51:18,519 --> 00:51:22,960
Speaker 3: He's exhausted, Yes, exactly, he's exhausted. Yeah, yes, he's he's

975
00:51:23,079 --> 00:51:26,800
just worn out. He is not Joseph V. Perry. That

976
00:51:27,000 --> 00:51:30,679
is a IMDb inaccuracy. Joseph V. Perry was a very

977
00:51:30,800 --> 00:51:34,800
well established character actor on TV and film, way older

978
00:51:35,320 --> 00:51:38,039
than this guy in this movie. So once again IMDb

979
00:51:38,119 --> 00:51:38,679
strikes again.

980
00:51:39,320 --> 00:51:40,840
Speaker 4: They're not bad looking.

981
00:51:41,320 --> 00:51:43,639
Speaker 3: Yeah he's bad looking. I like both of them, and

982
00:51:43,719 --> 00:51:46,480
I think they're fine in it. You know, that's another

983
00:51:46,519 --> 00:51:48,719
reason why MS works. I think for Chuck, I think

984
00:51:48,840 --> 00:51:51,880
because he was so focused, and maybe even Tony. I

985
00:51:52,000 --> 00:51:55,239
think if you're so focused on the technical aspect of it,

986
00:51:55,320 --> 00:51:57,199
then you don't have to worry about directing these actors

987
00:51:57,760 --> 00:52:01,119
at all, Like he Basically, it's the direction that you get.

988
00:52:01,119 --> 00:52:02,840
And I don't even know in terms of like a script,

989
00:52:02,920 --> 00:52:05,559
they don't really have dialogue to worry about, so it

990
00:52:05,679 --> 00:52:10,000
really is more about telling the story visually and making

991
00:52:10,079 --> 00:52:12,280
sure that enough people get naked on camera. That you

992
00:52:12,360 --> 00:52:15,320
can sell the movie, so you know it's about it's

993
00:52:15,320 --> 00:52:19,519
about visual narrative and enough nudity to sell uh to

994
00:52:21,440 --> 00:52:22,679
this expectation audience.

995
00:52:23,199 --> 00:52:26,760
Speaker 4: Yeah, chucksfield making is very expressive, like if something, if

996
00:52:26,800 --> 00:52:30,360
someone's upset, the camera will likely shake and lurch. If

997
00:52:30,440 --> 00:52:33,800
someone is you know, doing this, it'll like etch the

998
00:52:34,000 --> 00:52:36,679
energy of that character. Ag.

999
00:52:36,880 --> 00:52:39,840
Speaker 2: Yeah, there's that part where she's like in a hay

1000
00:52:40,199 --> 00:52:43,519
she's like my vision. She's talking about a mental haze

1001
00:52:44,159 --> 00:52:46,920
and the screen goes like cloudy.

1002
00:52:47,199 --> 00:52:49,880
Speaker 3: Yeah, I remember, yeah, which I like, Yeah, I mean

1003
00:52:49,920 --> 00:52:52,880
it's once again they're like they're playing with different techniques

1004
00:52:53,039 --> 00:52:56,519
and seeing what sticks, and they're trying out different tricks.

1005
00:52:57,039 --> 00:52:59,920
That's that's why it's like, as as slow going as

1006
00:53:00,159 --> 00:53:04,320
narrative gets and as not that compelling the four leads are,

1007
00:53:05,239 --> 00:53:08,760
there's just enough that keeps me invested visually that I'm like,

1008
00:53:08,840 --> 00:53:10,840
I like seeing where it's going and I like seeing

1009
00:53:11,039 --> 00:53:15,920
what these you know, nofice exploitation filmmakers are coming up

1010
00:53:16,000 --> 00:53:19,360
with as they're kind of working their way through this genre,

1011
00:53:19,800 --> 00:53:22,199
and there's enough nudity in it, like actually the sequence

1012
00:53:22,199 --> 00:53:25,719
where the guy takes his boxers off and I almost

1013
00:53:26,840 --> 00:53:29,320
he takes this the camera moves at the last moment,

1014
00:53:29,400 --> 00:53:32,519
and I'm just like a second or this is like, yeah,

1015
00:53:32,639 --> 00:53:35,719
sixty five six shots, sixty four? Really sixty five? I

1016
00:53:35,800 --> 00:53:37,239
was like, yeah, it's a little too early for that.

1017
00:53:37,400 --> 00:53:39,719
But I was like, do I see pubes? I might

1018
00:53:39,800 --> 00:53:40,679
see some pubes.

1019
00:53:41,039 --> 00:53:41,079
Speaker 1: No.

1020
00:53:41,199 --> 00:53:44,480
Speaker 3: I was just like, good gravy. But yeah, I even

1021
00:53:44,559 --> 00:53:47,480
that for someone brand new to this, I think he

1022
00:53:47,639 --> 00:53:51,360
gets it pretty pretty quickly, you know what the what

1023
00:53:51,519 --> 00:53:52,639
the gist of the genre is.

1024
00:53:53,480 --> 00:53:57,960
Speaker 2: Yeah, I think the main problem, like you have already said,

1025
00:53:58,119 --> 00:54:00,599
is that you get to the part he's seen with

1026
00:54:00,760 --> 00:54:04,440
like Gig and Darlene, and you're like, why are these

1027
00:54:04,519 --> 00:54:07,320
people not this the main cast members.

1028
00:54:07,679 --> 00:54:11,039
Speaker 3: It's like you can know who they were yet. Yeah,

1029
00:54:11,280 --> 00:54:14,199
they know that they've been around the business. They'd work

1030
00:54:14,239 --> 00:54:18,639
with Barry Mahon, they'd worked with Werner, you know, Geez.

1031
00:54:18,679 --> 00:54:21,639
Darlene has a big role in fifty thousand BC Nudes

1032
00:54:21,679 --> 00:54:24,440
on the Rocks so like, and in Nudes on Tiger Reef,

1033
00:54:24,480 --> 00:54:27,039
which I guess is the sixty four as well, isn't it.

1034
00:54:27,760 --> 00:54:30,000
So like, Yeah, they don't know who these women are,

1035
00:54:30,599 --> 00:54:33,440
so that's why of course they they they have to

1036
00:54:33,519 --> 00:54:35,880
translate over to Hot Nights on the Campus because Chuck

1037
00:54:35,960 --> 00:54:39,039
remembers them, probably because they were so memorable to work

1038
00:54:39,079 --> 00:54:39,880
with on that set.

1039
00:54:40,079 --> 00:54:42,800
Speaker 2: I wonder if on this set he already knew, like, Okay,

1040
00:54:42,920 --> 00:54:45,559
the next movie, we're going to cast these girls like

1041
00:54:45,679 --> 00:54:49,960
in main parts. Yeah, yeah, because the leads in this movie.

1042
00:54:49,880 --> 00:54:52,679
Speaker 3: And Marlene is also translated over to Marlene moves over

1043
00:54:52,760 --> 00:54:53,320
to Yeah.

1044
00:54:53,599 --> 00:54:55,159
Speaker 2: Yeah, the leads in this movie, Like you said, they

1045
00:54:55,199 --> 00:54:59,239
don't work in anything else, so it didn't know they

1046
00:54:59,320 --> 00:55:00,199
were where.

1047
00:55:00,360 --> 00:55:02,199
Speaker 3: I don't think they were actors. They could have just

1048
00:55:02,280 --> 00:55:06,159
been models, because they're not. They're not giving professional actor

1049
00:55:06,199 --> 00:55:08,199
to me, no, no to me.

1050
00:55:09,000 --> 00:55:09,199
Speaker 6: Yeah.

1051
00:55:09,719 --> 00:55:12,719
Speaker 2: Maybe that was who knows, maybe that was where Tony's

1052
00:55:13,559 --> 00:55:17,000
friends or some of his Philly friends who was to

1053
00:55:17,079 --> 00:55:17,400
go on.

1054
00:55:17,440 --> 00:55:21,159
Speaker 4: To vocals, right, yeah, like the makeup artists came from

1055
00:55:21,159 --> 00:55:25,159
Philadelphia and stuff. This is the one like transitional Philadelphia film.

1056
00:55:25,599 --> 00:55:25,800
Speaker 5: Yeah.

1057
00:55:26,000 --> 00:55:28,559
Speaker 3: Well yeah, well yeah, because well we yeah, we didn't.

1058
00:55:28,559 --> 00:55:31,320
I don't think we mentioned that. The Iris Hunter So yeah,

1059
00:55:31,400 --> 00:55:34,320
Iris Hunter, who was the assistant director on this and

1060
00:55:34,480 --> 00:55:36,119
did the makeup and then did the makeup on Hot

1061
00:55:36,280 --> 00:55:38,840
Nights on the Campus. She was a Philly TV personality.

1062
00:55:39,360 --> 00:55:44,159
She played a bunny on a children's TV show in Philadelphia,

1063
00:55:44,239 --> 00:55:46,559
and then she recorded an album as Bunny Iris, which

1064
00:55:46,639 --> 00:55:49,880
is like a children's thing. So for her then to

1065
00:55:50,559 --> 00:55:53,360
graduate to doing sexpotation movies with Tony Orlando, I'm like,

1066
00:55:53,400 --> 00:55:57,639
were they involved? It seems like an interesting move to

1067
00:55:57,760 --> 00:56:00,159
make from Philly to New York and do sex bixation

1068
00:56:00,280 --> 00:56:03,800
movies when you have this career in children's entertainment and

1069
00:56:03,880 --> 00:56:06,280
you're using your real name on the movie as well,

1070
00:56:06,360 --> 00:56:07,079
I believe.

1071
00:56:07,119 --> 00:56:11,920
Speaker 4: Yeah, very interesting because yeah, why come to New York

1072
00:56:12,199 --> 00:56:13,719
just to help out? Go ahead?

1073
00:56:14,079 --> 00:56:16,400
Speaker 3: Yeah, Well, and then she stays for Hot Nights on

1074
00:56:16,440 --> 00:56:18,719
the campus, so it's just kind of like, Okay, so in.

1075
00:56:18,800 --> 00:56:22,159
Speaker 2: The same role as assistant assistant.

1076
00:56:21,880 --> 00:56:25,000
Speaker 3: The assistant director, she's I think, no, she's just the

1077
00:56:25,079 --> 00:56:26,760
makeup artist on Hot Nights on the campus.

1078
00:56:28,199 --> 00:56:30,400
Speaker 4: On the set, Chuck just says she was helping out

1079
00:56:30,440 --> 00:56:31,159
behind the scenes.

1080
00:56:33,000 --> 00:56:35,800
Speaker 3: Yeah, that's like, that's like a Tony thing. That's like

1081
00:56:35,880 --> 00:56:37,480
she wants to hang out with Tony and be his

1082
00:56:37,599 --> 00:56:41,320
girl on the set, just like, Okay, who was she?

1083
00:56:42,039 --> 00:56:43,800
Speaker 2: Yeah, it might have been one of those cases, Yeah,

1084
00:56:43,800 --> 00:56:45,159
where she wants to keep an eye and I.

1085
00:56:45,199 --> 00:56:48,480
Speaker 3: Am oh, I see what you're saying. Yes, that was

1086
00:56:48,559 --> 00:56:52,280
why Roberto was on the set of That's why she

1087
00:56:52,440 --> 00:56:54,280
was the star of Taking Naked, because she didn't trust

1088
00:56:54,440 --> 00:56:56,679
Michael with all the other women. She got tired of

1089
00:56:56,760 --> 00:56:59,960
him doing other Noondiy movies. Also, I noticed on Lesson

1090
00:57:00,000 --> 00:57:01,960
in the plus the credits, the lab is credited as

1091
00:57:02,000 --> 00:57:04,800
All Service Labs, which I've never heard of. Yeah, so

1092
00:57:04,880 --> 00:57:06,840
immediately it was like, where can I find him film

1093
00:57:06,840 --> 00:57:11,719
about All Service Labs? I can't find anything. It's it's possible.

1094
00:57:12,039 --> 00:57:13,239
Speaker 4: But then it makes you wonder, why do we have

1095
00:57:13,280 --> 00:57:17,159
the negative to this because we stand bored of American

1096
00:57:17,199 --> 00:57:17,760
film had it.

1097
00:57:18,239 --> 00:57:20,880
Speaker 3: That's interesting, So I guess it must have been processed

1098
00:57:21,679 --> 00:57:24,960
at in Philly at that All Service Labs potentially, and

1099
00:57:25,039 --> 00:57:29,000
then when Stan bought it, then he moved the negative

1100
00:57:29,039 --> 00:57:32,320
over to Movie Lab. But then the sound is magno

1101
00:57:32,440 --> 00:57:34,920
sound or the editing. I think it's Magno sound is

1102
00:57:35,000 --> 00:57:37,039
credited too, but they maybe had a magnet sound in

1103
00:57:37,079 --> 00:57:40,599
Philly too. It's possible. Maybe I don't know.

1104
00:57:41,880 --> 00:57:44,119
Speaker 4: I've sworn I've seen that credit before, but nothing's coming

1105
00:57:44,159 --> 00:57:46,000
to mind as to what it was. It could have

1106
00:57:46,119 --> 00:57:46,920
been a small lab.

1107
00:57:47,480 --> 00:57:49,440
Speaker 3: It felt new to me because I was just like,

1108
00:57:49,559 --> 00:57:52,119
I've never heard of that. Yeah, it was. It was

1109
00:57:52,239 --> 00:57:54,280
very interesting. I was like, well, there's some reason we

1110
00:57:54,320 --> 00:57:55,920
had the negative to this, but we don't for hot

1111
00:57:56,039 --> 00:57:59,000
nights on the campus. But it's the Borden. It's the

1112
00:57:59,039 --> 00:58:00,960
bording thing. Yeah, that makes sense.

1113
00:58:01,559 --> 00:58:04,000
Speaker 2: M hm, well I see a note. So was this

1114
00:58:04,119 --> 00:58:06,199
actually put out on VHS? I don't think I've ever

1115
00:58:06,320 --> 00:58:09,599
seen it? Yeah, something we're chess of this, okay.

1116
00:58:09,639 --> 00:58:12,400
Speaker 3: Yeah, everything something weird put out They always put out

1117
00:58:12,440 --> 00:58:13,280
on VHS. First.

1118
00:58:13,679 --> 00:58:16,760
Speaker 4: It could have been a slightly later one so it

1119
00:58:16,920 --> 00:58:19,119
just wasn't around as much. I think they could have

1120
00:58:19,199 --> 00:58:19,559
come out but.

1121
00:58:19,679 --> 00:58:22,239
Speaker 3: Later when it opens with the copyright, isn't the copyright

1122
00:58:22,320 --> 00:58:23,000
like ninety six?

1123
00:58:23,639 --> 00:58:25,719
Speaker 4: The logo is like the image err logo?

1124
00:58:26,280 --> 00:58:28,280
Speaker 3: Oh no, the logo is an old logo.

1125
00:58:28,440 --> 00:58:31,800
Speaker 2: It's like it's is it bubble it's bubble font the

1126
00:58:31,880 --> 00:58:34,519
bubble one yeah, yeah, which is way older.

1127
00:58:34,880 --> 00:58:37,079
Speaker 3: So yeah, I know they if it was in their

1128
00:58:37,199 --> 00:58:39,039
first ninety let me check. I think it is in

1129
00:58:39,119 --> 00:58:42,280
there in their first ninety five to ninety six catalog.

1130
00:58:42,840 --> 00:58:45,199
Speaker 4: Yeah, has I've come out at least some point. There's

1131
00:58:45,199 --> 00:58:48,079
so many something weird tapes though it's really hard. I know,

1132
00:58:48,800 --> 00:58:50,199
I know, to keep up with everything.

1133
00:58:50,440 --> 00:58:52,559
Speaker 3: I have it first listed in my because I had

1134
00:58:52,639 --> 00:58:56,239
my inventory on a Google doc for all the something

1135
00:58:56,280 --> 00:58:58,719
weird stuff. The catalog Supplement number twenty one was the

1136
00:58:58,760 --> 00:59:01,440
first time that I had a list. So it might

1137
00:59:01,519 --> 00:59:04,119
be later, but I don't know. But it definitely came

1138
00:59:04,159 --> 00:59:07,800
out on VHS. Essentially, anything new, anything something weird always

1139
00:59:07,920 --> 00:59:10,719
VHS first, or VHS concurrent with the DVDR.

1140
00:59:11,039 --> 00:59:13,159
Speaker 4: Yeah, they held with VHS for a while there.

1141
00:59:14,679 --> 00:59:19,159
Speaker 3: They only did a very few DVD only titles, very few. Yeah,

1142
00:59:19,159 --> 00:59:22,360
because they had people. Lisa would tell me that we

1143
00:59:22,480 --> 00:59:24,400
still she would complain about it in the forums. I'm like,

1144
00:59:24,760 --> 00:59:27,159
so we still have people that are sticking to their VHS.

1145
00:59:27,199 --> 00:59:29,079
They don't want to upgrade to dvdrs and these are

1146
00:59:29,159 --> 00:59:32,119
like old school people. And then eventually they started dying out.

1147
00:59:32,239 --> 00:59:34,719
So eventually they just stopped selling the vhs. But I

1148
00:59:34,800 --> 00:59:37,679
think they still got complaint letters from people like, well,

1149
00:59:37,679 --> 00:59:40,199
I don't want to upgrade to DVDR DVD, I want

1150
00:59:40,239 --> 00:59:42,519
to stick to going to VHS. It's like it's outdated.

1151
00:59:42,559 --> 00:59:43,840
We're not doing vhs anymore.

1152
00:59:44,320 --> 00:59:47,440
Speaker 5: This is my wife, Helen Helen and I were married

1153
00:59:47,480 --> 00:59:50,280
about four years. We had to get married when we

1154
00:59:50,360 --> 00:59:53,599
were sixteen. We didn't love each other, we didn't even

1155
00:59:53,679 --> 00:59:56,400
want each other. And it was as if they didn't

1156
00:59:56,440 --> 00:59:59,320
want it that way either, because the baby died at birth?

1157
01:00:00,320 --> 01:00:02,880
Speaker 2: Was there any evidence? This was plain as l and

1158
01:00:02,960 --> 01:00:06,239
the F Did you see that anywhere in any newspaper ads?

1159
01:00:07,039 --> 01:00:08,400
Speaker 3: Do you know how hard it is to search for that?

1160
01:00:10,639 --> 01:00:13,320
You think there's no way in hell I searched for that, gentry?

1161
01:00:14,440 --> 01:00:15,480
Are you kidding me?

1162
01:00:16,320 --> 01:00:18,199
Speaker 2: You spent an hour this morning doing just that.

1163
01:00:19,519 --> 01:00:21,000
Speaker 3: I was researching other people.

1164
01:00:21,079 --> 01:00:26,400
Speaker 2: And because I saw that, I think I know in

1165
01:00:26,519 --> 01:00:26,920
the f.

1166
01:00:28,559 --> 01:00:34,920
Speaker 3: That's like me searching for submission for submission. And yeah,

1167
01:00:36,159 --> 01:00:38,800
I could have done the Alex Alex trick and searched

1168
01:00:38,840 --> 01:00:45,599
by the searched by the tagline, but I didn't. The

1169
01:00:45,719 --> 01:00:46,480
title was.

1170
01:00:46,519 --> 01:00:49,119
Speaker 4: Probably censored in some places because the word lust was

1171
01:00:49,239 --> 01:00:51,639
on other things and flesh too.

1172
01:00:52,320 --> 01:00:52,760
Speaker 3: Both of them.

1173
01:00:52,800 --> 01:00:54,719
Speaker 2: Well, as you see in that other ad, the rust

1174
01:00:54,840 --> 01:00:57,199
and the fresh that alternate titling.

1175
01:00:57,840 --> 01:01:02,159
Speaker 3: Yes, so that's hilarious. So that in Wilmington, Delaware, April

1176
01:01:02,360 --> 01:01:06,199
nineteen sixty five. So basically the ad says, so, first

1177
01:01:06,239 --> 01:01:10,199
of all, it opened, it premiered in It premired in

1178
01:01:10,280 --> 01:01:14,000
Wilmington April sixteenth, nineteen sixty five. And then on the

1179
01:01:14,079 --> 01:01:17,280
twenty first, they run another ad that replaces the title

1180
01:01:17,360 --> 01:01:20,360
with Rust and the Fresh and says, once in a

1181
01:01:20,400 --> 01:01:23,480
great while, even the sensor blushes. Such a film is

1182
01:01:23,559 --> 01:01:26,239
less than the flesh. When the sensor sensors his own ads,

1183
01:01:26,480 --> 01:01:29,159
you know, this show is simply wild, a must. And

1184
01:01:29,239 --> 01:01:30,920
I'm just like, oh, you didn't do it because the

1185
01:01:30,960 --> 01:01:33,239
local censorship. We just did it because you want to

1186
01:01:33,280 --> 01:01:36,400
make it sound hot. Yeah, and call it Rust in

1187
01:01:36,519 --> 01:01:38,519
the Fresh. It was just so crazy.

1188
01:01:38,800 --> 01:01:40,679
Speaker 2: And and then you have the real title right in

1189
01:01:40,800 --> 01:01:43,079
the in the ad coffee below it, so it's like

1190
01:01:43,159 --> 01:01:45,920
you're not censoring it. Clearly, it's right there.

1191
01:01:46,960 --> 01:01:51,400
Speaker 3: Yeah, it's not good, but that's fine. But yeah, yeah,

1192
01:01:51,480 --> 01:01:52,320
well it's kind wild.

1193
01:01:52,519 --> 01:01:54,960
Speaker 2: What's the deal here? Yeah with this judge, Like it

1194
01:01:55,199 --> 01:01:57,480
was clearly like the title seemed like it got Tom

1195
01:01:57,519 --> 01:01:59,079
in trouble more than anything.

1196
01:01:59,280 --> 01:02:03,280
Speaker 3: Uh well, this was in Philly, which is so funny.

1197
01:02:03,320 --> 01:02:08,639
It happened in Philly. I wonder if this is it

1198
01:02:08,760 --> 01:02:12,320
is really it's real? No, no, no, no, they wouldn't

1199
01:02:12,360 --> 01:02:15,639
name an honorable judge and all these district attorneys and

1200
01:02:15,679 --> 01:02:16,280
all these people.

1201
01:02:16,360 --> 01:02:19,400
Speaker 2: The people too, is running around with these mobsters. Maybe

1202
01:02:19,440 --> 01:02:23,119
they paid someone off to this judge, hey, potentiary.

1203
01:02:23,440 --> 01:02:26,239
Speaker 3: The district attorney's office. They would not, they would sue

1204
01:02:26,320 --> 01:02:27,960
the paper for publishing this.

1205
01:02:28,960 --> 01:02:31,960
Speaker 2: No, this is advocate all right, go ahead.

1206
01:02:32,000 --> 01:02:34,239
Speaker 3: Yeah, you don't need to do that. With these turtles

1207
01:02:34,280 --> 01:02:36,519
in the sixties, they weren't. Yeah, if it's if it's

1208
01:02:36,519 --> 01:02:39,880
an oppressed book question, if it's a newspaper, yeah, it's

1209
01:02:40,159 --> 01:02:43,119
kind of on record, yes, especially if it's a legal thing.

1210
01:02:44,599 --> 01:02:45,159
Speaker 2: Calculated.

1211
01:02:45,480 --> 01:02:49,760
Speaker 3: Yes. So essentially it was playing with Passion in the Sun,

1212
01:02:50,360 --> 01:02:53,480
which is a crazy double feature because that's also the

1213
01:02:53,519 --> 01:02:56,320
Girl in the Geek the Dale Barry movie with the

1214
01:02:57,000 --> 01:02:58,119
which is which I love.

1215
01:02:58,320 --> 01:03:03,679
Speaker 2: But god, any Sandy Beach double feature there's like, yeah, but.

1216
01:03:03,760 --> 01:03:06,679
Speaker 3: One is a somber character drama and the other is

1217
01:03:06,840 --> 01:03:10,159
a wild insane import from Texas.

1218
01:03:10,480 --> 01:03:14,039
Speaker 4: Like they are not they they do not go to

1219
01:03:14,239 --> 01:03:14,880
both of beaches.

1220
01:03:14,920 --> 01:03:15,519
Speaker 2: That's all I'm saying.

1221
01:03:15,599 --> 01:03:23,360
Speaker 3: Yeah, yes, that's true. Okay, yes, yeah, right exactly. But

1222
01:03:23,440 --> 01:03:27,559
it's funny because so essentially it was showing at the

1223
01:03:27,719 --> 01:03:30,079
Art Spruce Theater and the Devin it was showing in

1224
01:03:30,119 --> 01:03:32,360
two places, So this was a situation where it was

1225
01:03:32,400 --> 01:03:34,880
showing in two places in Philadelphia, so they probably were,

1226
01:03:35,199 --> 01:03:39,239
you know, sharing a print. Probably, I don't possibly not

1227
01:03:39,880 --> 01:03:44,079
so a judge. It's not listed in this in this article,

1228
01:03:44,159 --> 01:03:45,960
but there's another one I found which I didn't include,

1229
01:03:45,960 --> 01:03:50,440
where he was actually invited to see it because and

1230
01:03:50,519 --> 01:03:53,119
that sounds like a publicity stunt, because they wanted to

1231
01:03:53,280 --> 01:03:56,400
invite him, but then so he went he saw it.

1232
01:03:56,480 --> 01:03:59,079
It says the dirict district attorney requested him to see it,

1233
01:03:59,119 --> 01:04:00,960
which is different from the other article, which says he

1234
01:04:01,079 --> 01:04:03,760
was invited by the management of the theater, so he

1235
01:04:03,840 --> 01:04:06,519
went to go see it, and he said the district

1236
01:04:06,559 --> 01:04:09,960
attorney wanted the judge to decide and it's alleged obscenity.

1237
01:04:10,000 --> 01:04:13,119
Before acting on the application for seizure warrants on this film,

1238
01:04:13,880 --> 01:04:16,320
he said it was filthy and disgusting. It was obscene.

1239
01:04:16,960 --> 01:04:19,840
It was obscene and devoid of cultural or artistic value.

1240
01:04:20,239 --> 01:04:23,519
Prominent themes were wife swapping and adultery. So they replaced

1241
01:04:23,559 --> 01:04:29,679
it with Crazy, Wild, and Crazy, which is arguably the

1242
01:04:30,039 --> 01:04:33,280
best movie Verry Mahon movie that has ever been made.

1243
01:04:33,880 --> 01:04:37,000
It is a bunch of outtakes that actually Chuck edited.

1244
01:04:37,599 --> 01:04:38,840
Speaker 4: Chuck edited, Yeah.

1245
01:04:39,760 --> 01:04:42,199
Speaker 3: Chuck edited, So you get one Chuck edited movie replaced

1246
01:04:42,199 --> 01:04:45,199
by another Chuck edited movie. That movie is impossible to

1247
01:04:45,239 --> 01:04:45,719
get furrough.

1248
01:04:46,519 --> 01:04:50,199
Speaker 4: Well, he's wide. He was just negative and said, just

1249
01:04:50,639 --> 01:04:53,199
just just just just pretty much edited it. By looking

1250
01:04:53,199 --> 01:04:53,840
at the negative.

1251
01:04:54,000 --> 01:04:55,559
Speaker 2: It's a surreal masterpiece.

1252
01:04:55,800 --> 01:04:58,000
Speaker 4: Just put it in a flash. It is terrible, crazy,

1253
01:04:58,000 --> 01:04:59,400
It was terrible skin.

1254
01:04:59,519 --> 01:05:02,000
Speaker 3: But the funny thing is, so they go to get

1255
01:05:02,079 --> 01:05:05,679
the print and it's nowhere to be found. They go

1256
01:05:05,800 --> 01:05:08,280
to they go to seize the print and it's not

1257
01:05:08,440 --> 01:05:13,559
on the premises. So someone hit it, yes, And then

1258
01:05:13,599 --> 01:05:19,599
also the local the district attorney in Philly says, this

1259
01:05:19,719 --> 01:05:22,400
is a matter of hardcore pornography. He said, referring to

1260
01:05:22,480 --> 01:05:24,239
the film Less in the Flesh. Little did he know,

1261
01:05:25,599 --> 01:05:28,800
literally five years later we would have actual hardcore pornography.

1262
01:05:28,880 --> 01:05:30,480
So he has no idea what he's in store for.

1263
01:05:31,199 --> 01:05:34,960
Speaker 4: He's never been invited to the firehouse parties, he's never

1264
01:05:35,119 --> 01:05:36,760
seen something projected on a bed sheet.

1265
01:05:37,679 --> 01:05:43,280
Speaker 3: No, the judge, the judge, the judge in question says,

1266
01:05:43,400 --> 01:05:45,639
maybe he shouldn't have gone to see that movie after all,

1267
01:05:46,559 --> 01:05:49,119
And the judge's opinion the picture was scandalous and raw

1268
01:05:49,199 --> 01:05:53,480
and was calculated to arouse people's emotions. The film was

1269
01:05:53,559 --> 01:05:56,239
gone when County Detective Show Up showed up to the theaters,

1270
01:05:56,880 --> 01:06:00,320
so he acknowledged that he views Wait a minute, yeah,

1271
01:06:00,400 --> 01:06:03,039
so since the film has been withdrawn, there's nothing for

1272
01:06:03,079 --> 01:06:05,480
the judge to act on. They also showed Hot Bed

1273
01:06:05,559 --> 01:06:07,360
of Sin, which I don't know what that is. I'm

1274
01:06:07,400 --> 01:06:08,000
intrigued by.

1275
01:06:07,960 --> 01:06:11,960
Speaker 4: What the Michigan import och it's nothing. Yeah, it's a

1276
01:06:12,039 --> 01:06:13,000
nothing movie.

1277
01:06:13,679 --> 01:06:17,079
Speaker 3: Oh it's French. A couple of dancers performing in that club.

1278
01:06:18,119 --> 01:06:18,840
Speaker 4: Yeah, it's.

1279
01:06:20,679 --> 01:06:20,880
Speaker 5: Yeah.

1280
01:06:20,960 --> 01:06:24,360
Speaker 3: So it's basically a French movie with no sex in it.

1281
01:06:24,880 --> 01:06:28,440
Speaker 4: Yeah, which maybe if we're lucky. Had an additional ten

1282
01:06:28,559 --> 01:06:32,559
second shot of Paceti's been put on nipples in Michigan.

1283
01:06:33,000 --> 01:06:33,199
Speaker 5: Yeah.

1284
01:06:33,400 --> 01:06:36,079
Speaker 3: I don't have nothing games in this cast either. Yeah,

1285
01:06:36,440 --> 01:06:38,119
this is what day? Was it?

1286
01:06:38,199 --> 01:06:40,480
Speaker 4: Originally nineteen fifty something, probably.

1287
01:06:40,239 --> 01:06:46,400
Speaker 3: Nineteen fifty, nineteen fifty one, post war, post war French cinema. Yeah.

1288
01:06:47,599 --> 01:06:50,639
Speaker 4: Dave Friedman once said Michigan's films were old enough to vote.

1289
01:06:52,239 --> 01:06:55,000
Speaker 3: In this case, that is true, but they they're old

1290
01:06:55,119 --> 01:06:57,880
enough to have their period, yes, I think or have

1291
01:06:58,000 --> 01:06:58,719
their first boner.

1292
01:06:59,079 --> 01:07:03,159
Speaker 4: Yes, yeah, fourteen year olds moving were garbage.

1293
01:07:03,519 --> 01:07:04,519
Speaker 3: Yes, exactly.

1294
01:07:04,719 --> 01:07:07,800
Speaker 2: Well, I'm curious that Judge didn't mention the the gay scenes.

1295
01:07:07,800 --> 01:07:09,880
I wonder why he didn't call that out. Is like

1296
01:07:10,159 --> 01:07:12,840
what really tipped him off or like put him over

1297
01:07:12,920 --> 01:07:15,199
the edge, because I could I could see that like

1298
01:07:15,360 --> 01:07:18,000
freaking him out, the two like little gay parts in

1299
01:07:18,079 --> 01:07:18,840
this movie.

1300
01:07:19,039 --> 01:07:24,280
Speaker 4: And even the lesbian part because abnormal, abnormal sexuality or whatever.

1301
01:07:24,159 --> 01:07:27,679
Speaker 3: You know, And I love that. It's another like it's

1302
01:07:27,679 --> 01:07:30,920
another like wildly butched lesbian that we've seen from like

1303
01:07:31,000 --> 01:07:35,199
chained Girls and stuff. I'm like, what I love. We

1304
01:07:35,320 --> 01:07:37,039
love the but we love the butch queens.

1305
01:07:37,440 --> 01:07:40,320
Speaker 4: What I love even more is how easily Myra goes

1306
01:07:40,440 --> 01:07:45,679
for it too as well. She's just incredible. Is like nothing, Yeah,

1307
01:07:46,000 --> 01:07:49,039
Myra is just like, yeah, I guess it's good for

1308
01:07:49,119 --> 01:07:51,360
my husband to do this because I can't.

1309
01:07:52,519 --> 01:07:54,639
Speaker 3: Yeah, I guess I'll hang out with this les I

1310
01:07:54,719 --> 01:07:59,400
guess it's okay. Yeah that orgy I'm here.

1311
01:08:00,079 --> 01:08:01,960
Speaker 4: Yeah, this guy's nice, though, It's okay.

1312
01:08:02,639 --> 01:08:07,239
Speaker 3: There is nothing going on behind those eyes literally dead zone. Yeah,

1313
01:08:07,360 --> 01:08:10,760
That's why I'm just like that. She you know, it

1314
01:08:10,920 --> 01:08:13,800
is what it is it's really not about for this film,

1315
01:08:13,840 --> 01:08:15,679
and I've said this, you know, it's interesting. I've been

1316
01:08:15,679 --> 01:08:17,359
watching a lot of films lately where the narrative is

1317
01:08:17,399 --> 01:08:19,159
not that important. It's but the visual. So like I

1318
01:08:19,279 --> 01:08:21,640
just watched Cries of Pleasure, that Franco movie last night,

1319
01:08:21,960 --> 01:08:24,720
which like wove its spell over me, and I was

1320
01:08:24,800 --> 01:08:27,439
just like, this is so great. This is kind of

1321
01:08:27,600 --> 01:08:30,159
like that where it's just like you just have to

1322
01:08:30,199 --> 01:08:33,119
be drawn into the visuals and what Chuck and Tony

1323
01:08:33,199 --> 01:08:36,600
are doing visually in terms of their storytelling. And that's

1324
01:08:36,640 --> 01:08:39,039
what makes it interesting. It doesn't make it any kind

1325
01:08:39,079 --> 01:08:41,960
of lost masterpiece, but it's so interesting to see like

1326
01:08:42,039 --> 01:08:45,840
these baby steps into sexploitation really kind of confidently. Like

1327
01:08:45,920 --> 01:08:49,920
the handheld cinematography is good, the editing is good, the

1328
01:08:50,039 --> 01:08:53,840
really good lusive use of locations. Yeah not goa lie.

1329
01:08:53,960 --> 01:08:56,119
Speaker 4: I could have watched this on silent for the first

1330
01:08:56,239 --> 01:09:00,399
time and still pretty much got the story. Yes, it's

1331
01:09:00,520 --> 01:09:03,159
that good at visually conveying the story. I like, now

1332
01:09:03,199 --> 01:09:06,199
that I think about it, it makes it. It conveys

1333
01:09:06,359 --> 01:09:08,560
enough that yeah, you can't prety much piecea together. It

1334
01:09:08,600 --> 01:09:10,039
could be a good sun film even.

1335
01:09:10,560 --> 01:09:12,840
Speaker 3: Yeah, that's a sign of a good visual storyteller if

1336
01:09:12,880 --> 01:09:15,720
you're able. And as the editor of this movie, he yeah,

1337
01:09:15,760 --> 01:09:18,560
he knew what he was doing so well. I will

1338
01:09:18,640 --> 01:09:22,560
never stop singing Chuck's praises ever. So you know, I

1339
01:09:22,640 --> 01:09:24,760
think he was. I don't think he gets he gets

1340
01:09:24,960 --> 01:09:27,640
he gets credit, but I still don't think it gets

1341
01:09:27,760 --> 01:09:28,279
enough credit.

1342
01:09:28,880 --> 01:09:33,000
Speaker 4: No, Because again I was thinking about this recently, how

1343
01:09:33,600 --> 01:09:37,800
horribly boring would Doris Wishman's New York films be if

1344
01:09:37,880 --> 01:09:41,640
they were shot like her nudies, they would be so

1345
01:09:42,399 --> 01:09:47,840
much more stale like Cee. David Smith is also partially

1346
01:09:47,920 --> 01:09:49,119
what shaped our love.

1347
01:09:49,119 --> 01:09:51,800
Speaker 3: Of Doris of some icons as well, like Doris.

1348
01:09:51,560 --> 01:09:55,960
Speaker 4: Wishman absolutely and stuff too, and even later hardcore films

1349
01:09:56,359 --> 01:09:58,399
as well. That it doesn't get talked about enough either.

1350
01:09:58,479 --> 01:10:02,000
We mostly talked about exploitation in the years, but he

1351
01:10:02,079 --> 01:10:05,159
also had his hardcore days as well. That has he

1352
01:10:05,319 --> 01:10:08,279
been involved in EDDY releases with the hardcore stuff back

1353
01:10:08,319 --> 01:10:08,720
in the day.

1354
01:10:08,880 --> 01:10:12,000
Speaker 3: I I convinced him to an interview. I wrote all

1355
01:10:12,079 --> 01:10:14,640
the questions, and then media blashers wouldn't fly me down

1356
01:10:14,680 --> 01:10:18,159
to do the interview myself. Oh fuck, So I never

1357
01:10:18,239 --> 01:10:20,479
got to meet him, but I did all the research

1358
01:10:20,560 --> 01:10:22,439
and all the questions because the people interviewing him had

1359
01:10:22,479 --> 01:10:27,560
no idea who he was. Follow up questions, Yeah, it's

1360
01:10:27,640 --> 01:10:29,720
on that release. And that was funny because I did

1361
01:10:29,760 --> 01:10:31,920
the commentary with Howard and he continued to call him

1362
01:10:31,960 --> 01:10:34,399
Carl Davis and I was like, well, he's going to

1363
01:10:34,439 --> 01:10:36,600
be on the release as c Davis Smith, Like he's

1364
01:10:36,640 --> 01:10:40,680
not hiding anymore, but h And also he did a

1365
01:10:40,720 --> 01:10:43,800
commentary on one of his terrible Leonard Kirkman quickies for

1366
01:10:44,000 --> 01:10:47,960
After Hours. Oh I believe, Yeah, I forget. It might

1367
01:10:48,000 --> 01:10:49,079
have been in flight Service.

1368
01:10:49,199 --> 01:10:49,680
Speaker 1: I think.

1369
01:10:51,960 --> 01:10:54,640
Speaker 3: A very good commentary. Obviously, he talks about the ins

1370
01:10:54,640 --> 01:10:57,720
and outs of the Kurtman factory and why it was sleezy,

1371
01:10:58,399 --> 01:11:01,640
sleazy set up, and yeah, it's it's the I think.

1372
01:11:02,560 --> 01:11:04,079
I think it's the only reason I had that DVD

1373
01:11:04,159 --> 01:11:07,359
because the movies are terrible, obviously because they're Kurtman garbage.

1374
01:11:07,439 --> 01:11:10,800
But yeah, obviously, yeah, commentary is terrific. Yeah, it's really good.

1375
01:11:11,199 --> 01:11:12,159
Speaker 2: Wow, I gotta find that.

1376
01:11:13,119 --> 01:11:15,319
Speaker 3: Yeah, I think it's in flight service. Yeah.

1377
01:11:15,720 --> 01:11:19,039
Speaker 2: I think when I had watched The Sexploiters back in

1378
01:11:19,119 --> 01:11:20,800
the day, I think that's maybe how me and you

1379
01:11:20,920 --> 01:11:23,600
connected Alex, I think you had mentioned that you should

1380
01:11:23,600 --> 01:11:25,359
listen to this commentary track, which.

1381
01:11:25,199 --> 01:11:27,119
Speaker 4: That's one of the first things.

1382
01:11:27,520 --> 01:11:30,399
Speaker 2: Yeah, I think we talked about that, and you're this

1383
01:11:30,560 --> 01:11:33,720
will give you like everything you need to know about.

1384
01:11:33,720 --> 01:11:37,239
Speaker 4: Oh yeah, I said next to next to the Mike

1385
01:11:37,560 --> 01:11:42,039
Rainy David Freeman commentaries, this is the absolutely essential sexploitation

1386
01:11:42,239 --> 01:11:47,600
commentary that exists out there. I agree, it is absolutely essential. Listen, listening,

1387
01:11:47,720 --> 01:11:50,319
I can't think of another old Guard commentary that's as

1388
01:11:50,399 --> 01:11:51,720
good besides Chuck or Dave.

1389
01:11:52,279 --> 01:11:52,479
Speaker 3: Yeah.

1390
01:11:52,960 --> 01:11:56,000
Speaker 2: Yeah, we were so blessed that Chuck was so available,

1391
01:11:56,840 --> 01:11:59,039
you know, at that time period, and that he was

1392
01:11:59,319 --> 01:12:02,039
just happy to talk and he was on the internet.

1393
01:12:03,079 --> 01:12:06,880
Speaker 4: Yeah, there would be so much more confusion about these Yeah, that's.

1394
01:12:06,720 --> 01:12:09,000
Speaker 3: Why I got mad when he didn't do something where

1395
01:12:09,039 --> 01:12:10,680
didn't get him for a commentary for a girl from

1396
01:12:10,800 --> 01:12:13,359
si N. I was like, he's available and he'll do it.

1397
01:12:13,479 --> 01:12:14,520
All you have to do is ask.

1398
01:12:14,920 --> 01:12:17,520
Speaker 4: Yeah, he definitely feeled in a lot. Go ahead, go ahead.

1399
01:12:17,560 --> 01:12:19,159
I'm saying he filled a lot of gaps for us,

1400
01:12:19,239 --> 01:12:22,600
which is like so blessed Ye Twisted sex would never

1401
01:12:22,720 --> 01:12:25,199
known who was Joe Productions, who was Jerry Denby, who

1402
01:12:25,279 --> 01:12:26,119
was Sandy Johnson?

1403
01:12:27,279 --> 01:12:31,000
Speaker 3: So many Actually, we wouldn't know nothing in Orlando if

1404
01:12:31,079 --> 01:12:34,279
Je hadn't talked know nothing about it, we wouldn't There's

1405
01:12:34,319 --> 01:12:37,279
a lot of manuking to Doris, the names of a

1406
01:12:37,319 --> 01:12:40,960
lot of Doris's crew, and like her connections to different people.

1407
01:12:42,680 --> 01:12:46,399
Speaker 4: Yeah, he's greatly. He really laid out how the nucleus

1408
01:12:46,600 --> 01:12:51,319
of New York exploitation worked pretty much and kind of

1409
01:12:51,479 --> 01:12:56,920
how things bled into another from one person like Barry

1410
01:12:56,960 --> 01:12:59,479
may Hunt's probably the one who got him the girls

1411
01:12:59,520 --> 01:13:01,840
for less of flash at least, like said, I know

1412
01:13:01,960 --> 01:13:04,159
what her two because who else would he have known

1413
01:13:04,199 --> 01:13:05,520
at that point? And he had done a bit of

1414
01:13:05,600 --> 01:13:09,039
work with Barry Mayhon on matching for a lot of people.

1415
01:13:09,159 --> 01:13:11,600
Barry was there the go to like casting guy at first,

1416
01:13:12,399 --> 01:13:13,319
which is why it's so crazy.

1417
01:13:13,359 --> 01:13:15,239
Speaker 3: He's like, I don't remember anything about these girls. I'm like,

1418
01:13:15,319 --> 01:13:16,960
what do you just remember their phone numbers?

1419
01:13:17,960 --> 01:13:18,520
Speaker 1: You were? You were?

1420
01:13:19,000 --> 01:13:19,920
Speaker 4: What are you talking about?

1421
01:13:20,239 --> 01:13:22,039
Speaker 3: He was so dismissive of them, I'm like, you work

1422
01:13:22,079 --> 01:13:24,479
with them on everything, you didn't like, you don't remember

1423
01:13:24,479 --> 01:13:26,720
any conversations you had with them or anything, or why

1424
01:13:26,800 --> 01:13:28,119
you would recommend them to other people.

1425
01:13:28,760 --> 01:13:30,800
Speaker 4: Yeah, he was like the first one who really started

1426
01:13:30,840 --> 01:13:32,720
photographing them at first.

1427
01:13:32,880 --> 01:13:33,479
Speaker 1: What was that like?

1428
01:13:33,600 --> 01:13:37,119
Speaker 3: Like, what were they like at first? Right? Exactly things.

1429
01:13:37,640 --> 01:13:39,479
He must have been good because he was able to

1430
01:13:39,520 --> 01:13:41,319
work with so many of the same people over and over.

1431
01:13:42,319 --> 01:13:45,840
Speaker 4: I want to learn more about DARNLEYE. Bennett's potential conquests

1432
01:13:45,920 --> 01:13:49,520
with famous people that she would always boast about.

1433
01:13:49,600 --> 01:13:54,840
Speaker 3: Girl whatever, Okay, honey, that's funny. I mean Darlene Bennett,

1434
01:13:54,880 --> 01:13:58,960
wouldn't you. I wouldn't obviously for obvious reasons. But I

1435
01:13:59,119 --> 01:14:03,279
mean she well, Darley, she had She was statuesque, gorgeous,

1436
01:14:03,399 --> 01:14:09,199
had great personality, you know, great lipstick, great looks. Right.

1437
01:14:09,520 --> 01:14:11,800
Speaker 2: The thing with Darlene too, is though you had to

1438
01:14:11,880 --> 01:14:15,159
hit her from like the right angle I've noticed, and

1439
01:14:15,760 --> 01:14:16,760
Chuck was good at it.

1440
01:14:17,119 --> 01:14:19,880
Speaker 3: No lying down shots either, because she does not look

1441
01:14:19,920 --> 01:14:22,479
good lying down, which I noticed. And hot nights on

1442
01:14:22,520 --> 01:14:24,800
the campus. I'm like, probably could have cut that. But

1443
01:14:24,960 --> 01:14:28,479
that's just you know, that's just me. That's just me

1444
01:14:28,600 --> 01:14:30,600
being overly critical of Darlene.

1445
01:14:31,319 --> 01:14:33,680
Speaker 2: Talking about people behind the scenes. Real quick, So is

1446
01:14:33,760 --> 01:14:36,600
Tony Spauller the guy under the sink in that party scene?

1447
01:14:37,600 --> 01:14:39,720
Speaker 3: That's hot? Nights on the campus. Not this one.

1448
01:14:39,840 --> 01:14:44,239
Speaker 4: No, no, no, he's he's he's under the sink with

1449
01:14:44,399 --> 01:14:46,640
the other guy about to start making out.

1450
01:14:47,119 --> 01:14:49,159
Speaker 3: Yeah, well do they make out?

1451
01:14:49,239 --> 01:14:50,520
Speaker 2: Are they like getting close?

1452
01:14:50,640 --> 01:14:53,479
Speaker 4: They're like about there, they're getting close to Like it

1453
01:14:53,560 --> 01:14:55,600
doesn't show anything, it doesn't show anything.

1454
01:14:56,079 --> 01:14:57,960
Speaker 3: No they are, Yeah, it doesn't show anything. But it's

1455
01:14:57,960 --> 01:14:58,920
definitely it's.

1456
01:14:58,800 --> 01:15:02,279
Speaker 2: Hard to know that spala or not, because I don't

1457
01:15:02,279 --> 01:15:05,840
know if we've ever seen him. We've heard of him

1458
01:15:06,159 --> 01:15:07,279
working with Schuck.

1459
01:15:07,079 --> 01:15:10,439
Speaker 4: But yeah, no, fun to think got him.

1460
01:15:10,479 --> 01:15:13,760
Speaker 3: But that's about it. I mean, somebody added that could

1461
01:15:13,800 --> 01:15:16,920
have been bowing for all I know. Yeah, somebody adds

1462
01:15:16,960 --> 01:15:19,119
something that that's most of a deep cut. I was like, Okay,

1463
01:15:19,199 --> 01:15:21,479
they wouldn't just randomly say Tony Spalas and this is

1464
01:15:21,520 --> 01:15:22,279
the guy under the sink.

1465
01:15:22,479 --> 01:15:23,399
Speaker 2: Yeah, that's why I asked.

1466
01:15:23,479 --> 01:15:26,239
Speaker 3: That seems a little too a little too known. That's

1467
01:15:26,319 --> 01:15:28,800
kind of like adding Jerry Denby as the doctor in

1468
01:15:29,680 --> 01:15:31,640
Hot Nights on the Campus, Like you're not going to

1469
01:15:31,680 --> 01:15:35,000
necessarily know what Jerry Denby looks like unless you know, Yeah,

1470
01:15:35,479 --> 01:15:36,399
I thought.

1471
01:15:36,800 --> 01:15:40,079
Speaker 4: Him, Well, you could do Jerry Denby eventually, because he

1472
01:15:40,239 --> 01:15:44,279
was pointed out in the Sexploiter's commentary and Denby's visually distinct,

1473
01:15:44,640 --> 01:15:47,479
like I didn't look at the credits first. It was then, yeah,

1474
01:15:47,800 --> 01:15:49,720
I didn't look at the credits first. I go, there's

1475
01:15:49,880 --> 01:15:52,920
Denby as the doctor. That's him obviously with the little mustache.

1476
01:15:53,920 --> 01:15:59,439
Speaker 8: Right college Town, USA, the buildings look different. The campus

1477
01:15:59,479 --> 01:16:03,279
has chained from city to city, but each college town

1478
01:16:03,399 --> 01:16:07,119
has one thing in common. Each fall, its population is

1479
01:16:07,159 --> 01:16:10,479
increased by the students who full of hopes and ideals,

1480
01:16:11,119 --> 01:16:14,119
arrive and are absorbed into the pattern of college life.

1481
01:16:15,119 --> 01:16:17,399
Some of these students are now away from home for

1482
01:16:17,520 --> 01:16:21,600
the first time. They will experience a new found freedom.

1483
01:16:22,319 --> 01:16:23,520
They are on their own.

1484
01:16:24,520 --> 01:16:26,960
Speaker 2: Before we move over to hot nights on the campus,

1485
01:16:28,039 --> 01:16:31,199
there's this photo here of the from the New York

1486
01:16:31,279 --> 01:16:35,279
Daily News right after completed shooting of Less Than the Flesh.

1487
01:16:35,479 --> 01:16:38,520
Is that correct? The timeline here that Darlene and June

1488
01:16:38,560 --> 01:16:42,479
we're in a this photo, This ball. What's this about, Casey.

1489
01:16:43,439 --> 01:16:47,640
Speaker 3: It's it's an Artists and Models ball to builtmore hotels.

1490
01:16:47,800 --> 01:16:48,840
Speaker 2: Is this like a competition?

1491
01:16:49,119 --> 01:16:49,560
Speaker 5: What is it?

1492
01:16:50,000 --> 01:16:53,000
Speaker 3: It's a gala. I have no idea. That's that's the

1493
01:16:53,079 --> 01:16:55,680
only thing. It's basically a photo it's an excuse for

1494
01:16:55,680 --> 01:16:57,439
the Daily News to run a photo of girls and

1495
01:16:57,479 --> 01:16:59,640
bikinis and say something happened at the Biltmore.

1496
01:17:00,079 --> 01:17:00,239
Speaker 5: Yeah.

1497
01:17:00,319 --> 01:17:01,000
Speaker 2: Yeah, and that's that.

1498
01:17:01,279 --> 01:17:04,880
Speaker 3: There's no attaching article about it. She's gonna like this happened.

1499
01:17:05,680 --> 01:17:08,920
But it's one of the only instances that Darlene Bennett

1500
01:17:08,920 --> 01:17:12,720
actually appears in the paper in any shape or form. Uh.

1501
01:17:13,079 --> 01:17:15,680
And it's vividly her and it's with Jim Roberts.

1502
01:17:16,319 --> 01:17:19,239
Speaker 4: Also, here's the thing. But despite the fact that she's

1503
01:17:19,319 --> 01:17:22,920
listed as Don Sawson, that looks like her sister beside her.

1504
01:17:23,359 --> 01:17:25,279
Speaker 2: Yeah it is, yeah, it is.

1505
01:17:25,479 --> 01:17:28,319
Speaker 3: Yeah, Well that's Don Sawson is in Don will Swinson

1506
01:17:28,600 --> 01:17:31,680
was the name that I believe was their real last

1507
01:17:31,800 --> 01:17:35,880
name was Darlene and Donnwson. So that makes sense.

1508
01:17:36,399 --> 01:17:39,199
Speaker 4: Those are small's balls could be really kooky apparently.

1509
01:17:39,760 --> 01:17:41,720
Speaker 3: I mean they look like it from this spect some

1510
01:17:41,880 --> 01:17:45,960
real weirdos, some real strange folks. These girls are hanging

1511
01:17:45,960 --> 01:17:48,399
around a lee tars and bikinis in November in New

1512
01:17:48,479 --> 01:17:50,000
York in nineteen sixty.

1513
01:17:49,720 --> 01:17:52,199
Speaker 2: Four, and there's rich guys like around.

1514
01:17:52,800 --> 01:17:57,600
Speaker 4: There's real devins and models ball in Mondo key holes.

1515
01:17:57,760 --> 01:17:59,720
You can see what type of things normally went on

1516
01:17:59,760 --> 01:18:02,079
at those things. That was a real ball in that movie.

1517
01:18:02,880 --> 01:18:05,239
Speaker 3: Well, then I guess we have an idea of what

1518
01:18:05,359 --> 01:18:09,119
happened there. It's kind of yeah, and it's funny looking

1519
01:18:09,199 --> 01:18:12,840
at this, you can tell that I can't be talking

1520
01:18:12,840 --> 01:18:15,119
about I can't. No, I can't be talking bad about

1521
01:18:15,159 --> 01:18:15,600
Dawn again.

1522
01:18:16,079 --> 01:18:17,439
Speaker 2: She finding this picture?

1523
01:18:18,279 --> 01:18:19,199
Speaker 3: No she doesn't.

1524
01:18:19,640 --> 01:18:20,960
Speaker 2: Okay, it's hard to tell you.

1525
01:18:21,399 --> 01:18:24,560
Speaker 3: No, she doesn't. Does not know, she does not, No,

1526
01:18:24,760 --> 01:18:26,800
she does not. But yeah, this is only a month

1527
01:18:26,840 --> 01:18:29,960
after shooting wrapped, because that newspaper article says right here

1528
01:18:30,000 --> 01:18:34,560
it wrapped on October around October sixth Yep. Well, so

1529
01:18:34,640 --> 01:18:36,600
the yeah they got for newspaper articles, So we have

1530
01:18:36,680 --> 01:18:37,279
a timeline.

1531
01:18:37,680 --> 01:18:40,680
Speaker 2: Well, give us the timeline. When did they start shooting

1532
01:18:40,840 --> 01:18:43,680
after wrapping? Okay, so Lest Than the Flesh wraps.

1533
01:18:43,560 --> 01:18:46,039
Speaker 3: Or they're going to question Chuck's version of events.

1534
01:18:46,560 --> 01:18:48,199
Speaker 2: When did they start shooting hot nights?

1535
01:18:48,920 --> 01:18:52,520
Speaker 3: So he says the partners were happy with the money

1536
01:18:52,560 --> 01:18:53,960
they got from Less Than the Flesh, and they give

1537
01:18:54,000 --> 01:18:55,640
them money to make the hot nights in the campus.

1538
01:18:56,279 --> 01:18:59,720
Less Than the Flesh did not come out until January

1539
01:19:00,000 --> 01:19:03,840
sixty five. Was the earliest screening that I could find

1540
01:19:03,880 --> 01:19:08,760
of that and then shooting Wrapped on Sin Campus aka

1541
01:19:08,880 --> 01:19:12,000
Hot Knights on the Campus on February seventeen, nineteen sixty five.

1542
01:19:12,119 --> 01:19:15,600
So you're saying that the returns in a month were

1543
01:19:15,720 --> 01:19:18,119
enough for them to be like okay, and basically and

1544
01:19:18,159 --> 01:19:20,800
it wasn't a wide release either, So we're talking about

1545
01:19:21,000 --> 01:19:25,920
returns based on what two cities maybe that could be cities?

1546
01:19:25,960 --> 01:19:26,600
Speaker 2: Do you think else?

1547
01:19:27,760 --> 01:19:30,920
Speaker 3: I don't know. I'm not sure I will stand in

1548
01:19:31,000 --> 01:19:32,079
that series of events.

1549
01:19:32,239 --> 01:19:36,960
Speaker 4: Well, also, Stanbordon also normally bought these films outright right

1550
01:19:37,560 --> 01:19:42,279
as well, So that's a little odd because everyone else

1551
01:19:42,319 --> 01:19:44,479
says he bought them for on ten to fifteen thousand,

1552
01:19:44,640 --> 01:19:50,359
which is their negative cost plus back. So I mean,

1553
01:19:50,600 --> 01:19:55,760
if that could have also been the case, true, Chuck

1554
01:19:55,920 --> 01:19:58,319
may have thought eventually that there would be more money

1555
01:19:58,399 --> 01:20:01,119
coming in like advanced plus, but I wasn't San Bordon's thing.

1556
01:20:01,239 --> 01:20:04,520
That wasn't a thing at all. But so they would

1557
01:20:04,520 --> 01:20:06,680
have gotten to probably at least like ten thousand back

1558
01:20:06,720 --> 01:20:08,680
Wrapt the Bad which is kind of a good sign

1559
01:20:08,880 --> 01:20:12,479
no matter what, that a five thousand dollars movie would

1560
01:20:12,520 --> 01:20:16,359
be smart again to do, Like, Okay, this experiment paid off,

1561
01:20:17,159 --> 01:20:19,520
Let's do it again. Now that we know we have

1562
01:20:19,600 --> 01:20:22,680
a little system going here right and go to any

1563
01:20:23,000 --> 01:20:25,960
it seems a bit more like that's how it could.

1564
01:20:27,399 --> 01:20:29,640
Speaker 3: That makes more sense to me, especially because the movie

1565
01:20:29,680 --> 01:20:34,039
didn't really open wider until March of sixty five. At

1566
01:20:34,079 --> 01:20:37,600
that point, that was like a month after shooting. Shooting

1567
01:20:37,720 --> 01:20:40,039
wrapped on hot nights on the campus, which was, according

1568
01:20:40,079 --> 01:20:43,439
to Chuck, only a two day shoot. So yeah, that

1569
01:20:43,520 --> 01:20:45,359
timeline is a little wonky for me, But I think

1570
01:20:45,399 --> 01:20:47,520
you're right. I think that's probably what it is. If

1571
01:20:48,439 --> 01:20:52,479
if stand bought them, bought that like late sixty four,

1572
01:20:52,840 --> 01:20:55,239
and then plan it for a release to premiere on

1573
01:20:55,359 --> 01:20:58,239
January first, nineteen sixty five, at this one screening, then

1574
01:20:58,920 --> 01:21:01,880
if you paid well and on time, then that would

1575
01:21:01,880 --> 01:21:03,760
have given them enough time to turn around to pay

1576
01:21:03,880 --> 01:21:07,399
the you know, pay the chat partners back and then

1577
01:21:07,479 --> 01:21:10,359
say okay, we'll start shooting. But then again they're shooting

1578
01:21:10,399 --> 01:21:13,319
again in February nineteen sixty five. Why they continue to

1579
01:21:13,359 --> 01:21:17,359
shoot in like the cold, Well, they're indoors at least,

1580
01:21:18,520 --> 01:21:20,920
but we don't in nineteen sixty five in New York,

1581
01:21:21,079 --> 01:21:23,000
Jesus Ray at least are not. At least they're not

1582
01:21:23,039 --> 01:21:23,800
at Jersey Shore.

1583
01:21:24,399 --> 01:21:26,439
Speaker 4: Yeah, we don't know how well the heating was. I

1584
01:21:26,479 --> 01:21:28,079
will say that we don't know how well the heating

1585
01:21:28,199 --> 01:21:30,960
was in the apartment. But the very least they're not

1586
01:21:31,199 --> 01:21:32,760
half naked outdoors.

1587
01:21:33,159 --> 01:21:35,079
Speaker 3: Thank god Jesus. Yeah, exactly.

1588
01:21:35,439 --> 01:21:38,560
Speaker 2: Well, and the outdoors scenes like when Gigi's walking around

1589
01:21:38,640 --> 01:21:42,520
like Washington Square, she's not like completely bundled up, but

1590
01:21:42,600 --> 01:21:45,520
she's definitely not like in shorts of a T shirt.

1591
01:21:45,920 --> 01:21:50,600
Speaker 4: So yeah, some people kind of wear like coats and stuff.

1592
01:21:51,159 --> 01:21:51,720
Speaker 2: It's free.

1593
01:21:51,840 --> 01:21:55,399
Speaker 3: I look at seasonably warm for February. She didn't. Yeah,

1594
01:21:55,720 --> 01:21:56,119
she's right.

1595
01:21:56,239 --> 01:21:56,399
Speaker 5: Yeah.

1596
01:21:56,680 --> 01:21:58,960
Speaker 3: And I just have to say, if I was in

1597
01:21:59,680 --> 01:22:04,079
this park in nineteen sixty five, jus Arlene walking in

1598
01:22:04,199 --> 01:22:07,520
the park with a turban and sunglasses looking like she

1599
01:22:07,760 --> 01:22:11,039
just walked off the French riviera, I would lose my shit.

1600
01:22:12,039 --> 01:22:14,359
It's just like, what is going on? Who is this

1601
01:22:14,520 --> 01:22:15,680
movie star whore I've never heard of?

1602
01:22:15,880 --> 01:22:17,359
Speaker 4: The whole movie could have been that.

1603
01:22:18,880 --> 01:22:21,520
Speaker 3: Also, she has the accent, so if you if she

1604
01:22:21,600 --> 01:22:23,640
says anything like, oh my god, this must be some

1605
01:22:23,760 --> 01:22:27,439
international movie star who like I, who is gonna make

1606
01:22:27,479 --> 01:22:30,439
a big splash. Maybe she's the new Bardeux, Like she's

1607
01:22:30,520 --> 01:22:32,920
really like she really is giving, like I'm gonna walk

1608
01:22:32,920 --> 01:22:36,239
through wesn'to the Square park and make an impact this

1609
01:22:36,439 --> 01:22:39,399
college student dressing like she's going to a movie premiere.

1610
01:22:40,000 --> 01:22:40,479
Those are my.

1611
01:22:40,560 --> 01:22:42,880
Speaker 4: Favorite moments, just because Yeah.

1612
01:22:43,279 --> 01:22:46,720
Speaker 2: She's like doing the too love thing. Yeah yeah, walking

1613
01:22:46,720 --> 01:22:48,119
around with my head up and she's.

1614
01:22:48,159 --> 01:22:51,439
Speaker 4: Doing it fabulously too. Oh she looks incredible.

1615
01:22:51,960 --> 01:22:52,800
Speaker 3: Yeah, she's great.

1616
01:22:53,479 --> 01:22:58,039
Speaker 2: This is Gig's movie as much, if not more than

1617
01:22:58,399 --> 01:22:59,399
Bad Girls Go to Hell.

1618
01:22:59,439 --> 01:23:02,279
Speaker 4: I'm like she has more personality in this one than

1619
01:23:02,359 --> 01:23:03,039
Bad Girls.

1620
01:23:03,479 --> 01:23:03,680
Speaker 5: Yeah.

1621
01:23:04,520 --> 01:23:10,000
Speaker 4: Yes, Gg's a lot more lively in this and the

1622
01:23:10,199 --> 01:23:13,600
actual and the dub on her voice actually sounds more

1623
01:23:13,680 --> 01:23:16,560
like Gigi, even though we already know her voice, Like

1624
01:23:16,640 --> 01:23:18,880
it looks like it could have been her. If you're

1625
01:23:18,920 --> 01:23:21,760
an audience member who's actually like looking at Gigi, she

1626
01:23:21,840 --> 01:23:23,960
saund the woman actually sounds like her age and things

1627
01:23:24,039 --> 01:23:31,520
like that over Doris Wishman's yeah regular voices too. Yeah, yeah,

1628
01:23:31,520 --> 01:23:35,520
I agree, good things. Yeah, and it backs different. She's

1629
01:23:35,560 --> 01:23:38,399
only just getting assaulted the whole time. Half the time,

1630
01:23:38,479 --> 01:23:39,239
she's just want.

1631
01:23:39,319 --> 01:23:41,640
Speaker 3: To have much fun, really, except when she's dancing with

1632
01:23:41,760 --> 01:23:45,760
Darlene in the apartment. Yeah, and Bad Girls m hm.

1633
01:23:46,439 --> 01:23:47,479
She's a put upon a woman.

1634
01:23:47,960 --> 01:23:51,399
Speaker 2: She gets to like cry in this one and stick

1635
01:23:51,439 --> 01:23:53,720
her head in the oven and try to commit suicide,

1636
01:23:53,760 --> 01:23:54,880
and yeah, she gets.

1637
01:23:54,720 --> 01:23:57,319
Speaker 3: To takes a really good stunt hit in that in

1638
01:23:57,479 --> 01:24:01,039
the stairwell scene, like oh yeah. And that makes sense

1639
01:24:01,159 --> 01:24:03,479
because if Chuck was like, well, I was really impressed

1640
01:24:03,479 --> 01:24:06,439
with her and I recommended her to Doris, it had

1641
01:24:06,479 --> 01:24:08,600
to have been on the strength of this movie because

1642
01:24:09,880 --> 01:24:11,800
she was able to if it was shot in two

1643
01:24:11,880 --> 01:24:15,359
days and basically ad libbed. It doesn't seem like she

1644
01:24:15,520 --> 01:24:17,680
seems like she can give whatever is thrown at her,

1645
01:24:18,000 --> 01:24:19,640
like Okay, this is what we're doing in this scene,

1646
01:24:19,840 --> 01:24:22,199
and it seems very natural. It doesn't seem she doesn't

1647
01:24:22,199 --> 01:24:24,239
seem caught off guard. She doesn't seem like, okay, am

1648
01:24:24,279 --> 01:24:26,800
I going to make this work. She's just very natural,

1649
01:24:26,840 --> 01:24:28,520
which is something I think if you see her in

1650
01:24:28,560 --> 01:24:30,199
like nudes on the rocks and other stuff, you know

1651
01:24:30,359 --> 01:24:32,279
she's a natural on camera. But I think when she's

1652
01:24:32,319 --> 01:24:35,600
actually has to act, even though you don't hear her voice,

1653
01:24:35,960 --> 01:24:38,359
I think she's very good. She knows what's up and

1654
01:24:38,439 --> 01:24:41,640
she knows what to do. Very rare and at this

1655
01:24:41,800 --> 01:24:44,159
time in New York's exploitation to have.

1656
01:24:44,720 --> 01:24:46,560
Speaker 4: You know, not everyone could be like an Audrey Campbell

1657
01:24:47,039 --> 01:24:49,960
yeah and be like that competent as well, like the

1658
01:24:50,079 --> 01:24:52,159
Darling Bennett. I'm sorry, I love love your girl, but

1659
01:24:52,920 --> 01:24:54,720
she don't think you could really like snap to that.

1660
01:24:54,880 --> 01:24:56,399
I think you have to sit for a moment and

1661
01:24:56,520 --> 01:24:57,359
like contemplate it.

1662
01:24:58,560 --> 01:25:00,439
Speaker 3: J and Robert the same thing. Like lot of our

1663
01:25:00,479 --> 01:25:05,760
favorites are not and stuff. Yeah, she like Gigi could, Yeah,

1664
01:25:05,840 --> 01:25:08,239
like she could, she could do what she needed to do.

1665
01:25:08,560 --> 01:25:10,720
Speaker 2: She could get into it. Well, you mentioned nudes on

1666
01:25:10,760 --> 01:25:14,319
the rocks, Like, yeah, she's playing against like comedians in

1667
01:25:14,399 --> 01:25:17,279
that film, and you can tell, like she's she's with it,

1668
01:25:17,399 --> 01:25:21,560
she's snappy, she can like retort, yeah, it's yeah, Yeah,

1669
01:25:21,640 --> 01:25:22,920
she's got she's just got it.

1670
01:25:23,079 --> 01:25:25,399
Speaker 4: You can tell. Yeah, she does have comedic timing in

1671
01:25:25,520 --> 01:25:26,199
that as well too.

1672
01:25:26,439 --> 01:25:29,359
Speaker 3: Yeah. So it's only like and that was what two

1673
01:25:29,560 --> 01:25:33,319
years before this, So she's like, God, she was like

1674
01:25:33,600 --> 01:25:37,279
twenty nineteen or twenty when she started. She was so young.

1675
01:25:39,479 --> 01:25:41,800
That's very impressive to me when you think about how

1676
01:25:41,840 --> 01:25:43,600
young she was and she was doing all this stuff.

1677
01:25:43,920 --> 01:25:45,720
We make you forget everything.

1678
01:25:46,199 --> 01:25:49,520
Speaker 1: We sure you a real big on up a longer time.

1679
01:25:50,079 --> 01:25:52,560
Speaker 2: I know, my dear, but we're not married, and they

1680
01:25:52,640 --> 01:25:54,079
said we're going to get married.

1681
01:25:54,239 --> 01:25:56,640
Speaker 1: Oh sure, yeah, you're getting married.

1682
01:25:57,039 --> 01:25:58,079
Speaker 3: We are getting married.

1683
01:25:58,960 --> 01:26:03,840
Speaker 4: Yeah, now maybe now we're married.

1684
01:26:05,439 --> 01:26:06,279
Speaker 6: I always tell.

1685
01:26:06,319 --> 01:26:07,479
Speaker 1: Mother i'd had a big wedding.

1686
01:26:07,920 --> 01:26:10,239
Speaker 4: I wish she was in a Sarno film, just out

1687
01:26:10,279 --> 01:26:12,479
of curiosity. I would have been very curious to see her.

1688
01:26:12,920 --> 01:26:13,119
Speaker 5: Yeah.

1689
01:26:13,399 --> 01:26:15,840
Speaker 3: Yeah, I'm not sure what he dialogue to Joe with,

1690
01:26:16,079 --> 01:26:19,520
like June roberts On a lot of stuff like actually

1691
01:26:19,560 --> 01:26:22,960
flush and Lace just in June Roberts in that. Yes,

1692
01:26:23,600 --> 01:26:27,680
she's in Later Lives. Yeah, so she shows up in

1693
01:26:27,720 --> 01:26:31,520
these things. Yeah, so I'm kind of like, why not Jigi. Yeah,

1694
01:26:32,079 --> 01:26:33,960
he had no problem with accents because she we brit

1695
01:26:34,000 --> 01:26:37,119
had an accent. So it's not even that. Maybe it

1696
01:26:37,359 --> 01:26:39,760
just wasn't. I don't know, that's a good question.

1697
01:26:39,960 --> 01:26:42,079
Speaker 4: I think it's just one of those serendipity things. They

1698
01:26:42,279 --> 01:26:45,079
just just never crossed past the right time.

1699
01:26:46,039 --> 01:26:47,960
Speaker 3: Not even like Pandora in the Magic Box. Well that

1700
01:26:48,119 --> 01:26:49,199
was earlier than I think.

1701
01:26:49,239 --> 01:26:51,800
Speaker 4: That was before she even she only claims, and of

1702
01:26:51,840 --> 01:26:55,199
course we cannot collaborate this, that she was in Lash

1703
01:26:55,279 --> 01:26:55,720
of Lust.

1704
01:26:55,960 --> 01:26:57,359
Speaker 3: But I'm sorry.

1705
01:26:57,439 --> 01:26:59,560
Speaker 4: I take Joe Sarta with a grain of salt at

1706
01:26:59,640 --> 01:27:06,640
times with his memory. Yeah, so that's the only possible

1707
01:27:06,720 --> 01:27:09,239
thing we have. But nothing of Lash of Lust has

1708
01:27:09,279 --> 01:27:10,640
ever shown up to cooperate it.

1709
01:27:11,359 --> 01:27:13,479
Speaker 2: I'm trying to think if there's any other movies where

1710
01:27:13,479 --> 01:27:16,039
you can hear her actual voice other than nudes on

1711
01:27:16,119 --> 01:27:16,640
the rocks.

1712
01:27:17,680 --> 01:27:22,239
Speaker 3: All the Berry Mayhons killed yea beast that killed women.

1713
01:27:22,359 --> 01:27:25,640
She has dialogue in that, Okay, and several of the

1714
01:27:25,680 --> 01:27:27,359
shorts she has dialogue in. Yeah.

1715
01:27:27,640 --> 01:27:29,520
Speaker 4: The problem is I just forget Mayhuns right after I

1716
01:27:29,640 --> 01:27:31,119
watched them, so I couldn't tell you.

1717
01:27:31,760 --> 01:27:35,560
Speaker 3: I just remember the voices. Yeah, Like I know Darlene

1718
01:27:35,600 --> 01:27:37,880
has a very New York accent. Yeah, I can hear

1719
01:27:37,960 --> 01:27:42,439
Darlene Sharon Sharon Kent sounds, you know, like a professional. Yeah.

1720
01:27:42,439 --> 01:27:45,880
I definitely remember voices. That's it. I don't remember anything

1721
01:27:45,920 --> 01:27:48,439
else about them. I'm just like, don't I remember she's voice?

1722
01:27:48,439 --> 01:27:49,319
Because who could forget it?

1723
01:27:49,680 --> 01:27:49,840
Speaker 1: You know?

1724
01:27:50,439 --> 01:27:51,760
Speaker 2: Yeah, it's so cute, cute.

1725
01:27:52,760 --> 01:27:55,239
Speaker 3: We love that the same and June sounds like she's

1726
01:27:55,279 --> 01:27:58,159
reading a grocery list and everything.

1727
01:27:58,640 --> 01:27:59,399
Speaker 4: Which I don't know.

1728
01:27:59,479 --> 01:28:02,159
Speaker 3: I love that girl, don't try That's why you don't.

1729
01:28:04,479 --> 01:28:07,159
Speaker 4: I've been waiting hours again to a newdis camp.

1730
01:28:08,039 --> 01:28:10,640
Speaker 2: She just has she doesn't have time for your bullshit.

1731
01:28:11,000 --> 01:28:14,079
Speaker 4: Yeah, and the only time when she emotes is in

1732
01:28:14,199 --> 01:28:16,800
heat of madness, when she doesn't have time for his bullshit.

1733
01:28:18,119 --> 01:28:21,319
Speaker 3: That's right, kidding in a cage. She emotes when she

1734
01:28:21,479 --> 01:28:24,720
pelts the heckler with ice cubes, which is great. Oh yeah,

1735
01:28:29,359 --> 01:28:32,439
those ice cubes back in the guy. That's the only

1736
01:28:32,479 --> 01:28:34,199
good thing about that whole shitty movie.

1737
01:28:34,159 --> 01:28:50,680
Speaker 2: Pretty much. Jane robertson, Yeah, Hot Nights is yeah, like

1738
01:28:50,800 --> 01:28:55,199
you said, very different from Luss than The Flesh. Audio wise,

1739
01:28:55,600 --> 01:28:59,760
this is pretty much straight mos narration. But I know Chuck,

1740
01:28:59,760 --> 01:29:02,119
it's that his wife at the time had done some

1741
01:29:02,359 --> 01:29:05,119
narration for him in the past. So I wonder if

1742
01:29:05,119 --> 01:29:06,680
it's his wife, his then wife.

1743
01:29:06,880 --> 01:29:10,359
Speaker 3: Oh, I wonder. It's interesting. And I keep forgetting Chuck

1744
01:29:10,479 --> 01:29:11,359
was married at this time.

1745
01:29:11,880 --> 01:29:14,279
Speaker 2: Yeah, how can you forget? He always says, like, all

1746
01:29:14,359 --> 01:29:16,279
these girls, you know, we're hitting on me, But I

1747
01:29:16,399 --> 01:29:20,159
was a moral man. I was married at the time. Well,

1748
01:29:20,199 --> 01:29:22,520
he tells that story all the time.

1749
01:29:22,560 --> 01:29:24,319
Speaker 3: I just I don't know why I keep forgetting that.

1750
01:29:24,479 --> 01:29:27,319
Speaker 4: I don't know why Chuck just getting energy.

1751
01:29:27,399 --> 01:29:28,000
Speaker 3: I don't know why.

1752
01:29:28,039 --> 01:29:30,800
Speaker 2: To Chuck is just like a big, big, cuddly bear

1753
01:29:31,000 --> 01:29:32,920
kind of guy, you know, I don't. I'm just I

1754
01:29:33,000 --> 01:29:36,960
guess there's a type. Yeah, Casey, he loved the bears, right,

1755
01:29:38,039 --> 01:29:38,800
he's not a bear.

1756
01:29:40,239 --> 01:29:40,640
Speaker 5: That sad.

1757
01:29:42,560 --> 01:29:44,119
Speaker 2: He's just like a bigger guy.

1758
01:29:44,520 --> 01:29:47,720
Speaker 3: No bears, and there are no bears in sexpoitation.

1759
01:29:48,119 --> 01:29:51,119
Speaker 2: He doesn't have any hair. Yeah, he doesn't have facial hair, but.

1760
01:29:51,640 --> 01:29:54,680
Speaker 3: No, you know who a bear is. Paul Smith from Pieces,

1761
01:29:54,800 --> 01:29:56,600
that is a bear, and you don't see guys like

1762
01:29:56,680 --> 01:30:00,960
that in sexploitation of this era. Even Patrick Wright not

1763
01:30:01,079 --> 01:30:06,000
really a bear. Okay, he's not fat enough, not hairy enough. Yeah,

1764
01:30:06,079 --> 01:30:11,039
he has to have more clearly. In fact, I know

1765
01:30:11,239 --> 01:30:17,319
nothing about the bear gay scene. I will do a shark, yeah,

1766
01:30:17,359 --> 01:30:20,479
I will send you a chart exactly. Yeah. There are

1767
01:30:20,560 --> 01:30:22,920
no bears really in expectation. So that's why it's kind

1768
01:30:22,920 --> 01:30:25,279
of strange that I find Sandy Johnson so attractive because

1769
01:30:25,279 --> 01:30:28,920
he's not at all my type. But he just is.

1770
01:30:29,880 --> 01:30:31,880
Speaker 4: Yeah, he just is.

1771
01:30:32,199 --> 01:30:34,640
Speaker 3: Yeah, it's just attractive. Yeah, he's just very sexy. I

1772
01:30:34,680 --> 01:30:34,920
don't know.

1773
01:30:35,159 --> 01:30:37,279
Speaker 2: Yeah, so how did Sandy show up in this? Just

1774
01:30:37,520 --> 01:30:39,800
they just needed they need somebody.

1775
01:30:39,920 --> 01:30:42,640
Speaker 3: Yeah, and well he was an actor first, so like

1776
01:30:42,880 --> 01:30:45,119
he was an actor in Chicago and then he came

1777
01:30:45,159 --> 01:30:47,119
out to New York to become an actor. And of course,

1778
01:30:47,279 --> 01:30:52,039
like most actors, stumble into expectation because it's work and

1779
01:30:52,119 --> 01:30:54,880
it's money. And I guess he had a lot of

1780
01:30:54,920 --> 01:30:56,520
fun working on these because then he stepped behind the

1781
01:30:56,560 --> 01:31:00,399
camera and started directing them and writing them and created

1782
01:31:00,439 --> 01:31:01,720
a co created a company.

1783
01:31:01,840 --> 01:31:05,680
Speaker 4: I mean, you know, it wasn't he Jerry Denby and

1784
01:31:05,800 --> 01:31:11,239
someone else already in partnership before CIP even happened. They

1785
01:31:11,279 --> 01:31:14,079
did sexploiters in secret society.

1786
01:31:15,560 --> 01:31:22,439
Speaker 3: No, that's different. I know what you're thinking of. It

1787
01:31:22,600 --> 01:31:26,399
was it was somebody else. Yeah, it wasn't it was

1788
01:31:26,479 --> 01:31:29,760
something else. It wasn't Denby. Now I'm trying to remember now.

1789
01:31:29,960 --> 01:31:32,680
Speaker 4: Ok Yeah. Because also beautiful blooding the Bear came out of.

1790
01:31:32,680 --> 01:31:35,720
Speaker 3: That, right, and that was well, that was Al Rubin.

1791
01:31:36,119 --> 01:31:41,039
That was Al Rubin and Al Rubberne to theater, so

1792
01:31:41,359 --> 01:31:44,479
theater with the Cassavetties of it all and all the

1793
01:31:44,520 --> 01:31:46,880
New York actings, so that that connection makes sense, the

1794
01:31:46,960 --> 01:31:50,199
Al Rubin of it all. Yeah, Okay, So yeah, that

1795
01:31:50,359 --> 01:31:51,520
I think that's the case.

1796
01:31:52,239 --> 01:31:54,880
Speaker 4: Yeah, because I know he'd been involved in production beforehand.

1797
01:31:55,800 --> 01:31:59,119
Speaker 2: He's built a stand stunning in this which I think

1798
01:31:59,279 --> 01:31:59,960
is a great.

1799
01:32:01,000 --> 01:32:04,439
Speaker 3: Accurate Why does he build.

1800
01:32:04,239 --> 01:32:07,159
Speaker 2: It the very end he's blast And why is he

1801
01:32:07,279 --> 01:32:09,039
in it so little? I mean he's he has a

1802
01:32:09,880 --> 01:32:13,279
his part's important, but it's not. It comes at the

1803
01:32:13,720 --> 01:32:15,239
last act of the movie.

1804
01:32:15,399 --> 01:32:19,279
Speaker 3: Basically, No, you're thinking of the wrong guy. What he

1805
01:32:19,479 --> 01:32:23,239
is the guy who gets an implied blowjob from Gigi Darlene.

1806
01:32:23,359 --> 01:32:24,960
He's the guy the first guy she goes to that

1807
01:32:25,039 --> 01:32:27,720
says I can't help you. That's Sandy Johnson. He does

1808
01:32:27,800 --> 01:32:29,479
not play gig the guy at the end of the movie.

1809
01:32:29,560 --> 01:32:29,840
I don't know.

1810
01:32:30,159 --> 01:32:32,439
Speaker 4: He's the guy she flirts with at the party.

1811
01:32:33,359 --> 01:32:37,279
Speaker 3: Else she meets at the party. Is that guy that

1812
01:32:37,560 --> 01:32:38,399
is Sandy Johnson?

1813
01:32:38,720 --> 01:32:42,920
Speaker 4: Yeah, he has kind of sandy hair. Yes, Sandy Sandy

1814
01:32:43,000 --> 01:32:43,479
first guy.

1815
01:32:43,760 --> 01:32:45,800
Speaker 3: And then john is the second guy. And that's a

1816
01:32:45,840 --> 01:32:48,119
guy with the weird Dario Argento hair that looks like

1817
01:32:48,199 --> 01:32:49,119
it has been painted on.

1818
01:32:49,520 --> 01:32:49,640
Speaker 1: Ye.

1819
01:32:50,279 --> 01:32:52,119
Speaker 3: So, and I don't know who that is either. And

1820
01:32:52,199 --> 01:32:54,159
then the other guys. What Sandy plays a guy who's

1821
01:32:54,159 --> 01:32:57,600
what like an un athletic scholarship or something I forget,

1822
01:32:57,720 --> 01:32:59,920
or he's in like sports medicine, which makes sense because

1823
01:32:59,920 --> 01:33:02,439
he kind of looks like a like a college or

1824
01:33:02,560 --> 01:33:05,239
high school, like you know, track star or something.

1825
01:33:06,760 --> 01:33:09,800
Speaker 2: Okay, I'll have to go back and get Okay. So

1826
01:33:10,520 --> 01:33:13,359
Sandy's the guy at the party scene. Does he appear

1827
01:33:13,640 --> 01:33:15,000
again after the party scene?

1828
01:33:15,199 --> 01:33:17,840
Speaker 3: Yeah? She gives him a blowjob, okay, and then she

1829
01:33:18,000 --> 01:33:21,239
goes to him saying she's pregnant and he rejects her immediately.

1830
01:33:21,359 --> 01:33:22,720
He's the first guy who rejects her.

1831
01:33:23,159 --> 01:33:26,239
Speaker 2: Yeah, isn't it He says he's he says he's impotent,

1832
01:33:26,600 --> 01:33:27,840
or he Yeah, no.

1833
01:33:28,039 --> 01:33:32,880
Speaker 3: That's John. She just like show before we started recording.

1834
01:33:32,960 --> 01:33:35,560
What is it? Do you have black and white white

1835
01:33:35,600 --> 01:33:37,880
guy face blindness? I think all these three guys are

1836
01:33:37,920 --> 01:33:41,840
the same. I must oh no see Sandy Johnson dream Bote.

1837
01:33:41,920 --> 01:33:44,920
I absolutely know who Sandy Johnson is. The other two

1838
01:33:45,000 --> 01:33:47,399
guys couldn't pick him out of a lineup. One is

1839
01:33:47,479 --> 01:33:49,920
dowier than the other, and that's the only difference between

1840
01:33:49,920 --> 01:33:51,760
the two of them and the guy with the Daria

1841
01:33:51,800 --> 01:33:56,760
argenta weird hair. Yeah, yeah, you're you're black and white

1842
01:33:56,760 --> 01:33:57,920
white guy face blindness.

1843
01:33:58,800 --> 01:34:01,159
Speaker 2: Did you see my note Alex about the music. What

1844
01:34:02,600 --> 01:34:04,920
art have you heard of any of these art? Blakely,

1845
01:34:05,399 --> 01:34:10,479
Wayne Shorter, Jimmy Smith recordings. Apparently that's someone had said

1846
01:34:10,520 --> 01:34:13,159
that that's where this music one that.

1847
01:34:13,279 --> 01:34:15,520
Speaker 3: Stuff and came up. Maybe the actual tracks.

1848
01:34:15,640 --> 01:34:18,560
Speaker 4: Yeah maybe. Actually I was going to with this. I

1849
01:34:18,680 --> 01:34:20,800
forgot to, I hope so because I did.

1850
01:34:20,880 --> 01:34:24,119
Speaker 3: Like some of the opening credits is the same same

1851
01:34:24,199 --> 01:34:26,560
theme song opening credits from Beautiful, the Blood and the

1852
01:34:26,600 --> 01:34:27,119
Bear as.

1853
01:34:27,039 --> 01:34:29,960
Speaker 4: Well in one or two tracks I already heard in

1854
01:34:30,039 --> 01:34:31,520
Less Than the Flesh as well.

1855
01:34:31,680 --> 01:34:35,199
Speaker 3: Yes, the one that sounds like the Awesome Powers theme. Yeses, Yeah,

1856
01:34:35,640 --> 01:34:38,199
it's in both party scenes. Yeah, it's like a low budget,

1857
01:34:38,239 --> 01:34:39,960
sped up version of the Austoin Powers theme.

1858
01:34:40,520 --> 01:34:40,680
Speaker 5: I know.

1859
01:34:40,800 --> 01:34:43,319
Speaker 4: I was like, can you please use another track? I know,

1860
01:34:47,079 --> 01:34:49,960
kids version of Yeah, while they're while they're doing the

1861
01:34:50,039 --> 01:34:53,359
most adult things in the world. They're drinking cocktails instead

1862
01:34:53,359 --> 01:34:55,560
of fruit punch. You get this like in their in

1863
01:34:55,640 --> 01:34:58,800
their underwear. Yeah, what with the heat on?

1864
01:34:58,960 --> 01:35:02,279
Speaker 3: Hopefully because it's February in New York.

1865
01:35:02,439 --> 01:35:04,319
Speaker 2: Well, we're already this deep. But let me read the

1866
01:35:04,359 --> 01:35:09,039
synopsis on it here again from Echo. Gigi Darlene is Sally,

1867
01:35:09,239 --> 01:35:12,319
a student from Indiana, attending college in New York City.

1868
01:35:12,600 --> 01:35:15,600
She is shocked at the wild party thrown by her roommates,

1869
01:35:15,880 --> 01:35:18,680
which culminates in an orgy, but eager to fit in,

1870
01:35:19,000 --> 01:35:22,439
she decides to model her behavior after them. After taking

1871
01:35:22,520 --> 01:35:26,039
on two lovers, a middle aged college professor and a student,

1872
01:35:26,520 --> 01:35:29,720
she becomes pregnant and contemplates a back alley abortion, but

1873
01:35:29,880 --> 01:35:33,640
changes her mind after meeting the brutal female abortionist. Fearful

1874
01:35:33,720 --> 01:35:36,239
that her life is ruined, she attempts suicide but is

1875
01:35:36,279 --> 01:35:39,479
saved by her roommate's boyfriend. That's a good synopsis.

1876
01:35:40,520 --> 01:35:43,319
Speaker 4: The synopsis released five other films.

1877
01:35:44,720 --> 01:35:48,520
Speaker 3: It's One Naked Night, except yeah, really.

1878
01:35:49,600 --> 01:35:52,159
Speaker 4: Oh Gentry, I didn't know. You know what Cognac Naked

1879
01:35:52,319 --> 01:35:54,640
was about. Nice too.

1880
01:35:55,119 --> 01:35:58,119
Speaker 3: It's a very typical like expectation.

1881
01:35:58,640 --> 01:36:01,039
Speaker 2: Does she visit an abortionist than One Naked Night?

1882
01:36:01,479 --> 01:36:02,479
Speaker 4: That's like the one thing.

1883
01:36:03,159 --> 01:36:05,600
Speaker 3: That's the one thing that's added. I believe, but it's

1884
01:36:05,880 --> 01:36:08,680
I think she doesn't. She kills herself for some reason

1885
01:36:09,159 --> 01:36:12,000
I don't remember. Is it because she was raped or

1886
01:36:12,880 --> 01:36:14,319
she was a drug addict? I don't I need to

1887
01:36:14,479 --> 01:36:14,680
watch it.

1888
01:36:16,520 --> 01:36:20,359
Speaker 4: But it's the same device of young innocent girl comes

1889
01:36:20,399 --> 01:36:25,199
to New York. Her roommate is alternative. For some odd reason.

1890
01:36:26,039 --> 01:36:29,279
She tries to establish her life in New York, but

1891
01:36:29,399 --> 01:36:33,520
then runs a foul of something to which only a lovely,

1892
01:36:33,840 --> 01:36:38,960
handsome man can save her from, and either she gets

1893
01:36:39,000 --> 01:36:42,000
pregnant or she kills herself, or she has something going

1894
01:36:42,079 --> 01:36:44,760
on with the lesbian at one point at the very least.

1895
01:36:45,159 --> 01:36:47,840
Speaker 2: Yeah, one naked night. I don't there's no pregnancy. I

1896
01:36:47,880 --> 01:36:50,399
think she just like gets pushed over the edge because

1897
01:36:50,439 --> 01:36:54,720
she does inappropriate stuff at an orgy or something. Right, Yeah,

1898
01:36:54,800 --> 01:36:55,359
she said, you.

1899
01:36:55,399 --> 01:36:57,359
Speaker 3: Love that movie. I need to rewatch that one. I

1900
01:36:57,520 --> 01:36:58,439
just quite like that one.

1901
01:36:58,920 --> 01:37:03,279
Speaker 4: Yeah, I didn't when I saw it, but I'm gonna

1902
01:37:03,399 --> 01:37:04,760
rewatch it. It's okay.

1903
01:37:06,760 --> 01:37:08,880
Speaker 3: Restoration I think changed my mind on it because then

1904
01:37:08,880 --> 01:37:11,039
I could see how actually well made it was, And.

1905
01:37:11,279 --> 01:37:13,920
Speaker 4: No, I saw that what my real problem. I really

1906
01:37:14,000 --> 01:37:16,520
did not like the lean Lady for whatever reason. Yeah,

1907
01:37:16,920 --> 01:37:19,680
I liked everyone else around her. I was not happy

1908
01:37:19,720 --> 01:37:20,560
to be following her.

1909
01:37:21,119 --> 01:37:22,640
Speaker 3: Yeah, that makes sense that track.

1910
01:37:22,760 --> 01:37:25,119
Speaker 4: I think that was my problem. It was well made,

1911
01:37:25,199 --> 01:37:26,199
like it's a good film.

1912
01:37:26,359 --> 01:37:30,800
Speaker 3: But yeah, but Audrey the leading lady, Yes.

1913
01:37:30,880 --> 01:37:31,720
Speaker 4: Audrey's the best.

1914
01:37:31,960 --> 01:37:35,399
Speaker 3: Yeah, and everything she's good and everything.

1915
01:37:35,920 --> 01:37:38,079
Speaker 4: Yeah, just give me an Audrey Campbell highlight reel of

1916
01:37:38,199 --> 01:37:39,399
that movie and I'll be happy.

1917
01:37:42,279 --> 01:37:44,000
Speaker 3: Audrey Campbell in the location footage.

1918
01:37:44,920 --> 01:37:48,319
Speaker 4: Yeah, exactly, exactly, know, I like.

1919
01:37:48,359 --> 01:37:49,479
Speaker 3: It so much more of course.

1920
01:37:49,560 --> 01:37:52,000
Speaker 2: Yeah, she's a lodging in that movie too. Yeah, Audrey's

1921
01:37:52,039 --> 01:37:54,800
always like some evil lesbian because.

1922
01:37:54,520 --> 01:37:57,760
Speaker 3: She's very severe, you know it, totally.

1923
01:37:58,279 --> 01:37:59,399
Speaker 4: She just has that good luck.

1924
01:37:59,560 --> 01:38:03,039
Speaker 3: Yeah, that very right here. Audrey Campbell's here right exactly.

1925
01:38:04,760 --> 01:38:08,000
Speaker 2: Back to the hot roommates, Yeah, hot nights on the campus.

1926
01:38:08,479 --> 01:38:09,840
So before we can talk.

1927
01:38:09,720 --> 01:38:11,319
Speaker 3: About Sandy, because I have a lot to go over

1928
01:38:11,399 --> 01:38:11,880
with Sandy.

1929
01:38:12,000 --> 01:38:15,600
Speaker 2: But let's talk and then we'll talk about Sandy.

1930
01:38:15,760 --> 01:38:19,159
Speaker 3: Yeah, your meats are great. It's like a it's like

1931
01:38:19,199 --> 01:38:21,319
a who's who I would love very much.

1932
01:38:22,000 --> 01:38:24,680
Speaker 4: Kind of always surprised when I see Joanna Mills outside

1933
01:38:24,680 --> 01:38:25,760
of a Sarto felm.

1934
01:38:25,600 --> 01:38:30,640
Speaker 3: Yeah, same, yes, yes, yes, this, Yeah, it's very surprising.

1935
01:38:30,760 --> 01:38:32,399
Speaker 2: That is a wig she's under right in this?

1936
01:38:32,960 --> 01:38:37,279
Speaker 3: Are you kidding? Yes, everyone in that dorm room is

1937
01:38:37,319 --> 01:38:42,000
wearing a wig except for Judy Green. Yeah, yeah, you're right,

1938
01:38:42,079 --> 01:38:45,600
and is wearing a hideous wig. So she's that And

1939
01:38:45,680 --> 01:38:48,119
you said you have trouble recognizing her. She looks so

1940
01:38:48,239 --> 01:38:50,000
different from less than the flesh because less than the

1941
01:38:50,039 --> 01:38:54,000
flesh is her actual hair. And then she's underneath this monstrous,

1942
01:38:54,039 --> 01:38:55,359
this rat hair monstrosity.

1943
01:38:56,600 --> 01:39:00,479
Speaker 2: Yeah, yeah, she looks so different. But her nose, Marlene,

1944
01:39:00,520 --> 01:39:02,800
That's how I spot her is her nose. For whatever reason,

1945
01:39:02,880 --> 01:39:06,039
she's got kind of a feline nose. I don't know,

1946
01:39:06,520 --> 01:39:09,920
that's how I identify it. But yeah, we got Joanna

1947
01:39:10,000 --> 01:39:13,239
Mills doing very little, but she's here as one of them.

1948
01:39:13,520 --> 01:39:16,960
I mean she she she sends Sally off to the abortionist.

1949
01:39:17,039 --> 01:39:18,279
I guess that's her, like, right, she.

1950
01:39:18,399 --> 01:39:24,880
Speaker 3: Sends her to the horrible, like has she been the apparently? Yeah,

1951
01:39:24,960 --> 01:39:26,000
she didn't have a problem with it.

1952
01:39:26,640 --> 01:39:30,399
Speaker 4: She heard about it. I remember this, Okay, No, no,

1953
01:39:30,920 --> 01:39:34,279
she heard about a well known of someone who's like hot,

1954
01:39:34,960 --> 01:39:37,720
held in like pretty much high regard for doing these things.

1955
01:39:38,039 --> 01:39:41,399
Is this woman I've heard of? I know a good

1956
01:39:41,439 --> 01:39:44,520
abortionist because someone else told me she was good. Here

1957
01:39:44,600 --> 01:39:46,720
you go, held held in high regard.

1958
01:39:47,920 --> 01:39:50,000
Speaker 3: Literally, that's it. I was like, I hear, this woman's

1959
01:39:50,119 --> 01:39:53,439
really great. The reviews are in. She's great. You need

1960
01:39:53,520 --> 01:39:53,680
to go.

1961
01:39:54,000 --> 01:39:55,359
Speaker 2: She's got a fireplace.

1962
01:39:55,640 --> 01:39:58,880
Speaker 3: I mean it's warm, and she's going to toss the

1963
01:39:58,920 --> 01:40:01,279
baby into the fire off. I know, you can tell.

1964
01:40:01,319 --> 01:40:02,560
I don't know how abortions work.

1965
01:40:02,800 --> 01:40:05,239
Speaker 2: No, the way it's framed, it's like, yeah, it is

1966
01:40:05,359 --> 01:40:07,359
like what's going on with this fireplace? That's the first

1967
01:40:07,399 --> 01:40:10,520
thing we see when we go to this abortionist back alley.

1968
01:40:10,640 --> 01:40:13,119
Speaker 4: It like sets the energy of the whole scene.

1969
01:40:13,560 --> 01:40:13,760
Speaker 2: Yeah.

1970
01:40:14,239 --> 01:40:16,439
Speaker 3: I guess it's almost like walking back in time too.

1971
01:40:16,520 --> 01:40:18,680
It's like walking back to like the tenement era of

1972
01:40:18,720 --> 01:40:21,920
the early nineteen hundreds, or it's like she's steeped in

1973
01:40:22,119 --> 01:40:26,600
like very anti ustern European, anti Semitic stuff where it's

1974
01:40:26,680 --> 01:40:28,760
just like, no, you can't trust these people from the

1975
01:40:28,800 --> 01:40:29,399
old country.

1976
01:40:30,039 --> 01:40:30,239
Speaker 5: Yeah.

1977
01:40:30,840 --> 01:40:33,000
Speaker 4: Yeah, she looks like she had turned hell if you

1978
01:40:33,079 --> 01:40:34,439
ask me honestly.

1979
01:40:34,279 --> 01:40:40,079
Speaker 3: Yes, knowing that was probably intentional, Yeah, which is why like, wait,

1980
01:40:40,119 --> 01:40:42,039
you did this in two days and you were able

1981
01:40:42,079 --> 01:40:45,079
to come up with this enough creative touches. It doesn't

1982
01:40:45,159 --> 01:40:48,880
seem like it was improvd as he went along. It's

1983
01:40:49,000 --> 01:40:49,600
very impressive.

1984
01:40:49,880 --> 01:40:52,720
Speaker 2: Yeah, and even that really impressive. Yeah, that room has

1985
01:40:52,840 --> 01:40:55,600
like yeah, I don't know the way it's it's shot,

1986
01:40:55,760 --> 01:40:59,800
it's it's wider, it's but yet it's still kind of claustrophobic.

1987
01:41:00,039 --> 01:41:01,760
I don't know that room is. I can see it

1988
01:41:01,840 --> 01:41:04,000
in my mind. It's it's good.

1989
01:41:04,319 --> 01:41:04,520
Speaker 5: Yeah.

1990
01:41:06,279 --> 01:41:09,520
Speaker 1: The photographer said it's so casually, but I wasn't even

1991
01:41:09,600 --> 01:41:14,359
ready to be shocked. He simply said, I think you're pregnant.

1992
01:41:19,359 --> 01:41:22,520
Speaker 2: Judy Adler is. I love how she's introduced as like

1993
01:41:22,600 --> 01:41:27,920
the loner, and then she's like the party girl, doesn't.

1994
01:41:27,720 --> 01:41:29,439
Speaker 3: Want to hang out in the kitchen with the girls,

1995
01:41:29,600 --> 01:41:30,840
like she wants to be on her own.

1996
01:41:31,399 --> 01:41:31,720
Speaker 6: I don't know.

1997
01:41:32,159 --> 01:41:34,960
Speaker 4: I guess she because she's an infamy. Actually she's picked me.

1998
01:41:35,079 --> 01:41:37,640
She wants the attention of men. Yeah, she only so

1999
01:41:37,760 --> 01:41:38,560
she doesn't care.

2000
01:41:39,439 --> 01:41:45,399
Speaker 3: Yeah, I guess I'll join you guys, Yeah, to pick

2001
01:41:45,520 --> 01:41:47,000
me exactly right.

2002
01:41:47,079 --> 01:41:49,039
Speaker 2: She is like on the top of that pyramid, too,

2003
01:41:49,439 --> 01:41:49,760
isn't she?

2004
01:41:51,560 --> 01:41:53,359
Speaker 4: Isn't she on the bottom? I was still a her

2005
01:41:53,439 --> 01:41:53,960
on the bottom?

2006
01:41:54,359 --> 01:41:59,000
Speaker 3: Okay, interesting, Maybe they tried different ones.

2007
01:41:59,600 --> 01:42:02,119
Speaker 4: Yeah, because my magazine has her on the bottom, and

2008
01:42:02,159 --> 01:42:06,279
I'm like, she moves have to rewatch it some odd reason.

2009
01:42:06,439 --> 01:42:10,079
Speaker 3: Yeah, I love Judy in black and white an rewatch it, right, gentry?

2010
01:42:10,520 --> 01:42:13,680
Speaker 2: Yeah, that scene, I love that party scene is the best.

2011
01:42:15,560 --> 01:42:19,279
Speaker 4: Yeah, yeah, I love how Darlene is able to teleport

2012
01:42:19,760 --> 01:42:25,680
as well, who disappears from a couch instantly. It does

2013
01:42:26,199 --> 01:42:30,279
somehow ditches like something. The two men the closest you

2014
01:42:30,319 --> 01:42:30,760
could get.

2015
01:42:31,399 --> 01:42:35,720
Speaker 2: Yeah, it looks like that. What those white vibrators that

2016
01:42:35,840 --> 01:42:39,880
you see a couple of years later all over sexploitation.

2017
01:42:40,479 --> 01:42:42,319
Speaker 4: It kind of does. But I don't think those existed

2018
01:42:42,399 --> 01:42:43,000
by this point.

2019
01:42:43,720 --> 01:42:44,520
Speaker 3: Yeah, I'm not sure.

2020
01:42:44,760 --> 01:42:46,319
Speaker 4: I don't think so, or at least for just mail

2021
01:42:46,439 --> 01:42:48,119
order who knows. Yeah, very obscure.

2022
01:42:48,880 --> 01:42:52,000
Speaker 2: Yeah, Judy has that great scene where Chalk is probably

2023
01:42:52,079 --> 01:42:55,199
on the ground shooting up as she's being carried away

2024
01:42:55,319 --> 01:42:57,039
and her hair drags over him.

2025
01:42:57,199 --> 01:42:59,800
Speaker 4: Yeah, it's cool, hands down, one of my favorite shots.

2026
01:43:00,199 --> 01:43:01,960
He is so gorgeous and black and white. I wish

2027
01:43:02,039 --> 01:43:05,239
more for stuff wasn't black and white. Yeah, the Confessions

2028
01:43:05,279 --> 01:43:05,760
of a Bad.

2029
01:43:05,680 --> 01:43:08,319
Speaker 3: Girl be so good as noir. I still love that

2030
01:43:08,399 --> 01:43:10,800
movie though. Yeah, it's one of my It's one of

2031
01:43:10,840 --> 01:43:15,279
the better Maeons. I think specifically because of herm Those

2032
01:43:15,359 --> 01:43:18,239
maons only worked because of the women that are in it.

2033
01:43:18,640 --> 01:43:22,119
I think, you know, it's one of those situations. Yeah, Yeah,

2034
01:43:22,359 --> 01:43:24,439
I'm a little too fair with several Maons.

2035
01:43:24,840 --> 01:43:28,600
Speaker 2: I always going to find, like Judy, something about her

2036
01:43:28,720 --> 01:43:31,760
looks really modern. Do you guys agree, Like she looks

2037
01:43:31,960 --> 01:43:34,600
she doesn't look as dated, not in a bad way,

2038
01:43:34,680 --> 01:43:36,760
but like you could pull out of this. She doesn't

2039
01:43:36,800 --> 01:43:38,720
look like a sixties actress to me.

2040
01:43:39,159 --> 01:43:41,920
Speaker 4: No, she looks like someone I was just friends with. No, literally, yes,

2041
01:43:42,239 --> 01:43:45,359
I've met many ladies her age.

2042
01:43:46,840 --> 01:43:47,239
Speaker 5: Very right.

2043
01:43:48,239 --> 01:43:52,239
Speaker 3: It is the HAIRTC. Lisa Percercci looks like June Roberts obviously,

2044
01:43:52,439 --> 01:43:54,319
so so much so that I think that they are

2045
01:43:54,479 --> 01:43:58,000
related and we will figure that out. But I also

2046
01:43:58,119 --> 01:44:00,600
think that Judy Adler is giving we super true tree

2047
01:44:00,640 --> 01:44:04,479
as well. I think it's like a very contemporary kind

2048
01:44:04,520 --> 01:44:07,279
of like vibe, and it reminds me of Lisa a lot.

2049
01:44:07,960 --> 01:44:10,560
Speaker 4: Yeah, that cut is still a thing, just as simple

2050
01:44:10,600 --> 01:44:13,039
of the bangs and stuff. Yeah, no, yeah, yeah, we

2051
01:44:13,159 --> 01:44:17,680
love that they both had very like non sixties intense poofy.

2052
01:44:18,039 --> 01:44:20,439
They just have very regular hair styles.

2053
01:44:20,840 --> 01:44:21,920
Speaker 2: Yeah, totally the hair.

2054
01:44:22,399 --> 01:44:22,600
Speaker 5: Yeah.

2055
01:44:22,680 --> 01:44:24,800
Speaker 2: At the end, Judy's like you know, at the very

2056
01:44:24,920 --> 01:44:28,399
end of the movie where Gigi's characters kind of has

2057
01:44:28,399 --> 01:44:31,199
a happy ending whatever, and it cuts to the roommates

2058
01:44:31,239 --> 01:44:34,079
all like this is our sad nymph of life. They're

2059
01:44:34,159 --> 01:44:37,239
like in the kitchen, like washing dishes. Judy gives this

2060
01:44:37,479 --> 01:44:40,920
look of like she realizes it, like, oh, this is

2061
01:44:41,000 --> 01:44:43,800
the life. I mean, it's just a little subtle thing

2062
01:44:43,880 --> 01:44:44,840
I like about Gdy.

2063
01:44:45,640 --> 01:44:46,760
Speaker 4: You're right, I did notice that.

2064
01:44:47,359 --> 01:44:51,239
Speaker 3: Yeah, and so wait and there's something else. So Gigi

2065
01:44:51,479 --> 01:44:55,000
is a freshman, correct, she's got it transferring in from

2066
01:44:55,039 --> 01:44:58,600
Indiana to like it has to be n Yu because

2067
01:44:58,680 --> 01:45:02,319
that is and while you alone, that is where there

2068
01:45:02,399 --> 01:45:05,640
is housing near Wassington Square. And I'm just like, Okay,

2069
01:45:05,880 --> 01:45:08,359
she's at a dorm uh in a place. So I'm like,

2070
01:45:08,520 --> 01:45:11,840
are these girls like sophomores? Because I feel like they've

2071
01:45:12,079 --> 01:45:14,319
they have lived in experiences and they've been living together

2072
01:45:14,399 --> 01:45:17,800
for a while. So that was something I didn't remember about.

2073
01:45:17,600 --> 01:45:20,920
Speaker 2: This or their friends beforehand. And maybe they were able

2074
01:45:21,000 --> 01:45:21,880
to get housing together.

2075
01:45:21,960 --> 01:45:23,439
Speaker 3: I don't know, it's possible.

2076
01:45:23,560 --> 01:45:23,920
Speaker 2: Who knows.

2077
01:45:24,039 --> 01:45:25,439
Speaker 3: Yeah, I just think it's interesting to have like this

2078
01:45:25,520 --> 01:45:29,079
commra's we established. Yeah, it's not like they're not all

2079
01:45:29,199 --> 01:45:31,079
getting to know each other. They're all like they know

2080
01:45:31,199 --> 01:45:35,039
each other's kinks apparently, like they know that one doesn't

2081
01:45:35,119 --> 01:45:37,479
like to show up until men are there, you.

2082
01:45:37,520 --> 01:45:41,279
Speaker 4: Know, they like no second year my friends do the

2083
01:45:41,319 --> 01:45:43,600
same thing with a freshman like, no, not the same thing.

2084
01:45:43,680 --> 01:45:44,399
Speaker 3: I mean, like take it.

2085
01:45:44,560 --> 01:45:44,840
Speaker 5: No not.

2086
01:45:45,199 --> 01:45:48,960
Speaker 3: I was gonna say, oh, they corrupted and they correct

2087
01:45:50,239 --> 01:45:51,720
made her get pregnant and get an abortion.

2088
01:45:52,279 --> 01:45:54,560
Speaker 4: I mean, this movie did make me wish miss college again,

2089
01:45:54,640 --> 01:45:55,560
but I'm not gonna say why.

2090
01:45:55,880 --> 01:45:57,720
Speaker 3: It maybe miss when I first moved to New York,

2091
01:45:57,800 --> 01:45:59,720
that's for sure. It definitely reminded me of I moved

2092
01:45:59,720 --> 01:46:02,560
to New work because of movies like this, because I

2093
01:46:02,720 --> 01:46:05,000
was like, oh, it was exciting. I don't care about

2094
01:46:05,399 --> 01:46:07,399
I don't care about you know, I can't get pregnant,

2095
01:46:07,479 --> 01:46:09,399
so I won't have that. I don't have that issue,

2096
01:46:09,600 --> 01:46:11,920
so I can. I can go and bang as many

2097
01:46:12,000 --> 01:46:14,199
dudes as I want, but babies don't live, so I'll

2098
01:46:14,239 --> 01:46:18,359
be fine. So uh yeah, I you know I was.

2099
01:46:18,520 --> 01:46:23,159
I was just fine. But uh yeah. It's very interesting

2100
01:46:23,239 --> 01:46:24,840
to watch her walk down a lot of the streets

2101
01:46:24,880 --> 01:46:27,239
that like I walk down as a student. It's very

2102
01:46:27,520 --> 01:46:29,039
connective experience with Gigi.

2103
01:46:29,119 --> 01:46:31,479
Speaker 2: When I watched this love it, I would like to

2104
01:46:31,640 --> 01:46:34,079
recreate like Gigi's walk around.

2105
01:46:34,319 --> 01:46:36,520
Speaker 3: That would have been fun with the turbine.

2106
01:46:37,399 --> 01:46:39,039
Speaker 4: Next time I go to New York and bringing a

2107
01:46:39,119 --> 01:46:43,520
turb and I play on turb just down Capri pants.

2108
01:46:44,000 --> 01:46:46,800
Speaker 2: If we get this re re released, we can do

2109
01:46:46,960 --> 01:46:49,199
like the location feature at you know then and now

2110
01:46:49,880 --> 01:46:51,199
absolutely someone can.

2111
01:46:51,199 --> 01:46:55,239
Speaker 4: Dress up and have and have would be only mos

2112
01:46:55,359 --> 01:46:58,640
and an over Dubya. I went to see the place

2113
01:46:58,680 --> 01:47:01,520
where Hot Nights on the Campus was filmed sixty years ago.

2114
01:47:01,800 --> 01:47:04,119
I was enamored by the look of the building as

2115
01:47:04,159 --> 01:47:07,199
I walked up. How could this really be the same

2116
01:47:07,279 --> 01:47:10,479
place that Gigi Darlene got aboard it got abortioned in.

2117
01:47:11,239 --> 01:47:12,279
I had to find out.

2118
01:47:12,199 --> 01:47:15,800
Speaker 3: That idea we should know. See, Basically, the Tony Orlando

2119
01:47:15,840 --> 01:47:17,840
Tiple feature has to happen, and that has to be

2120
01:47:18,560 --> 01:47:19,039
an extra.

2121
01:47:19,199 --> 01:47:23,800
Speaker 4: Absolutely, Well, we've got enough good info for good extras. Yeah,

2122
01:47:24,239 --> 01:47:25,439
Lily Reese has to have a.

2123
01:47:25,439 --> 01:47:27,800
Speaker 3: Whole extra on ourself. We got to talk about.

2124
01:47:27,960 --> 01:47:31,239
Speaker 4: Yes, the CIP like got lock ground to cover for

2125
01:47:31,319 --> 01:47:31,800
that release.

2126
01:47:32,039 --> 01:47:34,439
Speaker 3: There's in Gigi. There's the whole thing about Gigi in

2127
01:47:34,520 --> 01:47:37,119
her life and her crazy life. Yeah, there's so much

2128
01:47:37,159 --> 01:47:37,680
to talk about.

2129
01:47:38,039 --> 01:47:39,720
Speaker 4: That book like can be over one hundred pages.

2130
01:47:39,920 --> 01:47:42,439
Speaker 3: Like, come on, I know, let's go district picks. I

2131
01:47:42,479 --> 01:47:43,119
know they would too.

2132
01:47:43,520 --> 01:47:46,760
Speaker 2: Yeah, Tony Orlando's seven beauties here we come.

2133
01:47:47,319 --> 01:47:52,199
Speaker 3: Yeah, seven beauties. I guess there's seven. Yeah. Five, Yeah,

2134
01:47:52,319 --> 01:47:52,600
I don't know.

2135
01:47:53,279 --> 01:47:55,960
Speaker 2: Yeah, well maybe not a beauty. But who is the

2136
01:47:56,079 --> 01:47:58,079
abortionist Gertrude Cross?

2137
01:47:58,239 --> 01:48:02,000
Speaker 3: True Cross. She was an editor of Less Than the Flesh. Yeah,

2138
01:48:02,079 --> 01:48:04,000
and she's also when Bad Girls Go to Hell, she's

2139
01:48:04,159 --> 01:48:07,600
the landlady who at the end of the movie. She's

2140
01:48:07,640 --> 01:48:10,720
the landlady whose son is the detective who's like, I

2141
01:48:10,880 --> 01:48:13,239
know who you are. So she's the one who like

2142
01:48:13,319 --> 01:48:17,000
takes her in at the end of the movie. Oh yeah, yeah.

2143
01:48:17,960 --> 01:48:20,640
So I'm sure she was brought onto that project by

2144
01:48:20,800 --> 01:48:24,319
Chuck because she was she got involved with the Block

2145
01:48:24,520 --> 01:48:26,159
is where she. I think she got started with the

2146
01:48:26,239 --> 01:48:29,399
Block with Tony. So I think she was another Philly

2147
01:48:29,439 --> 01:48:31,319
person that came up to New York and just like

2148
01:48:31,439 --> 01:48:34,159
hung around for a bit and worked with Chuck. Especially

2149
01:48:34,159 --> 01:48:36,319
if she was assistant editor, then I mean she worked

2150
01:48:36,359 --> 01:48:39,199
with Chuck, which I find is really interesting. I wish

2151
01:48:39,359 --> 01:48:42,159
that maybe he did talk about her another interview we

2152
01:48:42,239 --> 01:48:42,840
don't know about.

2153
01:48:43,119 --> 01:48:46,279
Speaker 4: Maybe with Bowen, But yeah, so far when we have

2154
01:48:46,399 --> 01:48:48,439
interview wise, we have three that we know about.

2155
01:48:48,960 --> 01:48:49,479
Speaker 3: With Chuck.

2156
01:48:49,960 --> 01:48:53,640
Speaker 4: Regarding these, we have echo, we have rialto and we

2157
01:48:53,800 --> 01:48:56,640
have Bowen. So if anyone else has anything that they

2158
01:48:56,640 --> 01:48:59,720
would love to share, is the Bowen stuff published or

2159
01:48:59,800 --> 01:49:03,520
you just oh the commentary? Oh yeah, I'm I'm pretty

2160
01:49:03,600 --> 01:49:06,439
much just lumping that as an interview. I'm pretty much

2161
01:49:06,439 --> 01:49:07,079
just lumping those.

2162
01:49:07,039 --> 01:49:09,399
Speaker 3: That those all in together. But those are the three

2163
01:49:09,520 --> 01:49:13,000
that we know. So anyone else we know that might

2164
01:49:13,159 --> 01:49:17,560
have something, But at.

2165
01:49:17,520 --> 01:49:20,800
Speaker 1: What point will they be satisfied? Each kick must be

2166
01:49:20,960 --> 01:49:24,359
newer and bigger with certain things, there's no turning back.

2167
01:49:35,159 --> 01:49:38,800
Speaker 2: Alex has included some photos in our show notes, so

2168
01:49:39,680 --> 01:49:42,279
you know, shout out to our patreon again. We'll put

2169
01:49:42,359 --> 01:49:43,039
up our show notes.

2170
01:49:43,079 --> 01:49:44,760
Speaker 3: Oh yeah, you guys, where did you get?

2171
01:49:44,800 --> 01:49:47,399
Speaker 4: You're really going to start to like our patreon because

2172
01:49:47,439 --> 01:49:49,600
we are posting more than just show notes.

2173
01:49:50,279 --> 01:49:50,479
Speaker 6: Well.

2174
01:49:50,560 --> 01:49:53,279
Speaker 4: Also, our show notes have a lot of stuff in them.

2175
01:49:54,880 --> 01:49:56,000
The behind the Scene.

2176
01:49:55,760 --> 01:49:58,119
Speaker 3: Forty one paw the behind the.

2177
01:49:58,119 --> 01:50:03,479
Speaker 4: Scenes photographs I located this. This is always the case

2178
01:50:03,520 --> 01:50:07,000
with these. They were in the They were in a

2179
01:50:07,800 --> 01:50:11,840
se exploitation magazine that was featuring Hot Nights on the

2180
01:50:11,960 --> 01:50:16,680
campus as there the Daring Special Special preview film. It

2181
01:50:16,760 --> 01:50:19,239
was an issue Yeah, Daring Films and Books, Volume one,

2182
01:50:19,319 --> 01:50:24,079
number five, normally these magazines had one film in particular

2183
01:50:24,159 --> 01:50:26,479
that they were featuring, and normally it was one that

2184
01:50:26,760 --> 01:50:30,279
like Marvin, the photographer publisher of these was actually on

2185
01:50:30,479 --> 01:50:34,319
set doing. But seems like with some of the the

2186
01:50:34,800 --> 01:50:37,800
these ones, one of the guys was sending over sets

2187
01:50:37,840 --> 01:50:40,399
of really great photos for this magazine because there's also

2188
01:50:40,439 --> 01:50:42,520
they also did a really good feature on band which

2189
01:50:42,600 --> 01:50:46,399
had behind the scenes photographs. But pretty much this magazine

2190
01:50:46,439 --> 01:50:50,079
has a preview issue, which is preview of the movie,

2191
01:50:50,119 --> 01:50:53,640
which is mostly a collages of stills. Everyone that they

2192
01:50:53,720 --> 01:50:59,079
always within these collages of stills normally slip in a

2193
01:50:59,319 --> 01:51:04,479
couple shots of a cameraman filming the action, which is

2194
01:51:04,560 --> 01:51:06,600
of course the same thing for High Knights on the campus.

2195
01:51:06,760 --> 01:51:10,560
It's very rare, however, that we normally get behind the

2196
01:51:10,640 --> 01:51:13,840
scenes of the New York stuff because they were not

2197
01:51:14,239 --> 01:51:16,439
there on set photograph. You know, a lot of the

2198
01:51:16,520 --> 01:51:19,880
actual like onset photographs come from the publisher whose name

2199
01:51:19,960 --> 01:51:24,239
I'm completely missing right now, who would actually go onto

2200
01:51:24,279 --> 01:51:26,279
the sets of these and shoot the photos.

2201
01:51:26,279 --> 01:51:28,760
Speaker 3: And that's how we got into the stuff publishing. No,

2202
01:51:28,920 --> 01:51:33,279
it wasn't night. No, this was much cheaper than night

2203
01:51:33,279 --> 01:51:36,560
because night was much bigger scale because night was Adam Night,

2204
01:51:36,720 --> 01:51:37,800
not at Adam Film World.

2205
01:51:37,880 --> 01:51:39,119
Speaker 4: It's on the tip of my tongue. I think it's

2206
01:51:39,119 --> 01:51:42,159
like Marvin something. But he actually like worked with the

2207
01:51:42,319 --> 01:51:45,560
We actually went onto the sets and shot photos for

2208
01:51:45,720 --> 01:51:47,920
the LA stuff, so they always always have behind the

2209
01:51:47,960 --> 01:51:50,600
scenes stills, but of course New York still stuff. He

2210
01:51:50,720 --> 01:51:52,920
normally got like a set of eight x tens that

2211
01:51:53,079 --> 01:51:55,279
were like the regular ones that theaters would get, but

2212
01:51:55,479 --> 01:51:59,520
the someone at CIP was actually giving him even more,

2213
01:51:59,840 --> 01:52:02,720
Like I said, because this has as you'll see in

2214
01:52:02,760 --> 01:52:06,319
our show notes, some photos of Chuck and who would

2215
01:52:06,359 --> 01:52:10,119
believe is Tony Spala manning the air flex with gg

2216
01:52:10,319 --> 01:52:13,560
Darlene and things like that, and with the band one

2217
01:52:13,680 --> 01:52:17,199
that was a special preview for band that had photos

2218
01:52:17,319 --> 01:52:22,560
of Jerry Denby shooting subsequences, and the band feature happened

2219
01:52:22,600 --> 01:52:26,359
to have that photo of Chuck shooting Lost in the Flesh.

2220
01:52:26,720 --> 01:52:28,920
That's where that shot in the show notes comes from,

2221
01:52:29,039 --> 01:52:32,039
because they recycled Lost in the Flesh footage, so naturally

2222
01:52:32,159 --> 01:52:35,319
still has also got slipped into the mix. And unfortunately

2223
01:52:35,439 --> 01:52:38,720
they're very tiny. They're two inches, yeah, but.

2224
01:52:38,800 --> 01:52:41,119
Speaker 2: You get the idea, Like I love seeing these because

2225
01:52:41,640 --> 01:52:44,199
you know, you see how close Chuck can get with

2226
01:52:44,319 --> 01:52:47,359
his you know, with his moving camera, which is what

2227
01:52:47,880 --> 01:52:50,560
gives it that unique look. It's like he's right up

2228
01:52:50,600 --> 01:52:53,800
in their face with this thing. Yeah, and he can

2229
01:52:53,920 --> 01:52:55,680
like lay down on the bed and get all those

2230
01:52:55,800 --> 01:52:59,079
crazy sexploitation shots and between the legs and all that

2231
01:52:59,199 --> 01:52:59,760
fun stuff.

2232
01:53:00,319 --> 01:53:04,920
Speaker 4: So yeah, wide lenses were the best for secumitation films

2233
01:53:05,039 --> 01:53:08,600
in small apartments. Makes them look bigger, just a lot

2234
01:53:08,640 --> 01:53:11,199
easier set up your shots. They not get lights in

2235
01:53:11,279 --> 01:53:15,560
the way. Just again, economics, really just economics. So I

2236
01:53:15,640 --> 01:53:18,760
was wondering, I've wondered about this. Who was shooting their

2237
01:53:18,840 --> 01:53:22,159
stills actually, as well as with the Doris Wishman stuff.

2238
01:53:22,199 --> 01:53:24,880
We only ever hear about Chuck shoot like being cinematographer,

2239
01:53:24,920 --> 01:53:26,359
But who was shooting all these stills?

2240
01:53:26,760 --> 01:53:28,399
Speaker 2: I wonder if Tony was doing that as well.

2241
01:53:28,720 --> 01:53:32,600
Speaker 3: Yeah, yeah, it's possible because if he wasn't because there's

2242
01:53:32,760 --> 01:53:35,479
very few actual credits that he has on the Wishman movie,

2243
01:53:35,479 --> 01:53:39,600
So it's possible that he was doing stills maybe both,

2244
01:53:39,680 --> 01:53:42,600
just because they weren't credited on the actual film and

2245
01:53:42,720 --> 01:53:43,960
we just don't know, you know.

2246
01:53:43,960 --> 01:53:47,279
Speaker 4: Who, Yeah, I assume, Yeah, I was thinking it might

2247
01:53:47,319 --> 01:53:50,239
have been Tony Spaala at the very least. So yeah,

2248
01:53:50,239 --> 01:53:54,239
there's two cameramen we identified. It's pretty probably Tony Spala

2249
01:53:54,520 --> 01:53:58,000
as a second one, folks, because Chuck would have probably

2250
01:53:58,039 --> 01:54:00,520
pointed out if he was working with another cameraman as well.

2251
01:54:00,880 --> 01:54:04,479
But yeah, the other ones Tony. That's the only photos

2252
01:54:04,520 --> 01:54:07,319
we kind of have of Tony, which does not really

2253
01:54:07,439 --> 01:54:10,760
help with the lust in the flesh credit, just kind

2254
01:54:10,800 --> 01:54:11,760
of similar dark hair.

2255
01:54:12,159 --> 01:54:16,399
Speaker 2: Yeah, before we talk Sandy, do you maybe we should

2256
01:54:16,399 --> 01:54:19,680
talk about Band real quick, because I mean it's a

2257
01:54:19,760 --> 01:54:22,439
lost film, Like you said, it was pieced together with

2258
01:54:22,560 --> 01:54:24,079
a lot of stuff from Luston.

2259
01:54:24,199 --> 01:54:27,079
Speaker 3: Yeah. Well, the reason why Band even happened was because

2260
01:54:27,359 --> 01:54:28,319
of what happened to Tony.

2261
01:54:28,760 --> 01:54:31,520
Speaker 4: Yeah, that's very true, which.

2262
01:54:31,439 --> 01:54:34,680
Speaker 3: I can't find any death notice of this, but yeah,

2263
01:54:34,760 --> 01:54:37,319
apparently he died while having heart surgery in a Philadelphia

2264
01:54:37,359 --> 01:54:41,560
hospital soon after production rapped, So we're talking like for

2265
01:54:41,600 --> 01:54:45,520
early sixty five. He's gone. But I can't find any

2266
01:54:46,159 --> 01:54:49,720
anything in Philadelphia papers about this, which is interesting. I'm

2267
01:54:49,760 --> 01:54:52,119
not saying it didn't happen, I just find it strange

2268
01:54:52,159 --> 01:54:55,279
that he's noted in papers and then for whatever reason,

2269
01:54:55,600 --> 01:54:56,800
that's not noted.

2270
01:54:57,079 --> 01:55:00,680
Speaker 4: So yeah, new York though, did he not get surgery

2271
01:55:00,760 --> 01:55:01,840
new York around this time?

2272
01:55:02,039 --> 01:55:05,439
Speaker 3: It was Philadelphia? He died in Philadelphia. Oh really Okay,

2273
01:55:05,760 --> 01:55:07,640
yeah he died. He went back to Philly to get

2274
01:55:07,680 --> 01:55:10,199
his surgery and died in the hospital. Oh that's what

2275
01:55:10,319 --> 01:55:12,439
I'm like. It would have been Yeah, I should have

2276
01:55:12,439 --> 01:55:14,800
been in the Philly papers very least, I would think.

2277
01:55:15,399 --> 01:55:18,199
Speaker 2: You think so, you think that would have been in

2278
01:55:18,279 --> 01:55:21,640
the papers. I mean it's it wasn't like malpractice or anything.

2279
01:55:21,680 --> 01:55:23,640
Speaker 3: It was, no, but it would have been in the

2280
01:55:23,680 --> 01:55:26,800
papers because families post death notices there. You know, there

2281
01:55:26,840 --> 01:55:31,199
are obituaries and stuff for like funerals and memorial services

2282
01:55:31,279 --> 01:55:33,479
and stuff. So that's more of what I'm talking about,

2283
01:55:33,960 --> 01:55:36,560
kind of like the Sandy Johnson thing that's in there

2284
01:55:36,680 --> 01:55:39,840
is by the family, Like the joet Land where is

2285
01:55:39,880 --> 01:55:42,520
by the family, Like oh yeah, like those death notices.

2286
01:55:42,560 --> 01:55:44,600
I'm not talking like an article written by journalists. I'm

2287
01:55:44,640 --> 01:55:47,319
talking about like a notice that's submitted to the paper

2288
01:55:47,399 --> 01:55:49,119
for them to print from like the family.

2289
01:55:49,479 --> 01:55:52,000
Speaker 4: Well, yeah, that can also eventually lead into Sandy because

2290
01:55:52,560 --> 01:55:55,760
it's on the campus. Was was kind of what helped

2291
01:55:56,000 --> 01:55:59,640
form Crown International Pictures, the company.

2292
01:55:59,359 --> 01:56:03,960
Speaker 3: That stay that name that long, No, because they didn't

2293
01:56:03,960 --> 01:56:06,039
figure out they didn't know somehow that there was a

2294
01:56:06,159 --> 01:56:09,199
West Coast company already called Crown Pictures.

2295
01:56:09,640 --> 01:56:13,800
Speaker 4: Yeah. So two of the films have that Hot Nights

2296
01:56:13,840 --> 01:56:17,319
on the Campus, and then band has the full Crown

2297
01:56:17,439 --> 01:56:21,600
International Pictures and then they changed it to c IP

2298
01:56:22,239 --> 01:56:25,399
and Crown International. Where are the notes? It was an

2299
01:56:25,399 --> 01:56:31,039
amalgamation of I know, Jerry Denby, Sandy Johnson, and there

2300
01:56:31,119 --> 01:56:32,000
was a fourth.

2301
01:56:31,760 --> 01:56:34,159
Speaker 3: Guy, Suck, and there was another Tony.

2302
01:56:37,319 --> 01:56:38,039
Speaker 4: Yes, there was.

2303
01:56:41,600 --> 01:56:44,079
Speaker 3: I know a lot of tones.

2304
01:56:44,640 --> 01:56:48,520
Speaker 4: Yeah, so they amalgamated to not only they weren't to

2305
01:56:48,920 --> 01:56:51,720
produce and also distribute, like they distributed some things that

2306
01:56:51,760 --> 01:56:54,000
they did not remotely handle, but.

2307
01:56:54,239 --> 01:56:58,600
Speaker 3: Supposed to be The Whips Women was originally supposed to

2308
01:56:58,600 --> 01:57:00,000
be c I P. And then they went out of busines,

2309
01:57:00,159 --> 01:57:03,920
so then it moved over to Chlly somehow.

2310
01:57:04,560 --> 01:57:06,760
Speaker 4: Okay, I'm a press book.

2311
01:57:06,600 --> 01:57:09,880
Speaker 3: Where there's a Kelley Films is pasted over the original

2312
01:57:09,880 --> 01:57:13,840
press book which says distributed by c IP so uh

2313
01:57:14,680 --> 01:57:16,800
West Coast. But then that was Jerry Denby, so.

2314
01:57:17,880 --> 01:57:20,800
Speaker 4: Yeah, well Jerry Denby was was it? It's hard to

2315
01:57:20,840 --> 01:57:23,079
tell when CIP fully closed, but I feel like Jerry

2316
01:57:23,119 --> 01:57:27,039
Denby was also doing his Jode stuff because Joe Productions

2317
01:57:27,119 --> 01:57:29,880
was also happening. That was just Jerry, but Jerry would

2318
01:57:29,960 --> 01:57:31,680
get Chuck to help him.

2319
01:57:31,920 --> 01:57:35,039
Speaker 3: Right well. I think they closed because Sandy moved over

2320
01:57:35,199 --> 01:57:37,640
to Chancellor, did he not? I think we discussed that

2321
01:57:38,119 --> 01:57:40,840
they closed became the head of Chancellor and was sixty seven.

2322
01:57:41,199 --> 01:57:45,479
Speaker 4: They closed because of disagreements between Al Rubin and and money.

2323
01:57:45,920 --> 01:57:48,319
Speaker 3: Oh no, I think it was because I thought Chuck

2324
01:57:48,359 --> 01:57:51,399
said that Jerry Denby it was a snake.

2325
01:57:51,560 --> 01:57:55,159
Speaker 4: Yes, yeah, I make Jerry Denbil all the time. But yeah,

2326
01:57:55,199 --> 01:57:59,359
Jerry Denby was a snake, as many apparently have said.

2327
01:57:59,560 --> 01:58:03,039
So that was pretty much why why yeah, why why

2328
01:58:03,159 --> 01:58:06,920
CIP went and Jerry was doing all sorts of things

2329
01:58:07,000 --> 01:58:09,680
behind this I can tell because Jerry was also doing

2330
01:58:09,800 --> 01:58:12,319
Joe at this time. He was gained financing from Chillie

2331
01:58:12,359 --> 01:58:14,920
Wilson to do a couple like Honey, which was distributed

2332
01:58:14,960 --> 01:58:17,920
by CIP. Was Chillie Wilson finance and stuff. So yeah,

2333
01:58:17,960 --> 01:58:21,840
I could see him having conversations and doing things behind

2334
01:58:21,880 --> 01:58:25,000
their backs because he was kind of the money hustler

2335
01:58:25,119 --> 01:58:29,000
guy for the stuff as well too. But yeah, Hot

2336
01:58:29,119 --> 01:58:32,640
Nights on the Campus Folks comes out from Crown and

2337
01:58:32,800 --> 01:58:36,840
does well. As Casey has managed to chronicle, it did

2338
01:58:37,039 --> 01:58:38,359
very well actually for them.

2339
01:58:38,560 --> 01:58:43,680
Speaker 3: Huge kept playing until nineteen sixty nine. Oh really, yes,

2340
01:58:43,760 --> 01:58:45,800
it kept playing as late as ninety sixty nine because

2341
01:58:45,800 --> 01:58:48,720
it was a hot, popular title and people would just

2342
01:58:48,960 --> 01:58:51,560
throw it on a double bill or triple feature.

2343
01:58:52,640 --> 01:58:52,960
Speaker 4: Wow.

2344
01:58:53,199 --> 01:58:54,359
Speaker 2: He even played up there in Mini.

2345
01:58:54,399 --> 01:58:56,840
Speaker 3: I just kept going. It did well. We have an

2346
01:58:56,920 --> 01:59:01,279
article to go over about that. But yes, some some

2347
01:59:01,560 --> 01:59:05,640
holier than now person wrote a letter to the editor

2348
01:59:05,720 --> 01:59:08,600
about the theaters where they were showing on Nights on

2349
01:59:08,640 --> 01:59:12,680
the Campus. Oh really, yeah, it's a good read. I

2350
01:59:12,800 --> 01:59:15,199
was like, Gentry, this is uh, this is called.

2351
01:59:17,000 --> 01:59:18,680
Speaker 2: I'll have to check my book. I have a book

2352
01:59:18,760 --> 01:59:22,159
on Minneapolis the History of Minneapolis Theaters, to see what

2353
01:59:22,279 --> 01:59:25,319
they say about the theater, the Theedar Theater here. But

2354
01:59:25,479 --> 01:59:27,960
where do you want to go from here? Because we

2355
01:59:28,039 --> 01:59:29,439
haven't talked about Sandy yet?

2356
01:59:29,600 --> 01:59:31,439
Speaker 3: Well, band, I mean, what is there to say about it?

2357
01:59:31,840 --> 01:59:36,800
Mostly just stuff from the previous movies. Yeah, band is yeah,

2358
01:59:37,039 --> 01:59:37,840
that's all really.

2359
01:59:37,760 --> 01:59:41,399
Speaker 2: Yeah, And they posthumously put Tony's name on it because

2360
01:59:42,119 --> 01:59:43,239
he directed less than the flesh.

2361
01:59:43,520 --> 01:59:45,359
Speaker 3: I think it is only fair because he directed them,

2362
01:59:45,439 --> 01:59:47,600
so yeah, yeah, I would hope they put his name

2363
01:59:47,680 --> 01:59:48,159
on it. You know.

2364
01:59:48,800 --> 01:59:51,239
Speaker 4: Yeah, it incorporates quite a bit of lesson the flesh.

2365
01:59:51,479 --> 01:59:54,560
You could see samples again in the show notes. And

2366
01:59:54,680 --> 01:59:57,880
then they added some neat stuff, like enough that makes

2367
01:59:57,960 --> 02:00:00,720
me want to see it out of curiosity. They added

2368
02:00:00,760 --> 02:00:06,560
the tarantula torture scene. Judy Adler gets a nail hammered

2369
02:00:06,600 --> 02:00:07,760
through her hands.

2370
02:00:09,239 --> 02:00:10,000
Speaker 3: At one point.

2371
02:00:10,279 --> 02:00:13,119
Speaker 4: Yeah, like, which is also funny because in censor Judy

2372
02:00:13,199 --> 02:00:17,319
gets her legs cut off. Yes, no, yeah, Judy really

2373
02:00:17,399 --> 02:00:20,520
gets it in the in the compilation screaming thing.

2374
02:00:20,680 --> 02:00:21,520
Speaker 2: That's why maybe.

2375
02:00:21,720 --> 02:00:26,239
Speaker 4: Yeah, yeah, I was really startled by that scene. It's oh, Barry,

2376
02:00:27,119 --> 02:00:30,600
you can actually do stuff. So yeah, band, it does exist.

2377
02:00:30,880 --> 02:00:32,079
Who knows if we'll ever see it?

2378
02:00:32,279 --> 02:00:33,039
Speaker 2: What do you mean it does?

2379
02:00:33,800 --> 02:00:37,680
Speaker 4: How the neck exists? Yeah, it's around okay, yeah, no, no,

2380
02:00:37,800 --> 02:00:39,960
it showed up a couple of years ago. Well it

2381
02:00:40,039 --> 02:00:40,960
get seen, who knows?

2382
02:00:41,520 --> 02:00:43,640
Speaker 2: Well, can you help us, because can you push some

2383
02:00:43,760 --> 02:00:44,319
people talk?

2384
02:00:44,800 --> 02:00:48,399
Speaker 3: Let's talk after recording. Well, give me your name. I

2385
02:00:48,479 --> 02:00:52,319
see there's a million there's a million other films that

2386
02:00:52,359 --> 02:00:55,720
are going to handle so who knows I am. Honestly,

2387
02:00:55,920 --> 02:00:58,159
that's not the top of my list either, So no,

2388
02:00:58,319 --> 02:00:58,560
it's not.

2389
02:00:59,439 --> 02:01:04,079
Speaker 4: But I'm just pointing out fun fact there's possibility on something.

2390
02:01:04,680 --> 02:01:06,720
Speaker 3: It needs to be as like a bonus feature on something.

2391
02:01:06,800 --> 02:01:07,680
I don't need to see it.

2392
02:01:07,960 --> 02:01:09,720
Speaker 4: Yeah, it's a curiosity piece for me.

2393
02:01:09,880 --> 02:01:12,159
Speaker 3: Especially if it's just made up of mostly other stuff. Yeah,

2394
02:01:12,159 --> 02:01:12,840
it's just like whatever.

2395
02:01:13,720 --> 02:01:17,199
Speaker 4: Yeah, exactly, I'm pretty okay. I've seen less of the flash.

2396
02:01:17,239 --> 02:01:18,039
It's fine, it's fine.

2397
02:01:20,680 --> 02:01:23,840
Speaker 1: As I read, I experimented, I thought of the theories

2398
02:01:23,880 --> 02:01:27,479
of love from Alvid to the Kamasutra, gaining confidence not

2399
02:01:27,600 --> 02:01:30,199
only in myself but in my ability to give and

2400
02:01:30,439 --> 02:01:34,399
receive love. I was no more at a stumbling, awkward child,

2401
02:01:34,680 --> 02:01:35,680
but truly a woman.

2402
02:01:36,680 --> 02:01:41,920
Speaker 3: Well, so I knew once I knew, I need to

2403
02:01:41,960 --> 02:01:43,840
find more about Sandy because I know the last one

2404
02:01:43,960 --> 02:01:45,359
time we talked about it and you had mentioned that

2405
02:01:45,439 --> 02:01:48,479
he died in a car accident, and Chuck mentioned that,

2406
02:01:48,560 --> 02:01:49,960
and I was like, well, I need to find infel

2407
02:01:50,039 --> 02:01:53,600
about this because it has to have been documented somewhere.

2408
02:01:54,079 --> 02:01:58,560
So I was doing research. First of all, I found

2409
02:01:58,640 --> 02:02:01,199
a very weird article that seems like a premonition of

2410
02:02:01,279 --> 02:02:03,560
the way he was going to die from September nineteen

2411
02:02:03,560 --> 02:02:07,359
sixty five where he had a car accident where the

2412
02:02:07,439 --> 02:02:11,359
car it was on a rainslick pavement. The car rolled

2413
02:02:11,439 --> 02:02:14,439
over and landed upright in a parking lot and he

2414
02:02:14,560 --> 02:02:17,439
somehow survived. And so that was nineteen sixty five, So

2415
02:02:17,520 --> 02:02:19,800
he already had a brush with death in a car

2416
02:02:20,399 --> 02:02:26,720
in nineteen sixty five. So after The Vixen's aka Friends

2417
02:02:26,760 --> 02:02:29,840
and Lovers, which was the I think he kind of

2418
02:02:29,880 --> 02:02:33,359
went for broke with that and that went that was

2419
02:02:33,479 --> 02:02:35,560
voice everywhere, but I don't think it did great business.

2420
02:02:36,079 --> 02:02:39,199
He left New York returned to Illinois around seventy two

2421
02:02:39,279 --> 02:02:43,079
seventy three. He bought a farm. Like he got away.

2422
02:02:44,279 --> 02:02:46,359
He was done with the he was done with the city,

2423
02:02:46,439 --> 02:02:50,399
done with every city, done with cities, yes, exactly. And

2424
02:02:50,479 --> 02:02:53,680
he started acting again in local plays and he also

2425
02:02:53,760 --> 02:02:57,199
directed a few local plays. So he got involved with

2426
02:02:57,399 --> 02:02:59,960
like what he originally set out to do, which was

2427
02:03:00,000 --> 02:03:03,039
to get involved with stage and become an actor. So

2428
02:03:03,199 --> 02:03:05,000
he was there for a couple of years and then

2429
02:03:05,119 --> 02:03:08,840
he relocated. He sold his farm around nineteen seventy seven

2430
02:03:08,920 --> 02:03:12,720
and relocated back to Chicago. But it was for it

2431
02:03:12,840 --> 02:03:15,520
was after his son Michael, was attacked and permanently disfigured

2432
02:03:15,560 --> 02:03:19,039
by a dog. And there is a documentation of a

2433
02:03:19,279 --> 02:03:22,479
court case where he sought damages for the dog bite.

2434
02:03:23,000 --> 02:03:26,479
Essentially because he had to keep going back and forth

2435
02:03:26,560 --> 02:03:29,600
between his farm and Chicago for his son to get

2436
02:03:29,640 --> 02:03:32,920
treated and taken care of, they just uprooted and just

2437
02:03:33,079 --> 02:03:35,439
moved to Chicago so that his son could be taken

2438
02:03:35,439 --> 02:03:37,600
care of on a more permanent basis. So he was

2439
02:03:37,640 --> 02:03:41,319
there around seventy seven. They were awarded, you know, seven

2440
02:03:41,439 --> 02:03:43,279
grand for that dog bite, which I don't know what

2441
02:03:43,359 --> 02:03:45,039
that is in today's money, but I don't know if

2442
02:03:45,079 --> 02:03:49,199
that even covers their medical expenses. But unfortunately, the last

2443
02:03:49,239 --> 02:03:51,840
we hear of him, so he died in a car

2444
02:03:51,960 --> 02:03:56,479
accident in Michigan on June eleventh, nineteen eighty three, and

2445
02:03:57,760 --> 02:04:03,640
he was forty forty six, forty six years old, very young.

2446
02:04:03,960 --> 02:04:06,479
He was in the I believe he was in the

2447
02:04:06,520 --> 02:04:09,199
passenger seat of a car being driven by somebody else

2448
02:04:09,560 --> 02:04:12,239
and the driver was trying to turn the car around.

2449
02:04:12,319 --> 02:04:14,640
They made a wrong turn, and so he pulled in

2450
02:04:14,880 --> 02:04:17,600
somewhere to turn around, and then he pulled back out

2451
02:04:18,279 --> 02:04:22,720
and this giant truck plowed into the car and killed

2452
02:04:23,359 --> 02:04:28,399
everyone in the car, and I believe except for one passenger,

2453
02:04:28,880 --> 02:04:30,640
including a little boy. There was a little boy in

2454
02:04:30,680 --> 02:04:34,680
the car. The driver of the truck survived, but yeah,

2455
02:04:34,840 --> 02:04:39,479
Sandy unfortunately died. He left behind three sons. Michael is

2456
02:04:39,520 --> 02:04:42,119
the one that was the victim of the dog mauling,

2457
02:04:42,199 --> 02:04:43,920
and then he had two other sons. I feel like

2458
02:04:44,000 --> 02:04:45,720
I would like to reach out to these sons at

2459
02:04:45,760 --> 02:04:49,640
some point just to see what they remember about Sandy.

2460
02:04:50,079 --> 02:04:53,640
His I feeling is very underdocumented in general. But the

2461
02:04:53,800 --> 02:04:56,760
crazy thing is I also found that his ex wife,

2462
02:04:57,439 --> 02:05:00,399
a woman named Benta, who I believe is must be

2463
02:05:00,479 --> 02:05:04,359
German from that name, she sued both drivers in the accident,

2464
02:05:04,720 --> 02:05:07,399
which actually that means she sued the estate of the

2465
02:05:07,520 --> 02:05:10,800
dead driver of the car that Sandy was in. She

2466
02:05:10,880 --> 02:05:13,399
sued the truck driver, and she sued the trucking company.

2467
02:05:13,520 --> 02:05:15,920
She sued all three of them about a year later

2468
02:05:16,039 --> 02:05:20,560
for damages. And I'm guessing sued because you know, I'm

2469
02:05:20,600 --> 02:05:22,920
guessing that she she eventually had to now take care

2470
02:05:22,960 --> 02:05:26,000
of all three kids, and I imagine Sandy was contributing

2471
02:05:26,039 --> 02:05:28,319
to taking care of those kids. So she's like, well,

2472
02:05:29,119 --> 02:05:31,920
you took you took my ex husband away, and now

2473
02:05:32,399 --> 02:05:35,079
I can't raise these kids, and so I'm trying to

2474
02:05:35,119 --> 02:05:37,039
get money for my family and one of I don't

2475
02:05:37,079 --> 02:05:37,880
know if they settled.

2476
02:05:38,000 --> 02:05:39,800
Speaker 2: Yeah yeah, yeah, one of them.

2477
02:05:39,880 --> 02:05:42,840
Speaker 3: One of them requires a lot of care. Right, So

2478
02:05:44,000 --> 02:05:46,800
I don't have any evidence that they settled or if

2479
02:05:46,840 --> 02:05:50,600
she won. But that's the last any mention of Sandy

2480
02:05:50,640 --> 02:05:52,840
Johnson anywhere. Is this article of his ex wife's suing.

2481
02:05:53,319 --> 02:05:55,600
And she's passed away because I researched her to try

2482
02:05:55,640 --> 02:05:58,079
to find her, and I forget when she passed away.

2483
02:05:58,159 --> 02:06:03,479
But yeah, Sandy a very interesting guy. Gone way too soon, yeah,

2484
02:06:03,880 --> 02:06:04,520
way too young.

2485
02:06:05,319 --> 02:06:09,359
Speaker 2: What are we thinking with Sandy Johnson's filmography? Like what

2486
02:06:09,479 --> 02:06:12,359
have we what's been put out? What still would you

2487
02:06:12,520 --> 02:06:13,560
like to see put out?

2488
02:06:14,479 --> 02:06:14,960
Speaker 3: Everything?

2489
02:06:15,319 --> 02:06:16,720
Speaker 4: We don't have anything, I know.

2490
02:06:17,560 --> 02:06:20,760
Speaker 3: Yeah, here's the thing is lost beautiful bloody in the

2491
02:06:20,800 --> 02:06:25,560
Bear and most of most of misconduct. That's it. Yeah,

2492
02:06:26,000 --> 02:06:27,399
it's all that's gone.

2493
02:06:27,920 --> 02:06:29,640
Speaker 2: Yeah, I know we talked a lot about his stuff

2494
02:06:29,680 --> 02:06:32,920
in the are lost in a limbo series, But I'm

2495
02:06:33,039 --> 02:06:37,439
once again appealing to you guys for knowledge of anything

2496
02:06:37,479 --> 02:06:38,159
that exists.

2497
02:06:38,880 --> 02:06:42,760
Speaker 4: Yeah that well, it's also awful is that Sandy would

2498
02:06:42,760 --> 02:06:44,720
have known because a lot of them were chancellors and

2499
02:06:44,840 --> 02:06:46,760
he ended up owning Chancellor.

2500
02:06:47,199 --> 02:06:49,960
Speaker 3: It ends with Sandy, unfortunately, it ends with Sandy.

2501
02:06:51,000 --> 02:06:53,039
Speaker 4: Yeah, because a lot of his stuff was Chancellor. The

2502
02:06:53,159 --> 02:06:55,439
only other one I could think of that was lost

2503
02:06:55,520 --> 02:06:59,640
that isn't Chancellor is a secret society which has a

2504
02:06:59,720 --> 02:07:03,800
lot of roommates in it, even Joanna Mills. Actually that

2505
02:07:03,960 --> 02:07:04,760
was Bob Cressy.

2506
02:07:05,680 --> 02:07:08,680
Speaker 3: So the lab that was holding all the Chancellor stuff

2507
02:07:08,840 --> 02:07:13,359
closed and that stuff is gone, so that all you

2508
02:07:13,439 --> 02:07:15,359
can hope for is that theatrical print to turn up.

2509
02:07:15,399 --> 02:07:18,880
Those negatives are gone, So that's what it boiled down

2510
02:07:18,880 --> 02:07:20,039
to and black and white prints.

2511
02:07:21,239 --> 02:07:26,039
Speaker 4: Yeah, that's four. That's four of his films which are

2512
02:07:26,159 --> 02:07:29,720
tragically because they look good and a Cornice and who

2513
02:07:29,840 --> 02:07:33,239
was in them were really well done, well made. I

2514
02:07:33,319 --> 02:07:36,600
mean Justine shot in Puerto Rico, like yeah, that's so

2515
02:07:36,720 --> 02:07:39,720
that was my that was flew them all to Puerto

2516
02:07:39,800 --> 02:07:42,520
Rico and put them up in hotels and like, yeah,

2517
02:07:42,920 --> 02:07:43,960
they got their vacation.

2518
02:07:44,600 --> 02:07:47,319
Speaker 3: Is on that list? The singles and fidelity American.

2519
02:07:46,960 --> 02:07:49,520
Speaker 4: Style, Oh, Vixen's as well.

2520
02:07:50,159 --> 02:07:52,520
Speaker 3: Vixen's which apparently played in Ontario.

2521
02:07:53,520 --> 02:07:58,800
Speaker 4: Oh yeah, so Vixen's has a slightly higher chance. I

2522
02:07:58,960 --> 02:08:01,560
know one or two of the chancellers also played up

2523
02:08:01,600 --> 02:08:03,000
here games and how they.

2524
02:08:03,720 --> 02:08:06,560
Speaker 3: Played up there? Oh games people play?

2525
02:08:06,800 --> 02:08:08,840
Speaker 4: Oh yeah, yes, that played up here. I know that

2526
02:08:08,880 --> 02:08:09,479
played up here.

2527
02:08:09,840 --> 02:08:10,960
Speaker 3: Yeah, so that was another sandy.

2528
02:08:11,800 --> 02:08:15,680
Speaker 2: Yeah, remind me how Beautiful Bloody and the Bear survives.

2529
02:08:16,039 --> 02:08:18,479
Speaker 3: Is there a Novas bought it?

2530
02:08:19,199 --> 02:08:22,119
Speaker 4: Yeah, so thanks to Novak for at least behind that.

2531
02:08:23,000 --> 02:08:25,319
Speaker 2: I'd like to see that show up is. I don't

2532
02:08:25,359 --> 02:08:26,560
know how you would release that.

2533
02:08:28,119 --> 02:08:30,079
Speaker 3: It's only six or three minutes. You can't release it

2534
02:08:30,119 --> 02:08:32,760
on his own, and I don't know. You keep talking

2535
02:08:32,760 --> 02:08:36,399
about bonuses. Novak doesn't do bonuses. The problem. They would

2536
02:08:36,399 --> 02:08:39,079
still charge the same licensing fee, so you can't shove

2537
02:08:39,119 --> 02:08:39,920
it on as a bonus.

2538
02:08:40,319 --> 02:08:41,000
Speaker 4: That's the problem.

2539
02:08:41,039 --> 02:08:42,600
Speaker 3: You get the money back for the license.

2540
02:08:43,159 --> 02:08:46,600
Speaker 4: It would be fun with kiss Me Quick, but it's

2541
02:08:46,720 --> 02:08:47,880
it's not worth it, like.

2542
02:08:48,119 --> 02:08:49,199
Speaker 3: It's a weird double feature.

2543
02:08:49,279 --> 02:08:54,560
Speaker 9: Though it is, But that is so crazy, there's very opposite.

2544
02:08:55,119 --> 02:09:00,479
And well you do put beautiful blood in the bear, it's.

2545
02:09:00,159 --> 02:09:02,119
Speaker 3: Never gonna happen. Well it was. It didn't make sense

2546
02:09:02,159 --> 02:09:04,079
with Behind Locked Doors either. I thought that was a

2547
02:09:04,119 --> 02:09:07,319
stupid pairing. Yeah, exactly, that's what I'm trying to make

2548
02:09:07,359 --> 02:09:07,760
it either.

2549
02:09:07,840 --> 02:09:11,199
Speaker 2: I'm trying that it's such an odd ball nudy that

2550
02:09:12,279 --> 02:09:15,079
it doesn't fit with the nudy cuties, it doesn't fit

2551
02:09:15,239 --> 02:09:18,920
with the roughies, it doesn't fit really with the gore films.

2552
02:09:19,640 --> 02:09:21,520
Speaker 4: It's trying to think of another bloody nudy.

2553
02:09:22,640 --> 02:09:26,600
Speaker 3: All that skirt already came out. Yeah, it made sense,

2554
02:09:26,960 --> 02:09:30,399
but yeah, Love Goddess has already came out. Yeah, all

2555
02:09:30,439 --> 02:09:32,720
the gory nudies are already out except for that one.

2556
02:09:33,000 --> 02:09:37,159
So it's just gonna have to languish in the Novack fault.

2557
02:09:37,199 --> 02:09:40,119
I guess I'm not I'm not crying about it.

2558
02:09:40,319 --> 02:09:48,279
Speaker 4: It's not possible. It's impossible to find through various.

2559
02:09:48,399 --> 02:09:51,600
Speaker 3: Ten minutes are kind of the best thing about that movie. Yeah, Yeah,

2560
02:09:52,720 --> 02:09:55,680
the rest is completely forgettable Mayon style crap.

2561
02:09:56,159 --> 02:09:57,720
Speaker 2: Yeah, you could have a photography.

2562
02:09:58,119 --> 02:10:01,560
Speaker 4: Yeah, you can lie to me that someone took an

2563
02:10:01,600 --> 02:10:04,800
unreleased Mahon film and tacked on a new ending. Yeah,

2564
02:10:04,840 --> 02:10:06,680
and I would believe that. I would believe that.

2565
02:10:07,199 --> 02:10:09,720
Speaker 3: It is so Mayhon and I'm just like, I thought

2566
02:10:09,720 --> 02:10:12,119
we were done with this shit. It's oh my god.

2567
02:10:12,279 --> 02:10:16,159
Speaker 2: Yeah, it's not the photos studio stuff. Yeah, it looks

2568
02:10:16,239 --> 02:10:18,399
nice though, the colors are really pretty.

2569
02:10:18,319 --> 02:10:19,159
Speaker 3: The colors popped.

2570
02:10:19,359 --> 02:10:22,159
Speaker 4: Yeah, but it's like you know that film.

2571
02:10:22,760 --> 02:10:26,279
Speaker 3: That's all well and good, but when the Novaks are

2572
02:10:26,319 --> 02:10:28,800
asking top dollar for a licensing fee for a sixty

2573
02:10:28,840 --> 02:10:32,279
three minute nudy that you have to release on its

2574
02:10:32,319 --> 02:10:35,000
own or a double feature with something else, that's just

2575
02:10:35,159 --> 02:10:37,760
not yeah yeah, not top priority.

2576
02:10:38,439 --> 02:10:41,199
Speaker 4: Yeah no, Unfortunately, the Sandy Johnson Library.

2577
02:10:40,880 --> 02:10:43,880
Speaker 2: Is kind of I kind of I kind of knew that,

2578
02:10:44,000 --> 02:10:46,720
but I just wanted to ask again in case you just.

2579
02:10:46,760 --> 02:10:47,920
Speaker 3: Wanted to bring the mood down.

2580
02:10:48,039 --> 02:10:48,640
Speaker 5: Is that what it is?

2581
02:10:48,760 --> 02:10:50,359
Speaker 3: You really just wanted to bring it make us all

2582
02:10:50,439 --> 02:10:54,000
depressed and angry? After I talked about how Sandy was

2583
02:10:54,079 --> 02:10:56,119
obliterated by its rocket fea.

2584
02:10:56,640 --> 02:10:58,720
Speaker 4: So, by the way, Sandy was obliterated and we can't

2585
02:10:58,720 --> 02:11:01,119
see any of his movies as kid was disfigured. See

2586
02:11:01,239 --> 02:11:03,439
this has been a great episode. See yah. Yeah, your

2587
02:11:03,520 --> 02:11:04,960
questions and guys questions.

2588
02:11:05,319 --> 02:11:08,439
Speaker 3: The story is horrible. Yeah, ask us more stories of

2589
02:11:08,479 --> 02:11:11,760
which other horrible sexploitation stories you want to hear because

2590
02:11:11,760 --> 02:11:12,479
we know all of them.

2591
02:11:13,079 --> 02:11:14,960
Speaker 4: The premonition, oh my god, the fact that he was

2592
02:11:14,960 --> 02:11:16,960
died in nineteen sixty five, and then it came true.

2593
02:11:17,239 --> 02:11:20,159
Speaker 3: Just yeah, exactly. He flipped his car and walked away

2594
02:11:20,560 --> 02:11:26,000
crazy and seat belts before seatbelts were mandatory, he somehow

2595
02:11:26,079 --> 02:11:27,119
survived flipping his car.

2596
02:11:27,760 --> 02:11:28,399
Speaker 5: Oh god.

2597
02:11:29,159 --> 02:11:32,960
Speaker 2: Well, speaking of cars, did you guys notice the car

2598
02:11:33,520 --> 02:11:36,800
in Hot Nights on the Campus? That little car when

2599
02:11:36,880 --> 02:11:39,279
she's hanging her head out the window to get air

2600
02:11:39,399 --> 02:11:42,199
after trying to kill herself. You see that little sports car.

2601
02:11:42,600 --> 02:11:45,520
It's the same sports car that Gigi drives around in

2602
02:11:46,960 --> 02:11:51,640
in File X for Sex. Really yeah, take a look again.

2603
02:11:52,159 --> 02:11:55,840
It's so I wonder if it's her car for Chuck's car.

2604
02:11:56,640 --> 02:11:58,680
Speaker 3: I like, I feel like it's crazy for anyone to

2605
02:11:58,720 --> 02:11:59,640
own a car in New York.

2606
02:12:00,079 --> 02:12:03,800
Speaker 4: Yeah, that's the thing. But I do love the visual

2607
02:12:03,960 --> 02:12:07,279
of turban gg R glasses riding around a little sports car.

2608
02:12:07,560 --> 02:12:08,760
Like I love the image.

2609
02:12:09,720 --> 02:12:10,319
Speaker 3: It makes sense.

2610
02:12:10,960 --> 02:12:13,279
Speaker 2: I have to check if it's the same sunglasses too,

2611
02:12:13,319 --> 02:12:15,399
because then you know what I'm talking about. You watched

2612
02:12:15,439 --> 02:12:16,880
File X for Sex recently, didn't you?

2613
02:12:16,960 --> 02:12:17,239
Speaker 3: Out there?

2614
02:12:17,279 --> 02:12:19,479
Speaker 4: And was I not one that I struggled to pay

2615
02:12:19,520 --> 02:12:20,560
attention to it?

2616
02:12:22,159 --> 02:12:24,960
Speaker 2: Like, you know, do you remember the scene when she's

2617
02:12:25,039 --> 02:12:26,159
like picking up you guys.

2618
02:12:26,560 --> 02:12:29,600
Speaker 4: Oh, she's the weird like Nymphoe.

2619
02:12:30,479 --> 02:12:32,439
Speaker 2: Yeah, and she's driving around in this car.

2620
02:12:33,199 --> 02:12:35,720
Speaker 3: Oh yeah, the thing she shot I think because that

2621
02:12:35,840 --> 02:12:38,680
came out long after she'd retired, like a year.

2622
02:12:38,800 --> 02:12:42,560
Speaker 4: Yeah, okay, I kind of remember where you're talking about. Yeah,

2623
02:12:42,800 --> 02:12:43,880
I can't remember.

2624
02:12:43,600 --> 02:12:44,800
Speaker 2: The car anyway.

2625
02:12:45,119 --> 02:12:47,359
Speaker 3: Yeah, and try to give himself a sex scene at

2626
02:12:47,399 --> 02:12:49,439
the end of the movie, which is I like this

2627
02:12:50,000 --> 02:12:53,479
like movie like that. He's ever It's the most graphic

2628
02:12:53,880 --> 02:12:56,920
thing he's ever given himself to do on camera, because

2629
02:12:56,960 --> 02:13:00,000
Girl from Si N is more like comedy and goofy. Finally,

2630
02:13:00,039 --> 02:13:01,840
ex for sex is like he's taking his shirt off,

2631
02:13:01,960 --> 02:13:04,640
he's getting down at early. I'm like, Chuck, you don't

2632
02:13:04,680 --> 02:13:09,239
need to do this. No, that's weirdly uncomfortable. It's Sandy

2633
02:13:09,319 --> 02:13:09,960
not available.

2634
02:13:10,439 --> 02:13:12,439
Speaker 4: That's a weirdly comfortable Chancellor.

2635
02:13:13,600 --> 02:13:15,239
Speaker 3: Then reason scene.

2636
02:13:15,239 --> 02:13:18,359
Speaker 4: Isn't even uncomfortable. It's just annoyedly long. There's the Bennett

2637
02:13:18,479 --> 02:13:21,279
sisters getting together.

2638
02:13:21,199 --> 02:13:23,600
Speaker 2: A little Yeah, they're getting pretty close.

2639
02:13:23,720 --> 02:13:28,600
Speaker 3: Yeah, there's Yeah, I was not happy about Perverted. It's

2640
02:13:28,640 --> 02:13:31,000
fireless for sex colon the Perverted.

2641
02:13:31,239 --> 02:13:32,199
Speaker 2: Yeah, it's not as.

2642
02:13:32,199 --> 02:13:36,680
Speaker 3: Gross as the Molesters, though. That is the most revolting

2643
02:13:36,800 --> 02:13:41,720
movie that was ever imported for a sexploitation audience. That

2644
02:13:41,920 --> 02:13:45,560
entire movie is just like, isn't something.

2645
02:13:46,039 --> 02:13:51,239
Speaker 4: The Molesters Isophelia. The Molesters German entry. Yes, it is

2646
02:13:51,319 --> 02:13:55,359
a very serious okay, so let me explain. Let me

2647
02:13:55,520 --> 02:13:59,760
explain this. So The Molesters Folks is a very very

2648
02:14:00,199 --> 02:14:07,439
serious German drama, very dark, very nasty. About the footage

2649
02:14:07,479 --> 02:14:10,640
that we have is two episodes of child of stories

2650
02:14:10,880 --> 02:14:15,760
centered around child predators praying against children, using them. An

2651
02:14:15,800 --> 02:14:20,119
American distributor bought it and added in a ten minute

2652
02:14:20,640 --> 02:14:26,279
kind of feature on various other perversions, like you will

2653
02:14:26,359 --> 02:14:30,199
see the voyeurs. There's a two minutes on voyeurism, there's

2654
02:14:30,319 --> 02:14:34,439
two minutes on sato masochism, a woman's getting whipped in

2655
02:14:34,600 --> 02:14:38,560
a basement, and there's one more thing about a fetishist

2656
02:14:38,600 --> 02:14:41,560
who likes to sniff women's underwear, steals them and stuff.

2657
02:14:42,079 --> 02:14:45,359
So the trailer is mostly that, it's mostly you will

2658
02:14:45,479 --> 02:14:50,439
see the sadis the look snatchers, the fetishists, blah blah

2659
02:14:50,479 --> 02:14:56,000
blah blah blah. These are the molesters, like proper adult behavior, right,

2660
02:14:56,800 --> 02:15:02,159
What you really get is a really upsetting and very

2661
02:15:02,319 --> 02:15:04,680
serious take on pedophilia.

2662
02:15:05,279 --> 02:15:07,159
Speaker 3: There is a scene in that trailer though, with the

2663
02:15:07,199 --> 02:15:11,600
little bit yes that is very shocking too. Yeah, what

2664
02:15:11,960 --> 02:15:14,840
the what fucking audience is a score? It's like, it's

2665
02:15:14,960 --> 02:15:18,880
really crazy director distributed by Aristocrat Films.

2666
02:15:19,479 --> 02:15:22,039
Speaker 4: That had a lot of problems. It had a lot

2667
02:15:22,119 --> 02:15:25,279
of problems, shocking left it played here in Canada though.

2668
02:15:25,279 --> 02:15:28,760
I have a photo of the Molester's huge god on

2669
02:15:29,000 --> 02:15:31,520
Young Street. One of our main is on one of

2670
02:15:31,600 --> 02:15:34,840
our main is veins, a huge molester's marquee.

2671
02:15:35,279 --> 02:15:35,880
Speaker 3: Funny enough.

2672
02:15:36,319 --> 02:15:38,880
Speaker 4: I don't know who told this story. It's just launched

2673
02:15:38,920 --> 02:15:41,039
in my brain. We're severe and so off, but I

2674
02:15:41,159 --> 02:15:44,199
love this. They were once putting up a billboard for

2675
02:15:44,479 --> 02:15:48,760
that somewhere, and an old man walks by and looks

2676
02:15:48,800 --> 02:15:50,680
the distributor that is gonna make so much money on this.

2677
02:15:50,880 --> 02:15:55,960
I think it did well in some areas. He looks,

2678
02:15:56,199 --> 02:15:58,960
and he looks up at the billboard. He goes, oh,

2679
02:15:59,560 --> 02:16:01,920
I didn't they made a sequel to the mole People.

2680
02:16:02,319 --> 02:16:04,000
The Molsters.

2681
02:16:04,800 --> 02:16:12,640
Speaker 3: So stupid? Yeah yeah, yeah, And then I think something

2682
02:16:12,640 --> 02:16:15,880
weird put it in the twist and sex category, and

2683
02:16:16,079 --> 02:16:24,359
that's probably the most repulsion that is actually beyond. Oh

2684
02:16:24,439 --> 02:16:27,600
my god, they went so far stuff. Yeah, it's just

2685
02:16:27,680 --> 02:16:32,280
like were they thinking they went you can or whatever

2686
02:16:32,440 --> 02:16:34,280
and bought this at a film market and thought I

2687
02:16:34,360 --> 02:16:36,760
can sell this as a sex movie to adults. They

2688
02:16:36,879 --> 02:16:41,719
gave up promotional whistles your safeguard against the molester's whistle

2689
02:16:41,799 --> 02:16:43,799
for they had children.

2690
02:16:43,959 --> 02:16:46,079
Speaker 2: Why did you have that so close to your desk?

2691
02:16:46,200 --> 02:16:47,680
You had that like right.

2692
02:16:50,000 --> 02:16:53,000
Speaker 3: Through the window, gentry, come on exactly. I don't know,

2693
02:16:53,879 --> 02:16:55,479
but help.

2694
02:16:55,959 --> 02:16:59,079
Speaker 4: It's they put out so much. They've put so much

2695
02:16:59,120 --> 02:17:02,399
money advertise on movie. Oh my god, I need it.

2696
02:17:02,520 --> 02:17:06,040
Was just like the door panel door panels forty by

2697
02:17:06,200 --> 02:17:11,000
sixties available all sorts of lobby like so much, so

2698
02:17:11,239 --> 02:17:14,760
much ten years before. Once in a while they they

2699
02:17:14,840 --> 02:17:16,159
pop up everyone so.

2700
02:17:16,280 --> 02:17:23,159
Speaker 3: Long ten years before solo they put out so could

2701
02:17:23,239 --> 02:17:27,440
run exactly. Molesters. Yes, and I know that, and that's

2702
02:17:27,479 --> 02:17:30,399
all that matters. And I think I rated The Molesters

2703
02:17:30,440 --> 02:17:33,879
like high a letter box, just because since well, Matt,

2704
02:17:34,840 --> 02:17:35,520
something is.

2705
02:17:35,680 --> 02:17:36,719
Speaker 2: You didn't rate it at all.

2706
02:17:37,399 --> 02:17:39,680
Speaker 3: I don't seriously, oh you don't even have it.

2707
02:17:39,760 --> 02:17:40,120
Speaker 6: I need to.

2708
02:17:41,079 --> 02:17:42,760
Speaker 3: I think I need to rewatch it. But I think

2709
02:17:42,799 --> 02:17:45,200
I I think I looked at my rating. I was like,

2710
02:17:45,280 --> 02:17:47,520
that's really high for a movie that made me sick

2711
02:17:47,600 --> 02:17:50,879
to my stomach, So I have to rewatch it.

2712
02:17:51,159 --> 02:17:53,159
Speaker 4: I don't know, it's a really well made film. It's

2713
02:17:53,239 --> 02:17:55,440
just upsetting. Like I respect how good it is.

2714
02:17:56,000 --> 02:17:59,360
Speaker 3: It's what the Americans did with it. Yeah, the original

2715
02:17:59,399 --> 02:18:02,760
German version is probably very different. It's what the Americans did,

2716
02:18:02,840 --> 02:18:04,239
and that the Americans preferred it.

2717
02:18:04,719 --> 02:18:07,319
Speaker 4: It feels grosser because of yeah, because of how they

2718
02:18:07,360 --> 02:18:07,959
try to sell it.

2719
02:18:08,680 --> 02:18:11,200
Speaker 3: We ruined it. Oh, we destroyed it.

2720
02:18:11,399 --> 02:18:15,719
Speaker 2: There's a review here on Letterbox. I've seen Solo, I've

2721
02:18:15,760 --> 02:18:19,559
seen Irreversible, I've seen Happiness, and this is easily up

2722
02:18:19,559 --> 02:18:22,040
there in terms of how uncomfortable it is to sit through.

2723
02:18:23,040 --> 02:18:26,040
Speaker 3: Yep. I could not believe it when I bought it

2724
02:18:26,079 --> 02:18:28,280
because I was like, I don't I don't even think

2725
02:18:28,319 --> 02:18:30,159
I read the description when I bought it because I

2726
02:18:30,319 --> 02:18:32,079
was just like trying to get all the twisted sex stuff.

2727
02:18:32,079 --> 02:18:35,000
So I just ordered it all and then I was like, molesters, Oh,

2728
02:18:35,040 --> 02:18:39,159
this is going to be interesting. And as I'm watching Why,

2729
02:18:39,559 --> 02:18:41,280
there are a lot of Yeah, there's a lot of

2730
02:18:41,319 --> 02:18:45,399
focus on this kid. Here, where is this going? And

2731
02:18:45,479 --> 02:18:46,959
then I said, then I read the back of the

2732
02:18:47,040 --> 02:18:50,200
DVD R and I was like Jesus Christ, like because

2733
02:18:50,200 --> 02:18:53,479
something myself. Oh I.

2734
02:18:55,319 --> 02:18:57,680
Speaker 4: Back in the day, I would occasionally watch trailers a

2735
02:18:57,879 --> 02:19:00,280
long time before I could actually like have get a

2736
02:19:00,360 --> 02:19:02,879
copy of the film. So I knew that was waiting

2737
02:19:02,920 --> 02:19:06,159
for me the whole time. I knew exactly.

2738
02:19:06,280 --> 02:19:07,440
Speaker 3: I don't think I see what's.

2739
02:19:07,280 --> 02:19:07,879
Speaker 4: Going to happen.

2740
02:19:08,760 --> 02:19:16,879
Speaker 3: Oh, I don't remember film molesters, maybe compilation films, maybe

2741
02:19:17,719 --> 02:19:20,840
Sandy Johnson, I don't remember. So we have the Molesters,

2742
02:19:20,879 --> 02:19:22,840
but we don't have the Sandy Johnson filmography.

2743
02:19:23,639 --> 02:19:26,520
Speaker 4: Yeah, that's the crime. I mean, that's the crime we

2744
02:19:26,639 --> 02:19:26,920
don't have.

2745
02:19:27,280 --> 02:19:31,159
Speaker 3: We don't have Peggy Stephens as the maybe the first

2746
02:19:31,520 --> 02:19:35,840
cinematic version of a Marquis de Sad heroine. We don't

2747
02:19:35,920 --> 02:19:39,920
have that. Yeah that's upsetting. Yeah.

2748
02:19:40,000 --> 02:19:45,159
Speaker 4: Two good Peggy Stephens films, Honey and Honey, Yeah, which

2749
02:19:45,319 --> 02:19:47,680
was also c I P. That's a c I P title,

2750
02:19:48,280 --> 02:19:52,040
which unfortunately hasn't shown up. C IP is a bit weird.

2751
02:20:04,520 --> 02:20:07,520
Speaker 3: So there's so Jerry Denby, there's a whole thing. I

2752
02:20:07,600 --> 02:20:10,639
think we'll save this for a Jerry Jerry Denby episode.

2753
02:20:11,280 --> 02:20:12,719
We'll tell I don't know what that would even be

2754
02:20:13,040 --> 02:20:16,079
pleasure plantation maybe with Linda Boyce, which is kind of fun.

2755
02:20:16,399 --> 02:20:19,079
It's it's I told you guys about the actress that

2756
02:20:19,200 --> 02:20:23,079
was murdered. Yes, they interviewed they found her body in

2757
02:20:23,079 --> 02:20:26,520
New York Daily News, lasted her dead body it found

2758
02:20:26,559 --> 02:20:30,559
in the alley, and then interviewed Sandy and Jerry because

2759
02:20:30,600 --> 02:20:33,959
she was in the Twisted Sex and they have in

2760
02:20:34,040 --> 02:20:35,600
the article of her from the movie.

2761
02:20:35,920 --> 02:20:36,920
Speaker 4: So I found the ad.

2762
02:20:37,120 --> 02:20:40,079
Speaker 3: That's a little that's a little tease. We will talk

2763
02:20:40,120 --> 02:20:42,719
about that in another episode because I feel like we've

2764
02:20:42,840 --> 02:20:46,600
gone deeper than we deep, deep, deep into this, and

2765
02:20:46,680 --> 02:20:49,680
I feel like that's more Jerry Denby. Even though Sandy

2766
02:20:49,760 --> 02:20:50,840
directed the Twisted Sex.

2767
02:20:51,719 --> 02:20:53,239
Speaker 4: No, Jerry directed Twisted Sex.

2768
02:20:53,639 --> 02:20:55,840
Speaker 3: Oh did he? Oh, that's right, we had that conversation.

2769
02:20:56,040 --> 02:20:58,040
Speaker 4: Yes, yes, he was into the darker stuff.

2770
02:20:58,719 --> 02:21:01,440
Speaker 3: That's right. That's right, because that was one that I

2771
02:21:01,479 --> 02:21:03,559
think Chuck confirmed because I think.

2772
02:21:03,760 --> 02:21:08,440
Speaker 4: Sandy that was production. That was Jerry Denby production, JO production.

2773
02:21:09,559 --> 02:21:12,280
Speaker 3: Yes, that's it, So we'll talk about that.

2774
02:21:12,399 --> 02:21:16,440
Speaker 4: Okay, Yeah, well, I guess it's crazy tepnically an update,

2775
02:21:16,639 --> 02:21:18,879
it's typically an update though, Oh that's circus.

2776
02:21:18,879 --> 02:21:20,040
Speaker 3: We talked about Twisted Sex.

2777
02:21:20,280 --> 02:21:22,200
Speaker 4: It's an update, Yeah, an update.

2778
02:21:22,040 --> 02:21:26,120
Speaker 2: From Austin and Limbo several months ago too.

2779
02:21:26,479 --> 02:21:27,879
Speaker 4: This is a really good one too.

2780
02:21:28,719 --> 02:21:28,879
Speaker 5: Well.

2781
02:21:29,079 --> 02:21:33,879
Speaker 3: It is crazy because then Shelley Wilson in the article, So, yeah,

2782
02:21:34,000 --> 02:21:36,200
like this actress Sharon Lewis, who was the daughter of

2783
02:21:36,239 --> 02:21:39,360
another popular actress and who was related to like diplomats

2784
02:21:39,399 --> 02:21:41,959
in England and things, was a working actress and she

2785
02:21:42,120 --> 02:21:45,319
had appeared in the Twisted Sex. And so this article

2786
02:21:45,520 --> 02:21:48,799
interviews both Sandy and Jerry where they talk about they

2787
02:21:48,840 --> 02:21:51,440
worked with her on this one scene and it's a

2788
02:21:51,520 --> 02:21:54,760
sequence in the a sequence in the movie that I

2789
02:21:54,799 --> 02:21:57,120
don't really remember. I don't recognize it.

2790
02:21:57,200 --> 02:22:00,799
Speaker 4: Oh, from I read it, it was a she she

2791
02:22:00,959 --> 02:22:04,399
falls into a lesbian relationship for some reason. That's the

2792
02:22:04,479 --> 02:22:06,360
crux of her, that's the crush.

2793
02:22:06,399 --> 02:22:09,200
Speaker 3: She's like a dancer or something. She's like a dancer

2794
02:22:09,600 --> 02:22:11,840
that gets hurt by a man and then then so

2795
02:22:12,040 --> 02:22:14,879
she decides to shack up with her girlfriend. I think

2796
02:22:14,959 --> 02:22:15,840
that's a situation.

2797
02:22:15,920 --> 02:22:18,159
Speaker 4: She kind of looks similar, she has similar hair in

2798
02:22:18,200 --> 02:22:21,079
a similar look to Judy Adler actually a little bit

2799
02:22:21,120 --> 02:22:22,239
and still and stuff.

2800
02:22:22,440 --> 02:22:25,520
Speaker 3: Yeah, right, And they talk in the article about both

2801
02:22:25,639 --> 02:22:28,239
Jerry and Sandy talk about like they were, they were

2802
02:22:28,440 --> 02:22:30,680
they could have made her a star, like she was

2803
02:22:30,840 --> 02:22:34,079
very good in the movie. But they really in addition

2804
02:22:34,280 --> 02:22:36,600
to the did you actually describe what happened to her

2805
02:22:37,959 --> 02:22:38,520
in the article?

2806
02:22:38,959 --> 02:22:40,920
Speaker 4: Do you describe what? Why is she in the article?

2807
02:22:40,959 --> 02:22:43,920
At first? In the first place, Oh, well, she was murdered.

2808
02:22:44,479 --> 02:22:46,479
Oh yes, folks, she was murdered brutally.

2809
02:22:47,040 --> 02:22:50,040
Speaker 3: She was brutally murdered and found in an alley. Her

2810
02:22:50,079 --> 02:22:53,120
pockets contained twenty one dollars in cash and three house keys,

2811
02:22:53,440 --> 02:22:56,239
no other clue to her identity. She was unidentified for

2812
02:22:56,319 --> 02:22:56,840
a long time.

2813
02:22:57,200 --> 02:22:58,959
Speaker 4: And they showed the photo I think came through.

2814
02:22:59,239 --> 02:23:01,479
Speaker 3: They showed the photo. They show them full photo of

2815
02:23:01,520 --> 02:23:03,520
her in her little white go go boots, and then

2816
02:23:03,559 --> 02:23:05,840
they say white boots were favored by Sharon. She wore

2817
02:23:05,879 --> 02:23:07,639
them for the sunny day photo, one of many of

2818
02:23:07,680 --> 02:23:10,319
herself in her apartment. But then they have her contorted

2819
02:23:10,360 --> 02:23:13,000
body wearing the same boots in a lot when she

2820
02:23:13,159 --> 02:23:16,000
was found. But then the really interesting thing, which is

2821
02:23:16,079 --> 02:23:21,200
pure exploitation. So at the theater where they were showing

2822
02:23:21,239 --> 02:23:23,120
the twisted sex which I forget which one it was,

2823
02:23:23,200 --> 02:23:27,079
but they name it here nativly slativly. Yes, it's at

2824
02:23:27,120 --> 02:23:30,319
the Tivoli. They had it. They said, Sherry Lewis, which

2825
02:23:30,399 --> 02:23:31,920
is the fake name she gave in the movie. Is

2826
02:23:31,959 --> 02:23:37,079
Sherry Lewis in Twisted Sex. They changed it to Serry

2827
02:23:37,159 --> 02:23:40,040
Lewis and small twisted sex and big is the original.

2828
02:23:40,239 --> 02:23:42,559
They flipped it so now it's as Sharon Lewis in

2829
02:23:42,719 --> 02:23:46,520
big letters Twisted Sex in small letters. To cash in

2830
02:23:46,760 --> 02:23:49,079
on the big thing in New York is this dead

2831
02:23:49,120 --> 02:23:51,040
girl named Sharon Lewis. So they want people to come

2832
02:23:51,079 --> 02:23:52,760
see this dead girl in a sex movie.

2833
02:23:53,120 --> 02:23:54,799
Speaker 4: Scroll down to the final page I put in the

2834
02:23:54,840 --> 02:23:58,079
newspaper ad two that points her out. You've read about her.

2835
02:23:58,399 --> 02:24:00,799
Speaker 3: You've read and heard about her at the World Card,

2836
02:24:00,879 --> 02:24:07,959
the Twisted set at the Tbili. That's crazy. It's they

2837
02:24:08,200 --> 02:24:11,520
discuss Uh yeah, they discussed their process. They were supposed

2838
02:24:11,520 --> 02:24:13,559
to shoot, They were supposed to have a different actress

2839
02:24:13,559 --> 02:24:16,639
who ended up not being available, so they stumbled upon

2840
02:24:16,760 --> 02:24:20,479
this girl and she did the role. It's much more

2841
02:24:20,520 --> 02:24:23,079
in depth than we're going into, but the articles are in.

2842
02:24:23,159 --> 02:24:25,840
The article is in the show notes. It's really fascinating.

2843
02:24:26,280 --> 02:24:29,239
Chlly Wilson is name dropped because she I think that

2844
02:24:29,319 --> 02:24:32,719
they shot in her studio, yeah, which was above her theater.

2845
02:24:32,799 --> 02:24:35,000
I think they knew. I think they mentioned that. So

2846
02:24:35,120 --> 02:24:37,120
it's interesting. And I only found it just because I

2847
02:24:37,200 --> 02:24:39,079
was trying to find any kind of mention of Sandy

2848
02:24:39,159 --> 02:24:41,840
Johnson in the paper and that turned up.

2849
02:24:43,879 --> 02:24:47,399
Speaker 4: Have we heard of crazier publicity for a exploitation film

2850
02:24:47,799 --> 02:24:49,440
that's really out there?

2851
02:24:50,159 --> 02:24:51,159
Speaker 5: No, this is.

2852
02:24:51,239 --> 02:24:55,559
Speaker 3: Probably more depraved than well, it's probably it's I'm trying

2853
02:24:55,559 --> 02:24:58,319
to think it's more depraved than like people saying, like

2854
02:24:58,639 --> 02:25:01,159
a sex movie was shot online the spawn ranch where

2855
02:25:01,200 --> 02:25:04,760
the Manson family lived into the Tate La Bianca murders

2856
02:25:04,920 --> 02:25:08,479
is grotesque, But this is worse because it is cashing

2857
02:25:08,559 --> 02:25:12,440
in immediately on her body being photographed and published in

2858
02:25:12,559 --> 02:25:14,840
a paper and the same day or the same with

2859
02:25:14,920 --> 02:25:17,120
the next day, it's immediately like, come see this dead

2860
02:25:17,159 --> 02:25:20,319
girl in a sex movie, see this dead girl naked? Right,

2861
02:25:20,399 --> 02:25:26,639
It's just like that's that's very uh grotesque, that's sexpotation,

2862
02:25:26,760 --> 02:25:29,159
show business. Yeah, that's the business that Sandy couldn't wait

2863
02:25:29,200 --> 02:25:31,120
to leave behind when he went back to He bought

2864
02:25:31,159 --> 02:25:33,120
a farm and ran back to Illinois.

2865
02:25:34,200 --> 02:25:37,120
Speaker 2: Yeah, okay, we can't end there, you guys, we can't

2866
02:25:37,239 --> 02:25:41,360
end there. Let's end this by saying something nice about

2867
02:25:41,760 --> 02:25:44,639
Hot Nights on the Campus, which, for the record, I like,

2868
02:25:45,319 --> 02:25:50,200
still yeah, we all okay? Good because after watching All

2869
02:25:50,200 --> 02:25:52,799
the Sam Lakes and then watching even Lost in the Flesh,

2870
02:25:53,319 --> 02:25:55,879
watching Hot Nights on the Campus is like kind of

2871
02:25:55,920 --> 02:25:59,000
a warm blanket film, don't you think? Do you know

2872
02:25:59,079 --> 02:26:03,920
what I'm saying? Honestly, like classic New York City sexploitato, it's.

2873
02:26:03,920 --> 02:26:07,040
Speaker 3: Very representative of the type of film that I like,

2874
02:26:07,559 --> 02:26:11,399
Ye New York's exploitation, and that's that's why it's something. Yeah,

2875
02:26:11,440 --> 02:26:14,520
it is like it's it's comforting because it's familiar. And

2876
02:26:14,639 --> 02:26:18,200
also it has enough it's almost wall to wall actresses

2877
02:26:18,239 --> 02:26:20,639
that I love, so it makes it so much easier

2878
02:26:20,680 --> 02:26:24,200
to spend time with them, and lots of good location footage,

2879
02:26:24,399 --> 02:26:29,319
I mean that handheld cinematography, Like it's yeah, it's Sandy

2880
02:26:29,399 --> 02:26:32,559
Johnson looking hot. You know, it's you know there is

2881
02:26:32,760 --> 02:26:36,040
just I don't have anything really bad to say about

2882
02:26:36,040 --> 02:26:37,760
the movie. I mean, it's not perfect. It makes it

2883
02:26:37,879 --> 02:26:39,639
sounds like I'm saying it's perfect, but it's just like

2884
02:26:40,120 --> 02:26:43,120
it ticks all my boxes. So it's great comfort, somebody

2885
02:26:43,159 --> 02:26:45,200
that I can come back to. It's very comfort food. Yes,

2886
02:26:45,280 --> 02:26:47,760
it's very like it's like a bag of Hokies. Yes,

2887
02:26:47,879 --> 02:26:50,280
it's very like. I'm gonna curl up with my bag

2888
02:26:50,360 --> 02:26:50,879
of Hokies.

2889
02:26:51,680 --> 02:26:53,159
Speaker 2: And I think we have a new T shirt idea

2890
02:26:53,280 --> 02:27:03,120
something Sandy Johnson hot, Sandy Johnson hottest director, producer. I

2891
02:27:03,159 --> 02:27:05,159
don't know, Well, we'll brainstorm that one.

2892
02:27:05,239 --> 02:27:09,559
Speaker 3: He's up there. I mean more, Rossler's more attractive to me.

2893
02:27:09,840 --> 02:27:12,840
But yeah, Rosstler is like the end all for me

2894
02:27:13,920 --> 02:27:18,600
in terms about almost a bear. Rostler is almost a bear.

2895
02:27:19,079 --> 02:27:22,200
Speaker 4: Yeah, you're right, he should be.

2896
02:27:22,399 --> 02:27:24,000
Speaker 2: What more does he need to be a bear?

2897
02:27:24,719 --> 02:27:25,719
Speaker 3: He needs to be heavier?

2898
02:27:26,000 --> 02:27:26,639
Speaker 2: Oh heavier?

2899
02:27:26,840 --> 02:27:28,799
Speaker 3: Okay, needs like he needs a belly.

2900
02:27:29,079 --> 02:27:32,280
Speaker 2: What's the what's the weight limit? Is there a weight

2901
02:27:32,360 --> 02:27:32,799
limit here?

2902
02:27:32,840 --> 02:27:36,280
Speaker 3: It's not weight, it's image. Bear is all about the image.

2903
02:27:36,319 --> 02:27:37,959
You have to be burly. You know who's a bear?

2904
02:27:38,079 --> 02:27:40,639
Stephen Thrower, who I just lested after and a letter

2905
02:27:40,680 --> 02:27:43,600
by saw that Stephen Thrower is a bear. A burly

2906
02:27:43,799 --> 02:27:47,360
guy with facial hair. That's a bear. Stephen Thrower is

2907
02:27:47,399 --> 02:27:47,639
a bear.

2908
02:27:48,239 --> 02:27:50,479
Speaker 2: Okay, it's a It's a ratio of things You're not

2909
02:27:50,639 --> 02:27:52,319
just saying that because he is gay.

2910
02:27:52,719 --> 02:27:55,120
Speaker 3: No, but being gay helps there are three. Yeah, I

2911
02:27:55,239 --> 02:27:58,680
prefer no, but being gay helps.

2912
02:28:06,799 --> 02:28:58,239
Speaker 6: The conte language.

2913
02:29:48,479 --> 02:29:51,159
Speaker 1: With all that happened, I thought that nothing would shock me.

2914
02:29:51,920 --> 02:29:54,559
But I was wrong. I had started to walk into

2915
02:29:54,600 --> 02:29:57,239
the other room when I saw them, Shanette and Judy.

2916
02:29:58,079 --> 02:30:00,479
I stood there a moment, too horrified to say or

2917
02:30:00,520 --> 02:30:04,239
do anything. It just didn't seem possible. These were things

2918
02:30:04,280 --> 02:30:07,040
that you read about, but they never happened outside of books.

2919
02:30:15,440 --> 02:30:18,280
Speaker 2: Thank you for listening to hear more shows from the

2920
02:30:18,319 --> 02:30:22,120
Someone's Favorite Productions podcast network. Please select the link in

2921
02:30:22,200 --> 02:30:22,719
the description.