Speaker 1: We're all owned by the Syndicate Body and Soul or
should I just say Bunny Hello, Filthy movie lovers, something
weirdos and anti Criterion Bros. To the thirtieth episode of
The Sin Syndicate. This is going to be part two
of our question and answer episode, So if you haven't
listened to part one yet, go back and give that
a listen. And those of you who were wondering where
your question was, it should be somewhere in this episode.
But my name is Gentry Austen, writer and researcher, and
again I'm here with my co host, adult film historian
Casey Scott. We wanted to do another quick wrap up
for what has happened in the last week since we
last talked. We were on the Reconnected Show just a
few days ago, which is a live Thursday night show
hosted by our boss man Ryan of The Disconnected and
Someone's Favorite Productions podcast network. So we wanted to thank
everyone who showed up for five, ten or one hundred
and eighty minutes.
Speaker 2: It was a good show. What did you think, Casey?
Speaker 3: Yeah, I had a good time, but I always have
a lot of energy when I do this stuff, so yeah, no,
it was fun.
Speaker 2: Yeah.
Speaker 1: Thanks, Yeah, it was a good time. Casey kept the
energy high as my.
Speaker 2: Energy was waning.
Speaker 3: I kind of I feel like that's typical. I feel
like I'm always at like one hundred and ten and
you're much more normal. So yeah, I am. I'm always up. Yeah,
I gotta keep it, keep it going.
Speaker 2: Yep. I have bursts of energy every now and then.
Speaker 1: But during this show, Ryan, I remember he asked this
kind of like what our favorite releases were of twenty
twenty five, and I felt bad because I felt like
we kind of flow up that answer.
Speaker 3: I don't know or maybe ask that I don't even remember.
I know, I think I think he was asking us
like what we watched. I think he asked us what
we watched Pile, and then he also asked what movie
we wanted to upgrade it for twenty six. I don't
remember him asking what our favorite releases of the year were.
Speaker 2: Maybe it's just a blurr. I thought.
Speaker 1: I remember him asking. We just kind of brushed it aside,
so maybe we'll do that now.
Speaker 3: No, he asked for what we wanted an upgrade for,
and you didn't want to answer because you wanted people
to listen to the Q and A episode.
Speaker 2: And you were like, no, no, no.
Speaker 3: Just answer it right exactly. It's like, you know, it's
fine if we repeat ourselves, because we had a lot
of people that I don't even know if they even
listened to our podcasts, So it was kind of like,
I know, introductory thing for.
Speaker 2: Sure, so's should we do that. Let's just do that quick.
Speaker 1: Our favorite release of twenty twenty five again, it doesn't
need to be sexploitation related, but it probably will be.
I think mine would be. I really liked that career
Bed sex by Advertisement released by District Picks, the two
Joel Reed movies, which I think even the Joel Red
fans I don't know if they've seen those yet, so
that was nice to have those prepared together. I think
we both love career Bed correct.
Speaker 3: Yeah, sex my advertisement is whatever, but yeah, career Bed
is the money. That's the money movie.
Speaker 1: Yeah, I kind of ride for sex by advertised advertisement.
I think it's ridiculous and it's it's very Joel Red.
Speaker 2: Like he's in it.
Speaker 1: He plays the most ridiculous character running around Central Park
like a madman and whipping women and all the masks.
I think it's it's a mess, but it's very entertaining.
But yeah, that release I think is really good. Also
shout on another District Picks, which was the Confessions of
a Psycho Cat and Fat Black Pussycat double feature. I
mean the fact that we got the Psycho Cat herself
weedn't they did on the commentary for that, it was amazing.
I mean, yeah, that's worth picking up alone for that.
And one last shout out. I'm a big fan of
those dance and macabre Italian Gothic collections that Severn's been
putting out, and they did Volume four, which is kind
of a mixture. There's one four K release in there.
It's an upgrade of terror Creatures from the Grave, and
they've got Knight of the Damned, which is kind of
a rarity that most people haven't seen. And then they've
got a Devil's Wedding Night with resolv Onneri which is
a masterpiece and Bobby Yaga is very fun. And then
there's a City in there too of Piro Umlani's soundtrack music.
I love his stuff, So yeah, I thought that released
was fun.
Speaker 3: Yeah, Bobby is the waste in that box. I like
that movie, but yeah, everything else is great. No, Bobbyga
is terrible. That's it's a big old mess. Yeah, it's
very disappointing. But yeah, the CD I always love them people.
But CD's in there because you.
Speaker 1: Know, we're CD guys and we're we're you're kind of
a vinyl guy too.
Speaker 3: Both with physical media overall, just yeah, I stream stuff,
but if it's available physical, I want it.
Speaker 1: So yeah, I actually think that they should start. Well,
I don't know if it's worth putting digital downloads in
anymore if people are doing that, but I know that
record companies used to do that.
Speaker 3: If you buy vinyl, they typically do include a digital
download like uh, slip or whatever way you can do that.
But yeah, I don't think these companies don't need to
do that.
Speaker 1: Okay, yeah, all right, what are some of your faves?
Speaker 3: I I so typically when companies have sales, that's when
I do backfill. So I have Google Docs for every company,
and I have the years and stuff came out, so
I'll go back and because I know that licenses typically
run out, you know, five years after if so, I'm
looking for stuff that came to five years before to
snap it up before it goes out of print. So
that's much more my jam with sales, and that's really
kind of what I mostly did shopping for this year.
But I had to pick up friends to pick up
with the mam Mouse sexx bonus, which I think is
still available, and that was a very limited edition, and
I don't love that it's still available because that means
that people don't know what it is not buying it.
That movie is incredible and so you definitely need that,
especially because we only previously had it with burned in
Danish subtitles, so now we have a really nice, clean,
restored version and it makes the movie even better. I
will continue telling people to buy Cellular Dreams. Hyena in
the Safe that was, Yeah, that was a huge surprise
this year. They also put out short nighted of their
Glass Dolls and that I love that movie anyway, but
Hyena in the Safe really kind of blew that out
of the blew that away from me. Yeah, I think
that's that was their better release to share.
Speaker 1: I still have that Hyena the Safe theme song stuck
in my head.
Speaker 3: Yeah, it's very catchy. It's streaming too, so yeah, yeah,
I did pick up the Caldron Films breveto Jallo because
they're really good at making you think that if you
miss out, you miss out, and so I didn't want Fomo,
so I grabbed that. In the House of the Houses
of Doom box set from twenty four I bought as
well because I think they had that up. It went
out of print in twenty four and then they had
a few copies left, so I snapped that.
Speaker 2: Up, which is as a whole.
Speaker 1: That's a whole lot of Mberto Lenzi for you, isn't.
Speaker 3: It it is? And I actually know, well, yeah, it's
too Umberto Lenzi, too ful cheat. And then for Lamberto.
Speaker 2: Bava, Oh, yes is the Plato, Yes, that's.
Speaker 3: All Bava, and I generally liked. Oh I liked three
of them. The Ogre is terrible, but I loved I
loved Dinner with the Vampire. I loved What is It
until Dark? I believe. And then the fourth one is
Grave Aared Disturbance, which I also liked, so yeah, I
thought it was. It's a good package. And then I
have to shout out Ultra Flesh Archives Wildheart again the
Leslie Winston collection, which came out as the year was ending,
and that's a incredible collection. So I already started preharding
stuff for twenty twenty six. So now now I can
do more. I can do a more comprehensive best of
lists at the end of this year. Try to stay
on top of.
Speaker 1: Remind me with the Leslie Winston is there kind of
like a bare bones version of that release coming?
Speaker 3: No, okay, no, this is it. It's five hundred copies.
If you miss it, you miss it, so you better
get it.
Speaker 4: Yeah.
Speaker 3: Yeah, when it's gone, it's gone.
Speaker 2: Yeah.
Speaker 1: We also had a question that came in kind of
late for our Q and A. It was a texploitation
related question, and so we reached out to our friends
down there, mister Dennis Kampa, and so we're really not
sure about this one, but I thought we would maybe
bring it up.
Speaker 2: What do you think?
Speaker 3: You know, I think we should, Yeah, because I mean
we don't have an answer for it, and neither does he.
I mean the short answer is, I mean, well, yeah,
say what the question is first, I guess, and then
we'll say the answer out there.
Speaker 1: Yeah, let's put it out there so in case somebody
maybe has some more insight. But the question was there
was some music in Hot Thrills and Warm Chills. Perez
Prato's music, he's credited as Dario de Mexico. I don't
know if that is an actual pseudonym or if he
said just use my music, but don't put my name
on it. So the question was kind of did Dale
Barry just swipe these tracks that are.
Speaker 2: In the movie.
Speaker 1: And Dennis said, it's a great question. He's not sure
the answer. Maybe Lisa or Jimmy McDonough would have some insight.
What's going on here with this music?
Speaker 3: Casey, I mean, it's just probably just stolen. Yeah, I've
always assumed it's stolen. Yeah, if it was credit, if
it was credited to the right person, if that would
have been legal. But this, yeah, it's it's credited to
a made up name. Yeah, it's just stolen.
Speaker 1: And it's it's Dale Mary, So yeah, it's probably stolen.
Speaker 3: Yeah. I mean it's kind of like when roberta was
using recordings from Russian orchestras for exploitation. It's kind of like, well,
it's a foreign recording, they're not going to do anything
about it, and these were, you know, not a American recording,
so they just he could just use whatever he wanted.
I also wondered if it was a connection to Charles Martinez,
the producer, but we don't have any evidence of that.
I just I always assume it's stolen, and so I'm
gonna say it stolen.
Speaker 2: Yeah.
Speaker 1: We also had an email from a listener that I
wanted to bring up real quick way back in. I
don't even remember the episode. I should have looked that
up beforehand, what number it was, but it was our
kiss Me Quick episode aka too Much Sex Fiz, where
we had mentioned that there was Harry Novak on the
DVD commentary for kiss Me Quick kind of made this
offhanded reference to some of the girls in that film
being quote Columbia girls, and we were I had mentioned
how confused that was because it wasn't elaborated on, and
this listener wrote in and said that he's pretty sure
that these girls that Novak was referencing were a woman.
Speaker 2: Just read. I think that they were the decorative.
Speaker 1: Girls in all those Dean Martin helm kind of comedy
spy movies that Colombia released. They didn't have much dialogue
and they were always staying at Matt's bachelor pad.
Speaker 2: Possibly Good.
Speaker 3: The first one of those movies came out in sixty six,
two years after kiss Me Quick. So I don't. I
don't know about that. It sounds like it makes sense,
but it also does not really make sense time wise. Yeah,
in terms of them being with Columbia at the time
of production of Kiss Me Quick, I still think that
those girls were, you know, dancers at the Gaiety because
that's who produced the movie, Max's Gardens. So yeah, I'm
still on that side. On that side of things, I
am never I'm very averse to giving Harry Novac any
kind of any kind of grace when it comes to
giving anything accurate about any of his cast members, because
that's that was not anything he would know about. So
you know, as I said in that episode, he misidentifies
out your courier three times. Yeah, so yeah, I don't,
I don't know. It's I would love that because then
it gives me an opportunity to go revisit all those
Matt hell movies because I haven't seen him in a
long time. But I mean I've seen them and I've
never recognized any of those any of those girls es
exploitation girls. So I love I'd love to though revisit
and see like, oh wait, that would be great.
Speaker 4: I know.
Speaker 1: Yeah, I haven't seen those.
Speaker 3: It's a good theory, though I haven't seen those.
Speaker 2: Dean Martin Matt Hell movies.
Speaker 3: Oh yeah, those are really easy to get ahold of.
Speaker 2: Are they fun?
Speaker 3: Yeah, it's Dean Martin being drunk, being a drunk James Bond. Basically.
I love the Wrecking Cer, The Wrecking Creer Sharon Tate
and she's very good in that, and the Ambushers is
pretty terrible, and then once the other one murderers row
and I forget what the other one is. They're they're fun,
but they're they're not amazing, but okay worth seeing if
you like like Swinging sixty stuff.
Speaker 1: Yeah, yeah, yeah, I'm sure, like the sets are great
and the music.
Speaker 3: And yeah, the colors pop.
Speaker 2: Yeah.
Speaker 1: We got an update from Lisa Patrucci on the Misty Curious,
writer of some of the back of the box snopsis
from back in the early VHS Something Weird Days. What
did she tell us about Betsy Berger?
Speaker 3: She didn't know her. Yeah, end of story.
Speaker 2: That's it.
Speaker 3: So, in fact, we have no update. There is no
update on Betsy Berger.
Speaker 2: No update is the update.
Speaker 3: Yeah, yeah, we have no update. I don't know where
she is now. Yeah, I mean that's that's worthy. I
think that that's something that maybe Lisa could look into
more because if she put out two issues of her
magazine and they have really good sexploitation stuff in there,
there's something weird press, as I think the project that
Lisa's still working on, that would be a great book
for something weird Press because there's a really comprehensive Dave
Freedman interview in issue one. So actually, it'd be good
to try to get Betsy involved with one of the
upcoming Freeman releases to include that in like one of
the booklets for those. So I guess that's the stay tuned. Yeah,
because yeah, I yeah, I liked I'd like some more,
something more definitive than than what Lisa told us, oh,
which was nothing.
Speaker 1: We forgot a uh noir exploitation film when we answered
our question tell us about Satan and Heels.
Speaker 3: I can't believe we both forgot that, Alex. Alex and
I both forgot this. You haven't seen it yet, which
you really need to. Yeah, Satan and I Heels is
a nineteen sixty two Gerald Intrader film. It's very uh,
it's it's it's exploitation, but it's it's more of a noir.
I mean, it's Chris Black and White, The Big Bad City,
a bad Girl at the center of it, has a
really good cast, a good soundtrack which came out on LP,
and then it also had a novelization, so it was
like a relatively mainstream film. There's really not I'm trying
to remember there's even any unity in it. I don't
think there is.
Speaker 4: But it's great.
Speaker 3: Yeah, it's terrific, and unfortunately, I think we've confirmed that
that is locked away with Yeah, it's being held houses
by the person the filmmaker that is not Karmen Novak's.
We have two hostage situations going on right now that
we have to do some kind of negotiations with these
two egomaniacs.
Speaker 1: Yeah, but it is available to watch.
Speaker 2: On Yeah, it on YouTube in an HD print. Yeah
mm hm.
Speaker 3: Yeah, it's been restored by the uh by the hostage holder. Yes,
so it's you can stream it on YouTube until he
gets it yanked. I don't know how long it'll be there.
Speaker 1: But yeah, what's this overlooked question about Ken Bateman.
Speaker 3: Oh, we had a question if anyone had ever interviewed
Kent Bateman about his work in sexploitation because Kent Bateman
is Jason and Justine Bateman's dad, and he was a
director later and he did like the Headless Eyes with
Ron Sullivan and a few other things in sexploitation. And
the answer is no, he's never discussed it. I don't
think anyone's ever asked I, and honestly, I wouldn't. I mean,
I don't know if Yeah, that's not anybody tickle my
fancy to try to ask about film because I mean, like,
off the top of my head, can't think of any
of his films that I want to know about, Like
Headless Eyes is pretty terrible. Uh, I don't need to
know about about. Headless Eyes does have Linda Southern in it,
which is interesting because she's from you know, like Amazing
Transplant and a few other movies in New York at
that time. But that might be why I would reach
out to him. I want to know about Linda Southern.
And you know that's kind of you right now. He's alive,
he is, Yeah, Yeah, he's alive, but no, no one's
ever interviewed him about it, sort of like Al Rubin.
Al Rubin's all alive, but nobody's ever interviewed him about
Denby and Johnson.
Speaker 2: You know, what's this tell us about this Eric Shaffer article.
Speaker 3: Oh yeah, so I had people asking me about the
Eric Shaffer article that I referenced in discussing sixteen millimeter
adult films, which we are not covering on the podcast,
and the article is gauging a revolution sixteen millimere film
and the rise of the pornographic feature. If you have
access to jay Store a Project Muse, you can access
it using like your library card. Your library system is
connected to those. But I have it in Linda Williams
Porn Studies book, which is a great book anyway, which
you know, it has a lot of really good articles
in there. But yeahprint in that book, you're saying, yeah, okay, yeah,
so it's in there. He might have even written it
for that book for all I know, because yeah, it's
the I think it's the original printing, because I think
there's been a few other volumes. But yeah, so if
you want to read that, get that book or get
it through j Store or Project needs or whatever.
Speaker 1: Yeah, we might have to reach out to Eric at
some point, have him on TOK about something.
Speaker 3: Harri's great. I haven't talked to him in a long time.
But yeah, he's great.
Speaker 2: I wonder if he's working on anything.
Speaker 3: Well, he definitely just shows up on the Forbidden Fruit
releases that Keno puts out, and I think I'm trying
to remember the last one he was on, but I.
Speaker 1: Think he's a professor commentary.
Speaker 3: Oh he was. Okay, well then that was the most
recent thing then, So yeah, he's still that's good. So
he's still definitely active.
Speaker 2: That's good.
Speaker 1: I'm just wondering if he's got anything like a new
book in the works.
Speaker 3: I assume, oh that I don't know, Yeah that I
don't know. I haven't heard anything.
Speaker 1: Yeah, well I think that's what we got should be.
Let's play part two of the question and answer here.
Let's jump into this question here. Noteworthy s exploitation endeavors
with a film noir bent?
Speaker 2: Are there any yes?
Speaker 4: Aroused?
Speaker 3: So many aroused? I like love is where it's at.
Alex doesn't.
Speaker 1: Oh that is something weird put out their own weird noirs.
Speaker 3: Weird noirs are all. There's all worthwhile, I think common ish.
Speaker 4: Uh yeah, I'm thinking for more downbeat the animals. Very
noir is.
Speaker 3: Noir. Yeah yeah, Girls on f.
Speaker 4: Street is actually very good in terms of their styling.
Speaker 3: Girls on Street is actually good.
Speaker 4: I'm trying to personally think of like the mood to
like the noir mood, not just the look, because the
Lost Start you could say, are noir, I mean noir looking,
but don't have that incredibly somber the whole room, Yes,
that's been.
Speaker 1: Is. I'm trying to think of some with like actual detectives.
Speaker 4: Yeah, so there's a round. I'm trying to think, yeah,
that's murder mysteries. But where the Black No, that's too funny.
But where the Black Widow is too funny.
Speaker 2: No, I think that's sort of.
Speaker 4: Later is very discount their sure, yeah, if you want
to stretch that submission is noir ish because it's very
similar to like the Carol Baker.
Speaker 3: Jolly, which are also like film noir. Yeah, you're right,
it's very like paranoia.
Speaker 4: Michael Stiff's a bit too light hearted. You can see
some very noir influences. By sorry, no, I mean like okay,
some of the devices in there. You can't not like, okay,
this is not serious.
Speaker 3: There's lighthearted and there's camp. I think they are camp. Yeah,
I'm like light have them you know, yeah, just me
my new comedy.
Speaker 4: I'll put on kissing her flesh real quick.
Speaker 3: A Thousand Flashes is way funnier.
Speaker 4: But that's so ridiculous. Yeah, I mean those things definitely.
Speaker 3: I'm trying to think about that because also another element
of film noir is not necessarily like a criming investigator,
but it's also like a I'm trying I'm thinking of like,
oh god, what's the one with John Pain and Evelyn
Keys where it's like a man caught like a man
who's put upon, who's caught in the middle of a
crime and has to like solve it or whatever, something
like Uh, no, Pamela. Pamela is more of an art film,
I know you're thinking, but they definitely exist. Yeah, it's yeah,
or like it's lost, But I feel no, that's not
a noir no.
Speaker 4: I think definitely would have been one based on based
on the footage seen body female looks incredibly noir.
Speaker 3: Yeah, the second question part of that question, though, I
do have definitely one, because the second part of the
question is vice versa. Nothing comes to mind. What is
the contemporary noirs? The sixties abandoned exploitation and exploitation the
Naked Kiss. Yes, yes, both of those absolutely, yes kisses.
I think that's Sam Fuller's best movie is The Name
a Kiss. It opens with a bald prostitute beating her
pimp into submission, you know, and then she has sex
with a cop. There's a pedophile like you know, there's
a house to Bill I prove with Eddie Williams. Yeah,
it's that is. Naked Kiss is probably the most exploitation
film no I can think of, except for Who Killed
Teddy Bear also, which is also brilliant.
Speaker 4: That's like sexless exploitation. Who Killed Teddy Bear as a whole. Yeah,
if you want to see a exploitation film but don't
want to see a one, watch Who Killed Teddy Bear?
Speaker 1: Yes, yeah, I know we asked this question and they
have seen Who Killed Teddy Bear.
Speaker 2: I think that's what spurned this question. So yeah, so.
Speaker 3: Interesting, Okay, Naked Kiss. If you haven't seen Naked Kiss,
it's Criteria. It's Criterion Collection, It's on Criterion Channel. It's
Constance Bennett, who is in a in a better world,
she would have been nominated for an Oscar for that performance.
It's yeah, I love it. Towers, Towers has been it
is Joan Bennett's sister. That's right, cost the Towers, John
Gavin's wife. Yes, at the time.
Speaker 2: Yeah, or after that. I just wanted to highlight.
Speaker 1: Yeah what you said, Alex find out play later, I
think is a good one. If this listener wants to
check something out.
Speaker 3: Yeah, that has some good Christine Sabelle Yeah, yeah, Cherry
went I love oh yeah, I love her too. Brows Yeah,
and the hair.
Speaker 4: The hair was fine. The eyebrows. I don't know what
was going on with Chris.
Speaker 1: Yeah.
Speaker 3: I like Sherry's hair. I was always like bad hair day,
not great.
Speaker 2: Yeah. Oh, I like her okay, And I was like,
she was going.
Speaker 3: For a pixie and said stop before it got too short.
Speaker 4: She got too scared.
Speaker 3: Okay, you're right, got too scared. I'm like, just do
the Joe. It works for Joe Allen, it might work
for you.
Speaker 4: Get a pixie.
Speaker 2: Yea.
Speaker 4: Yeah, she's better that curly Bob in the Procure.
Speaker 3: Yeah, like her in that.
Speaker 2: That's very good.
Speaker 1: Casey, I'm gonna kick one more. I'm gonna kick one
to you, Casey. As far as stuff you've contributed to,
what's the favorite release that you worked on? Wow?
Speaker 3: Oh god, Unfortunately most of my favorite ones are out
of fucking to Sharon Kelly. That was that was definitely
a highlight, getting personal that is available and that is
a peanut butter freak. I that was the first time
I interviewed Zachary Dennis Strong, who was a big San
Francisco guy, and I interviewed also Molly Seagram, who was
his partner at the time, and that those interviews were good.
Throw twelve years after, I paid for a hotel room
for an actress to be interviewed on video in there
and did not get reimbursed because I was like, this
is what she wants, this is what she gets. I
wanted it to turn out well and it did. Also
going to be Sharon Kane for that Oh yes, all
the all the well Woman's torment. I did roberta commentary
and then afterwards we got drunk at a screening of
the movie, and that Q and A is on that
release as well. Yeah, there's a lot that I'm proud of.
There's a lot that I wish I'd done more on
though that's kind of you know, it's one of those
things where it's I wish I could have done a
lot more. Sometimes I had people say, oh, Leek Mascara.
I did roberta commentary and Lee Carroll. I found her
in the mountains of West Virginia. I had to contact
her by letter and then we had to pay her
through Western Union because she was living off the grid,
because she was trying to avoid taxi base and charges.
And now she's disappeared again. So when you hear that
interview that when you found that interview on Mascara, that's
kind of it. We're not probably not gonna hear from
Lee Carroll again. So and she's just like she is
in the movie. She was everything I ever wanted.
Speaker 2: That's so funny.
Speaker 3: Yeah, but yeah, you know, yeah, all right, the track
of what I've worked on, well, there's there's more to.
Speaker 1: Come, there is, yes, Alex, let me kick one to
you before we do one final.
Speaker 4: Oh yeah, this long one.
Speaker 3: Yeah.
Speaker 1: Do you want to talk about the story of Martin Films?
Is that how you say that.
Speaker 4: That is Martin? Actually I would go through all three
of them this question. This person asked, Yeah, I was
reading about this story. I like I just like the
ways it's imported the story of Martin Films and their
theater cinema. Two thousand and Toronto. It's reasonably well known.
I was wondering if you knew anything about Peerless Films,
which handles films like Body of a Female, kiss Me,
kiss Me, kiss Me, Jack and Hide Portfolio, and then
also Dolev Films, which was even more obscure, which put
out stuff like he Stick Pleasures and the very Friendly Neighbors.
So first one Martin Films and Cinema two thousand, I am.
First of all, I'm gonna explain Cinema two thousand a bit,
But what notable researcher on Canadian exhibition, in particular censorship
as well. Eric Vayette literally just published on his wonderful
sub stack, which he also has an Instagram account for
the Downtown Theater where he's been doing some really great
in depth theater articles. Just posted part one of a
multi part series on Cinema two thousand theater TLDR though
for viewers who were not aware, because it is a
kind of notorious theater, but I don't know, Hey, everyone
was aware. Cinema two thousand was an adult house on
our Toronto's version of forty second Street, which was Young's Street,
which had a bunch of porno houses and things like that.
Cinema two thousand was founded by a man named Max Allen,
who coined the idea to show the films on videotape
via multiple closed circuit TVs above the viewers where they
were sitting, because videotape was not covered by I don't
know if this was Ontario Actor Canada the Theaters Act,
which governed on the Ontario Sensor Board and regulated theaters
because motion pictures in that Act were constituted as being
on film, so anything on videotape was pretty much fair game.
So Cinema two thousand was known for playing films that
no one else could play because they did not have
to be taken to the censor board. Their number one,
most notorious one was Vixen, which they did have to
pay a fine for because they were still found for
playing on an obscene show. But other notable ones that
they showed that others couldn't were Lonesome Cowboys, did very
very well for them. I think Super Vixen's also did
very very well for them. But the person that they
were asking about Martin Films and Marvin Miller. Marvin Miller,
who owned Martin Films, was only a partner in Cinema
two thousands. Like I said, that was mostly Max, a
man named Max Allen, who's I think still live to
this day. I think he worked at CBC. After this
he went to the more safer broadcast in dealing with
adult theaters. But Marvin Miller owned Marden Films, which was
one of the I want to say three or four
number one importers of sex films into Canada, the first ones,
of course being Cinepics out in Montreal, who also produced
Notorious Ilsa. Martin was then another one. Martin handled Harry
half of Harry Novak's catalog, Dave Friedman's Cattle, a lot
of the bigger guys, and then for some odd reason,
a lot of that cut those people's films like Freeman
and Novak were split between them and another entity called
Danton Films. Danton Films, I know was completely liquidated because
I tried to look for lash of lost elements with them,
because they also distributed some of that I'm drawing up
blank on another distributor. But yeah, so Martin Films Marvin
Miller's thing that was around for a long time. Actually,
that began in I want to say late sixties and
that was Martin film was around as a company at
least like on registries and stuff up until the early
two thousands. They pivoted from distributing this exploitation and adult film.
I think they also did some a bit of horre,
but mostly soft, mostly soft, and anything hardcore was cut down.
If you see a hardcore film, yeah it was cut down,
like Love Slaves or something like that. They eventually just
continued on and once theatrical started going down, he moved
into videotape video TV production. He later on when Martin
Films was religious film distributors by name in the early
two thousands, Yeah, they were just running a video facility
for the most part. Marvin Miller has died a couple
of years ago, and as far as and from what
I have heard, was not a very nice man. So
trying to even figure out where his films would have been,
because there was most of them are found. But he
did distribute Three Way Split, Love, Thy Neighbor and His Wife,
which we don't think those elements are complete or also
would have come out. A small handful of titles are
still lost, thankfully, not a lot. Now moving on to
peerless films, also, I will say part two of Eric's
thing will apparently have even more on Marvin Miller, folks,
So you bey had turned over to that. Yeah, thank no,
big thank you to Eric for providing me with some
of his information for this Peerless Films, right, okay, Yeah,
Eric's been doing some great stuff. Peerless Films they began
in the early fifties. They were mostly in by that point,
that was their largest era. That was run by a
man named Jack Rower, and they distributed just about anything
on thirty five and sixty millimeter documentaries, kiddie stuff and
things like that. They had six different offices across the country.
They were predominantly they were based out of Montreal, but
with the advent TV and stuff, although I can't say
for certain, but I can tell based on the differences
in size in the Kane film of your books. By
nineteen sixty two they only have two offices, Montreal and Toronto,
and they are now just reading exploitations, exploitation films like
some of the some of the Michigan stuff, Body of
a Female, a weird odd handful of like strange things,
and they they didn't want a theater like Martin. I
don't think so. I haven't found any evidence of them
owning one yet. They continue doing that into the seventies
until the owner, Jack Rower, died and then his wife
took it over, and I don't know what they did
post seventies. They were in business up until the early
two thousands, but possibly just registered in name only. There's
a lot of dead Kadian businesses that are just in
books and things like that. I think I even have
one that just our exists on paper bar no longer active.
Their heyday, like I said, was really fifty until nineteen seventy,
distributing exploitation films seemed to be a kind of a
low point for them, like more so selling for them
to keep in business with and Lottie Romer died in
twenty ten. Have not reached out to her family yet.
I have looked in multiple archives for peerless elements. There
was one archive that did have some, but nothing pertaining
to sixties exploitation because I was desperately looking, especially before
kiss Me was found. And for Body of a Female too.
Those are like my two number one lost exploitation films
that were distributed up here. So yeah, that was peerless. Yeah,
peerless was a lot less significant than Saint Martin Films
or Danton and do lov Is even smaller. I've got
like nothing on them, I've got to be honest, Like
they've briefly seemingly popped up in the seventies, limped until
the early eighties, and then really quickly vanished. Almost all
these other companies you can find them in. We have
these great like yearbooks of Canadian film which is just
like every single existing entity and at the very least
the president of it. But do you love films. There's like
one entry and like an incomplete name as the owner
in one book, and like nothing else. They were very
under the radar. That might have been because they were
mostly handling cut down seventies hardcore.
Speaker 1: Do you think they were standing in some late cut
down like as a whole.
Speaker 4: Late seventies was the era where there was a lot
of crackdowns in Toronto as well too, so I don't
know if this would have been a factor. But the
late seventies there was a lot of different things with
even like massage parlors and things like that. There was
a there was a crime where a boy was found
murdered in seventy eight on the roof of a massage parlor,
and that caused shock waves in the industry. Around here.
There was a bit like all hell broke loose against
the adult industry as a whole in the late seventies.
If they were a casualty of that, I'm not too sure,
but yeah, they weren't one of these guys who like
seemed to pivot into it. They just popped up doing
this and then it disappears quickly as they did. But
that's all I got for this question. I will hint
to stay tuned for further since syndicate episodes because we
may tackle this country.
Speaker 3: A bit more, who knows. But it's un the outside
of America every once in a while, that was my thing.
I think gentry's goal was to stick from America. And
I was like, but there's so much good stuff outside
of America we can take. We can take little vacations.
Speaker 2: Outside of and we will. Yes, we vacations planned.
Speaker 3: We do exactly. It's very fun.
Speaker 4: I mean that, yeah, I mean pass across on occasion.
I mean foreign films are what helped made Americans exploitation.
You can't not ignore them like you cannot ignore the
correlation between other countries.
Speaker 3: Very true, very true, and things like that.
Speaker 4: So yeah, still not love hope for finding lost films
up here, Sorry poster, which.
Speaker 3: Sucks because I think I told you Vixen's was very
they distributed up there.
Speaker 4: I have a slight higher hope, but like I said,
we've got three main territories for a film, which is Toronto, Montreal,
and Vancouver, and outside of that, like it just goes
down past those three metropolitan cities, there's oh god, don't
even get me started. And like I said, a lot
of the distributors only kept their own productions, like Cinepix.
Cinepis has everything down to like the con every everything
down to like people's DNA on every single one of
their original productions. All the stuff they distributed, they did
something foreign films, foreign films that never made it into us.
I wanted, I think, nothing, nothing at all at all.
So I mean, if anyone ever wants a blue Ray
of Valerie, we got good elements. There's hope for that.
But like Eroticon or Fornicon whichever that important was, or
other things like that happening the nineteen seventy two one,
Oh yeah, it's like Fidicon has the woman's like go
Been with the Bulls. Yeah, yes, yeah, Richard, I've I've
tried looking for tales like that. Yeah, no one has
anything in Cinepic's collections. Just fifty thousand the.
Speaker 3: Same Richard not the same Richard Franklin as the Australians.
The guy who did Belinda for yeah, Terry Levine, Yeah
that guy.
Speaker 2: Yeah.
Speaker 4: Yeah, like you could find a million cue sheets for
like the fourth Ilsa film, but yeah, nothing on stuff
like that.
Speaker 1: Wow.
Speaker 3: Well, unfortunately, I'm okay with that as far as you know,
I'm glad to know that the Canadians was taken care of.
That's that's okay, I'm glad.
Speaker 4: Yeah, the Canadian productions. Yes, everything we brought in.
Speaker 3: You know, that's a lot to expect. Take care of
your own at the very least, you know, nice surprise otherwise.
But it's like, just make sure that you're you're your
your country cinema heritage is taken care of.
Speaker 4: That's oh, that's yeah, that's totally covered. The government loves
to take care of that absolutely. No, no, no, we
have The government has a policy normally where if a
lab shuts down, they will take anything unclaimed, like like
our government as a whole is like big on preserving
our heritage. So uh yeah, there's always hope that if
it's a game film, there's at least an answer print
or something like that. Like they had the elements for
Deadline that Vinegar used the government thing and stuff. Yeah, yeah,
like they had at least like one yeah print at
the very least instead because the negative was missing, Carpenter
may have been the same thing.
Speaker 2: Well, I have.
Speaker 1: Questions about Canadian censor censorship, but I'm gonna save them,
save them for a different episode for we can do
an Yeah.
Speaker 2: I do find that fascinating.
Speaker 4: So yeah, they were weird. Yeah they were strange. Oh no,
I talked about I wasn't censoring anything. Excuse me. I
would not have sees those nests of the Kuckoober's elements.
I would not have rejected Vando trash. I would not
have rejected like I mean, multiple maniacs.
Speaker 2: I get your point.
Speaker 1: All right, let's let's finish this out with question for everybody.
Do we have any hot takes on popular something weird
video releases? Is there something everyone loves that you hate? Hm?
Speaker 3: Curious doctor hump okay, really okay, Yeah, I think it's
just fine. I think the American version is not as
good as the original version. The original version is much better.
I'm trying to think of another one that's like widely
beloved Franka sized cast. Little Freaks is another one. Can't
stand Up.
Speaker 4: I didn't like that either. I don't worry this film
that you guys worked on is not included in this.
But besides one or two outliers Herschel, Gordon Lewis's non
horror films, I don't see the point of those to
tell you to pull the trigger. No, No, you don't
like you're the Ahu.
Speaker 2: I have better things to do, and the consume you're
the Yahoo again.
Speaker 4: No, I do not like.
Speaker 3: Besides, this is terrible, but I love you.
Speaker 4: Yeah, outside of like some of the interesting stuff like
girl Bodies Come of the Earth and she Doubles, I'm like,
not at all. I do not see the I do
not see what other people see. That is a hot take, Yeah,
I don't.
Speaker 3: Think I have one.
Speaker 1: Yeah, I mean with regard to Herschel, I mean I
guess my hot take would be like, I don't like
two thousand Maniacs.
Speaker 3: I don't like any of the trimes I love.
Speaker 4: Yeah, I don't like to Shine Mountain. I'll give you
that one, but.
Speaker 1: Is a perfect And I don't like Moonshine. I just
think that their weirded and I don't like the atures.
Speaker 2: They're not funny to me.
Speaker 4: Oh my god, wow, I think I think they worked.
They're intentionally almost over the top in a way. That's like,
I just thought.
Speaker 3: Everyone agreed to that Medix was the best of his movies.
Speaker 4: No, it's what's so much?
Speaker 3: Yeah, what's your favorite.
Speaker 2: Of Herschel besides NYMPHI? Well, I love Gorger Girls. I
think is my favorite.
Speaker 3: I do like that one a lot too, because it's
it's it's the perfect it's Herschel putting all his stuff,
all his like weird quirks together.
Speaker 1: You know. It's funny, it's glory, and it's some color.
Speaker 2: Yeah, I don't know, that's probably my favorite.
Speaker 3: And we all have different we all have different favorites.
Speaker 1: I'm looking through his filmography, you see if I have
any other like hot.
Speaker 4: Hershel context besides me on the Moon. I don't like
dors Witchman's nudies. That's fair, but like I don't, Yeah,
there are weakiest movies. Yeah, but I do like well,
I don't know, I like Diary of a Nudists. I
enjoy that because I like what's your face? Davy Decker?
I do like Davy Decker a lot? Okay, r I
P yeah, yeah, anything you can't see me.
Speaker 5: It's not a hot take, but I always say it
was wild that, like people liked the Amazing Transplant despite
the fact that the version that most everyone has seen
is cut.
Speaker 3: It's missing so much footage that was on the original VHS.
And if you haven't seen the original VHS, then you
have no idea that there's important stuff that's missing that
actually makes it slightly more comprehensible.
Speaker 4: Well, or think about that, So that's why they like
it as much as they do, or it's like that,
it's like it's kind of a lot like in the
Last House of Dentistry. You can't see the original version,
like okay, like, what are you gonna do?
Speaker 3: Well? Amazing? Well no, because and this ties into another
question that someone else asked. It's like when you know
it's a generation, it feels like a generational thing. Like
if you remember the original VHS and you know someone
else I talked to you about this for years was
Bruce Halicheck. Because Bruce Halicheck did a in the good
old Mobius home video forum days. He did a comparison,
like a video Watchdog style comparison of like, this is
missing at this minute, and this is like a two
minute singers a missing here, and I'm just like, well,
how the fuck did this happen? This is like a
major thing. So I was and then when it was
announcewer Blu Ray, I got really excited. I was like, oh, good,
they can fix this. Didn't fix it, so, you know,
I guess it's not really a hot take, but it's
just kind of like, I'm really surprised that this movie
developed a cult following, despite the fact that it's an
edited version of the movie that is incomplete compared to
what was originally available on.
Speaker 4: Video, well at least a being wish Man, it doesn't
feel incomplete unless you know and see it.
Speaker 3: It's missing the cats for the first murder, I mean
that something version. It's yeah, it's available, it was on
I believe, Yes, yes, I have the original VHS. Yeah,
it's missing the catalyst for the first fucking murder. I'm
just like, you don't think it's stranger. He just kills
this girl out of nowhere. I mean, I guess it
makes sense, but it's also like, no, there's a reason
for this, Like there there is established stuff, like yeah,
not everything she made is like night to Dismember, Like
she at least has story beats that establish some kind
of motive. Yeah, a lot of that is missing in there,
and so it's just very strange. And now we have
a whole nother generation of people who also still have
no idea that they're missing. God, how much is missing?
I forget. I feel like it's between seven to ten minutes.
Maybe whoa, Oh, it's substantial. It's no, it's not just
like real change bits. No, it's like substantial.
Speaker 1: So yeah, wait, so what's the original what's the original length?
Speaker 3: Now? I don't remember Bruce. Bruce would know because this
was like a big thing for most Bruce and I.
Speaker 2: Seventy seven minutes is what's listed most places. So I
don't know.
Speaker 3: If I don't think the I don't think that's the
run time of the Blue Rays.
Speaker 2: Yeah, I don't know it was.
Speaker 4: I just recently saw it wasn't the seventy minute era.
Speaker 2: Okay, yeah, so yeah, UK d.
Speaker 3: Seventy one minutes. The UK DVD is cut as well,
because they're all using the negative that Doris cut. So
the problem is Doris that's kind of like Double Age
of seventy three is also missing a scene.
Speaker 1: Well maybe that's their reasoning, is like, well, Doris cut it.
Speaker 2: This way, so that's the version we're putting out.
Speaker 4: Also, it's hard to find rips of the VHS version.
I can't find I haven't been able to find them yet.
Speaker 3: You can't even sign like I'm on cinema again. And
I think that's probably why I'll send.
Speaker 2: It to you guys.
Speaker 4: Yeah, because like it.
Speaker 3: Wasn't a lightning video, it was on electric video. Because
they also put out I think they also put out
let Me Die a Woman and another one of hers.
Oh they actually I think they did, didn't they do?
One or both of the Chessy Morgan's Electric wasn't around those.
Speaker 4: They had to for us to figure out that some
of them were cut. So either Joe, Bob or well.
Speaker 3: Double Edge of seventy three I knew was cut because
I had an original something Weird VHS first, and then
I bought the DVD and I was like, oh, there's
a scene missing with the friend who establishes who the
hell this Girl is.
Speaker 4: Something weird versions it was.
Speaker 3: Between yes, so that's why it's just and well, I
mean I have an AX VHS that was my first
VHS about it something weird that has all the violence
cut out. That's cool though, and then the DVD is
fully uncut and I'm like what what what is this?
So yeah, the discrepancy and see, that's the thing. This
is another generational thing, Like I think people were running
out of people who remember having to order and by
multiple variants of movies and having to like check run
times and like take notes of stuff. That's a very
video Watchdog era of stuff. People don't really have to
do that anymore. Worry about it. Yeah, that's not me,
that's not this is not me being old man yelling
at cloud. It's just kind of like, thank god, we
don't have to do that anymore. But then we have
situations like this where it's like, well, one would hope
this would have been fixed for generations because those are
never going to be reissued again. That's it, Like, those
are not going to be reissued again.
Speaker 2: Well, that's why I like Modo Digital.
Speaker 1: Nathaniel Thompson's reviews, he always notes, like all the previous iterations.
Speaker 3: Nathaniel's really good at that. He's always been really good
at that. I think he notes in that in that
review of that release, he's like he's.
Speaker 4: The one stillson, Yeah, breakdown, I think because he because
the three Nathaniel, Bruce and I.
Speaker 3: Well, we're all part of We're all part of that
old Mobius video forum group, so we had talked about
it for a long time. So yeah, yeah, nathaniel'sang's been
around forever too. But all the old, all the old,
all the old sters.
Speaker 4: Yeah, because the good old video that was copied onto
the group. I remember when it blew up the great
door swish from blow Up but twenty twenty two or
something like that no one talks about.
Speaker 3: But nobody talks about the double age and seventy three thing.
I feel like I'm the only one that noticed that.
Speaker 4: It's very because I read your first review way back
when I'm like, I know I'm missing stuff.
Speaker 3: But then when they showed it as a print in anthology,
I went because it's the scene is in the fucking Prince.
So I was like, this is the only way I'm
going to be able to see the scene again. But
I have a VHS rup of that too that has
that scene in it, and it's I know, people, I
think that argument, which Gentry you kind of made, it's like,
well it's it's Doris wishmhen how logical could it be?
And it's just like, it definitely makes sense that when
the scene is in there, it makes more sense when
the stuff is in there. It's it's still in It's
still a nutty Doris Wishman joint. But you know, I
just think it's crazy she cut that stuff out and
there's no reason, rhyme or reason why. I don't think
Jimmy Maslin knew why she did it. She didn't do
it because a lot of the especially in Double A
is seventy three. The scene that's cut is not violent.
It's exposition. So I don't know why that was cut out.
Speaker 2: Speed don't move it along. I don't know.
Speaker 3: Yeah, there are so much more that could have sped
that movie along that they got it out, The scenes
with the dog throwing grass at the dog, and it's
just like, why is this in here? Well, anyway, here's.
Speaker 1: My doors hot take is that I don't know. I
think Love Toy is her best movie.
Speaker 3: It's up there.
Speaker 4: It's up there.
Speaker 3: It's her sleaziest movie for sure.
Speaker 1: Yes, yes, I think that's why I like it is
that it just goes further than.
Speaker 3: Well, yeah, because it's it's right after alliver black and
white stuff, so it's kind of like, okay, we're shooting
this in color. That's one change, and then somehow more
grotesque than any of the other Ruffies ever were.
Speaker 2: Yeah.
Speaker 4: Yeah, it's spirit what sheets, nasty everything about.
Speaker 3: Yeah, it's kind of like I need to talk I
need to talk to Bowen about that because I'm just like,
what was going on in her personal life for her
to make such a drastic change in like the themes
and everything in that movie. It's so bad. It feels
like it came before.
Speaker 4: Hardcore movie with the hardcore removed, Like it's just does it.
Speaker 2: Feels very different.
Speaker 3: Yeah, And then she got to Doris Wishman after.
Speaker 4: I'm like, udo, why are you even still here? Like
go home? You're done with your car now, You're like,
what is going.
Speaker 3: She's so but she's so good in that likes like
she's like she's she looks like a cat that ate
the canary the whole movie, Like she's just so sinister
with her little smile on her face, just loving everything.
Speaker 1: Well. I also I'm like the world's biggest Larry Hunter
fan too, so that helps.
Speaker 2: He's good.
Speaker 3: Yeah, that's why you need to see Love Is Where
It's At, because he's good on that.
Speaker 4: You see loves Where It's At. You see the Sporting
House because he's a crazy fetish one as well.
Speaker 3: Well you see it anyway.
Speaker 1: Yeah.
Speaker 4: Oh, she's good in that one too, because's the evil
madam in which one in Sporting House. Yes, she is good.
Speaker 3: It's a good role for it's a very good role.
It's another one of her good sixties roles. Yeah, she's Yeah.
Speaker 4: Highly recommend the sport House. Everyone yell at Melo scene
to get this Sporting House out too. That's another good
It would have.
Speaker 3: Been included in the Ron Sullivan early years. There was
room for a fourth There was room for a fourth movie.
Speaker 2: Yeah, why it wasn't.
Speaker 4: Everyone detention girl, save attention girls in this sporting House
to Stephen. Okay, I can that's a good All right,
let's go. Let's good. It's a prison one. It's one
that's show in actual prison. It's another black and white
Ron Soan. The only other one besides the sporing House.
Speaker 1: It's not on your lost list, so I assume it's around.
Speaker 3: I don't think.
Speaker 4: I don't know. Yeah, it's not. I don't think it is.
Speaker 3: There's a lot of Ron Sullivan missing on there.
Speaker 4: It's around, it does exist. I've just only seen stills
of like Jennifer Wells behind actual bars and like half
naked women scrubbing floors in a prison and something like that.
Speaker 3: Like, yeah, it's on, it's someone ated, it's a letterbox.
The director's list is John Rappaport and it's uh not
and it's uh yeah. So that's why release all of
his all of Ron stuff was for Sam Lake when
he was Ron Sullivan.
Speaker 2: Who hells John Rappaport.
Speaker 3: Good question. I don't know where that invoke came from.
Speaker 4: Yeah, I need add this to my list. Then absolutely
I got more. Yeah, like Mary like Mary LeMay is
some like Warden lady in it. It looks like like it.
Just I love Mary Love so much. The fact that
in this Sporting House made me so pissed. She's in
one shot she walks through a doorway and that's it.
Are you kidding me wrong? It's Mary LeMay that we
know of, we know of that's the thing. We don't know.
We don't know if that's her real name.
Speaker 3: No, we don't know if there's if she's in the movie.
Oh you mean Detention Girls are Sporing House. Oh I
thought you were talking about Detention Girls, because.
Speaker 4: Girls, she's she's in that. I've seen the still But like,
I was disappointed with this Sporting House. I was waiting
for Mary this whole time. She walks in in one
shot and is never seen again.
Speaker 3: Well, yeah, she thought she was even in that.
Speaker 4: Yeah, yeah, because she walks in one thing being like
everyone's coming to the to the sporting House is gonna
get crazy, and then she just disappears.
Speaker 2: Where does this? Where does this fandom come from?
Speaker 4: Like, I just love I love older amazing.
Speaker 3: She's the mom an amazing transplant, She's the mad this
member she gets killed night to Dismember. Uh, she's the mom.
And Jesi goes to pot which is missing. But she's
a big part of the trailer and Larry Hunter in
a back that movie, she's the creepy Larry Hunters wife.
Did you ever think about that Maybe she's Larry Hunter's wife.
Speaker 2: Could be Yeah, I'm gonna be there that I just
creaked out.
Speaker 4: Sorry, there weren't all.
Speaker 3: The same movies together. Maybe they were. Maybe there were
husband and.
Speaker 4: Wife except for one or two. Yeah, oh my god, will.
Speaker 3: Never know because Larry's gone. Yeah, I keep saying it
on this podcast. Bowen would know, so we'll ask.
Speaker 4: Yeah, I don't know. Once I saw Mary LeMay as
that like whip wielding dominatrix lady in Lust Weekend, that
was like, you're my gal. She's the only good thing
if you asked me. Yeah, I love Mary.
Speaker 3: She's way too old to be in these movies. I
think that's why I'm interested in her.
Speaker 4: I like her, That's why I like that.
Speaker 2: Yeah.
Speaker 4: I love seeing the older ladies who just like randomly.
Speaker 3: Yes, like.
Speaker 4: You seem to be having a great time, Yeah, Belle Donna,
Mary seems to be having a good old time with
what they're doing and stuff. So just like, why are
you doing Yeah, so late in your career. What did
you do before? Were you like a Dolly sharp and
like had this whole other life and SHOWI is elsewhere
that we don't know about, Like, just.
Speaker 3: Uh do we have this? Actually?
Speaker 4: You know what?
Speaker 3: I'm looking over the questions. I'm like, I feel like
We answered everything except there's one that I feel like
we should all answer, which is this this It's okay,
are you in the chart? I just highlighted it this one?
Speaker 4: Oh, I have things to say about that. Oh my god.
Speaker 3: So maybe is that that is? Is that a going
to clothes on?
Speaker 2: Sure? Yeah? Okay.
Speaker 3: Well I also will say, just briefly, the other question
I didn't see an answer to, will there an episode
on Cosmos Films? Not not the California shot Cosmos Films.
There are two New York shot Cosmos films. Because Cosmos
Films was was ted was Teddy and Tommy who owned
the Capri Cinema, and they had a deal with Leo
Todd to do two films, and one was The Mind
Blowers and one was Hot Erotic Dreams, which we've referenced
in this on this before because it's in London, who
Alex and I are madly in love with. Yes, So
those are two Cosmos films that I could see us
talking about after that partnership ended. They Oh that was
Cosmos Films.
Speaker 4: Yeah, it's like the first one.
Speaker 3: Really.
Speaker 4: Yeah, that was like their first ever one. And then
there were the two Oh.
Speaker 3: No, I don't remember that interesting because the Leo Todd
the ones that I remember one, Oh yeah, that's.
Speaker 4: The cover Peacock one. That's weird because also life sound
Throughout's House. It's an odd one.
Speaker 3: Oh right, Well he also did wasn't he? He was
involved with Horotic Trim.
Speaker 2: I think he edited it.
Speaker 3: So so yeah, the Cosmos film shot in New York,
potentially the ones shot in California, Hard Hard, No, those
are terrible, terrible, terrible pieces of ship shot apparently possibly
four movies in a day. They're terrible, terrible pieces of ship.
We will not be covered.
Speaker 4: There's also that three D one.
Speaker 3: Oh swingtail tail either we're not talking about swingtail either. No,
we're not talking about swingtail either. So potentially higher rotic
treams mind blowers. I don't want to talk on meeting
on sixty nine straight. So, like I said, the two
that I mentioned are the ones people talk about. Potentially,
because those are ones we're talking.
Speaker 2: About, maybe we'll put them together.
Speaker 3: Yeah, I think we should, yes, because yeah, the progression
of Cosmos films when it's tied to the Capri Cinema
is when it goes downhill and then it is gross
and then they get involved with hardcore and they give
money to like Shan Coslo and stuff. But so, yes,
I wanted that to be a short answer and it
became long. But yeah, So the last so our last question,
which probably will have a long answer to. All right,
so do you want me to read this question?
Speaker 2: Yeah, you can go ahead.
Speaker 3: Okay, So last question. So the question is, so the
person asking says, I'm in my mid twenties and anyone
of my age that I ever talk about exploitation hardcore
films so exploitation slash hardcore films with is never interested
and has no desire to be interested in these films.
Do you think there ever is a point where, once
a certain group of people are gone, these films will
genuinely be forgotten about Alex As someone in their twenties,
I would like to hear your perspective first, to be honest.
Speaker 4: Honestly, Well, Casey, you were in your twenties first during this.
I want to hear yours first, because you were in
your twenty's, a different era I was than I am
my teens.
Speaker 3: I was in my teens during this. I was well,
I was two years old when I started doing this.
Speaker 4: But back in your twenties, because like that was you know, yeah,
almost different nowadays. How is it back West when you
were in your twenties for this genre.
Speaker 3: Well, I had everyone I talked to about these ones
were older. They were not my age except for people
like I think, well like Bruce and Nathaniel war around
my age. I think Nathaniel might have been a little
and I think us a little older, but general the
same age age ish, And I think the Internet was
helpful because it helped me connect other people with similar interests.
But I think it's cyclical because I think and then
as I got older, Joe Rubin was in his teens too,
and so it's interesting as like I get older as
I get older, and then Joe is older but still
like a decade younger than me, and we're still involved
with trying to get the word out there. And the
fact that someone in their twenties is asking this question
means that it's working still, that they're still I think
that's how the next generations will find out about these
It's like any film. Really, I think if you, I think,
if you keep talking about it and make sure that
they're available, then I think that people will continue want
to talk about them. I mean, film noir still has
legs and we're going on almost one hundred years since
it started. Well that's a little different because it's more respectable,
but it's also the conversation is still going because well,
back in your.
Speaker 4: Day to day when you were in film school, like
when you're publishing that right up on Smell of Honey
and things like that, were any of your contemporaries at
that time also going to school with you at all?
When they heard from you, like oh uh huh no,
Like no, okay, because.
Speaker 3: Wait, my contemporaries then, or do you just like you
fellow film students you were with, Like, was anyone at
all that you knew then in their twenties work still
into these films? Yeah, or at least trying.
Speaker 4: To like like did you do think and give you
any interest in that sense?
Speaker 3: Not really, I mean eventually they started finding out about
them through like John Waters would talk about russ Meyer,
and russ Meyer is always a good gateway Tarantino mildly helpful,
but most not really about sex films. But it helps
when there's something in pop cultures like geice that you
can like refer people too. So like Boogie Nights was
a big one for people to talk about hardcore sexploitation.
Didn't really have that except for like a John Waters
talking about Russ Meyer and Oulcus Hash of Shame and
things like that. But yeah, most of the people that
I knew that were I could talk to the about
these films were older. They were all at least ten
years older than me, except for people that at least
in my at least in person. That's the way it was.
Speaker 4: Like.
Speaker 3: Even when I was at NYU, it was me and
Dan Erdman, We're kind of the guys looking and researching
about you know, porn and stuff, and I was the
only one that was excited about that. Michael Bowen went
to n y U and so I met with Michael
Bowen and that was like a big, a big moment
for me because I've been a big Michael Bowen person.
But yeah, Michael is much older than me. So it's like,
you know, it's it's one of those things where like
at the next it's it's it's not it's kind of
it can be lonely no that you're the only person
in your age group. But then I've also I've been
into pop culture, so that was never popular, like I mean,
I've people made fun of me in high school because
I was I was a Janish Joplin person and she'd
been dead for years, and so people didn't know why
I was listening to this dead singer who's still my
favorite singer. So I've always been into stuff that people
aren't necessarily into, and I think I think that's true
for a lot of people in media and pop culture
and stuff. Here you find your people, but until then
you kind of feel like you're the only person swimming,
like swimming upstream against like a wave of other stuff
that is not even adjacent to exploitation.
Speaker 4: Yeah, like for me, because yeah, for me, how joever
was te you younger than you? I was then like
how yeah, I'm around now ten years younger. Wait, I
always am when I thinking than Joe ro and then
he was mine pretty much for you, which, yeah, Joe
was you than me?
Speaker 3: And then and then and.
Speaker 4: Then So the way that cycle happened was that that
I found Joe, he found he found me, actually, and
that has always been like even before, Yeah, only people
at least a third my third more or something like that,
or like God, the first one I was seriously speaking
to I was like sixteen was Jimmy McDonough way back when,
and and things like that, and at least at that
point the Facebook group had become a thing and stuff,
so it's a bit easier. But yeah, in person to this,
to whoever, I feel like I know who's who who
who asked this? No, I think it's just me and you, man,
because literally I have not found anyone else who for
contact people out there. I'm twenty five people who have
like people my age, people who are into film at
the most, they kind of get a kick out of
the really crazy stories and how the industry worked, Like
like like hearing a story about filmstrip, you're like, like
Cheli Wilson will get a kick out of and things
like that. But that's like that weirdness is kind of
the most they'll be interested in. Or you have like
god like quercial like hipster kids being like I kind
of think monochromatic kits are neat, but like the thought
will that's about it.
Speaker 3: I just I just had a very visceral, you.
Speaker 4: Know, talking about.
Speaker 3: I I'm sorry, I'm sorry to interrupt. That was very.
Speaker 4: What I'm talking about. And I've had to suffer them
that as well, too, I've had. I thought I had
someone who I thought was gonna be a big person.
They're like I kind of like the black and white
underwear aesthetic a bit or like whatever. Like no one's serious.
No one is serious compared to who I think asked
this question. Our agent takes the stuff very seriously, if
at all, for the most part, Like, no, there's I
can't think definitively unless someone else has not shown their
face yet in any of the circles. No one's shown
up on the something Weird Facebook group, no one's comments
to Underson syndicate. I can't find anyone else. No one's
shown up yet.
Speaker 2: Yeah, it's it's a hard cell.
Speaker 1: We've talked about this before, but I think, like Casey
said as well, I think it is cyclical, and I
don't know I sent certain movement amongst the youth with
regard to I've been getting burnt down out by what
they're being fed through, you know, streaming services. You know
what I like about sexploitation films and sixties and seventies
films in general is that everything is very tactile. You know,
everything that you see on screen was being made by
real people and real artisans.
Speaker 2: I think that that is a thought or I think
that is.
Speaker 1: People are realizing what's missing when they, you know, are watching.
I don't know, maybe they are, maybe they're not, you know,
I just see people making fun of like stranger things
like CGI, and it's just like, yeah, that shit sucks.
There is other stuff out there. You don't have to
watch this, correct.
Speaker 4: I think. I think it does also also pertain to
their a their availability, and also be which ones are
available like as well too, like ones again that are
easier to again dip their toes in, like I'd say
too honestly someone because I've like spoke each other film
people who are like okay, I think i'd like, you know,
like like aroused you like something like like like that
or like yeah yeah yeah or something or something or
like like or something like that, but aroused you. It's
not easy to find. It's not convenient. A lot of
these are not convenient to stumble across, right, and the
ones that aren't always the best out of the bunch,
like or.
Speaker 1: As well to or they are convenient to watch because
they're on YouTube, but they're like cut down or.
Speaker 2: In shitty quality.
Speaker 1: So yeah, I get those questions a lot like, oh,
where do I watch this? It's just like, I know
what you're asking. You're asking is if if this is
on YouTube? No, it's not, that's what you're a It's
not that's that's the answer you want. So I'm just
not even going to reply because if I tell you
where to go, they.
Speaker 3: Never have been. You're not going to You're not going
to make.
Speaker 1: The effort unless it's like on YouTube.
Speaker 3: All right, Well, I mean, but also a lot of
stuff is shockingly on archive dot org, and I think
people forget that as a resource, and that's where there's
a lot of pink stuff that I've been lucky to see.
The Dakota and Chris have recommended it's on there, and
sometimes the subtitles and there. They don't have a thing
about nudity on archive dot org. Folks, you would think
they would. They don't, So you'd be shocked at this
explanation that is available for free on archived dot org.
I go go do a search and see what turns up.
But yeah, I mean, it's always been something and I
think that's why it also was very easy to collect
these and get into this stuff when something weird had
to deal with image because DVDs were much more affordable
at that point. You were being able to buy them
ten to twenty dollars limit, you know that range. They
deals with borders. I mean, you know, they they were
very easy to get a hold of. They had they
had appealing artwork, like they would draw you in and
be like, well, what is this looks as this looks
really interesting?
Speaker 4: What is this?
Speaker 3: Yeah, the lack in where where are you going to
stumble across that stuff in the landscape as it is now?
You have to be actively looking for it or be
friends with someone like one of us who is going
to be like, you know what, give this a watch,
and like, here's a link to watch it if available.
But it's such a good gateway movie. And that's when
that's another reason why I'm like, yeah, film.
Speaker 4: Scholars, Yeah, because regular film, like film study like scholars
and things like that. That's a real movie, like at the
very least, you know, like even the sex scenes are
very well paced and stuff. You can completely take from
that and be like okay, right, so on so forth.
But yeah, there's not an era where film people can, like,
because I've heard from other people from that era be like, yeah,
all of sudden weirds on display like right beside criterion
and stuff. It's all mixed in with all the other
like sinophile product right there for everyone to see.
Speaker 3: Yeah, and I think blind buying. Now. You mentioned that
it's tough for you to blind buy in this economy,
which I think is very true. You can't be like, well,
i've heard good reviews of the s of the sarn
of Joe Sarno, so I'm gonna buy the side on scene.
And then you see Newton Charcoal and Bend and how
to make It. One of those is a good example
of his work. The other you'd be like, oh, well,
I don't know if I want to see any more
of this guy's stuff. And I bought this blind, so
now I have this, and it's just kind of you know,
it is the the market has changed so much that
you really have to take a lot of chances, and
it's tough when there are so many boutique labels that
have all kinds of different genres. So why would you
decide to quote unquote settle for something that is so
niche as a sex film, especially in a in a
climate where sex and nudity is really not as Yeah,
embraced as it once was, even in like non problematic ways,
like you know, I mean, you know, you can say
these films are as problematic as you want, but there's
still something historically interesting about them. There's there's a reason
why a lot of the stars still have cult followings,
the directors have followings.
Speaker 4: So yeah, exactly because because I totally forgot that, Like
I do. I have had like friends in my age
bracket who are like, oh, yeah, I love several films,
I love this and that and things like that, but
they just mean jallos, yes, and that's it, and that's
it's like, oh, it's so cool you did this and
this and this, and it's like a right, no one
but the jalla like.
Speaker 3: You know, like, but that is why. But also those
a lot of companies do the smart thing and where
they also snap up the storming the streaming rights to
stuff that they get. So I use to be as
a test drive. That's my test drive. If something goes
out on Blu Ray and it's on it's on stream,
it's streaming on two b I don't care if it
has commercials. I'm testing it to see if I need
to buy it. Sex quotation you don't get that luxury,
you kind of have to go with it. For example,
to pick up that limited edition, snap it up immediately
because I knew what that was. Where is anyone gonna
know who the fuck Dave Friedman, Leaf Frost, Bob Pressey
are to buy that release able to? They can't. They
can't test pick up anywhere. They can't even test drive
Man Mause sex anywhere. So they can't test drive the
Scavengers or hot Spur anywhere.
Speaker 4: Actually, it's just like I think they could put exploitation
stuff on to be like the Lighter.
Speaker 3: Yes they could. The issue is that nobody is doing it,
that's the problem.
Speaker 4: Well, yeah, they've only done the.
Speaker 3: Art Manuel ripeoffs on. There are manual ripoffs on to
be honestly, District Picks has R rated versions of Through
the Looking Glass Roommates. All of that stuff should be
on to B. Oh, they have scans, they have scans
of the stuff. Get it on to B. What's the problem, Like,
there are opportunities here for sex stuff that I think
people think, well they think of to B as YouTube.
They have R rated stuff on there. They have cannibal
fucking holocaust on there.
Speaker 2: Part on there do.
Speaker 3: You think they're gonna they well platinum, uh, Retrostroduction got platinum,
pussy Cat.
Speaker 4: Pussy Ad they.
Speaker 1: There.
Speaker 3: Yeah, I don't know why because I think I think
they think, well, they're giving away the milk for free,
and it's like, no, if people see it and like it,
they will buy it. Because the same applies to every
other genre. If I watch something on two B and
I like it, I'm buying it.
Speaker 4: Yeah.
Speaker 1: You know.
Speaker 4: Also, some suituitation films are good as free or extra stuff,
like I correct, there's some there's.
Speaker 3: Put aroused on to be like, if people are able
to see it and talk about it more, I think
that that will continue to keep it alive. But yeah,
So the greater part of this question is when you
think that people are gone, are these films going to
be forgotten all over again? I personally don't think so.
I think because it is cyclical, I think that they're
going to be Yeah, Like, I'm in my forties, Center,
I'm going to say, you're in your thirties and Alex here,
I feel like you're in your twenties. I feel like
we're all things separated by like I'm not allowing you
to correct me. We'll just say you're thirty thirty three,
and so we'll just say that. So I feel like
it's like every other every decade there's there's new people
discovering these films through one way or another. I think
I think it's kind of like silent films. You know,
silent films still make money. Flicker Alley is still in business.
Who is buying silent films these days? All the people
that remember seeing them in the Good those people are
dead and they haven't been broadcasts in television in years.
But people still love Clara Bo, people still love John
Barrymore and Lily and Gish and all these people who's
buying these It is, It's definitely a thing. It's like
people in the know will keep it alive and then
they can communicate that to other people. I think it
for sexploitation was a little tougher because it is something
now where sex and nudity is so discomforting to discuss
or treat seriously.
Speaker 1: Yeah, yeah, it's to share with other people because they
feel guilty.
Speaker 4: They're like yes, or they think it has a pervert
or they think it has the proper applications into illegal
and afarious things that happen to people right in the scenes,
which wasn't as much of a thing in sex plantation. Yes,
like people people think it's yeah, people think it's like
contemporary hardcore stuff's going on, you know, Like there's a
lot of misconceptions in that realm. Well that's why why
should we study it? Because it seems like it's legal thing,
you know, like.
Speaker 3: But it also makes it like so we're like one
of the last remaining kind of cult communities in film
because it is something that is discussed with like a
small group of people that sometimes you can bring people
into the fold, but you have to know what they're into.
And that's why, like, for example, I could going back
to Dakota and Chris, they recommended all these Roman pornos
to me, full of sexual assault, violence against women. They know,
based on my experiences with ruppies and sex films, they
can recommend stuff to me and I will watch it
and I will love it because I can approach it
with a certain perspective. But there's I can't then turn
around and recommend like zoom up rape apartment, zoom in
rape apartments to anybody, you know, I just can't do that.
So it kind of stops with me until I find
somebody else. So that can be like, okay, Well, if
you like horror and you know you're you're okay with
a woman finding some kind of sexual agents straight through trauma,
then you might like this. Do you like thriller a
cool picture, then you might really like this because it's similar.
You have to test the waters, I think. But there
aren't that many others honors where the fans have to
do that. Horror fans don't really have to do that
because everyone likes at least one horror movie, you know. Ye,
But we have talked about that, you know, whereas we
have talked about that where it's like we can't recommend
the no backs to the no back country country sex
movies to people unless they are established exploitation people.
Speaker 4: Yeah, yeah, Rus Meyers was to recommend, Like when I
first watched those in my beginning, when I was like
fifteen or so, yeah, I was like these should be burned.
I was like these sub Sullivan Felts, these like, oh
my god, they're they're tough. Nowadays, oh oh goodness, all
day every day. But back then I was like, Mike Rainy,
you have terrible taste. Fuck something weird. This is awful,
I know, awful stuff.
Speaker 3: But there's also but it's also like there is some
maturing that comes with and this is an it took
a while for me to come to this where I've
said on this podcast before, I used to fast forward
through sex scenes and if there wasn't anything worthwhile in
between the sex scenes or it didn't grab me, then
I was like, well, this is a piece of shit movie,
ignoring the fact that you know, sometimes the sex scenes
are why these exist. And if they're well done enough
and they're compelling enough, and they feature cast members that
I like and I like seeing like and they're enjoying themselves,
then that is kind of the joy in some of
these films, and that you're just seeing people pretend to
have sex and it's well shot and they look like
they're having their joyful and enjoying sex in the sixties
and it's like free love whatever. But there is a
maturing in there where now I'm much more comfortable with
sex in nudity in general, when I was not for
a long time. It takes you have to kind of, yeah,
you kind of have to unlearn that. You have to
unlearn a lot of shit that society puts on you, like, well,
sex is bad only only within the confines of marriage.
That doesn't. And then it's tough for me because I'm like,
well I'm gay. People hate me for other reasons. I don't.
I hate sex because I'm supposed to, you know, because
I shouldn't be having it. Uh So, well, do you
have any of them?
Speaker 2: Yeah?
Speaker 1: I talked about like the pornification of our modern world,
where anything nudity is like, well, this should be consumed
alone in my bedroom.
Speaker 2: Nobody else should know about.
Speaker 1: This, right when that was not the case when these
movies were made. It was a very different circumstance.
Speaker 4: Right, Yeah, it was a lot harder to consume things alone,
depending on your living situation. Yeah, and things like that.
You know, there was a bit more of an experience
to these, right. Hell, there's I think though.
Speaker 2: Yeah.
Speaker 3: Well, and it's interesting because like knowing more about the
time period, Like I the time period in which these
lot of these films were made were not great for women,
and they weren't great for like sexual progress and things
like that. So also coming at these films now with
their perspective now makes them even more interesting because not
because they're like forbidden or whatever. But it's just like, well,
let's they are a product of their time. But there
are also elements of that time that feel that feel
more progressive because we're going backwards, and so it is
this embracing of being sexually open and like even the
films that like punish the women or you know, I
think we talked about a bunch of movies on this
podcasts where the women are, you know, going through so
much trouble and it's just like, yeah, but the men
are garbage. So like we're always on the women's side,
where like, yeah, I'm I'm always for these women. They're
going through terrible shit and I feel bad for them.
I'm not cheering them on thinking they deserve this. I
hate these fucking men and I want the one Like
like she's early in the hot nights in the campus.
I think the audiences then are kind of like, well,
she slept around, this is what she gets, and I'm like, no,
she's enjoying college and these men are garbage, So I
want her to do.
Speaker 6: Yeah she she had, Yeah she had, she had great
and a well deserved agency for experimentation, exactly as I
think a lot about even like.
Speaker 4: Like like uh even uh with the books and stuff.
I'm like, wow, all these people have really great agency
about them and stuff, like they know what they want
and stuff. They're gonna go out there and get it
despite what most people think. Unfortunately they're gonna get vietn
up during it or something or something like that. But
like I'm always like, good for you girl for deciding
to get out there and take on this serial killer
read and have to good for you for just being like,
you know what, right, I'm gonna I'm gonna I hate
being a virgin. I'm gonna deal with this right now. Yeah,
I'm gonna deliberate myself screw you, like right.
Speaker 3: Well, And I feel like you can still make that
arguments about ruffies too, where it's kind of like, well,
you know the movie is about punishing women or whatever,
but even like the Defilers, I hate those guys. I
fucking hate those guys. So I'm not rooting for these guys,
so like, yes, make sure you kidnap this girl.
Speaker 4: Yes, yeahs And now like the Animal is not pro them, no,
I'm not them, no no, And the film does not
try and make you support them either. It shows that
their absolutely piece of shit, right, and you should hate
them for doing all this if the book.
Speaker 3: Isn't that expensive because it's another one of these academic presses.
Atlanta Gorfinel's book on exploitation is actually really well done
and it's really good. It's really good to come at
to read it coming at it from a woman's perspective,
which is something that I always wish that we had
more of on this podcast. And we're going to try
to get more women on as guests, you know, experts
in the field and things. But it's interesting to get
a woman's perspective on these things because it isn't just
about it's she doesn't come from it. It's like, well, yeah,
the movies are really about punish women and and so
for that reason, they're of their time and they should
just be viewed with like a distance from the material.
It's it's too safe to just not engage with them.
It's it's also robbing yourself of, like I think, actually
becoming more literate as a film viewer, Like if you're
if you're not able to engage with movies as cheap
and sometimes stupid as some of these movies are, because
some of them are actually very eloquently done, like All
American Girl, which even though it's about a teenage girl,
you know, having statutory rape with an older man, the
whole movie is her establishing her sexual boundaries and developing
her sex life on her terms. We would never see
a movie like that now ever, Yeah, because we just say, well, teenagers,
teenagers having sex as bad period. It's like, well, that
sounds like they're religious, right, So do you want to
sound like them right now? Or do you want to
be like well, teenagers, if you want to pursue sex,
maybe establish what your boundaries are, do it safely and responsibly,
which that's kind of what she does, you know, she
kind of does that.
Speaker 1: In This Guy.
Speaker 4: Yeah. Yeah, I can't think of a greater way to
study the sixties and the dichotomy in the between the
polarization of the Macarthy era and then the sexual Revolution,
and how much it affected middle aged couples who are
still mentally stuck in the Mcarthy era, and how these
really kind of like and the books in particular, the
books in particular really like look like into that disparity.
And I can't think of another genre that like actually
honestly thinks like looks at how actually difficult. The sexual
revolution was for quite a few people to get to
grass and you know, very between genders and things like that,
like there's a lot to look into beyond the devices.
Speaker 3: Well that's why. And also genter we talked briefly about
Inside Aimy when we talked about Ron Garcia, but even
that movie is like, it's like the it's like, that's
one of the only movies at that time that is
very vividly explaining why the sexual revolution was designed to
benefit men. So when a woman is trying to benefit
from it, all of a sudden, she's a villain. And
the and the man. We have to support this man
because he's his feelings are hurt and he has to
kill all these men that are having sex with his
wife while are swingers. And it's just like, well, that's
why I love that movie so much, because I'm just like,
this is aight so well, because then it must have
been terrible, it must have been like, well this is
anti sax, blah blah blah. It's like, well, no, actually,
this woman is kind of a hero. She kind of
discovered herself sexually, and her husband is a piece of garbage.
You know, that's that's great to me. I love from
a modern perspective exactly so, but.
Speaker 4: We don't have contemporary films that deal with that. We're
so dealing with it, like, we don't have commentary films
that are at that or at least as known.
Speaker 3: No, we don't, and so that's why I think just going, yeah,
I guess referring back to this question. So I think
it's something that yeah, like we said, it's cyclical, but
it's also something that I think the more you watch
these films and develop develop your viewpoint as a as
a viewer and why you like them and why there
are certain things about the films that speak to you,
whether they be the sex scenes or whether it be
like recurring themes, the way it presents women, the way
it comments on mores of the time. Like I think it,
it becomes easier to be able to not argue, but
like properly illustrate why you like these films.
Speaker 4: So the pats of importance, yes, But then.
Speaker 3: Also on the other hand, there doesn't viewers a film
does well yes, well, for example, well, yeah, I keep
going back to All American Girl. Yes, I like the
thematic importance of that film and what that what that
what that character in the script is trying to tell
us as viewers, But it's also immensely erotic. I love
watching that movie because it captures sex so beautiful late
and it's joyful and it's playful, and it's like, that
is great. There is nothing wrong with enjoying sex, and
it's captured that way because it's capturing how great sex is.
And I think, yeah, I think that that's something that's lost, honestly,
you know, whether it be from the whether it be
the male gaze, or you know whatever, I think it's Yeah,
I think the best examples of the genre are able
to really illustrate that really beautifully.
Speaker 1: I think, yeah, why that is I think is a
whole nother discussion, you know, Yes, but we won't go
there in this episode. Thanks everybody for sending your questions,
and thank you Alex for joining us. Yeah, we'll have
to do this again. Maybe we'll make this a yearly thing.
Speaker 2: Yeah, it was just with the Q and A.
Speaker 1: Especially as our audience hopefully grows, you know, we might
have some new listeners that have interesting, thought provoking ideas.
Speaker 4: Have a question actually, because now that's because I have
one though, because I think this is no brainer. For
the beginning of the year. I think this is kind
of a no brainer. Any particular new sexploitation watches this
year that really stood out to you? Does anyone have
a new favorite that they saw this year that they.
Speaker 2: You mean last year?
Speaker 3: Yes? Yes, Like well America.
Speaker 1: Did anyone have That's an easy one case you mentioned
all American girl love that movie.
Speaker 3: Yeah, yes, that was his first time watching it. And
you also watched Toy Box for the first time this year, right.
Speaker 2: Yes, that was my first toy Box.
Speaker 3: Yep, that one's good. I'm trying to think of something
new that I watched as well. I mentioned it Zoom
in Rape Apartments, which, despite the title, I could not
stop thinking about that movie and it's leading actress. I
am absolutely enamored of a Rinomy Eye and wherever she is,
I hope she's doing well. Anything new, See, That's the thing.
A lot of the stuff that we covered in the
podcast and things I've been watching are they're all revisits.
Speaker 4: So I'll say, what sexpectation films have you not seen
that are just not there still exists?
Speaker 3: Like well, I didn't want to I have Newton Charcoal.
I didn't watch that yet and a highlight for you
I need to watch. I still haven't wached Scorpio seventy.
I have that on the way. The Ron Sullivan thing.
Speaker 1: Did you see sex by Advertisement yet?
Speaker 2: I thought that one you haven't seen.
Speaker 3: No, I've seen both, Yeah, because I had something weird
DVDK Yeah, everything that came out on something weird DVD
I've seen. Yeah. I'm trying to think of anything else
I've watched because a lot of Yeah, it's always revisits
for me, which isn't to say that I've seen everything,
but trying to go chronologically through the catalog, I haven't
gotten to any I haven't gotten to any categories yet
where there's suff I haven't seen yet.
Speaker 2: So that's what about you, Alex?
Speaker 4: Okay, I had three because of course two of them
are going to be the Milligans, because those are absolute
no brainers. And nowadays I quote Natalie Rodgers all the
damn time from kissing you two, you two, you two
are going to love her?
Speaker 3: Wait?
Speaker 2: Wait, wait, so you're quoting.
Speaker 1: You're throwing out quotes that nobody else has even heard.
Speaker 4: Well, excite them to excite that.
Speaker 3: I mean you, I say all the time, you've ruined
my life, and now I've ruined your dinner. I said
that all the time. People don't know what I mean.
I'm just like, you don't know. You haven't seen scenes.
Speaker 4: Go ahead, people are gonna know. People are gonna know
it in a little bit like eighty years. What terrible Anyway, Yeah,
those two I think kiss Me might be my favorite
exploitation film now. And it's so good. Yeah, it's so good.
And then those are the no brainers. And then also
number one that's been available. It's giving them something they
could see, Room and broad Roomen, broad hands. It is
my absolute fait. Okay, I'm not kidding when I said
I read the script, and I three months in between
me getting that sar No script and me seeing Room
and Broad I can't tell you how many times a
week I just thought to myself, Damn, I wish someone
produced that script.
Speaker 2: That's a good script.
Speaker 4: When it damn, I really damn, I'm so mad he
didn't do that script. There have been so much brown
skin deep in love. Fuck, skin deep in love. This
would have been so much bin skin deep in love,
going on and on and on. So then I start
to already watch a goods exploitation film. It's already doing good,
but then as I'm going I'm just kind of like,
this is so funny. This is kind of like that
that Shoe sar No script.
Speaker 1: I love.
Speaker 4: That's so weird. Oh, this is still kind of like
that Shoe sar No script. And then she has the
lot and then she has her titular line in that
where she's like, I'll teach you that like two men
are better than one, ten are better than five, twenty
better than ten, And I my jaw just like hits
the floor because I remember that line. I'm like, fight
or flight? Do I mess with them about first? Or
do I grab the script first? I don't know what
to do. I don't know what to do right now.
Speaker 3: But you know what I love about this? You learned
this before Tim Lucas ever did, and he probably still
doesn't know that this was that Sagner script actually was produced.
He probably still doesn't know.
Speaker 1: D M.
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