“In a tightly knit rural community, Marie and her mother are outcasts, living in a small wood cabin. Marie is exploited and abused by both her employer, a lesbian landowner, and her oversexed male neighbours, who include the town’s mayor and a seemingly respectable shopkeeper. When her mother is killed in a road accident, Marie decides it is time to turn the tables on her tormenters. She starts to make them pay for her sexual favours, and, thanks to her innate talent for seduction, she soon becomes the wealthiest person in the area. In the end, her neighbours decide that Marie is a corrupting influence and contrive to have her forced out of the village. Marie, however, intends to have the last laugh…” Continue reading
Edwin Antony (Hywel Bennett) is emasculated in an accident which kills a young philanderer. Doctors successfully replace his member with that of the dead man, but refuse to tell him the full story of the organ’s origin. So Edwin begins a search which takes him to the philanderer’s wife – and also to his many, many girlfriends. Continue reading
” One wonders what Kenneth Anger thought of this cheapjack (and by the looks of it, wholly unauthorized) bastardization of his famous tome, if indeed he’s even aware that it exists. Hollywood Babylon follows the path of Anger’s book almost to the letter, with each “chapter” taking the form of a staged vignette, and tied together by tinted newsreel footage and old silent film clips.
The first scandal on our tour of Sin City is that of Olive Thomas, popular silent star who, in 1920, swallowed a fatal dose of mercury granules in her Paris hotel room. The reason for her suicide: inability to score heroin for her addict husband, Jack Pickford, brother of Mary! In the staged footage, we get to see one of Pickford’s debauched parties, where guests smoke opium and get their gear off for an orgy with the likes of LYNN HARRIS, ANNETTE MICHAEL, EVE ORLON, JANE SENTAS, and SUSAN WESTCOTT. Continue reading
Symphony for a Sinner (1979) was a long, lavishly photographed color film generally considered the magnum opus of the class productions. New York critic and coauthor of Midnight Movies J. Hoberman would rank it as one of the ten best films of the year, while Stan Brakhage would call it “the ultimate class picture.” John Waters, who now visited George regularly whenever he passed through San Francisco, envied the lurid color photography and wanted George to shoot his next picture (which would have been Polyester and didn’t happen). Symphony, Waters said, had the look he craved for Desperate Living (1977). Continue reading
A mix of sexploitation, Lappish folk dress, and soap opera that still finds room for Nazis and reindeer castration – a movie so inept and bizarre that I have to limit any mention of it to this one sentence, lest I get too carried away.
Daniel Merry wrote:
Ignored by filmgoers upon its release in 1973*, Teuvo Tulio’s Sensuela is today rightly regarded as a cult classic of Finnish cinema and, as recently as 2012, has been ranked by Finnish film critics in the Top 10 best Finnish films of all time.
Sensuela is undoubtedly a unique film: a camp, erotic melodrama that tells the tale of a young Lapp girl, Laila (Marianne Mardi), who falls in love with a German fighter pilot Hans (Mauritz Åkerman) at the end of the war, and with whom she travels to Helsinki on a journey of moral and sexual discovery. In the hands of a director such as, say, Matti Kassila, this material might lead to a touching human drama similar to Sininen viikko (1954). Under Teuvo Tulio’s direction, Sensuela is an extraordinary sensory experience. Continue reading
directed by Curt McDowell (THUNDERCRACK); starring Velvet Busch and Mark Ellinger; a busy prostitute during businessmen’s lunch break. Continue reading
This film is a sequel in name only to Valley of the Dolls (1967). An all-girl rock band goes to Hollywood to make it big. There they find success, but luckily for us, they sink into a cesspool of decadence. This film has a sleeping woman performing on a gun which is in her mouth. It has women posing as men. It has lesbian sex scenes. It is also written by Roger Ebert, who had become friends with Russ Meyer after writing favorable reviews of several of his films.
It’s deadpan-droll throughout (with at least as many highly quotable lines as Rocky Horror), cod-moralistic, carefully balanced between satire and melodrama, gratuitously focused on women with outsize breasts, and shot and edited with astonishing mastery. Much of Meyer’s film language, as Ebert points out, is redolent of ‘pure’ silent cinema: to-the-point storytelling and earnestly expressive performances, plus montage sequences worthy of Slavko Vorkapich.
— Tony Ryans, Sight & Sound Continue reading