While vacationing in Greece with her second husband, Louis Silverman (although she wasn’t all that keen in taking his surname in marriage, director DORIS WISHMAN was more than happy to add her hubby’s handle to her ever-expanding list of pseudonyms), Wishman stumbled upon a small-time film company in desperate need of funds, ultimately returning home with the rights to The Hot Month of August and Passion Fever – purloining both productions for less than $4000. En route back to New York, Doris absentmindedly left her briefcase containing both August and Fever’s translated scripts on a train, forcing her to rewrite the narratives from scratch while overdubbing the original dialogue (a prevalent practice throughout her entire career). Continue reading
Three friends from a small North Carolina town face bleak economic futures in the years following World War II. Johnny (Robert Walker Jr) takes to running moonshine after his discharge from military service. He tries to think of a way for a better life for wife Carol (Diane Varsi) and their young son. Johnny and Carol hook up with Roger (Dick Clark), an ex-army demolitions expert. They plan to blow up the safe of a bootlegger, steal $200,000 and head off for a new life in sunny California. Their plans are thwarted when Roger uses too many explosives and the noise draws the attention of a Federal agent. Johnny kills the agent in this backwoods crime drama. Merle Haggard has a bit part and sings a few songs with the help of his band The Strangers. Clark was the producer who, with Michael Fisher, is responsible for the story. Plot Synopsis by Dan Pavlides Continue reading
An interview with a Mormon Fundamentalist who shares a husband with her younger sister. Continue reading
A lonely security guard can’t even get a decent blind date, so he begins peeping at women through their bedroom windows. Before long he’s paying call girls to come over and secretly videotaping every session.
Within two weeks he’s blown his life savings and been subjected to a lot of verbal and physical abuse. This bizarre black comedy is loaded with naked women!
Starring Andren Scott – with Monica McFarland, Karen Pombo, Becky Van Lewen and Sheila Traister. Directed by Ronnie Cramer, music by Alarming Trends.
“The Best Drive-in Movie of 1992…” Joe Bob Briggs Continue reading
Avere vent’anni (To Be Twenty) – (the title refers to the famous phrase at the beginning of Paul Nizan’s book, Aden Arabia: I was twenty years old. I will never allow anyone to say that these are the best years of my life.), was shot by Fernando di Leo in 1978. He also wrote the script which dates back to some years earlier and came from the desire to portray new female characters who had established a revolutionary psychology, and attitudes in society after 1968.
The intermediaries for this story are two young travelers, Tina and Lia – played by Lilli Carati and Gloria Guida, both very popular actresses at that time, who leave the Italian provinces and go to Rome to join a “community” and are under the illusion of being able to live in complete freedom, especially sexual freedom, without restraints or limits.
Cremaster 4 adheres most closely to the project’s biological model. This penultimate episode describes the system’s onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion – three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island’s folklore as well as its more recent incarnation as host to the Tourist Trophy motorcycle race. Myth and machine combine to narrate a story of candidacy, which involves a trial of the will articulated by a series of passages and transformations. The film comprises three main character zones. The Loughton Candidate (played by Barney) is a satyr with two sets of impacted sockets in his head – four nascent horns, which will eventually grow into those of the mature, Loughton Ram, an ancient breed native to the island. Its horns – two arcing upward, two down – form a diagram that proposes a condition of undifferentiation, with ascension and descension coexisting in equilibrium. The second and third character zones comprise a pair of motorcycle sidecar teams: the Ascending and Descending Hacks. These primary characters are attended to by a trio of fairies who mirror the three narrative fields occupied by the Candidate and the two racing teams. Having no volition of their own, these creatures metamorphose in accordance with whatever field they occupy at any given time.
Two young women, marginalised by society, go on a destructive tour of sex and violence. Breaking norms and killing men – and shattering the complacency of polite cinema audiences. Continue reading