I love Saturday and not just because it’s the weekend! Nor is it just because Saturday is the day that I traditionally go down to either Northpark Mall or the Galleria and spend way too much money on DVDs, book, lingerie, and handbags. I love Saturday because Saturday is the day that I get to bring you another edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers.
It might not be obvious from the trailer but this is actually a really good, surprisingly somber film. Director Gary Sherman later went on to make the infamous Vice Squad.
3) The Touchables (1968)
The writer of this film, Donald Cammell, later went on to co-direct Mick Jagger in 1970’s Performance. As far as I can tell, The Touchables is not available on DVD. (There is an earlier film called The Touchables that’s available from Something Weird Video but it’s a different movie.) If anyone knows that this film is available, please let me know as I’ve just recently read a book on Cammell and right now, his films are something of an obsession of mine.
“Stanley — a snake that learned that only man kills his own kind…” All film trailers use to feature pompous narration but the best exploitation trailers managed to take the standards of pompous narration to such an extent that it became a work of postmodern art. As for Stanley, I actually own this film. It was on one of those 8-movie compilation DVDs that were all the rage a few years ago. The copy I saw looked like it had just been transferred off of a beaten-up VHS tape (and it probably was) but the movie still gave me nightmares because I’ve got a thing about snakes. (By the way, clicking on the above link will lead you not to the copy I watched but to a “special edition” Stanley DVD. To my best knowledge, the special edition looks a lot better than the copy I own.)
“Johnny Firecloud — a hate story!” This appears to be one of those films that just asks, ‘What else can go wrong?” I mean, not only is Johnny Fireclould having to deal with prejudice but the whole thing apparently involves a nuclear war as well.
Admittedly, I probably wouldn’t have given this trailer a second thought if not for the fact that I’ve gotten into running lately. Still, this trailer does feature the priceless “You can kiss my feet” scene, a scene that is memorable for a lot of reasons, the least being the look on James Coburn’s face. And remember, you’ll love Goldengirl “even after you know her secret.”
(Interesting sidenote: On Amazon, Goldengirl is only available in VHS form. You can either spend $126 to get a “never before watched” copy or you can spend $4.90 to get a used copy.)
In the 60s, there were gang debs and in the 70s, there were cheerleaders. And there were an awful lot of movies about cheerleaders that apparently were a lot more sordid than Bring It On.
They’re not just cheerleaders — they’re swinging cheerleaders! Believe it or not, this was directed by the same Jack Hill who directed Switchblade Sisters and countless Pam Grier films.
Eventually, filmmakers ran out different adjectives to place before the word “Cheerleaders.” And that is how this movie ended up being called The Pom Pom Girls.
Needless to say, this is the edited version of this particular’s film’s trailer. If I ever get a chance to watch Debbie Does Dallas, I’ll have tobecause I live in Dallas. And if Debbie thinks she’s going to do Dallas better than I do Dallas, she might want to jump off that dream train. Just saying…
(By the way, I know that there’s a small group of you out there who probably think I’m just using this post an excuse to kid my sister Erin about her high school cheerleading days. Perish the thought! In fact, to prove my good intentions, the next 6 trailers will be, in absolutely no way, related to cheerleading.)
I’m including this trailer specifically for one of our regular and loyal readers. He knows who he is and here’s hoping he’s having himself a good weekend.
8 ) The Naked Bunyip (1970)
I’ve never seen this film, I just came across it while I was specifically looking up trashy cheerleader-centric trailers on YouTube. It appears to be an Australian mondo film.
Film looks terrible but I love that tagline: “It seemed like a good idea at the time!” I have a feeling that’s what Ray Milland spent all of 1973 telling himself.
This was on the Fox Movie Channel earlier this week and I actually set the DVR for it. Ben Gazzara chews the scenery of Al Capone and then a really young Sylvester Stallone pops up as Frank Nitti. This is one of those 70s mafia films that tries to be The Godfather, just with less running time and a smaller budget. It’s kinda boring, to be honest.
So, last night, I was feeling a bit down for a number of reasons so my BFF Evelyn came over and we had a little slumber party of sorts in my living room. And before everyone does a double take and accuses me of trying to be all like Paris Hilton, let me just explain that when we refer to each other as being “BFFs,” we’re not just being sincere but we’re being postmodernly satiric. It’s kind of the same principle behind why me and my sister Erin tends to casually toss around the word “bitch” whenever we’re having a conversation. Of course, “BFF” doesn’t inspire quite the same reaction from the older folks at the family reunion as “bitch” does but that’s a whole other story.
Anyway, as I informed everyone earlier on twitter, Evelyn and I did all the usual things that you do at a slumber party. We stripped down to our underwear, watched horror movies, ate food that we shouldn’t have eaten, had a violent pillow fight, and swore that we would never reveal the divine secrets of the ya ya sisterhood. I also recruited her to look through all the possible picks for the latest edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film Trailers and help me narrow them down to just 6 trailers.
This, she helped me down without (too much) complaint. Though it may not always be apparent, deciding which 6 trailers to feature each week is actually a pretty long and thorough process and it’s one that can be very tedious if you’re not a fan of these movies. I think a lot of people would have said, “Who cares? Just toss up 6 random trailers and be done with it.” Not Evelyn. Even as I forced her to watch some really odd and kinda disturbing trailers, she stuck with it until we had this week’s 6 trailers. She even put up with me explaining to her why a certain trailer was more grindhouse than another. And that is one of the many reasons why I love Evelyn and why she’ll always be my BFF.
And here’s the 6 trailers that she helped me pick for this week…
Okay, Evelyn and me both literally fell in love with this trailer from the minute we heard that narrator say “The curse that begins with a kiss.” Needless to say, we both jumped to a conclusion as to what that curse was and let’s just say it wasn’t syphilis. But anyway, this appears to be some sort of cross between an old educational short and a blaxploitation film. I haven’t seen this film yet and hadn’t even heard of it until I came across the trailer but now, it has become one of my obsessions. I must see Stigma. I must find out about the curse that begins with a kiss…
2) The Magic Garden of Stanley Sweetheart (1970)
Wow, isn’t that just the most annoying title ever? It just screams “FILM SCHOOL GRADUATE!” at the top of its trust funded lungs. Still, this trailer does have one line that made me laugh out loud and that line was: “Where am I going?” Otherwise, this trailer is also memorable for the horrid “gingerbread” song that plays over the first few clips . Evelyn claims that the song is now stuck in her head, which is pretty bad since the entire song is basically “something something gingerbread something something gingerbread…” Evelyn thinks that Stanley (played by Don Johnson of A Boy and His Dog and The Harrad Experiment) looks hot in this trailer. I think he’s a little bit too much of a pretty boy. Neither one of us can believe that he later grew up to be the redneck in Machete.
Fred Williamson is …. Jesse Crowder! Despite our different feelings concerning the appeal of Stanley Sweetheart, both Evelyn and I agreed that Jesse Crowder would kick his scrawny little ass. That said, I objected to the “I’m going to bruise you up a little” line towards the end of the trailer but Evelyn defended it, making the argument that Crowder would have bruised up a man with a knife as well.
“It could have been … a love story.” Much like Stigma, this is a case of us just falling in love with a overdramatic tag line. Apparently, the film itself appears to be a grindhouse version of Cyrus.
We had to include Zachariah because, as the trailer explains, this was the world’s first electric western. Add to that, Don Johnson looks a bit less fancy here than he did as Stanley Sweetheart.
We saved the best for last. Now, I know that the original Get Carter is such a classic (especially when compared to the Stallone version) that you might wonder if it really belongs here. Well, trust me, it does. Get Carter is pure grindhouse art and this trailer proves it. Plus, both me and Evelyn were surprised and delighted to discover that once upon a time, Michael Caine was quite the sexy beast. When, at the end of the trailer, we were told to “Get Carter before he gets you,” we both responded with, “Carter can have us.”
I just had to start out with this because it represents everything that I love about these old school exploitation trailers. It’s just so shameless and cheerful about it all. This film is from Herschell Gordon Lewis and it features ESP, a really kinda scary witch, and a random LSD trip. The title of this film also inspired the name of one of my favorite companies, Something Weird Video. (I make it a point to buy something from Something Weird every chance I get. My most recent Something Weird video is a film from the 60s called Sinderella and the Golden Bra. Haven’t gotten a chance to watch it yet but with a title like that, how could it be bad?)
This is actually a really, really bad movie and I think the trailer goes on for a bit too long but it does have a few vaguely effective moments — i.e., when Dennis Christopher stares at the camera with half of his face painted. Plus, you can catch a young Mickey Rourke acting a lot like Michael Madsen.
3) Monster Shark (1984)
Now you may think that since this Italian film was directed by Lamberto Bava (credited here as John Old, Jr. because his father, Mario, was occasionally credited as John Old, Sr.) and has the word “shark” in the title that it’s yet another rip-off of Jaws. Well, joke’s on you because, as they state repeatedly in the trailer, “It’s not a shark!” Even if you didn’t know this was an Italian film before watching the trailer, it wouldn’t be hard to guess. First off, there’s the dubbing. Then there’s the scene of the film’s main character wandering around aimlessly. (Most Italian horror trailers feature at least one scene of someone just walking around.) And finally, there’s the fact that this is yet another trailer that uses a sped-up version of Goblin’s Beyond The Darkness soundtrack for its background music. While I haven’t seen this film yet, I plan to just to find out who Bob is.
Originally, I was planning on including the trailer for a Ted V. Mikels’ film called The Worm Eaters right here but I reconsidered because, quite frankly, The Worm Eaters is one of the most disgusting, stomach-churning things I’ve ever seen. I’m going to wait until I find five other equally disgusting trailers to feature it with and then I’m going to put them all up under the heading: 6 Trailers To Inspire Vomit. Until then, enjoy a far more pleasant trailer — Van Nuys Blvd. This trailer rhymes! I’m tempted to say that I could have written it but then again, I only write free verse poetry. Anyway, where was I? Oh yeah, Van Nuys Blvd.
However, there was a darker side to Van Nuys Blvd. and here it is: Vice Squad, starring Wings Hauser. Eventually, I’ll review this film but until I do, check out our new friend Trash Film Guru’s review.
6) Crosstalk (1982)
We’ll conclude with the only thing scarier than Wings Hauser in Vice Squad — a computer that has not only witnessed a murder but enjoyed it!
Back in the 1930s, the American film industry regulated itself with the Motion Picture Production Code. The production code stated that, in films, crimes would always be punished, profanity would not be heard, bodies would remain clothed, and drug abuse would not be portrayed. The only way to get around these rules was to make sure that the film was “educational” and that it pretended to condemn the behavior shown on-screen. This was the birth of what would eventually become grindhouse cinema.
It’s always interesting to watch these early grindhouse films because, even with the inclusion of such forbidden elements as nudity, violence, and drugs, they all still seem oddly innocent. Yes, there’s always a scene or two of the lead actress undressed but the camera rarely lingers as if it’s aware that it’s somehow breaking the rules. Whenever one of these films dealt with drug addiction or white slavery, the depictions were often so heavy-handed and silly that it was obvious that nobody involved with the film had any first-hand knowledge of what they were showing. The end results were often undeniably fun.
I watched one of these films last night, 1935’s The Cocaine Fiends (also known as The Pace that Kills, which is a much better title). The Cocaine Fiends starts with a waitress named Jane (Lois January) who meets and falls in love with a mysterious fellow named Nick the Pusher (Noel Madison). For most people, I would think that Nick the Pusher’s name would be a dead give away to what he does for a living but Jane is from the country and, by this film’s logic, this makes her an idiot. Anyway, Jane goes to the city with Nick. Whenever Jane starts to get a headache, Nick gives her some headache powder. Jane snorts the powder and her headache goes away. Soon, she’s calling herself Lil and sleeping with strangers to get money so that Nick will keep giving her headache powder. Soon Jane/Lil discovers that she hasn’t been doing lines of headache powder at all! Nope, that white powder is cocaine!
(Now, I know you’re probably laughing at Jane but I have to be honest and admit that last year, I was at work when I got a terrible migraine. This woman who works in the same building as me took sympathy on me and gave me a little packet of white powder. I quickly got out my credit card and a dollar bill and cut myself a line. “Wait, what are you doing!?” she said as I held the tightly rolled dollar bill up to my nostril. “I’m going to do a line,” I said. “Oh no, honey,” she said, sweetly, “you don’t snort B.C. Headache Powder.” True story.)
Anyway, Jane’s brother, Eddie (Dean Benton), comes to the city looking for his sister and gets a job working as a carhop. At his job, he befriends Fanny (Sheila Bromley) who, seriously, is one of the greatest film characters ever. Seriously, I had a huge girlcrush on Fanny by the end of this film. Not only is she hot and independent but she also hides cocaine underneath her garter and says stuff like, “Tonight, I’m going to take you on a sleigh ride with some snowbirds.” Eddie has a crush on Fanny too and they end up hanging out at sordid nightclubs together. Unfortunately, Fanny also gets Eddie hooked on cocaine and soon, they both get fired. Eddie forgets about finding his sister while Fanny turns to prostitution to support her habit.
Meanwhile, Fanny’s friend Dorothy (Lois Lindsay) doesn’t use cocaine but she still ends up getting kidnapped by Nick anyway. Apparently, Dorothy’s father is rich. While Eddie spends his time at an opium den (a surprisingly effective sequence), Dorothy’s boyfriend Dan (Charles Delaney) recruits Lil (remember her?) to help him rescue Dorothy and hopefully reveal the secret identity of the shadowy figure in charge of the city’s dope trade…
Did I mention all of this happens in 61 minutes? Seriously, the Cocaine Fiends is one busy film. Now, to be honest, all of this plot doesn’t leave much room for anything resembling introspection or nuance but perhaps that’s appropriate for a film about cocaine. I do have to admit that the Cocaine Fiends isn’t as much fun as some other exploitation films from the roadshow era. Unlike a lot of those films, Cocaine Fiends actually does have at least a tenuous connection to reality in that, when abused, cocaine actually is a dangerous drug that can contribute to people doing some pretty dangerous things. Still, for those searching for sordid melodrama and committed overacting, they’ll find it a surplus of it here.
That said, like the best grindhouse films, the Cocaine Fiends occasionally offers up a moment or two of true insight. For me, what made this film more than just a camp oddity was its sympathetic portrayal of women trapped in a cold, male-dominated underground where being female means being a commodity. What sets The Cocaine Fiends apart from other films of that era (not to mention most films made today) was the fact that it didn’t attempt to present their tragic fate as some sort of karmic punishment or divine retribution for straying from what society deemed the proper feminine path. Most films continue to insist that women “ask for it.” Whatever other faults The Cocaine Fiends may have, it knows better than to think anyone asks to be violated, abused, and exploited.
To be honest, the main reason I occasionally watch a film like The Cocaine Fiends is because I’m a just a history nerd at heart. Watching a film like The Cocaine Fiends, made outside of the idealized worldview of the Hollywood Establishment, is probably about as close as I’m going to get to using a time machine to go back to the 30s and experience the culture firsthand. I love how Eddie, when Fanny offers to let him stay at her apartment, automatically responds with, “But we’re not married.” And then there’s the sequence in the “dangerous” night club which, as far as decorations, music, and proper attire are concerned, reminded me of my senior prom. It’s also where Eddie freaks out upon getting a bill for $9.97. Luckily, Fanny is there to loan him enough money to pay it.
Anyway, for those who have an hour to kill, here’s 1935’s The Cocaine Fiends…
There comes around a few films every year which I end up enjoying despite how awful it is to most everyone. I’m a major fan and follower of all things grindhouse and for some grindhouse means it was made during the late 60’s and through most of thru the 70’s. I always thought of grindhouse as a state of mind. I mean I like to believe that’s why Robert Rodriguez and Quentin Tarantino make the films that they make (all of them grindhouse films at heart if not execution). So, it happens that in 2009 there was one film which was panned universally by critics and mainstream audiences everywhere. It was the second film by Wachowski Brothers protege James McTeigue. He was the same director who made the impressive V for Vendetta film adaptation (I still believe to this day that the Wachowski Brothers had a hand in directing that adaptation).
When word came down that he was going to do a modern ninja film which included Sho Kosugi (he practically was the star of most, if not all, of the best-known ninja grindhouse flicks of the 70’s and 80’s) there was no doubt that this film would rock. The heightened anticipation for this martial arts extravaganza would turn out to be more a whimper than a bang. James McTeigue’s Ninja Assassin became one of 2009’s worst films of the year and part of me don’t agree with how most people viewed it.
The story for this film was quite simple. Former ninja assassin tries hiding from his former ninja clan and it’s badass ninja leader (played by badass ninja-man himself, Sho Kosugi). The part of this former ninja was played by Korean singing pop sensation who went by the name Rain. He got the lead part for this film due to the Wachowski Brothers and uber-action producer Joel Silver having been impressed seeing his work on the Wachowski Brothers’ very-maligned and misunderstood live-action take on the classic Japanese anime series, Speed Racer. The brothers and Silver saw a start on the rise in their midst and decided to make a film around Rain. The fact that the film ended up being Ninja Assassin must’ve been one reason why we haven’t heard of him in the US since.
Still, Rain did a good enough job as the blank-faced, albeit master of the ninja arts, Raizo. He was chosen because he looked the part, moved like the part and probably powers that be thought him being shirtless half the time would bring in the huge J-pop and K-pop demographic. Again, the producers might have been reaching a bit much when they were developing Ninja Assassin.
The rest of the film is Raizo being chased by his former clan, having flashbacks of his time as a child being trained by the Ozuna ninja clan to become their top assassin, then back to the present trying to kill as many ninja as possible, while avoiding getting killed himself. Believe me when I say that the blood and body parts rain down like dismembered bodies were on sale at Wal-Mart and everything was tagged “Entire Stock Must Go!”.
Ninja Assassin will live and die through it’s action sequences and despite the heavy use of CGI-blood the action in this film were pretty good. There’s the usual slo-mo tricks the Wachowski Brothers have become well-known for and it seems like their protege have learned from them well. I actually thought that the ultra-violent and very gory action scenes is why this film reminded me of past martial arts grindhouse flicks. Those were also very bloody and violent. It was as if the filmmakers of those film were telling McTeigue that the more blood and violence the merrier.
I would mention that the film had some good performances from the non-ninja roles played by Naomie Harris and Ben Miles, but I’d be lying. Their work here was passable and just needed to fill the slow and dialogue-heavy gaps in-between ninja butchering. These non-ninja butchering scenes actually slowed the film down. I do believe that if they were replaced with more ninja butchering hapless Interpol security agents and vice versa then Ninja Assassin would’ve turned out a hundred times better. Sometimes mindless gory violence is better than wince-inducing dialogue and exposition.
From the sound of this review one would think that I didn’t like Ninja Assassin. Part of me doesn’t like this film, but the part of my brain which understands the nature of grindhouse flicks loved this film because of the very awful things people say about it. This is a film which was so bad that it passed the point of awfulness and became entertaining in its very own way. I mean this film definitely felt like a Sho Kosugi ninja flick but of the digital age. I always believed that no matter the era and no matter how advanced film techniques get there will always be filmmakers out there who go about in a serious manner to create a good film, but despite their best intentions and plans the overall execution and final product don’t live up to their expectations. In a way, that’s what most grindhouse films tend to be in the end. Films made with the best in mind but got lost in its very own grandiose plans to come out batshit nuts on the other side.
PS: Those wondering how ninja having no guns can take on militayr-trained agents in tactical armor wielding the latest in assault rifles. Well, who needs a Heckler&Koch G36 assault rifle when one can throw shuriken as fast as an assault rifle. In the end, Ninja vs. SWAT makes for a badass, mindless climactic battle scene.
The grindhouse is like ballet — truly appreciated by only a few blessed and special individuals. And for those individuals, here’s a picture of my legs…
I’ve got this one on DVD, actually. Considering that it was produced by the notorious Harry Novak, it’s actually fairly entertaining and not just in a “WTF” sorta way. Still, I have to admit that the main reason I like this trailer is because of that “I don’t have to tell you anything,” line because I used to say that a lot when I was a child (actually, I still say it a lot). Unfortunately, I never had undead followers to help back up my words.
Now, admittedly, some claim that I was occasionally a just a tad bit bratty when I was a child. (The running joke, among my sisters, is that LMB stands for Little Mean Brat.) However, I was never quite this bad…
Speaking of being bratty…A*P*E was originally entitled The New King Kong until a lawsuit changed the title. By all reports, A*P*E was meant to be a “serious” film but it was advertised as being a spoof after the film’s distributors saw the final results. A*P*E shows up on AMC occasionally.
While we’re on the amorous monster front…I haven’t seen this one but it appears to be some sort of Swept Away With Big Foot type of film. The vibe here is definitely grindhouse pretentious.
And finally, here’s the grindhouse documentary that started them all — the Italian Mondo Cane! None other than Giovanni Lombardo Radice has described this film as an example of “lingering fascism.” It also inspired Ruggero Deodato’s Cannibal Holocaust. Also, much like An Inconvenient Truth, it was nominated for a best original song Oscar. (Note to self: Write a future post on how much An Inconvenient Truth has in common with Mondo Cane…)
Finally, in conclusion, here’s one final scene from A*P*E…
Hi! It’s time for another edition of Lisa Marie’s Favorite Exploitation and Grindhouse Trailers. Today’s theme — well, as explained at the end of this post, I nearly dedicated this post to my menses but then I changed my mind. There really isn’t a theme beyond the fact that these trailers entertained me and hopefully, they’ll entertain you as well. Well, that and the trailers are all about wild sex and wild nature.
I love this trailer! It’s for a film directed by Radley Metzger and personally, I think it’s wonderfully erotic in its old school, sordid way. The use of still frames gives it a real La Jetee feel.
From director Serigo “Not Leone or Corbucci” Martino, this film features Stacy Keach, Ursula Andress, and perhaps the most oddly inappropriate orgy scene in the history of Italian cannibal films. If this film seems to be a lot like Cannibal Ferox, it’s because they both ended up using a lot of the same stock footage.
What are the Lepus you may ask? Well, in case you haven’t heard of this movie or come across it on late night television, I’ll tell you after the trailer.
The Lepus are giant killer bunny rabbits. They hop in slow motion and kill a lot of people. Seriously.
At the same time the southwest was being ravaged by killer bunny rabbits, the real south was being attacked by killer frogs. Mother Earth was on angry bitch in the 70s and to her, I say, “You go, girl!”
Mother Nature was still angry in the ’80s apparently. By this point, I think you start to say, “Someone needs to get off the drama train, girl.”
6) Confessions Of A Summer Camp Counselor (1978)
But why was Mother Nature so ticked off? I think the answer might be found in this trailer. Apparently, in the 70s, there was an actor named Robin Askwith who had the sex appeal of a groundhog. And he apparently starred in a series of British films that all had titles like Confessions of a Window Washer, Confessions of an Altar Boy, and, in the case of this trailer, Confessions of a Summer Camp Counselor. Apparently, Robin played a character named Timothy Lea and he spent these films getting laid. By all accounts, both they and Mr. Askwith were quite popular in Britain which just goes to prove, once again, that the Irish were right. Anyway, I assume that some film producer is currently in pre-production on Confessions of a Registered Sex Offender.
One final note:
Originally, I was going to gross out (and taunt) my male friends by calling this post 6 Trailers For A Bloody Period. And, I’ll warn you right now — I still like that title and if I can find 6 exploitation trailers that center around menstruation, I’m going to resurrect it sometime in the future.
Apparently, as I sit here in my underwear and glasses, the Earth is about as close to the moon as it will ever get. Because of that, the moon is huge out in the night sky. Or at least that’s what I’m hearing. It looks pretty normal to me but anyway, this is being referred to as being “Supermoon.” I’m not sure why. If I stood less than an inch from your face, would that suddenly make me Super Lisa?
Of course, a gigantic full moon would bring a werewolf film with it. This is one of the thousand or so biker films to come out in the late 60s and early 70s. These films were interesting mostly from the point of view of how they mixed other genres with the biker conventions. Werewolves on Wheels did it with lycanthrophy.
Actually, since it’s a supermoon, we better include two werewolf-themed trailers. This is for the Werewolf of Washington, starring Dean Stockwell. For some reason, I’ve actually got several copies of this on DVD (I think this is one of those films that somehow found its way into the public domain) but I’ve yet to actually sit down and watch it. I think my hesitation has to do with the fact that it appears to be a political satire and it was made in the 70s. That sounds like a combination for boredom, to be honest.
But before Jack Nicholson could become a hippie, he was a sinister gunman in Monte Hellman’s existential grindhouse western, The Shooting. The Shooting, which co-stars Warren Oates and Millie Perkins, is an unacknowledged classic and a movie that I’m going to have to review one of these days. Perkins, by the way, was married to none other than Dean Stockwell.
And then, 7 years later, Hellman, Oates, and Perkins reunited to make an odd little film called Cockfighter. This is another film I have to review though I also have to say that, as a former country girl who has actually seen a few cockfights, cockfighting is right up there with dogfighting as far as sickening sadism is concerned.*
And, of course, while some people in the south were going to cockfights, others were apparently getting killed by redneck lawmen in films like the ’74 classic, Macon County Line.
In honor of Supermoon, I’m going to include two extra trailers. Seriously, don’t ever doubt that Lisa loves you.
While rural audiences (probably made up of people I’m distantly related to) spent 1974 cheering police brutality and animal cruelty, urban grindhouse audiences were enjoying films like this one.
Finally, since we’re under a supermoon, here’s the trailer for Jesus Franco’s infamous (and frequently banned) slasher Bloody Moon. I haven’t seen Bloody Moon (copies aren’t that easy to find) but seriously, the involvement of Jesus Franco tells me all I probably need to know.**
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*If you’ve got a cock, use it to spread love, not hate.
** Well, we’ll see about that. I just ordered a copy off of Amazon.
It’s time for another edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers. This week’s edition has no set theme beyond the fact that, in-between typing up the six trailers featured here, I was also trying on different outfits. Multi-tasking!
From 1970, it’s the debut film of Nicolas Roeg (though technically, he co-directed by Donald Cammell). Reportedly, acting in this film led to costar James Fox having a nervous breakdown.
This is the trailer for Mario Bava’s infamous, trend-setting giallo. Bava’s preferred title for this film was Bay of Blood though it was released under several titles, including Carnage and my personal favorite, Twitch of the Death Nerve.
This 1978 film is from the criminally underrated director Pete Walker. The trailer has a similar feel to Lamerto Bava’s A Blade in the Dark. Who is Jack Jones and was he actually an international singing sensation? So many questions.
This trailer is from 1968, which — if you’ve seen the trailer — is kind of one of those “well, duh” facts. Based on a book by my fellow Texan Terry Southern (hence, the tag line), the film features Walter Matthau, Richard Burton, Ringo Starr, Marlon Brando, and James Coburn all taking advantage of Ewa Aulin (who, much like James Fox in Performance, reportedly had a nervous breakdown as a result of making this film). The film was directed by Christian Marquand who, years later, would play the main French Plantation Guy in Apocalypse Now Redux.
Through the Shattered Lens 