The TSL Grindhouse: The Student Nurses (dir by Stephanie Rothman)


When my mom was dying in 2008 and then when my Dad was in hospice care in 2024, I learned just how important nurses were.

While the doctors that I dealt with were often brusque and overworked, the nurses were the ones who always took the time to answer my questions.  While the doctors took an attitude of, “Death happens,” the nurses were the ones who were willing to show compassion.  They were the ones who seemed to understand the pain that both myself and my sisters were going through.  The nurses were the ones who seemed to care.  Even when it comes to something simple like getting my ADHD prescription renewed, I always feel more relaxed when I’m dealing with a nurse than dealing with a doctor.

(Don’t get me wrong.  I understand why doctors so often avoid a personal connection with their patients.  As Doctor Warshaw (Richard Stahl) puts it in 1970’s The Young Doctors, “mourning is reserved for loved ones.”  It may sound cold but it’s the truth.)

When my Dad was in home hospice, we had a nurse the came by the house every day.  She was cool and professional but still always seemed to care.  She was also a chain-smoker and there were more than a few days that I stepped outside with her.  She always had an extra cigarette for me.  Usually, I don’t smoke because I have asthma but, at that time, I was so stressed that the calming effect of smoking made the risk worth it.  Knowing that the nurse would always arrive early in the morning helped me deal with a very difficult time.  At a time when everything felt like it was spinning out of control, the nurse was someone upon whom I could depend.  After my father died, I struggled to adjust to a lot of things, including the absence of the nurse.  I discovered I missed the nurse’s professional presence.  I missed talking about my feelings while burning a cigarette down to its filter.

In short, I have a lot of respect for nurses.  They have a difficult job, one that I certainly could not do.  But I’m thankful for all that they’ve done for me, my family, and other people’s families.

With all that in mind, I watched 1970’s The Student Nurses earlier today.

The Student Nurses tells the story of four women who are studying to be nurses while working at the local hospital.  Phred (Karen Carlson) is introduced when she’s attacked by a crazed patient.  Later, she falls for a doctor named Jim (Lawrence P. Casey).  Sharon (Elaine Giftos) grows close to a terminally ill patient (Darrell Larson) and discovers the wisdom of Dr. Warshaw’s admonition about mourning.  Priscilla (Barbara Leigh), who is regularly admonished for the length of her skirt and for never wearing a bra, meets a charismatic drug dealer named Les (Richard Rust).  Les is all about dropping the acid on the beach but he’s not about sticking around when his girlfriend gets pregnant.  And finally, Lynn (Brioni Farrell) meets a Latino political activist named Victor Charlie (Reni Santoni) and discovers that some people just aren’t rich enough to go to the hospital.  When Victor shoots a cop during a raid on his headquarters, Lynn is forced to make a difficult decision.

The Young Nurses is almost legendary because of its status as a politically-themed exploitation film.  It’s a Roger Corman production so there’s a lot of nudity.  But director Stephanie Rothman used the genre to explore themes of class conflict and feminism.  All four of the nurses are portrayed as being strong and independent women who have sex because they want to and who feel no shame about their decisions.  For a 1970 film, that was a big deal.  Interestingly, considering the film’s reputation, it’s actually fairly even-handed when it comes to the differing worldviews of the nurses.  One of the nurses decides that she wants to serve in the Army Nurse Corps, even if that means going to Vietnam.  Another ends up bragging about the gun that she’s carrying in her glove compartment, just in case anyone tries to stand in the way of the revolution.  The film treats both of their decisions with respect.  The important thing, the film seems to be saying, is that all of them are in control of their own future.

It’s an exploitation film, make no doubt about it.  Today, we might talk about the film’s politics and its feminist subtext but I kind of doubt that’s what made the film a box office success in 1970.  That said, Stephen Rothman brings some imagination to even the film’s most exploitive scenes.  When Priscilla drops acid on the beach, Rothman slowly introduces more and more people to the scene, leaving us to wonder, just as Priscilla does, whether they’re real or their just a part of her trip.  All four of the lead actresses are well-cast and fans of great character actors will probably enjoy seeing Reni Santoni playing someone other than a cop or a doctor.

Finally, like so many exploitation films, The Student Nurses is a true time capsule.  The music, the clothes, the groovy slang, this is a film that proudly announces that it was made in 1970.  We may not have time machines but at least we have the movies.

I have no idea if The Student Nurses is a realistic portrayal of what it was like to be a student nurse in 1970.  That said, it’s an entertaining film and, in its grindhouse way, a tribute to the nurses who do so much.

 

The TSL Horror Grindhouse: Sweet Kill (dir by Curtis Hanson)


As the saying goes, everyone has to start somewhere and, for Curtis Hanson, that somewhere was with 1973’s Sweet Kill.

Curtis Hanson, of course, would go on to become one of Hollywood’s top genre directors, directing films like The River Wild, Bad Influence, Wonder Boys, The Hand That Rocks The Cradle, 8 Mile, and the Oscar-nominated L.A. Confidential.  But, in the early 70s, he was just one of the many recent film school grads who approached Roger Corman for a job.

Having previously worked on the script for the Corman-produced Dunwich Horror, Hanson approached Roger and told him that he had an idea for a Psycho-inspired movie about a female serial killer.  Corman replied that he would help finance the film if Hanson made the killer into a man.  Hanson did so but Corman still ended up only putting up a third of the film’s budget as opposed to the two/thirds that he had originally offered.  Hanson ended up convincing his parents to take out a mortgage on their home to help finance the movie.

Hanson shot the film in 1971.  Corman said that the film showed promise but that it needed more nudity and a better title if it was going to be successful.  Corman re-edited the film and additional nude scenes were shot and inserted into the film.  Despite this, Sweet Kill was a box office disappointment when it was originally released.  Corman re-titled the film Kisses For Eddie but it didn’t help at the box office.  Finally, the film was released under a third title, The Arousers.  Despite a lurid ad campaign built around “the arousers,” the film once again failed at the box office.  It wouldn’t be until years later, when Hanson started to achieve some mainstream success, that Sweet Kill would be rediscovered.

After all of the drama that went into post-production, it would be nice to be able to report that Sweet Kill was some sort of overlooked masterpiece but, to be honest, it’s pretty bad.  The film stars Tab Hunter as Eddie Collins.  When Eddie was a kid, he used to hide in the closet and watch as his mother lounged around her bedroom in lingerie.  Now that Eddie is a grown-up and working as a high school gym coach, he is still so haunted by his mother that he’s impotent.  As a result, Eddie spends his time breaking into apartments, stealing underwear, and having a prostitute dress up like his mother so that he can undress her while sobbing.  After a chance meeting with a hippie girl leads to Eddie once again failing to get it up, he shoves the girl hard enough to kill her.  The film implies that this act of violence leads to Eddie getting aroused for the first time and soon, Eddie is killing people and …. well, that’s pretty much the whole movie.  There’s not really a plot, beyond Eddie looking confused and trying to keep his sympathetic neighbor from finding out that he’s a serial killer.

Sweet Kill has gotten some attention because of the casting of former teen idol Tab Hunter in the role of psycho Eddie.  Tab Hunter has the right blonde look for Eddie, who is basically a homicidal beach bum, but otherwise, Hunter’s performance is fairly dull.  Watching the film, it’s obvious that he wasn’t particularly comfortable with the role of Eddie and, as such, he sleepwalks through the performance.  (Ironically, Eddie was based on Norman Bates, who was played by Hunter’s former partner, Anthony Perkins.)  There are a few creepy moments where Hunter stares off into the distance with a blank look on his face but otherwise, this isn’t a particularly memorable performance nor is Sweet Kill a particularly interesting film.

That said, Curtis Hanson went on to have quite a career so, on that level, Sweet Kill‘s bland badness is inspiring.  If the director of Sweet Kill could still go on to direct and produce some of the best films of the past 50 years, there’s hope for everyone looking to achieve their dreams.  Don’t let one failure get you down.