Write for us — topics for the next few months

We’re always looking for more writers to be part of the site. Sure, we don’t pay, but we’re willing to let you write about just about any movie that you want to, at any length and in any style or format. We get around 1,000 visitors a day and share our reviews on Letterboxd, IMDB, Amazon, Rotten Tomatoes, Facebook and Twitter, so your work will get an audience. writerswanted2

Here are the themes for the next few months:

AUGUST

  • August 15-21: Open week. Pick anything! Due August 14.
  • August 22 – 28. Full Moon Studios. Due August 21. All films picked/scheduled, but not claimed/reviewed. Check with us and pick your films!
  • August 29-September 4: Rock and roll movies. Due August 28. (Check out Rock ‘n’ Roll Weeks PART 1 and PART 2 to see what we’ve done and what we need.)

SEPTEMBER

  • September 5 – 11: All Giallo Week, be it Italian and Spanish classics, or newer retro flicks. We’ve done so many already, but there are always new reissues on Blu and DVD of the classics, as well as new retros. Check out our “Exploring Giallo” feature for the ones we’ve done.
  • September 12-18: Shot on Video films. Like Things? Come on down. (And check out our SOV ’80s category link to see what we’ve done).
  • September 19-25: Video Nasties! We also need help moping up our three-part U.K. Video Nasties “Exploring” lists. You can visit the links for more information. Also check out this IMDb list of all the “Nasties” to help in your deciding on the films you want to review.

Here’s what we have left to review. All others are either done or claimed, written and ready to post.

Section 2

  • Boogeyman II
  • Human Experiments
  • I Miss You, Hugs Kisses
  • Killer Nun
  • Possession
  • Women Behind Bars

Section 3

  • Black Room
  • The Chant of Jimmie Blacksmith
  • Demented
  • Erotic Rites of Frankenstein
  • The Evil
  • The Executioner
  • Foxy Brown
  • Headless Eyes
  • Hell Prison, aka Escape from Hell
  • The Killing Hour
  • The Last Hunter
  • The Les Demons
  • Love Butcher
  • The Mark of the Devil
  • New Adventures of Snow White
  • The Parasite
  • Scanners – CLAIMED
  • Schoolgirls in Chains
  • Scream for Vengeance!
  • Shogun Assassin
  • Street Killers
  • Toy Box – CLAIMED
  • The Werewolf Woman
  • Wrong Way

  • September 26-30: Japanese movies.

OCTOBER

  • All slashers! Send us your favorite slasher movies!

NOVEMBER

Mill Creek month! Every year, we do a month of a Mill Creek multipack and this time we’re covering the Drive-In Movie Classics fifty pack, which includes:

Absolution
Beast from Haunted Cave 
Black Hooker
Blood Mania 
Breakout from Oppression
Count Dracula and His Vampire Bride 
Country Blue 
Craze 
Creeper 
Day of the Panther 
Don’t Look in the Basement 
Don’t Open Till Christmas 
Going Steady 
Horror of the Zombies 
I Wonder Who’s Killing Her Now? 
In Hot Pursuit 
Invasion of the Bee Girls 
Jive Turkey
Katie s Passion (
Legacy of Blood 
Legend of Big Foot 
Mad Dog
Moon of the Wolf
Nabonga  
Night Train to Terror 
Prime Time 
Prisoners of the Lost Universe 
Rattlers 
Savage Journey 
Savage Weekend 
Shock (1946)
Single Room Furnished
Slave of the Cannibal God
Snowbeast 
Spare Parts 
The Devil with Seven Faces 
The Devil’s Hand 
The Firing Line
The Guy from Harlem 
The Island Monster
The Lazarus Syndrome
The Manipulator 
The Murder Mansion 
Throw Out the Anchor 
TNT Jackson 
Trauma (1978)
Treasure of Tayopa 
Twister’s Revenge 
Voodoo Black Exorcist 
Women of Devil’s Island 

If you want to be part of the site, just email us at bandsaboutmovies@gmail.com. We look forward to having you write for us!

Dune (1984)

I can’t imagine being the father of a kid who dragged you to the theater to see Dune without you knowing a single thing about it. This is a movie that spends the first ten minutes explaining the world of Dune and how important melange — spice — is, extending life, expanding consciousness and allow space to be folded. There’s also an insane amount of nonsense words blasted at the viewer, stuff like landsraad, gom jabber and sardaukar. Sure, people who devoured the books — hi, I was 12 and never thought I’d ever see a naked woman ever — were ready for the movie. But man, even I can admit that the film can be impenetrable.

They gave out a glossary before the movie! Yes, a glossary!

For years, this movie lived in development hell. First, there was an attempt by Apjac International — — headed by Arthur P. Jacobs, the producer of the Planet of the Apes films — to make an adaption with David Lean. One assumes that he was picked because he’d already made Lawrence of ArabiaAnne of the Thousand Days and Condorman director Charles Jarrott was also asked, but Jacobs died in 1973 and the rights went to a French consortium.

That’s when Alejandro Jodorowsky started his quixotic quest to make this movie, as told in Jodorowsky’s Dune. If only that movie had come to the screen — planned to star Brontis Jodorowsky as Paul Atreides, Salvador Dalí as Shaddam IV, Orson Welles as Baron Vladimir Harkonnen, Gloria Swanson as Reverend Mother Gaius Helen Mohiam, David Carradine as Duke Leto Atreides, Hervé Villechaize as Gurney Halleck, Udo Kier as Piter De Vries and Mick Jagger as Feyd-Rautha with music by Pink Floyd and Magma. As the storyboards, designs and script neared completion, the money stopped coming in. All we have to see for the effort are the designs by Chris Foss, Jean ” Moebius” Giraud and H.R. Giger, but man — what could have been*.

Dino De Laurentiis acquired the rights from the consortium and hired Herbert to write a new script and Ridley Scott to direct, but a combination of the pain of Scott’s brother Frank dying and the sheer level of work that would be needed to make the film caused Scott to leave the project.

By 1981,  De Laurentiis renegotiated the rights from Herbert. After his daughter Raffaella saw The Elephant Man, she told her father that David Lynch was the man to make the film, despite the fact that he never read the book, didn’t know the story and didn’t like science fiction. He agreed to make the film, turning down the opportunity to direct Return of the Jedi.

Lynch worked on seven different scripts for the film and his initial cut was four hours long. Universal expected a two-hour movie and that led the filmmakers to cut numerous parts of the film, film new ones and add the opening voiceover that attempts to explain the story. There’s another version that tries to explain even more — the extended cut — that Lynch took his name off of and replaced with Alan Smithee**. As the director would later say — he rarely will discuss the film, won’t be part of a director’s cut and considers it the only failure of his career –“I started selling out on Dune. Looking back, it’s no one’s fault but my own. I probably shouldn’t have done that picture, but I saw tons and tons of possibilities for things I loved, and this was the structure to do them in. There was so much room to create a world. But I got strong indications from Raffaella and Dino De Laurentiis of what kind of film they expected, and I knew I didn’t have final cut.”

As for Jodorowsky, he was upset that Lynch had the opportunity to make this film yet he believed that he was the only other director capable of making the movie. He refused to see the film until his sons made him go and he ended up being overjoyed, seeing that it was a failure. He said that he knew that the fault was not Lynch’s but the money men.

Herbert would say in his short story collected Eye, “I enjoyed the film even as a cut and I told it as I saw it: What reached the screen is a visual feast that begins as Dune begins and you hear my dialogue all through it.”

As for the critics, they hated it. Harlan Ellison claimed that this was because they were denied early access to the film. Luckily, over the years, people have come around to seeing this as a flawed piece of art.

Dune is a movie that simple to explain — a young nobleman named Paul Atreides becomes the leader of a band of rebels on a desert planet — and difficult at the same time to really go into, because the original book is 412 pages of Herbert being inspired by psilocybin and cultivating mushrooms.

I’ve always just tried to go along for the ride and enjoy the astounding visuals and the cast in this. I mean, José Ferrer, Freddie Jones, Sting, Brad Dourif, Kyle MacLachlan, Jack Nance, Patrick Stewart, Jürgen Prochnow, Paul Smith, Dean Stockwell, Max von Sydow and Sean Young all in one movie***? And sandworms? And energy shields that look like Atari graphics?

Also, to this day, I remain stunned that they made coloring books and action figures for this movie.

Dune is available in limited edition UHD, blu ray and steelbook editions. Each has the new 4K restoration from the original camera negative, while the UHD and blu ray editions come with a sixty page book featuring new writing on the film by Andrew Nette, Christian McCrea and Charlie Brigden. If you’re into extras, all of these releases are beyond stuffed with them, such as commentary tracks by film historian Paul M. Sammon and Mike White of The Projection Booth podcast; the documentary Impressions of Dune; multiple featurettes on the making of the movie; eleven deleted scenes; the 1983 featurette Destination Dune, originally produced to promote the film at conventions and publicity events; features on the film’s toys and music — with Toto interviews!; and even more interviews with people like Paul Smith, make-up artist Giannetto de Rossi, production coordinator Golda Offenheim and make-up effects artist Christopher Tucker.

If you have any interest in Dune at all, trust me, you need to have this release. Plus, as one of the first UHDs I’ve added to my movie collection, it just looks incredible.

*To be fair, it would have been a 14-hour movie that was only inspired by the book. Herbert said that the script was “the size of a phone book.”

**The name he chose for the screenwriting credit was Judas Booth, which is a play on two traitors and how he felt about the producers of Dune.

***Aldo Ray was originally cast in the role of Gurney Halleck but his alcoholism was out of control. His wife Johanna ended up casting many of Lynch’s films and their son Eric DaRe was Leo on Twin Peaks.

Philippine War Week: Devil’s Dynamite (1987)

Editor’s Note: This review ran on December 19, 2020. We’ve brought it back for our “Philippines War Week” tribute of films.

Look, there’s no such person as Joe Livingstone, the director of this movie. Or William Palmer, its writer. They’re both Godfrey Ho, the Hong Kong Ed Wood who made at least eighty movies from 1980 to 1990 and may have used over forty screen names, making him the Asian Aristide Massaccesi.

Ho is the master of a cut and paste style of filmmaking that challenges the notions of art and copyright clearances — or he’s a hack out to make a quick buck. He’s also famous for dropping footage of ninjas into movies even if the plot doesn’t call for it. I take issue with this: movies always call for more ninjas.

His love of the word ninjas also led to making movies that have titles like The Ninja Force, Ninja The Protector, Full Metal NinjaThe Ninja SquadThunder Ninja Kids: The Hunt for the Devil BoxerNinja Terminator, Zombie vs. Ninja, Thunder Ninja Kids in the Golden AdventureNinja Force of AssassinsNinja Knight Brothers of Blood, Ninja of the Magnificence, Ninja Powerforce, Ninja Strike ForceThe Ninja ShowdownPower of NinjitsuNinja’s Extreme WeaponsNinja’s Demon MassacreCobra vs. NinjaDeath Code: NinjaGolden Ninja InvasionRage of NinjaNinja: The BattalionEmpire of the Spiritual NinjaNinja Operation 7: Royal WarriorsNinja CommandmentsNinja In ActionNinja: American WarriorNinja Operation: Licensed to Terminate, Ninja Operation 6: Champion on Fire, Ninja Phantom Heroes, Bionic NinjaTough Ninja the Shadow WarriorTwinkle Ninja Fantasy (that’s one I gotta track down), The Blazing Ninja and probably ten movie ninja movies. Seriously, those guys are like cockroaches.

He would film footage for one movie, then re-use those shots over and over, which kind of makes him the Asian Roger Corman, but then he’d also find obscure Thai, Filipino and other Asian films, then graft them onto his movies — making him the Asian Bruno Mattei? — and then have several movies made with the budget of one, except no one can even tell where his footage begins and where the other films end.

Ho didn’t stop with stealing footage. He has no idea that music is a copyrightable thing either, so his movies are filled with all manner of sonic thievery, including songs from Miami Vice, Star TrekStar Wars, anime and even music from Wendy Carlos, Chris & Cosey, Tangerine Dream, Clan of Xymox, Vangelis and Pink Floyd.

Other than some rich musicians and the gullible film public, who gets hurt, right? Well, Richard Harrison, for one. He’d worked with Ho in the past at Shaw Brothers and made a deal to be in a few of his films. A few movies ended up being, well, a veritable onslaught of low-level ninjas films with his name above the title, which did damage to his career. Harrison was the unwilling feature actor in almost a dozen different movies, which sent him back to the United States. Yes, a guy who worked for everyone from Alfonso Brescia, Antonio Margheriti and Alberto De Martino to appearing in Bruce Lee ripoffs and Eurospy films had finally had enough.

And then, out of nowhere, Ho was making mainstream movies. Well, as mainstream as a Cynthia Rothrock film would be. After directing her in Honor and Glory and Undefeatable, he also made Laboratory of the Devil, a remake/remix/ripoff/ unauthorized sequel of The Man Behind the Sun. And then, he went back to his old tricks and used all the same footage to make a sequel to that movie, Maruta 3 … Destroy all Evidence. And then…

Somehow, this movie is 81 minutes and feels like nine hours. It’s all about Alex, who we also find out is the Shadow Warrior*, and now, he has to fight a smuggling ring who are all vampires, which as we all know, hop in China. No one at all is surprised that vampires exist. It is just matter of fact. There’s also a gambler looking to get even with the mob boss who sent him to jail, in case you get bored.

This is also somehow a sequel to Robo Vampire. Trust me, you have no reason to watch that. Or this. I mean, this movie has a silver lame suited superhero moonwalking against vampires, so really you can do whatever you want. Also, this movie makes so little sense that Robo Vampire could very well be the sequel, for all we know.

The poster is pretty awesome, though. And to be perfectly honest, I love these movies.

If you decide you can handle a director who makes Jess Franco look like Fellini, this is on Tubi.

*Shadow Warrior has the kind of costume that’s so horrible, Rat Fink A Boo Boo are both laughing at him.

Philippine War Week: American Commandos (1985)

You have to feel bad for the Vietnam vets in this movie. They go back to Nam with the best of intentions, hoping to destroy the Golden Triangle’s drug empires, but when they get there they learn that their fellow soldiers are the ones behind it all.

How did they get there? Well, Chris Mitchum had a gas station that he stopped some criminals from robbing, so they responded by killing his adopted son and assaulting his wife. Instead of, you know, going through counseling and working through it, she decides that the best thing she can do is kill herself while he’s calling the cops. I’m not one to tell anyone how to deal with their grief, but somewhere between anger and bargaining and acceptance and hope is drawing up the plans for a mobile battle RV and building motorcycles with rockets on them.

I mean, this movie starts out as Death Wish, has our hero get arrested and then the authorities tell him to get together with his old commandos and go do some real killing. This feels like the kind of movie a bunch of strange children with too many G.I. Joes and perhaps too much knowledge of cocaine would film on their parent’s camcorder in stop motion. Inside their mind, the movie looks like the stuff of dreams. To adults, it looks like an action figure just standing there while children scream things about adopting babies in flashback sequences.

This is a movie that has a commando unit named the Rat Bastards and an adopted Vietnamese child named Charlie. If you can commit to that — and you love John Phillip Law as much as I do — then you really can’t lose.

Here’s how the hiearchy of renting movies worked in the 80s: Are all the Stallone, Arnold and Van Damme movies out? Then reach for some Michael Dudikoff. Oh, those are out? Does the store have any Cirio Santiago stuff? Good deal. No? They’re all out? Well, I guess Bobby A. Suarez will do. I recommend Cleopatra Wong and another movie he wrote Bionic Boy.

And this movie obviously.

You can watch this on YouTube.

Philippine War Week: Deadly Commando (1982)

Also known as Suicide Force, this film comes to us from the dual directing team of Nick Cacas (Jungle Fighters and the Ron Marchini-starring Forgotten Warrior) and Segundo Ramos (who has fifty-six films to his credit, but let’s go with Eastwood and Bronson as an example, a movie that has Richard Gomez and Joey Marquez playing the two action heroes in a parody film).

An American general has been kidnapped by Muslim separatists and Captain Borbon and his Savage Six have been released from a military prison to bring him back alive. They’re joined by Adora, a rebel whose brother is the very person who kidnapped the general and wants nothing more than for the war to never end.

Every one of these Vietnam in the Philippines movies ends with a gigantic explosion and this one is no different, however, the last minute of this movie is completely wild.

You can watch this on YouTube.

Philippine War Week: Saigon Commandos (1988)

Editor’s Note: Thanks to Paul Andolina, whose website is Wrestling with Film, for sending this to us to express his love of Philippine war flicks. This review first ran on October 15, 2018, and we’ve brought it back for our week-long “Philippines War Week” tribute.

Every October since about 2014, I’ve participated in a friendly movie watching competition called the Halloween Horror Movie Marathon Madness. The first couple years I joined in I tried to stick to horror movies as much as possible. However since certain actors and directors are considered Wild Cards during the Madness I can get away with non horror fare. Such is the case with today’s film, Saigon Commandos. I came across this film while searching for movies starring P.J. Soles, who most will recognize from Carpenter’s film Halloween.

Saigon Commandos centers around a Military Police officer named, Stryker, during a drug war, a series of murders and an election happening in Saigon, Vietnam during the Vietnam War. It is based on a book in a series of novels written by Nicholas Cain, who served as an MP in Vietnam. He couldn’t get his memoirs published but was told they would publish his works if he fictionalized them with more violence and sex. The series ran for twelve novels, Saigon Commandos being an adaption of the ninth one.

Released in 1988 and starring Richard Young as Stryker, and P.J. Soles as a journalist, Saigon Commandos is not too easy to find. This is a shame as I found it to be a decent film concerning the Vietnam War that didn’t solely focus on what was going on in the jungles but more on what was happening in Saigon. Corruption is running rampant, heroin flows freely in the city streets, and someone is going around killing people with hollow point rounds. I knew I was in for a treat when it opened with a Vietnamese band singing House of the Rising Sun in a bar/stripclub. At times it felt like it was unintentionally funny especially when an AWOL soldier is shot in the ass by drug dealers. As he is on the examination table in the medic’s office in Camp Pershing, he screams in a manner that has to be heard, I found myself cracking up. 

There are quite a few plot points happening at once in this film, with Stryker dealing with an AWOL Specialist who has made it his mission to get vengeance when some of the corrupt politician Trui’s men kill his fiancee when trying to get to Stryker. There is also an investigation into who exactly the hollow point killer is, as well as Trui and his men trying to win the election by fear mongering.

This film has a bit of action and even a small skirmish in the jungles of Vietnam when Stryker is forced to head into the shit to get two of his friends to sign a disposition backing up his alibi when his commanding officer of the military police turns up shot in the head in his bed after a night of Stryker’s heavy drinking.

I had very low expectations for this film and it turned out to be quite fun. If you can manage to track down a copy, I highly recommend it. I bought a German DVD that has both German, and English audio tracks. The picture quality isn’t the greatest but I think it adds to the enjoyment of it. 

The Comedy of Terrors (1964)

American-International Pictures follow up to The Raven, this movie reunites Vincent Price, Peter Lorre and Boris Karloff. Adding to the trio is Basil Rathbone, giving this film an astounding cast. They’re all working from a script by Richard Matheson and direction by Jacques Tourneur, who for my money made some of the greatest horror movies ever like Night of the DemonThe Leopard Man and Cat People.

Price is Waldo Trumbull, a funeral home owner, a business that he stole from his partner Amos Hinchley (Karloff) after marrying his daughter Amaryllis (Joyce Jameson). They only have one coffin, which saves them money, as Felix Gillie (Lorre) dumps the bodies when he isn’t setting up the death of wealthy clients.

Rathbone plays John F. Black, Esq., the landlord that tries to evict Trumbull but keeps dying and coming back to life, giving soliloquies and dying again. The cat, who keeps waking him up due to allergies, is played by Orangey the cat, who also menaced The Incredible Shrinking Man.

While a fun movie, this one could have really used Corman’s touch. That said I’m a big fan of Tourneur. It wasn’t a big success, but it’s still worth a watch. You might even spot the hearse coach that now is part of Disneyland’s Haunted Mansion.

This new Kino Lorber release has commentary by film historian Tim Lucas, a feature on Matheson, a trailer and a great looking slipcase. You can get it directly from Kino Lorber.

Chanoc y el hijo del Santo contra los Vampiros Asesinos (1983)

Just over a year after his retirement in late January 1984, Santo removed his mask just enough to expose his face on national television. This was the only time that he had shown his face in public and is considered him saying goodbye to the public, as he died only one week later. He was buried in his mask and ten thousand people gathered to say goodbye.

This film was made a year before and features El Santo sitting inside a cave where we can see the famous silver mask in a glass case. He asks a young man in sunglasses if he is ready to accept the family’s tradition of fighting for the common man and serving justice*. Santo tosses a smoke capsule at the young man, who emerges as El Hijo del Santo and embraces his father, who walks away from the rest of the film.

Chanoc** (Nelson Velazquez) and his sidekick Tzekub (Arturo Cobo) have been tossed into the ocean by smugglers and are rescued by El Hijo del Santo (who only appears in his mask three times and instead wears those shades to hide his identity) and his sidekick Carlitos (Carlos Suarez). As for the vampires in the title, the gang members are merely dressing as them to scare people away.

I wanted to enjoy this movie but I realize the further from reality lucha films stray, the more I tend to love them. This is not one that transcends our day to day drudgery.

You can watch this on YouTube.

*Thanks to Cult Faction, I can share that speech: ““My son, you have been preparing to take my place. I’ve taught you to love the poor and the weak, and now you are ready to help them and defend them, to fight for justice and the law. And above all, to be the friend of the people. I am going to present you with this mask, which has been my pride and my emblem. When you put it on, you will have to honour it always, even when your own existence is endangered. If you feel capable of consecrating your life, swear to it as I did. But first, you have to know one thing: once you put it on, you can never go back. Now tell me, are you willing?”

**Chanoc is an adventurer and fisherman who comes from the comics and has appeared in Chanoc,  Chano en las garras de las fierasChanoc contra el tigre y el vampiroChanoc en las tarántulasChanoc en el foso de las serpientesChanoc en la isla de los muertos and Chanoc en el circo union.

La Sombra del Murciélago (1968)

Federico Curiel was a maniac and I mean that in the very best of ways. He wrote tons of great movies like El Baron del Terror, as well as directing stuff like the Nostradamus vampire movies, lucha films with Neutrón, Blue Demon and Santo, Westerns such as Super Colt 38 and so much more. He’s also the man who brought together so many luchadors for The Champions of Justice series.

Here, he delights us yet again with the tale of El Murcielago, a former wrestler who has become disfigured and obsessed with singer Marta Romano as he sits in his cave, wearing a jeweled robe, playing an organ and being generally awesome. He takes this beautiful girl and hides her away from the rest of the world to watch him fight and kill a series of other wrestlers until Blue Demon decides that he’s going to save the wrestling business.

The joy of lucha libre movies is that astounding things can just happen. Men can be disfigured and take over caves filled with henchman who listen as they regale them with dibble dabble keyboard musings and the rantings of a madman. Beautiful singers can be kidnapped and scream at every rat they ever see. And Blue Demon can show up and solve everything with wonderful violence.

There are also four musical numbers, which feels just about the right amount.

You can watch this on the amazing White Slaves of Chinatown channel on YouTube.

Girl Gang/Pin-Down Girl (1954)

EDITOR’S NOTE: We covered Pin-Down Girl under its other title, Racket Girls, earlier this year. Thanks to this Kino Lorber re-release of Something Weird’s The Golden Age of the Exploitation Picture imprint, we’re watching it again.

Girl Gang is really about Joe (Timothy Farrell), who leads the titular group of young ladies. He hooks them on drugs, then gets willing participants in the crimes of robbery and prostitution. Farrell would play pretty much the same role, under the same name, in 1957’s Gun Girls. His main girl June is played by Joanne Arnold, who was the Playboy Playmate of the Month for May 1954.

This is the kind of movie I find myself loving when I’m not watching Italian splatter or Mexican lucha movies: too old to be teenagers getting in trouble and dragging down everyone else with them.

Pin-Down Girl also has Farrell, this time as Umberto Scalli, a women’s wrestling manager who uses the world of pro wrestling to hide all of the racketeering, bookmaking and prostitution he has his dirty little fingers wrapped up in. Oh yeah — he also owes the mob enough money for them to want him dead.

Peaches Page, Clara Mortensen and Rita Martinez were all real wrestlers in a movie that threatened to show the real side of the business.

Farrell had already played Scalli in The Devil’s Sleep and despite getting killed by organized crime at the close of this film, he would come back for Dance Hall Racket, which has Lenny Bruce and his wife Honey Harlow. Now that I think of it, Scalli dies in every movie he shows up in. Is he an eternal man forced to be killed again and again for the sins of vice and wrestling women?

The man playing these roles was no saint either. At the same time that he was making these movies, the actor worked as a bailiff for the Los Angeles Marshal’s Department. He was embarrassed at work when he — and the entire cast — of Paris After Midnight was arrested by the Los Angeles Vice Squad as they made the movie. Things went pretty well after that with Farrell being appointed the County Marshal in 1971. But in 1975, he was fired after his conviction on felony charges for illegal use of deputy marshals in political activities. He would have gone to jail for six months, but just got probation because he was in bad health. He spent the rest of his life managing properties and a lumber mill when he wasn’t saving animals with his wife, so perhaps he learned his lesson.

Both of these movies came to be because of producer George Weiss, who is perhaps best known for getting Glen or Glenda? out there, as well as padding the film with nonsensical sequences of BDSM and dancing women. He’s also the man responsible for producing Olga’s House of Shame, White Slaves of Chinatown, Olga’s Girls, Mme. Olga’s Massage Parlor and Olga’s Dance Hall Girls, a series of roughie films that scandalized the screens of their era, as well as providing insidious influence for the Findlays and John Waters.

I truly appreciate that these films are being released on blu ray and preserved for generations of weirdos like me who may come in the future.

The Kino Lorber blu ray re-release of these films has Girl Gang and Pin-Down girl remastered in 2K from the original and re-release 35mm negative. The former has commentary by Alexandra Heller-Nicholas while the latter has a commentary track by Eric Schaefer, author of Bold! Daring! Shocking! True!: A History of Exploitation Films 1919-1959.