Junesploitation 2022: La morte risale a ieri sera (1970)

June 23: Junesploitation’s topic of the day — as suggested by F This Movie— is gialo! We’re excited to tackle a different genre every day, so check back and see what’s next.

Death Occurred Last Night (also known as Death Took Place Last Night and Horror Came out of the Fog) was based on the Giorgio Scerbanenco novel Milanesi Ammazzano al Sabato (The Milanese Kill on Saturdays) and was directed by Duccio Tessari, who co-wrote A Fistful of Dollars before making his name with A Pistol for Ringo and The Return of Ringo. More to the interest of those who love black gloves and switchblades, he made The Bloodstained Butterfly and Puzzle. He co-wrote the script with Biagio Proietti, who was also the writer of The Killer Reserved Nine Seats and Fulci’s The Black Cat. Tessari even wrote the lyrics to two of the songs in this movie!

Avanzio Berzaghi (Raf Vallone) has come to Milan to find his runaway daughter and works to solve the case himself — much like an Italy proto-Hardcore — at the very same time that detective Duca Lamberti (Frank Wolff) — a character who also appears in the movies Caliber 9 and Cran d’arrêt — and his partner Mascaranti (Gabriele Tinti, husband of Laura Gemser) investigate the seamier side of the city. They finally find her body in a field, burned beyond all recognition. Now, all Berzaghi has left is seeking out revenge that will never be enough.

The film also shows flashbacks of Berzaghi’s relationship with his daughter Donatella (Gillian Bray), a three-year-old child in the body of a fully grown woman with the needs that go with the physical maturity of a twenty-five-year-old. As she lusts after nearly every man she sees, her father had intended to keep her locked up after the death of his wife, but that plan obviously fails.

A cross between giallo and poliziottecschi — each of the two storylines takes each of the genre to heart and then meet at the end — this is a film that doesn’t take its cues from Argento — it was made the same year as The Bird With the Crystal Plumage — and emerges as a unique take on the form with an even more unique soundtrack by Gianni Ferrio which doesn’t sound like any other giallo score — it doesn’t sound like any other music from a film at all — and often puts people off on this movie. Not me.

Speaking of Bird, Lamberti’s wife is played by Eva Renzi, who is so important to Argento’s film. She’s incredible here, not just the most fashionable person in the movie, but her relationship with her policeman husband is one of equal standing.

Want to discover some more giallo? Check out my list of three hundred plus psychosexual murder movies right here.

Arizona si scatenò… e li fece fuori tutt (1970)

Arizona si scatenò… e li fece fuori tutt means Arizona Went Wild…and Took Them All Out. It was released in the U.S. as Arizona Colt Returns and it’s a sequel nearly in name only, as Anthony Steffen takes over for Giuliano Gemma, changing the character from a cocky rogue to a near Eastwood Man with No Name. Only sidekick Double Whiskey (Roberto Camardiel) is on hand to remind us of the first movie.

At the start of the story, Arizona and Double Whiskey are living in peace. Then, he learns that there’s a price on his head, so he fakes his death. While in town doing that — as if it were another daily errand — Arizona is asked by a landowner named Moreno (José Manuel Martin) to rescue his daughter Paloma (Rosalba Neri, who was killed in the first movie) from Keene (Aldo Sambrell), an old enemy who of course is the one who set him up. Arizona refuses the job, as he just wants to settle down with his girlfriend Sheena (Marcella Michelangeli). However, Keene makes his mind up for him when he captures Double Whiskey.

It’s time for the hero to live up to his theme song: “I think I’m gonna get my gun. I think I’m gonna shoot someone. Bang bang.” The bad guys even crucify him on an X and dunk him in water, but nothing is going to stop Arizona.

This was the first non-documentary movie directed by Sergio Martino. He’d direct The Strange Vice of Mrs. Wardh the next year and be remembered for an incredible four year run of giallo films. I’d rank him as close to Argento and Fulci as it gets for his films, which span several genre.

You can watch this on YouTube.


Roy Colt & Winchester Jack (1970)

Roy Colt & Winchester Jack was producer Mario Bregni’s reward for Mario Bava after the director rescued Five Dolls for an August Moon. But by 1970, the Italian western genre had done just about everything that it could after nearly hundreds of movies had been released in the wake of Django and Sergio Leone’s films. That’s why Bava approached the only western he was officially credited with directing, although he helped with Two Guns and a CowardSavage GringoMinnesota Clay and The Road to Fort Alamo.

After working with Brett Halsey, who plays Roy Colt, on Four Times That Night, Bava felt comfortable including him in the idea that while the script by Mario di Nardo (RiccoYeti: Giant of the 20th Century) wasn’t great, they could totally have fun with it.

Colt and Winchester Jack (Charles Southwood) aren’t great at being criminals, so Colt moves to Carson City and becomes the sheriff. The townspeople like him so much that they give him a treasure map that leads to a fortune in gold. That same map finds its way to Jack, who leads a gang to get it first.

Both men are in love with Manila (Marilù Tolo), a Native American prostitute, and who can blame them? Tolo doesn’t get mentioned in the same breath as Edwige Fenech or Barbara Bouchet, but if she’d appeared in more giallo and horror, other than The DoubleMy Dear Killer and Shadows Unseen. She was also the only woman that fashion designer Valentino claims that he ever loved.

You might forget that this is a Bava film as it has little of his trademark visuals, other than some matte paintings of rock formations. And then there’s a scene where you see the sun rising through the eyes of a skull and you say, “Oh yeah, this was directed by Bava.”

Cold Sweat (1970)

Based on the Richard Matheson novel Ride the NightmareCold Sweat has Joe Moran — an American in France played by Charles Bronson — dealing with his wife and kids being taken by former associates that he once double-crossed.

Directed by James Bond director Terence Young from a script by Dorothea Bennett, Shimon Wincelberg and noir master Jo Eisinger, it shows just how quiet of a life Martin is living along with his wife Fabienne (Liv Ullmann) and daughter Michèle. But ten years ago, he’d been part of a gang with Katanga (Jean Topart), Ross (James Mason), his girl Moria (Jill Ireland), Whitey (Michel Constantin dubbed by David Hess) and Fausto (Luigi Pistilli) show back up and ruin his life.

Yeah, like Bronson is going to take that.

Liv Ullmann later complained that Bronson was rude to her and her daughter during the filming. When her daughter wandered over to his lunch table, Bronson brought her back and said, “Please keep your child to yourself.”

I grew up not far from Bronson and my dad always told me when we went to dinner, when and if we did, that the men in the bars had just come out of the mills and mines and just wanted some quiet. “They aren’t here to listen to you be stupid,” he said, and I get it. Bronson got it. And now Liv Ullmann’s kid got it.

You can watch this on Tubi.


Director Sergio Sollima is mainly known for westerns such as Run Man RunFace to Face and The Big Gundown, the Eurospy movies Agent 3S3: Passport to HellAgent 3S3: Massacre In the Sun and Requiem for a Secret Agent and the pirate movies SandokanLa tigre è ancora viva: Sandokan alla riscossa! and The Black Corsair

With Violent City, co-written with Swept Away director Lina Wertmüller, he was originally upset that it was going to be a traditional gangster story. He did, however, say that “we had the chance to shoot in the U.S., and I would do whatever it took to do that.” So he worked with Wertmüller to create the non-linear way that the story would be told. He also worked with Telly Savalas, who plays the main villain in a movie of bad people, to bring out the humor in his role. As for Bronson, he found him uncommunicative while his wife Jill Ireland was the exact opposite, which is probably why they worked so well together.

He said that in the end, the movie was a lot like his westerns and all about “the encounter and struggle between the individual and the society which is all around him, and the way he reacts to it.”

During a vacation, Jeff Heston (Bronson) and his lover Vanessa (Ireland) are attacked by killers sent by an old business associate who Vanessa has seemingly left Jeff for. He’s jailed and refuses to name her, even if he receives a lower sentence. As soon as he’s released, crime lord Al Weber (Savalas) wants him to work for him, but he claims he’s retired, which is a lie, as he kills the man who set him up in the very next scene.

Of course, Vanessa has been married to Weber all along and even though Jeff wants revenge on her, he can’t kill her. Weber even tells him that his love for her will be his undoing, that she’s the one pulling the strings, but Jeff’s critical flaw is in thinking that she can’t be such a person.

The movie had two major American releases, with the first distributed as Violent City by International Co-Productions and the second wide release distributed by United Artists as The Family, complete with a logo using the same font as The Godfather and a tagline that shouted
The Godfather Gave You an Offer You Couldn’t Refuse. The Family Gives You No Alternative.”

If this was to be strictly an Italian film, Tony Musante and Florinda Bolkan would have been the leads. There was also an attempt to make the movie with Jon Voight and Sharon Tate.

This is a moody and dark film that predates the poliziotteschi films while boasting a strong soundtrack by the master, Ennio Morricone. It also has a stark ending that I’ve been thinking over again and again in the days since I’ve watched the film.

The Kino Lorber blu ray release of Violent City has a 2K restoration of the movie in English and Italian with optional English subtitles, new commentary by Paul Talbot, author of the BRONSON’S LOOSE! books, as well as an interview with director and co-writer Sergio Sollima, trailers, TV spots and a second disc with a 4K restoration of Citta Violenta, an HD master of the American version The Family and a series of Bronson trailers. You can order it directly from Kino Lorber.

Il tuo dolce corpo da uccidere (1970)

Known as Your Sweet Body to Kill and A Suitcase for a Corpse, this was directed by Alfonso Brescia, who made the absolutely wild movies The Beast In Space and Iron WarriorClive Ardington (George Ardisson, Eyes Behind the Stars) has long dreamed of killing his wife Diana (Françoise Prévost), who abuses him verbally any chance that she gets and uses his money to bankroll the clinic of her lover Franz (Eduardo Fajardo). He can’t divorce her — the scandal would ruin his political aspirations — so he comes up with a plan: present an official letter claiming that Franz was part of the German enemy during World War II, then get him to murder Diana, hack her to bits and leave her in two suitcases.

Clive intends to dump the suitcases in an acid pit, but he has to fly there, which means that the suitcases are leaking all over the airport, which adds a bit of comedy to the proceedings. Even more — while one case has his dead wife in it, the other does not. Soon, Clive is being blackmailed, so his dream of escaping his life doesn’t look like it’s going to happen.

Can giallo be funny? This movie says si.

Ondata di calor (1970)

Based on Dana Moseley’s Dead of Summer, this movie fits into one of the many subcatagories of the giallo which I ineloquently refer to as women slowly going insane. Maybe F-giallo is a better term?

I thought that the gorgeous and doomed Jean Seberg only made one giallo, The Corruption of Chris Miller. She gives a truly once-in-a-career performance here as Joyce Grasse, a woman left all alone in a fabulous apartment in Morocco. As a sandstorm rages outside her windows and a man keeps staring into the windows, she listens to messages from her husband and gradually slides into depression, her only companion — before the maid arrives — is a blow up doll she finds in her husband’s room. Does it look a bit too much like her?

After watching her neighbors have sex, she decides that she should seduce a nieghbor boy, which ends awkwardly as he runs from her. As her sanity gets more fragile, a doctor (Luigi Pistilli, A Bay of BloodYour Vice Is a Locked Room and Only I Have the Key) appears.

Director Neio Risi purposefully made this movie one that doesn’t tell you anything. Is Joyce insane? Is she trapped in a world of her own making? Has she killed her husband? Why are men both fascinated and frightened by her? Was her husband more interested in the young boys he met in this foreign country than her?

For some, this movie would be slow moving. I watched it as a hang out film, seeing Seberg fall apart over the running time, as she sits and stares into space and just lies there and listens to “Crimson and Clover.” The transfer I saw had massive audio issues, warping all of the dialogue and sound design, which somehow made this even more haunting, so as she searched for Tommy James and the Shondells to remind her of what love is, the voice came back as if from the void, vibrating and angry and maybe even afraid.

L’inafferrabile invincibile Mr. Invisibile (1970)

Antonio Margheriti — the man who directed And God Said to Cain and Yor: Hunter from the Future — also made a Dean Jones Invisible Man movie, which blows what’s left of my mind. Want me to go even further? This was released in U.S. theaters by K-Tel.

Yes, it’s a Disney superhero movie, basically, but made in Italian and therefore things like an actor doing Peter Lorre for 1970s kids years past that being something they’d get it is exactly what I expect. And yes, that actor doing it is Luciano Pigozzi, Pag from Yor.

K-Tel started playing this in U.S. theaters in 1973 and kept pushing it past 1975 in matinees that offered the chance to win the dog — a stuffed one — if you attended. I can’t even imagine how much 1973 parents hated their kids to drop them off and be assaulted by this.

Jones is Peter Denwell, trying to solve the mystery of why people get a cold, when his research is stolen and he must use an Indian formula to turn invisible. There are also moments where this formula stops working and Jones is naked. This is, again, a movie for children.

The same year Jones’ co-star Ingeborg Schöner made this, she’d also be in Mark of the Devil, which is really the kind of juxtaposition I can get behind.



Che fanno i nostri supermen tra le vergini della jungla? (1970)

The title of this movie means What are our supermen doing among the virgins of the jungle? but you may know this movie better as Three Supermen In the Jungle, one of eleven films in the Three Supermen cycle of films:

There are attempts at continuity — one of the Supermen, Brad Scott (Brad Harris, The Girl In Room 2A) complains about how they were treated in the previous movie, the two years ago 3 Supermen in Tokyo except that he wasn’t even in that film — but the truth is these movies are relatively interchangeable, with the trio always kinda criminals forced to do good for the government.

Along with George (Jorge Martin) and Dick (Sal Borgese), this mission takes them to a uranium mine in the jungle and seeing how this is an Italian movie, you know that they’ll meet cannibals and white female gods to the natives, led by Jungla (Femi Benussi). Personally, I’m shocked that they didn’t beat a monkey into oblivion or murder a turtle just to prove themselves and where they’re coming from.

Director Bitto Albertini made a bunch of these films, as well as some aberrant madness like Escape from Galaxy 3Put Your Devil Into My HellReturn of Shanghai Joe and the original Black and Yellow Emanuelle films. Just the director to make what is basically a kid movie.

APRIL MOVIE THON DAY 30: The Scare Film Archives Volume 1: Drug Stories!

Something Weird has made out lives so much richer, saving the strange, the smutty, the scary and everything in between. Working with the American Genre Film Archives, they created this mixtape of sheer lunacy which adds up the scare films of the past. You’ll never do drugs again until the next time to do drugs.

This blu ray has the following movies, all uncut and in 2K:

Beyond LSD (1967): This movie astounded me because instead of telling parents that their kids are maniacs, it tells them to listen to them because they’re going through some things. How is this even real?

Director Paul Burnford mainly made shorts and documentary films, like 1944’s Nostradamus IV and the 1943 blood transfusion ten-minute epic Brothers in Blood. He also directed the first movie in the Rusty series and an entry in the A Crime Does Not Pay series, Dark Shadows, which is about a psychiatrist matching wits with a killer.

In short — it’s less about drugs and more about how to treat your kids. It’s still relevant today.

The Bottle and the Throttle (1961, 1968): Narrated by Timothy Farrell, who was one of the two narrators and the psychiatrist in Glen or Glenda, as well Girl Gang, Pin-Down GirlDance Hall RacketTest Tube BabiesThe Violent YearsJail Bait and many more. He was also a bailiff for the Los Angeles Marshal’s Department when he was acting in movies like Paris After Midnight, which was raided by the Los Angeles Vice Squad during filming.

A bunch of kids a drinking beach beers — Budweiser, Schlitz and Hamm’s — and Bill has had one too many. He ends up driving home and killing a child and breaking the back of her mother. Was it worth it?

Do you remember that wheel of how many drinks you had and how long until you sober up back in driver’s ed or health class? Man, I used to think of that all the time and here I am, now trying to gauge edibles which are magical and unpredictable lunacy when compared to whiskey.

The major difference between the 1961 and 1968 films is that the former is made with the help of the Culver City Police Department and the Culver City Unified School District while the latter is made with the West Covina Police Department. I’d like to think these organizations were scammed and paid twice for one movie.

“The little girl died on the way to the hospital and the mother will probably never walk again. No matter how your trial comes out, you’ll always have to live with those facts, won’t you Bill. A child dead. A mother crippled. Not a pleasant future to face at the age of 18.”

Pure nihilism.

Sidney Davis Productions also made The DropoutBoys Beware (an anti-homosexual scare movie), the Ib Melchior-directed — yes, the guy who wrote Death Race 2000 and directed The Angry Red Planet — Keep Off the GrassSkateboard Sense and LSD: Trip or Trap!

Curious Alice (1971): Dave Dixon, the Culture Czar, was the lead DJ of the legendary “Air Aces” on Detroit’s rock station WABX and the first person to play Sabbath, The Doors, Led Zeppelin and The Doors in the Motor City. Beyond co-writing Peter, Paul and Mary’s “I Dig Rock & Roll Music,” he co-wrote this animated film that explains drugs through Alice In Wonderland which is totally right on with the kids and four years after Jefferson Airplane did the same thing in “White Rabbit.”

The art in this movie is mind-boggling, however, and you’ll be entranced as Alice learns about LSD from the Mad Hatter, speed from the March Hare, heroin from the King of Hearts and barbituates from the Dormouse.

Made by the National Institute of Mental Health in 1971 and meant for use with ten-year-old students, if I had seen this before my teen years I would have done all the drugs in high school. The National Coordinating Council on Drug Education agreed, writing that viewers “may be intrigued by the fantasy world of drugs” after watching it.

The Distant Drummer (1970): A short-lived series of four 22-minute American documentary films that warned the kids about drugs, these were all directed by William Templeton (The Fallen Idol) and written by Don Peterson.

The first two movies in this series, A Movable Scene and A Movable Feast, were narrated by Robert Mitchum, who served 43 days at a California prison farm for possession of marijuana in 1948, a conviction that was overturned in 1951.

Here’s just a sample of Mitchum’s speech: “Thousands of snapshots on police station walls remain the only link between many of America’s most affluent families and the children who embodied their great expectations. Nearly everyone in the hippie community smokes marijuana — whether they call it pot, grass, hemp, gage, joint or mary jane — the marijuana is the basic background for the shared drug experience. The experience is shared to such an extent that roach pipes are always in demand — a roach is a marijuana butt and it requires some form of holder for those last few drags. The new generation, whether they are runaways or rebels-in-residence, use marijuana as a symbol of discontent with the basic values of the establishment. For some, there exists a social imperative beyond flaunting society’s rules — for these adventurers the mind-expanding drugs open a window on a whole new frontier…”

The other two parts, Bridge from No Place and Flowers of Darkness, were narrated by Rod Steiger and Paul Newman.

Drugs, Drinking and Driving (1971): Herbert Moskowitz is now here to explain why you should never mix the three things in the title. I love that this movie has no issues with using the Mission: Impossible theme over and over and over, flaunting copyright law with each successive refrain.

This also seems pre-Jackass with a stunt where two drivers are each given drugs, one amphetamine and one barbituates, and then told to drive for 36 hours straight until they either pass out or wreck their cars.

LSD: Insight or Insanity (1967): “Now, everybody who takes it admits that there’s always the risk of a bad trip, a bummer, a freak-out, even a flip-out. But, why be lame, baby? Give yourself a real kick. Yes, a kick in the head!”

That’s Sal Mineo talking in this Max Miller-directed (the same dude who made the Sonny Bono anti-drug movie Marijuana) film which explains what LSD is, how it’s made and when people take it they jump in front of cars and take leaps off cliffs like Diane Linkletter out of the windows of the Shoreham Towers, blamed on LSD even if the last person who saw her alive — Edward Dunston — may have also was the last person to see actress Carol Wayne alive. Then again, both Dunstons could be different people and for some other reason, people seem to confuse them with David E. Durston, the man who taught us that Satan was an acidhead in I Drink Your Blood.

See, I may make some detours, but I always get you back on the road.

This ends with a Russian Roulette freakout and Mineo singing over the closing credits, which inform us that everyone in this movie was not an actor. You won’t be surprised.

LSD 25 (1967): Directed by David Parker and written by Hank Harrison — the father of Courtney Love — this movie is narrated by an LSD tab which proves that the creators of this may very well be getting high on their own supply.

“Today, you’re high. Tomorrow, you’re dead.”

Yes, LSD starts all happy explaining all the good things it does and by the end, your fingerprints can’t get out of any police database.

So go ahead and take that sugar cube. You’ll learn all the secrets of the infinite and then, you know, you won’t be able to tell anyone.

Because you’ll be dead.

Narcotics the Decision: Goofballs and Tea (1958): Written by Pittsburgh native Roger Emerson Garris, who was the story editor for the Sherlock Holmes TV series, this police training film is all about barbituates and marijuana. Yes, people once called drugs these words.

Narrated by Art Gilmore, who was on Dragnet and voiced the radio announcer on The Waltons, this movie lets kids know that it starts with sneaking their parent’s booze and ends up with you in jail, dead or worse. Avoid weed, avoid malt shops, avoid everything.

None for the Road (1957): Margaret Travis wrote 83 shorts that we know of, movies like The Other Fellow’s FeelingsHealth: Your Clothing and Rowan and Martin on the Driveway One Fine Day, an industrial film for Phillips 66 Petroleum where the future Laugh-In stars run a gas station. This movie, too.

But the director? That’s Herk Harvey, who made around four hundred or more industrial films like Shake Hands with Danger. And one very important movie, Carnival of Souls.

Three men all use alcohol in different ways: not at all, a little and too much. They’re like the lab rats that we later see injected with alcohol, which sounds like a good way to spend a weekend. But wow, we’ve been warning people about drunk driving for 65 years and not everyone listens.

The Trip Back (1970): It’s no accident that an episode of Strangers With Candy was titled “The Trip Back.” Jerri Blank on that show is literally the star of this movie, Florrie Fisher, played for comic effect.

Fisher was married four times by the time she filmed this speech, first an arranged marriage, then to a pimp, then another drug addict and finally to a man she met via the mail. She credited her recovery to Synanon, which was originally established as a drug rehabilitation program and became one of the most dangerous and violent cults America had ever seen.

Wait, what?

Founded by Charles E. “Chuck” Dederich Sr., Synanon — a mix of togetherness (“syn”) with the unknown (“anon”) — was an alternative community centered on group truth-telling sessions called the “Synanon Game”, a form of attack therapy during which participants humiliated one another and exposed each other’s innermost weaknesses. There are theories that Dedereich was given LSD by Dr. Keith S. Dittman and Dr. Sidney Cohen, as well as encouraged to start Synanon as part of the CIA MK Ultra program.

Headquarted in a former beachfront hotel in Santa Monica called the Club Casa del Mar, women who joined Synanon had to shave their heads. Men were given forced vasectomies. Pregnant women were forced to abort their babies. Married couples were broken up and had to take new partners as the group became the Church of Synanon.

After Synanon’s transition into an alternate society in 1968, the game became a 72-hour ordeal for most members. The program of rehabilitation went from two years to a lifetime rehabilitation program, as they now preached that addicts would never truly be well enough to return to society.

Throughout this period, San Francisco area media covered the adult and child abuse caused by the church, but were often sued for libel by Synanon’s lawyers. If all of this sounds like Scientology, well…there was a group within the group called the Imperial Marines authorized to beat members into oblivion.

When NBC started reporting on the church in the late 70s, executives received hundreds of threats and Paul Morantz, a lawyer who had helped members escape, had a de-rattled rattlesnake placed in his mailbox. It bit him and put him in the hospital. A police search found a tape of Dederich speaking about Morantz, saying: “We’re not going to mess with the old-time, turn-the-other-cheek religious postures. Our religious posture is: Don’t mess with us. You can get killed dead, literally dead/ These are real threats. They are draining life’s blood from us, and expecting us to play by their silly rules. We will make the rules. I see nothing frightening about it. I am quite willing to break some lawyer’s legs, and next break his wife’s legs, and threaten to cut their child’s arm off. That is the end of that lawyer. That is a very satisfactory, humane way of transmitting information. I really do want an ear in a glass of alcohol on my desk.”

The teachings of Synanon influenced groups like CEDU, Daytop Village (the very place Nancy Reagan visited and became aware of the drug problem, which led to Just Say No), Phoenix House and those boot camps that always show up on daytime talk shows.

Back to Florrie Fisher.

An interview with David Susskind led to her appearing on The Mike Douglas Show, speaking at schools and an autobiography, The Lonely Trip Back. This film captures her speaking at a New York City high school, barraging the audience with a rambling dissertation on turning tricks, six of her marijuana friends all dying in the chair, jailhouse sapphic antics and shouting things like “I now know that I can’t smoke one stick of pot! I can’t take one snort of horse! I can’t take one needle of cocaine because I am an addictive personality! And that’s all I need is one of anything. Ya know I need one dress. If I happen to like this dress in tan, I buy the same dress in green and black and pink. This is the type of personality I am!”

Despite how horrible Synanon was for some, it worked for Florrie. Sadly, she died during the lecture tour she’s on in this movie due to liver cancer and kidney failure.

This movie is totally worth the price of this entire blu ray.

Users Are Losers (1971): Think drugs are for teens? This kid is saving up his milk money to pay for his habit, doing odd jobs and being incredibly thrifty just to get some marijuana. It made me think, parents are always on kids for throwing their money away, but this kid knows what he wants, works hard for it and then is selfless and shares what he gets with his friends.

Some kids also find one of their friends dead on a mattress and some young narc says, “If you blow pot, you’re blowing your future.” Get off my TV, kid.

Plus, you also get DRUG STORIES! NARCOTIC NIGHTMARES AND HALLUCINOGENIC HELLRIDES, a full-length mixtape from the AGFA team.

Now if you’ll excuse me, I must go blow some pot. Get toasty toast. Go clambaking. Fly Mexican Airlines. Run within an endless field. Walk the green ducks. Roll into the Backwoods. Be a ninja. Do some chiefing at the Rooney statue.

You can get this from Vinegar Syndrome.