After pretty much creating the nurse cycle for Corman with The Student Nurses and then directing The Velvet Vampire, Stephanie Rothman and her husband Charles Swartz left New World for Larry Woolner’s new Dimension Films. It was still exploitation, and she didn’t have much creative control, but it was more money and the opportunity to own some of the movies that she was making.
We’re all the worse for this, as her films are progressive in 2024 and had to be incendiary in the 1970s.
This starts in a rental car office, where we meet Chris (Aimée Eccles, Ulzana’s Raid, Paradise Alley) and Judy (Jayne Kennedy!). Well, Judy isn’t in this, but Jayne Kennedy is always a welcome actress in any film. Chris has issues with her boyfriend, Sandor (Solomon Sturges, son of Preston, who is also in The Working Girls), who pretty much berates her at any opportunity and is only concerned with writing acerbic bumper stickers. He flips out that he doesn’t have a working car, so she has to hurry home and fix it — the women in this movie don’t just have agency, they’re all more capable than the men — and that’s when she rides in the same taxi as Dennis (Jeff Pomerantz). This leads to Dennis trying to get them to stop fighting, staying overnight, having his girlfriend Jan (Victoria Vetri, Playboy Playmate of the Month for September 1967 and 1968 Playmate of the Year; she’s also in Rosemary’s Baby, playing Terry Gionoffrio, and in Invasion of the Bee Girls) break up with him and sleeping with Chris.
Before you know it, Dennis is introducing Jan to the couple, and all four are in an intertwined relationship. That soon becomes five when the women — who are just as in charge of their sexuality as the men — fall for a lifeguard named Phil Kirby (Zack Taylor, The Young Nurses). Yet he feels a little lonely and starts looking for someone else. At this point, I was marveling at how beautiful everyone in this movie is. And that’s when Phil’s partner, Elaine (Claudia Jennings, there’s a reason to watch this!), is introduced. Sure, she’s a lawyer representing his ex-wife in the divorce, but she wants him.
Everyone decides to get married, but Jan doesn’t want commitment, even if they have the opportunity to be with different people within their poly group. But then people start showing up trying to be part of the group, and some go wild and try to firebomb their house. Dennis even loses his job. Elaine decides to figure out how to make group marriage legal, which leads all five to get married. And wow, I lied before, because Judy ended up with Dennis, so now there are six. I mean, seven! Chris is pregnant.
How progressive is the California of Stephanie Rothman? Not only can these people all create their own marriage, but their gay neighbors Randy (John McMurtry) and Rodney (Bill Striglos) are also able to be husband and husband, 22 years before the first legal same sex marriage in America.
Other than the John Sebastian song “Darling Companion” and the stereotypical mincing gay couple, there’s a lot to celebrate here. It’s erotic, sure, but never feels filthy or even exploitative. This is at once a humorous but thoughtful take on the good and bad of being married to six people. As always, Rothman’s work is nearly current today, and many of her movies were released before I was born.
This was re-released by 21st Century as a double feature with The Muthers.
EDITOR’S NOTE: Cinematic Void will be playing this tomorrow at 7:00 p.m. at the Music Box Theater in Chicago (tickets here). For more information, visit Cinematic Void.
In this film, she plays Grace, the wife of Fred (Gabriele Tinti, Endgame) and their vacation has led them to Haiti and Dr. Williams (Anthony Steffen, who primarily is known for Italian westerns, but also appeared in The Night Evelyn Came Out of Her Grave, Evil Eye and An Angel for Satan), who has invented a new drug that can change the world. It’s so astounding that everyone from drug cartels to drug companies — which are really close to one another, when you really think about it — will kill for its formula.
There’s also a scene where the doctor takes our heroes to watch a voodoo ritual, all so this movie can have a bit of mondo* within it. Because it’s an Italian film, that means we’re about to watch a real bull really get killed and then lose its scrotum in gorgeous living color. The film then tops this with actual cows being slaughtered, so if you’re upset by the side of Italian cinema that doesn’t shy away from putting animal butchery right in your face, make a mark to avoid.
This movie leaves me with so many questions. What kind of doctor is Williams? He says he’s a veterinarian, then he makes a magical antivenom drug, and oh yeah, he’s also a meatpacking inspector. And just what kind of wonder drug has he made? And did the filmmakers realize that the Tropic of Cancer is nowhere near Haiti?**
So yeah — most of the movie is spent wondering whether Grace will succumb to the lure of the native men***. And the best character in it is Peacock (Alfio Nicolosi, who was also in Goodbye Uncle Tom), who pretty much runs the island. Also, the murders in this go from high tech to voodoo-based death and faces getting melted right off, which is different for a giallo****.
And hey — that Piero Umiliani (Orgasmo, Baba Yaga) score is perfect!
It’s not a superb giallo, but it’s certainly weird, and sometimes that’s good enough.
*One of the directors of this film, Giampaolo Lomi, was the production manager for perhaps one of the most notorious mondo films, Goodbye Uncle Tom. The other, Edoardo Mulargia, directed Escape from Hell, which was edited into the Linda Blair movie Savage Island. So with backgrounds like those, the scummy mondo nature of this film makes a bit more sense.
*Of course, we can assume that with the Henry Miller novel being such a big deal getting banned and causing controversy that the title itself seemed like a good idea to get curious folks into the theater. Better than Death In Haiti, Peacock’s Place or Inferno Under the Hot Sun.
***The flower that poisons her takes her on an insane erotic fever dream that we all get to watch, and the movie is better for this scene.
****There’s just as much — if not more — male than female nudity, too.
Yes, I realize that Silent Night, Deadly Night originally came out the whole way back in 1972. But nearly nine years after it first played theaters, Cannon released it as Deathhouse on May 8, 1981. If it makes no sense to release a holiday movie in May, well — don’t worry about it. It’s Cannontown.
Christmas Eve, 1950: Wilfred Butler runs from his home, on fire, and supposedly dies in the snow.
Christmas Eve, 1970: John Carter (Patrick O’Neal, The Stepford Wives, The Stuff) and his assistant Ingrid arrive in a small Massachusetts town. He meets with the town’s mayor, sheriff and major citizens like Tess Howard and Charlie Towman (John Carradine!), who may have lost his voice to a tracheotomy but not his need to smoke, about selling the Butler mansion as soon as possible. While staying overnight with Ingrid, who is also his mistress, they are both killed by an axe. The killer calls the police and says that they are Marianne.
Tess, the town’s telephone operator, hears the call and drives to the mansion, where she is greeted by Marianne Butler before she is hit in the head with a candle holder. Meanwhile, Sheriff Mason finds that Wilfred’s grave is empty. He is killed and thrown into the empty hole.
Mayor Adams is asked to go to the Butler mansion but leaves his daughter, Diane (Mary Woronov, Death Race 2000, Chelsea Girls) at home. She meets up with a man who claims to be Jeffrey Butler, who has taken the sheriff’s abandoned car. Together, they search for the lawman but can’t find him.
After taking Towman to the mansion, Jeffrey goes back to get Diane. On their way to the mansion, Towman stumbles blindly in front of them and is hit and killed. His eyes had been stabbed out and Diane grows worried about Jeffrey.
Well, fuck me, this movie is also about incest! A diary found at the house reveals that Jeffrey is the son of Wilfred and his daughter, Marianne. Afterward, Wilfred turned the house into an asylum and admitted his own daughter. However, on Christmas Eve 1935, he turned all of the inmates loose. They killed every doctor as well as his daughter. Of note here is that many of the inmates in the flashback are played by former stars of Warhol’s factory, like Ondine, Tally Brown, Kristen Steen and Lewis Love, as well as Flaming Creatures auteur Jack Smith, artist George Trakas and his wife at the time, Susan Rothenberg. Warhol superstar Candy Darling also shows up in the film as a party guest.
Well, it turns out that some of the inmates of the insane asylum ended up being important parts of the town — that’s right, all of the important people John met with in the beginning!
Mayor Adams arrives at the mansion and he and Jeffrey face off, guns drawn, each believing the other is the killer. They kill one another as Marianne shows up, but she is really Wilfred, who is alive. He went after the inmates for their role in the death of his daughter and used his grandson/son/secret shame Jeffrey as a patsy. Diane gets the gun and kills the old man. One year later, the mansion is demolished as she watches.
Director Theodore Gershuny worked on plenty of episodes of Monsters and Tales from the Darkside after this film. He was also married to Woronov. The original title for the film was Night Of The Dark Full Moon and it was also nearly called Zora, which makes little to no sense.
There are some really interesting techniques here, especially in the flashback sequences, which feel like tinted photographs come to life with the saddest version of “Silent Night” ever playing behind the action. I love how experimental and dark these sequences look — they remind me a little of the film Begotten.
This is a dark film for your holiday viewing, so if you want to chase away the family for awhile, this is the one to do it.
Professor Sir Alexander Saxton — or is that Sir Professor, anyway, he’s played by Christopher Lee — is a British anthropologist taking the Trans-Siberian Express from Shanghai to Moscow. He’s not alone. He has the frozen remains of a caveman he found in Manchuria, which he believes are the missing link. Peter Cushing plays his rival, Dr. Wells, who is also on board, as is Count Marion Petrovski (George Rigaud), his wife, Countess Irina (Silvia Tortosa), their spiritual advisor, Father Pujardov (Alberto de Mendoza), and Inspector Mirov (Julio Peña).
What no one knows is that the caveman also has an evil alien inside him, one that starts moving from person to person. While it’s been on Earth for millions of years, the monster wants to repair its ship and go back home. Captain Kazan (Telly Savalas) is able to stop it for some time, but Pujardov believes that the alien is Satan and pledges his soul to it, allowing himself to be possessed. Then, it raises all of the past victims as zombies.
Phillip Yordan supposedly made this movie because he had bought the miniature train from the film Nicholas and Alexandra. Director Eugenio Martín said, “He came up with the idea of writing a script just so he would be able to use this prop. Now, at that time, Phil was in the habit of buying up loads of short stories to adapt into screenplays, and the story for Horror Express was originally based on a tale written by a little-known American scriptwriter and playwright.”
However, producer Bernard Gordon, who also worked with Martin and Savalas on Pancho Villa, claimed that the train was made for that movie.
Lee and Cushing were the big draw for this movie, but Cushing nearly quit, as this was made during the first holiday season since the loss of his wife, Helen. According to an article by Ted Newsome, “Hollywood Exile: Bernard Gordon, Sci Fi’s Secret Screenwriter,” Lee fixed this by placing Cushing at ease, “talking to his old friend about some of their previous work together; Cushing changed his mind and stayed on.” It’s also said that he suffered from night terrors, so Lee would sleep in the same bed as him.
Strangely, when the U.S. rights were sold to Scotia International, the proceeds were $50,000 short of the budget. This led to the original camera negative being impounded. The theatrical prints show in America had to be struck from the workprint, which is why 70s TV and 80s VHS prints looked so dark.
Of all the great things about this movie, the fact that they can look inside a caveman’s mind and see dinosaurs is the most charming.
Also: As we all know, Phillip Yordan also made the best train movie of all time, Night Train to Terror.
Each October, the Unsung Horrors podcast does a month of themed movies. This year, they will once again be setting up a fundraiser to benefit Best Friends, which works to save the lives of cats and dogs across America, giving pets second chances and providing them with happy homes.
Playing with Straight On Till Morning in the UK and Demons of the Mind in the U.S., this Hammer film finds Peggy (Judy Geeson) moving with her husband Robert (Ralph Bates) to work at a school in the countryside. The night before they leave, she’s attacked by a man with a fake arm, which sends her into hysterics.
Robert’s new boss is Michael Carmichael (Peter Cushing), who is married to Molly (Joan Collins). After their first meeting, Peggy is again attacked by the one-armed man. The next night, she notices that Robert only has one arm; she shoots at him with a shotgun, but it doesn’t stop him. She faints, only for her husband to reveal that there’s no job at the school. He’s treating Robert, who plays recordings of the old students to try to remember what it was like before a fire destroyed the school.
The twists start here, as Robert and Molly have been having an affair, and he only married Peggy to drive her insane and make her kill Michael. Michael, however, is a step ahead, using the intercom of the school to taunt his enemies, even tying up his wife and coaxing Robert into shooting her, thinking that it’s him. Peggy survives, thanks to the one-armed man she believed was her enemy; her husband’s body hangs from a noose as choir music plays from the empty school.
Directed by Jimmy Sangster, who co-wrote the script with Michael Syson, this is the kind of cold, dreary British murder mystery I love. It’s not as stylish as the Giallo, but it comes from the same fione.
Each October, the Unsung Horrors podcast does a month of themed movies. This year, they will once again be setting up a fundraiser to benefit Best Friends, which works to save the lives of cats and dogs across America, giving pets second chances and providing them with happy homes.
Francisco Xavier Chapa del Bosque suffered from polio and, according to this Vulturearticle, was experimented upon by his uncle. However, he claimed that his own will returned his ability to walk. After years of training, he began performing as Agent X-1 and then as Professor Zovek, pulling cars with his teeth and breaking the world record for sit-ups. He had an army of hooded women and would say, “I need vibrations,” which allowed him to kiss several of them before stunts like exploding from straitjackets, lifting cars with people inside and escaping confinement or being chained.
Being a TV star led to movies, starting with this film, directed by René Cardona. It’s a unique blend of Zovek’s stunts and the lucha films, which makes it a fascinating watch. Zovek’s next—and final—movie was Blue Demon y Zovek en La invasión de los muertos, where he fought alongside the lucha legend, adding a unique cultural twist to the film.
Yet during filming, Zovek performed for his public, being lowered from a helicopter down to the ground, but an accident caused the pilot to pull his stick upward, and Zovek was thrown two hundred feet into the ground, suffering mortal injuries, dying surrounded by his wife and four children. Vuture — and the movie Roma, in which Zovek is played by luchador Latin Lover — writes that there were rumors that the escape artist “…was in cahoots with the government, training right-wing paramilitary groups. As such, people whispered that the pilot had killed the performer as a political act of assassination. The pilot, for his part, always maintained that he thought Zovek was already off the rope when he levitated and turned.”
The film’s plot revolves around a plane carrying 26 renowned scientists that explodes, leaving only 25 bodies. Professor Zovek, a renowned figure in the film, is called in to investigate. His unique abilities and fearless nature lead him to believe that the missing person is the killer. This belief takes him to the island of Dr. Leonardo Druso, where mind-control and human-animal experiments are taking place, setting the stage for a thrilling and action-packed adventure.
Written by Chano Urueta, this film asks you to stay patient for the first thirty minutes. It crawls. But soon, there’s an island filled with cannibal little people, martial arts battles, Zorek wearing wild outfits and evil masked men with whips.
Zovek was a man who could swim for eight hours non-stop, skip rope for nine hours, drive motorcycles blindfolded, let cars drive on him and in one insane stunt, he was put in a straitjacket, chained up and put in a burning Egyptian coffin. Here, he shows off his mental powers and pulls off several of his stunts, like a lucha movie without the wrestling. Zorek, however, is ahead of the curve and practices martial arts in this.
This movie really was pulling out all the stops to make Zovek a movie star. His sidekick is Germán “Tin-Tan” Valdés, who played the same role in the Chanoc movies, and we have Tere Velázquez and Nubia Marti, who were both in Santo movies, to be algo para papi, as they say in Mexico.
I love what Zovek could have been and wish he had been able to make more movies. His potential as a movie star, the awesome costumes, weird monsters — a woman with an exposed brain! — and the look and feel I love from Mexican cinema of this time and form. It’s magical!
Dillinger, Bonnie, Clyde, Pretty Boy Floyd, Baby Face Nelson and Ma Barker are the Doberman Gang, six Dobermans who join the gang of Eddie Newton (Byron Mabe), Sammy (Simmy Bow), June (Julie Parrish) and former Air Force dog trainer Barney Greer (Hal Reed). Oh yes — there’s also a bulldog named J. Edgar.
Eddie and June have been a couple, but she soon sees that he could throw her away at any time. She starts getting close to Barney, who soon learns that this is a criminal plan to train these dogs. He’s told that he’ll be killed if he tries to get away, so he works with them in the hopes that he can save the dogs and June. But he soon has second thoughts when he learns that the dogs will be killed.
Good boys. J. Edgar gets them to run off with the money. The bad news is that one of the dogs was hit by a car, and I could have done without that part. Except that in the sequel, The Daring Dobermans, that dog is fine. Whew.
There are also two more movies in the series, The Amazing Dobermans and Alex and the Doberman Gang.
I didn’t have to worry so much, as this was the first movie to have the “No Animals Were Harmed” onscreen credit from the American Humane Association.
This was directed by Byron Ross Chudnow and written by Louis Garfinkle, who also wrote I Bury the Living, Face of Fire, The Hellbenders, Little Cigars and The Deer Hunter—yeah, I know, wow—and Frank Ray Perilli, who wrote Mansion of the Doomed, the Michael Pataki adult Cinderella, End of the World, Dracula’s Dog, the adult Fairy Tales, Laserblast, The Best of Sex and Violence and co-wrote Alligator with John Sayles.
Dimension Pictures played this as a double feature with The Twilight People. I love that!
Each October, the Unsung Horrors podcast does a month of themed movies. This year, they will once again be setting up a fundraiser to benefit Best Friends, which works to save the lives of cats and dogs across America, giving pets second chances and providing them with happy homes.
Today’s theme: Birth year (1972)
Dr. Chris Leeder (John Barnum, using the name James Buddliner; he was also in Sex In the Comics, A Touch of Sweden, Frankie and Johnny…Were Lovers and Angie Baby) has already killed someone to get his hands on Dr. Jekyll’s ancient notebook. Why? The formula that “makes people appear as they really are.”
This could be a warning, but Dr. Leeder doesn’t care. He mixes up a potion for himself and turns into Miss Hide.
That’s right, he is now a she, played by Jane Tsentas, star of more than fifty disreputable movies like Blood Sabbath, Little Cigars, Evil Come Evil Go and The Jekyll and Hyde Portfolio.
Directed by Lee Raymond (Blackie in She Freak) and written by Robert Birch (whose only other IMDB credit is playing trumpet on an A&E Civil War TV movie), this also has Laurie Rose as the doctor’s nurse and wife, Linda York (she’s also in Auditions) as a sex worker who gets beaten by Dr. Hyde in the past, Linda McDowell and most of all, Rene Bond, who is some kind of vision created by a mad doctor in a lab. I refuse to believe she was a real person.
David F. Friedman produced it, so you know that means quality, if what you mean by quality is non-stop sex and violence. I mean, I do.
From Vinegar Syndrome: “Italian horror in the 1960s and 70s went through several popular tonal and thematic phases. From Gothic thrillers in the early to mid-1960s, psychedelia and monster mayhem in the late 1960s and early 1970s, and, of course, all manner of gialli and other assorted murder thrillers. But what of those films that offer a form of narrative bait and switch, luring the viewer in with the pretense of one genre while slowly revealing themselves to be something else entirely? Presented here are a trio of 70s Italian horror features which play with, combine, subvert, and surprise with their genre leanings, all newly and exclusively restored from their 35mm original negatives and all presented on English-friendly home video for the very first time, from Vinegar Syndrome.”
Obscene Desire (L’osceno desiderio) (1978): Obscene Desire is the story of Amanda (Marisa Mell, a goddess if there ever were one and someone who immediately changes any movie from maybe to definitely; my favorite of her films are Marta, Danger: Diabolik and Perversion Story, a movie in which she has one of the most fabulous outfits not only in the history of Italian film but perhaps all movies ever), an American woman ready to marry the rich Andrea (Chris Avram, Enter the Devil) and move into his vast mansion.
Within the walls of that gothic expanse lies something evil, something that has possessed Amanda’s soon-to-be husband to indulge in black magic and ritual murder. In fact, the only way that he can keep his soul from being taken by his domicile is to keep killing prostitutes.
This movie should teach you to never trust a gardener (Victor Israel) and that the Italian film industry would keep on making Rosemary’s Baby rip-offs ten years after that movie was unleashed. Or The Exorcist five years later. Or The Omen two years later.
Look, I’m a simple man. Marisa Mell, with short, dark hair, looking not unlike Mariska Hargitay, is possessed by the devil and writhes on a bed, revealing that her tongue is superhumanly long. Do I even care that this movie has no real story and really goes nowhere?
Extras on the Vinegar Syndrome release include a commentary track with film historians Eugenio Ercolani and Troy Howarth, interviews with director/writer Giulio Petroni, daughter of Giulio Petroni and script supervisor Silvia Petroni, grandson of Giulio Petroni and film historian Eugenio Ercolani, censorship expert Alessio Di Rocco and director Pupi Avati, as well as alternate and extended scenes from the Spanish version and the original Italian trailer.
The Bloodstained Lawn (Il prato macchiato dirosso) (1973): The Red-Stained Lawn, also known as The Bloodstained Lawn, was initially titled Vampiro 2000 and combines science fiction, Gothic horror, and giallo genres in a wacky package with a bloodsucking robotic twist.
The film takes place in Emilia-Romagna, Italy. There, a United Nations Educational, Scientific and Cultural Organization agent finds a bottle of wine containing blood. How could this happen to such a well-known vintage from Michelino Croci? What if the winery is a front for a blood smuggling scheme? And how would blood stay good in bottles? So many mysteries!
Dr. Antonio Genovese (Enzo Tarascio), his wife Nina (Marina Malfatti, All the Colors of the Dark, The Red Queen Kills Seven Times, Seven Blood-Stained Orchids) and her brother Alfiero (Claudio Biava) look for people with no ties — hippies, drifters, prostitutes and literally gypsies, tramps and thieves — to lure to an all expenses paid getaway at their castle. Folks like freewheeling musician Max (George Willing, Who Saw Her Die?) and his lover (Daniela Caroli), who have accepted an invitation to spend some time in the Genovese estate, along with the alcoholic tramp (Lucio Dalla, who would become a major singing star in the 80s), a gypsy (Barbara Marzano, The Bloodsucker Leads the Dance) and a sex worker (Dominique Boschero, Argoman the Fantastic Superman).
The bloodsucking machine is literally right out in the open, treated like a piece of pop art. You have to admire that level of out in the open when it comes to an Italian film killer. You also have to love that the killers have a shower that sprays wine, and this doesn’t bother Max or his never-named girlfriend, nor does the hall of mirrors bedroom seem strange to anyone else. There’s also a curtain between rooms that resembles female anatomy, and even more so, a scene taken right out of The Laughing Woman.
Director and writer Riccardo Ghione made only four movies: this one, a documentary called Il Limbo, the hippy drama A cuore freddo, and La rivoluzione sessuale, a film in which seven men and seven women perform an experiment inspired by the sexual orgone energy theories of Wilhelm Reich. If that was crazy enough, it was co-written by Dario Argento. He would go on to write several other films, including the Joe D’Amato film Delizia.
I love that this movie stands on the line between arthouse and grindhouse, with every decision it makes leaning away from the artistic and toward the prurient and bloody. Sure, there’s a message about how the rich subjugate the lower classes, but it’s also a film where Malfatti gives speeches about Wagner and how meaningless her victims are, all. At the same time, a gigantic cartoony machine literally sucks young blood.
Extras on the Vinegar Syndrome release include commentary by Rachael Nisbet and interviews with film historian Enzo Latronico and filmmaker/film historian Luca Rea.
Death Falls Lightly (La morte scende leggera) (1972): Death Falls Lightly begins when Georgio Darica (Stello Candelli) comes home from a crime-related business trip only to find that his wife has been killed. So his lawyer suggests that he grab his girlfriend, Liz (Patrizia Viotti, Amuck) and head off to a hotel. Still, when he gets there, the owner (Antonio Anelli) has also killed his wife, so he asks him to help bury her, but then George remembers that the hotel was abandoned. So is he going insane? Are these people real? Did he actually kill his wife?
The next part of this movie gets absolutely ridiculous in the best of ways, as people appear, get murdered and come back to life. At the same time, someone commits suicide on a Satanic altar, invisible killers attack George, prog rock blasts, and a monkey shows up out of nowhere. It also features the most ridiculous of all giallo police, which is saying something. There’s a very low bar for giallo cops, and these ones may be the worst.
Director Leopoldo Savona also made Byleth: The Demon of Incestthe same year I was born, which probably means something.
Extras on the Vinegar Syndrome release include commentary with film historians Eugenio Ercolani and Troy Howarth, interviews with actor Alessandro Perrella and filmmaker/film historian Luca Rea, and a then and now location featurette.
This 3-disc region-free Blu-ray set features all the movies newly scanned and restored in 2K from their 35mm original negatives, along with newly translated English subtitles and reversible sleeve artwork. You can get it from Vinegar Syndrome.
Daredevil — there’s the title! — Paul Tunney (George Montgomery) gets blamed for another stunt driver’s death and finds himself making a living by running drugs and dealing with some kind of bad mojo put on him by that driver’s sister, Carol (Gay Perkins). Oh yeah — he’s also making sweet love to his one-armed mechanic Huck’s (Bill Kelly) wife Julie (Terry Moore) because, look, Paul’s a jerk. He deserves everything that happened to him.
Montgomery went from a stuntman at Republic to leading man status at 20th Centiry Fox, taking over roles meant for Tyrone Power and Henry Fonda during the war before he was drafted into working for the U.S. Army Air Forces First Motion Picture Unit, appearing in documentaries and training films. As his leading man status waned, he appeared in movies like Hallucination Generation, Satan’s Harvest (which he directed) and Django the Condemned.
Moore was married five times but has claimed that she was with Howard Hughes from 1949 to 1976. She’s been acting since 1940 — and has two movies coming soon, according to IMDB — and starred in Mighty Joe Young, as well as appearing in Hellhole, Beverly Hills Bratsand many more films. She was even on the cover of Playboy in August 1984 at the age of 55.
By 1972, however, they were both in movies like The Daredevil.
Director Robert W. Stringer was usually a composer for movies, and this is his only directing credit. Writer Robert Walsh also scripted Smokey and the Good Time Outlaws. They made a movie that combines the rednecksploitation that drive-ins were looking for with the downer ending that was of the time. It’s not great, but it’s perfect for a second drive-in feature; a make-out and barely watch the movie movie, if you will.
B&S About Movies 
You must be logged in to post a comment.