CANNON MONTH 2: Dr. Minx (1975)

EDITOR’S NOTE: I’m winding down Cannon Month 2 with the films of 21st Century before Menahem Golan got the company. This was originally on the site on May 26, 2021. 21st Century got this movie when they bought out the original Dimension Films and re-released it on a double bill with Cheering Section in 1981 and then on VHS under the Continental Video label. 

“She’s a vixen — watch her operate.”

Dr. Carol Evans (Edy Williams!) keeps having these short affairs but they leave her unsatisfied. She’s just dumped her latest boyfriend (William Smith!) but ends up injuring two kids — David (Harvey Jason) and Brian (Randy Boone) — who somehow end up falling for her. There’s also the bulldozer death of her husband to deal with and a blackmailer as well. And yeah, Smith is not pleased at all that she’s sleeping with a teenager.

But yeah. Most people just watched this to gawk at Edy Williams.

Director Howard Avedis loved making movies about older women deflowering teenage boys. This is also 1975, so get ready for a bleak ending! I think by the 80’s, Avedis figured out how to make thrillers that really thrilled. But here, he’s doing what he can to entertain the audience.

Dr. Minx was Avedis’s follow-up to The Teacher (1974), which starred Jay “Dennis the Menace” North. He also released the Adam West-starring The Specialist in 1975 and followed that with Connie Stevens in Scorchy (1976).

CANNON MONTH 2: Suicide Cult (1975)

EDITOR’S NOTE: I love this movie so much. So much that I have a pull quote on the back of the Severin blu ray. 21st Century re-released this in 1980 and their poster says “a congressman lies rotting in the corpses of the jungle” which totally is to remind you of Jonestown, adding even more scum to this already somewhat odd movie. This was first on the site on August 2, 2017.

Whenever someone asks — and they often do — “What’s the craziest movie you’ve ever seen?” I usually respond with Suicide Cult. I’ve never had to pick my jaw off the floor more, as watching it felt like the little people I am certain live in my TV were putting on a magical play just for me, using the things I love best. The 1970s. Carnivals. Satanism. Biorhythms. Astrology. Government conspiracies. Religion. This is one film that honestly has it all — and then some.

Man, let me see if I can sum it up:

A government organization called INTERZOD, led by Alexei Abernal, uses technology and astrology to discover threats to the world. One of them is the cult leader Kajerste, who is wanted for crimes in three different countries. And how do they find these people? By determining their individual zodiacal potential for response to environmental situations and stimuli, that’s how.

The movie smash cuts into a ton of locations and ideas within the first ten minutes, spinning your head, before we meet Alexei’s wife, Kate (Monica Tidwell, the November 1973 Playboy Playmate of the Month who was the first Playmate to be younger than Playboy magazine itself), who sees her adviser Mother Bogarde, surely based on Madame Blavatsky. The young girl is possessed, so she must be stripped and put in a robe. Alright — we also learn that she doesn’t even know her own birthday or may have had it changed at Alexei’s command. Seems he’s a crazy husband — he has security watching her, she isn’t allowed to leave all that often, he doesn’t introduce her to anyone and he lies about what he does. They’ve been married for five months and haven’t had sex! But it turns out that she might be the new Virgin Mary, which makes perfect sense once you start watching this. Turns out she even had an Immaculate Conception at one point and gave her baby to the Catholic Church.

Now, INTERZOD wants to kill off Kajerste with tranquilizers and videotapes and doubles and the help of a Congressman — who gets killed by the cult and this movie came out three years before Jonestown, so imagine. In fact, the cult wipes everyone out and everyone else close to Kate.

But hold on…I want to warn you now. This movie is pretty much all talk about religion and the zodiac. It introduces some insane ideas that could be awesome and then does absolutely nothing about it. In fact, just when it seems like there might be some resolution to the film’s many plots, it just ends with no resolution!

Can a film be both boring and not boring all at the same time, packed with ideas but so frustrating because you wish you could see the movie that it could have been? Oh yes, that would be Suicide Cult. It’s a movie that could have only been made in 1975. I wonder, if you take enough mind-altering substances, will this film make sense? I am willing to go into a sensory deprivation tank with just this film to find out, Ken Russell directing me.

This film is also called The Astrologer, but there’s another film with the same title that could be even stranger. Made by director, producer, psychic to the stars and actor Craig Denney, it’s a movie about an astrologer who goes on an adventure to find jewels, then becomes a major star so big that he makes a movie about himself called The Astrologer that he watches within the film The Astrologer, then he goes into diamond smuggling, finance and killing people. The entire soundtrack was stolen from the Moody Blues, who get credited for the film! And it’s only been released on VHS and played once on the CBS Late Movie but it’s out there on the web and well worth hunting for.

People also ask me, what movies are you excited about this summer? I always answer, “NONE OF THEM!” Not when bursts of pure unknown crazy can still be unearthed from four decades in the past about psychic killers or astrologers who become giant stars that murder people! I beg you Hollywood! Let maniacs take over your films again!

CANNON MONTH 2: Legend of the Werewolf (1975)

EDITOR’S NOTE: Legend of the Werewolf was not produced by Cannon. It was, however, released on video in Germany by Cannon Screen Entertainment.

No matter what you think of this movie, you have to give it up for the poster. This is truly one of my all-time favorite movie posters of all time, one that punches you in the face and says, “You’re gonna watch this werewolf movie!”

It has a different origin story than a normal werewolf film, as here Russian werewolves kill a man who has just watched his wife die in childbirth and then raise the dead parents’ son to become a human wolf.

He’s known as Etoile the Wolf Boy in the circus, but soon loses his lupine look until the full moon rises. When that does — and he kills a member of the traveling carnival — he goes on the run.

This is really the sad tale of a wolf boy — a wolf young adult, I guess — who falls in love with a courtesan with a heart of gold who keeps on entertaining her clients, who soon get devoured by said wolf young adult.

Enter Professor Paul Cataflanque (Peter Cushing). He’s a forensic pathologist, who quickly figures out that a wolf is behind all the murders. And seeing how Etoile now takes care of the wolves in the zoo, he’s going to have to deal with putting every one of them to sleep under the orders of the police.

There’s no way he isn’t going to turn into a werewolf and kill just about everyone, right?

Legend of the Werewolf is one of seven Tyburn Film Productions, a studio that tried to fill the void felt after Hammer stopped producing new movies. Their other films include The Ghoul, Tales That Witness MadnessPersecutionSherlock Holmes and the Masks of DeathMurder Elite and Peter Cushing: A One-Way Ticket to Hollywood.

Directed by Freddie Francis, this was written by Anthony Hinds under his pseudonym John Elder. Under that name, he also wrote Hammer’s werewolf film The Curse of the Werewolf as well as Frankenstein Created WomanScars of DraculaThe Reptile and many more.

CANNON MONTH 2: The Ghoul (1975)

EDITOR’S NOTE: The Ghoul was not produced by Cannon. It’s a Tyburn Film Productions movie. It was, however, released on video VHS in Germany by Cannon/VMP.

Tyburn didn’t make all that many movies. In their attempt to be Hammer after that studio stopped making movies, they put out seven films: Legend of the WerewolfTales That Witness MadnessPersecutionSherlock Holmes and the Masks of DeathMurder ElitePeter Cushing: A One-Way Ticket to Hollywood and this film.

Dr. Lawrence (Peter Cushing) was once a man of faith but now he’s hiding inside a rural country estate, keeping his son away from the world, the son who learned how to be a cannibal as Lawrence did missionary work there.

While Cushing’s wife died in 1971, by all accounts he never got over it. According to co-star Veronica Carlson, director Freddie Francis made Cushing do multiple takes during the scene where he talks about his love for his late wife, an experience that caused the actor, cast and crew to be reduced to tears. This feels like a Wiliam Castle BS story, however, as Francis would have already known this, having directed Cushing as Arthur Grimsdyke in Tales from the Crypt, a movie during which Cushing suggested that he speak to a photo of his recently deceased wife Violet Helene Beck.

Writer Anthony Hinds has just as much a pedigree for British horror as Francis and Cushing, having written The Brides of DraculeThe Curse of the WerewolfThe ReptileFrankenstein Created WomanScars of DraculaTaste the Blood of Dracula and Night Creatures. He wrote this using his John Elder name.

Veronica Carlson stars as the final girl of sorts, Daphne Wells Hunter. She also came from Hammer films like Dracula Has Risen from the Grave and The Horror of Frankenstein. John Hurt shows up as a frightening handyman, Gwen Watford as Ayah the Indian servant, Alexandra Bastedo (The Blood Spattered Bride) as Daphne’s friend Angela and Ian McCulloch is on hand years before he would challenge the bloodiest cinema Italy could create.

In the U.S., this was released as Night of the Ghoul and The Thing in the Attic. If the setting seems familiar, the movie was set in the 1920s because the sets of The Great Gatsby were still standing at Pinewood Studios.

CANNON MONTH 2: The Ups and Downs of a Handyman (1975)

Barry Stokes is in two kinds of movies: sex comedies and out there horror. On one hand, we have Norman J. Warren’s Outer Touch and the 1983 Fanny Hill. On the other, we have Norman J. Warren’s PreyThe Corruption of Chris Miller and bit parts in Hawk the Slayer and Enemy Mine.

Also going by the titles Confessions of a Handyman, Confessions of an Odd-Job Man and The Happy Housewives, this movie has Stokes play Bob, the hot young fixer upper of the village of Sodding Chipbury. Despite being married to Maisie (Gay Soper), he finds his way into the beds of nearly every other woman in town.

If you ever watched The Benny Hill Show, you’ll recognize Bob’s antagonist in this movie, Squire Bullsworthy. He’s played by Bob Todd, who was always the butt of Hill’s jokes. Helli Louise, one of Hill’s Angels, also shows up.

Another cast member worth checking out is Valerie Leon, who was known as the “English Raquel Welch.” She was in six Carry On films as well as two Bond movies, The Spy Who Loved Me and Never Say Never Again. She was also a reincarnated Egyptian queen in Hammer’s Blood from the Mummy’s Tomb. And hey! There’s Ava Cadell, Ava from the Andy Sidaris films!

While not connected to the Confessions of series (Confessions of a Window Cleaner, Confessions of a Pop Performer, Confessions of a Driving Instructor and Confessions from a Holiday Camp) — outside of the alternate title — this feels much like those movies. This was, however, intended to become its own series with a sequel being planned titled Ups and Downs of a Soccer Star.

CANNON MONTH 2: Mako, The Jaws of Death (1976)

EDITOR’S NOTE: This is the third time this movie has been on the site, but it fits into the second Cannon month as they released it across the county. This last appeared on November 27, 2020.

The Florida-based director William Grefe has brought many swamp-tinged bits of exploitation goodness — or badness — to the screen, such as Alligator AlleyThe Wild RebelsThe Hooked Generation and so many more. As one of the first films made to take advantage of the shark craze in the way of Spielberg’s success, this film’s sympathetic view of sharks as victims is a pretty unique take on the genre.

Marine salvager Sonny Stein (Richard Jaeckel, who pretty much had a one-man war against nature with him battling bats in Chosen Survivors, bears in Grizzly and, well, any and all beasts with a chip on their shoulder in Day of the Animals) is given a medallion that allows him to communicate with sharks. He becomes increasingly disconnected from humanity — easy to do, everyone in this movie is scum — and uses his sharks to take out those who go against his beliefs.

One of those people is an incredibly chubby club owner who is using high-frequency sound to train his sharks, as well as kind of pimping out his wife Karen (Jennifer Bishop, Bigfoot) to get Sonny on their side. Have you ever seen a movie where strippers have been trained to swim with sharks? Who would want to see that? This movie provides the what, if not the why.

Another is a shady shark researcher that murders a shark and her pups. You will stare unbelieving at the screen while Jaeckel overly emotes as he clutches a dead baby shark in his mitts. Oh yeah — Harold “Oddjob” Sakata is also in this.

The stunt footage is pretty amazing and even gets a mention before the movie even begins. Other than the weird premise and a few good scenes, you can nap through most of this and not feel bad.

CANNON MONTH 2: Blood Feast (1975)

EDITOR’S NOTE: This isn’t the Herschell Gordon Lewis movie. No, instead the Dewey-Friedland Cannon released The Red Queen Kills Seven Times under this title. This originally appeared on the site on August 24, 2017.

Emilio P. Miraglia followed up The Night Evelyn Came Out of Her Grave with this giallo freakout — starring the magnificent Barbara Bouchet (Don’t Torture a Duckling) — that combines gothic horror with the high fashion we’ve come to expect from early 70’s Italian horror.

A curse haunts the Wildenbrück family once every 100 years — two sisters have always become the Red and Black Queen, feuding until one of them dies. Then, the survivor is haunted by sixth deaths, with the final death — the seventh death, referenced in the title, being the surviving sister. Kitty (Bouchet) and Evelyn are the next two sisters to be so cursed, battling even in childhood, stabbing each other’s dolls with daggers.

These catfights have continued for years, ending when Kitty, now a fashion designer, accidentally takes it too far when she battles Evelyn. Third sister Franziska (Marina Malfatti, The Night Evelyn Came Out of Her GraveAll the Colors of the Dark) and her husband hide Evelyn’s body while Kitty pretends that her sister has gone to America.

All is well and good until the Red Queen rises, wearing a red cape and white mask, killing all of Kitty’s co-workers at Springes Fashions with the same dagger that was once used to slice up baby dolls. But is it really Evelyn, back from the dead (Emilio P. Miraglia sure liked Evelyn’s that rose from the dead)? Or something much more down to earth?

Miraglia only directed six films, with this being his last one. There are some moments in here that aspire toward art, like the Red Queen chasing Kitty through her dreams, ending in a long hallway run and her superimposed form attacking like a ghost. And the film flirts between the gothic castle era of Italian horror and the fashionista giallo look — all while containing plenty of deep red gore and plenty of skin, courtesy of a 20-year-old Sybil Danning (Howling II, Battle Beyond the Stars, Young Lady Chatterley 2). It’s not always art, but sometimes, it totally is. There are the requisite twists and turns of the genre, along with some really regrettable moments — like when a character goes from rapist to rescuer across two scenes and an ending where the hero and heroine both need saving.

CANNON MONTH 2: The Happy Hooker (1975)

Xaviera de Vries was born in Surabaya in the Japanese-occupied Dutch East Indies to a Dutch Jewish doctor and a mother of French and German descent. She somehow went from growing up in a Japanese-run internment camp to becoming a $1,000 a night call girl ($7,800 in today’s money) in New York City, running the biggest brother in the city the Vertical Whorehouse and being deported after being arrested in 1971.

That year, Robin Moore took Hollander’s dictations, came up with the title The Happy Hooker and Yvonne Dunleavy either transcribed the book or wrote it outright. Whatever the truth is, it sold 20 million copies and led to this movie.

Lynn Redgrave plays Xaviera and we follow her from her marriage to a henpecked man named Carl (Nicholas Pryor) to being the biggest madam in town before a corrupt cop — who once trying to assault her — busts her. And that cop is played by Richard Lynch.

Directed by Nicholas Sgarro (who mainly worked in TV) and written by William Richert (who wrote and directed Winter Kills), this movie has a title that promises shock and never really gets all that sleazy. This movie got beaten to the screen by a movie that does have that, 1974’s The Life and Times of Xaviera Hollander, which has an introduction by Hollander and has Samantha McLaren, Karen Stacy and John Holmes in its cast.

This does, however, have Vincent Schiavelli as a john.

VINEGAR SYNDROME BLU RAY RELEASE: Forgotten Gialli: Volume Three

Autopsy (1975): Armando Crispino really only did two horror films, 1972’s The Dead Are Alive and this 1975 giallo, which is a shame, as this is a pretty decent entry in the genre. Known in Italy as Macchie Solari (Sunspots), it does indeed feature sunspot footage from space before we see any major murders. And if you’re looking for a movie packed with autopsy footage, good news. It totally lives up to its title.

Simona Sana (Mimsy Farmer, who is also in Argento’s Four Flies on Grey Velvet and The Perfume of the Lady in Black) is a pathology student who is trying to work on a theory about suicides, one that’s disputed by a young priest, Father Paul, whose sister — Simona’s dad’s latest fling — has recently killed herself. It turns out there’s been a whole series of self-killings which are being blamed on, you guessed it, sunspots.

I mean, what can you say about a movie that starts with several of said suicides, like sliced wrists, a self-induced car explosion and a man machine gunning his kids before turning the gun on himself? Obviously, this is a rather grisly affair, with real corpse photos spread — quite literally — throughout the film.

In between all of the gore, corpse penises, two bodies falling to their deaths and crime museums, there’s also Ray Lovelock (The Living Dead at Manchester Morgue) as Simona’s boyfriend, an out there Morricone score and a heroine who hallucinates that the dead are coming back to life.

The plot gets pretty convoluted, but if you’re on this site, you obviously appreciate films like this and will get past it. This is an Italian 70’s murder movie, though, so if you get easily upset about the way men behave, well, be forewarned.

Murder Mansion (1972): Originally released as La Mansion de la Niebla (The Mansion in the Fog) and also known as Murder Mansion, this Spanish/Italian film fuses old school haunted house horror with the then new school form of the giallo.

The plot concerns a variety of people drawn to a house in the fog, so the original title was pretty much correct. There are plenty of European stars to enjoy, like Ida Galli, who also uses the name Evelyn Stewart and appeared in Fulci’s The Psychic as well as The Sweet Body of Deborah. And hey, there’s Analía Gadé from The Fox with the Velvet Tail. Hello, George Rigaud, from All the Colors of the Dark and The Case of the Bloody Iris! They’re all here in a movie that seems to make little or no sense and then gets even more bonkers as time goes on.

This was one of the 13 titles included in Avco Embassy’s Nightmare Theater package syndicated in 1975 (the others were MartaDeath Smiles on a MurdererNight of the SorcerersFury of the Wolfman, Hatchet for the HoneymoonHorror Rises from the TombDear Dead DelilahDoomwatchBell from HellWitches MountainMummy’s Revenge and The Witch). How did these movies play on regular TV?

There’s a history of vampires in the house, the previous owner was a witch and hey — this is starting to feel like an adult version of Scooby Doo with better-looking ladies. That’s not a bad thing. But if you’ve never watched a badly dubbed giallo-esque film before, don’t expect any of this to make a lick of sense.

Crazy Desires of a Murderer (1977): Sure, that’s a pretty lurid title — the Italian title I vizi morbosi di una governante translates as Morbid Vices of a Housekeeper — and trust me, this lives up to it, what with an older woman using a mentally challenged man and a teenager sexually — not at the same time! — and then a game of charades which is mostly people yelling out the names of films while everyone else gropes one another.

There are more than a lot of camera zooms in here, as well as bad sartorial choices and even worse life ones. When Ileana and her bunch of hip friends — their words not mine — gather at a gothic castle owned by a wheelchair-bound older relative of one of the girls, things get pervy, weird and murder, just as you’d expect.

If you are a hip friend or have hip friends (at which point that makes you a hip friend), then you should take this warning: do not go to hang out in gothic castles. Nothing, in my movie — not life — experience says that things will go well.

Meanwhile, two of these with it pals are using Chinese treasures to smuggle heroin — as you do — while Elsa the party girl ends up with both of her eyes torn out, just like Ileana’s mother had done to her by a relative who has lost his mind and is possibly prowling the catacombs of the castle.

This would be the last film that Filippo Walter Ratti would direct. You may have seen his other movies, including Mondo EroticoOperation White Shark and Night of the Damned. Screenwriter Ambrogio Molteni also wrote the two Black Emanuelle movies, as well as Yellow EmanuelleSister Emanuelle and Violence in a Women’s Prison.

Speaking of Emanuelle, you may recognize Annie Carol Edel from Emanuelle and Francoise or perhaps from Almost Human or even The True Story of the Nun of Monza. No? How about Isabelle Marchall from Black Emanuelle? Or Patrizia Gori from Cry of a ProstituteThe Return of the Exorcist or as Francoise in Emanuelle and Francoise?

All of the movies in this set have been newly scanned and restored in 2k from their 35mm original camera negative. Plus, you get extras like a theatrical introduction with director Armando Crispino and a feature on his career, as well as interviews with actresses Ida Galli and actor Giuseppe Colombo. As always, there are also trailers and image galleries. Get it from Vinegar Syndrome.

La Honte de La Jungle (1975)

ABOUT THE AUTHOR: A.C. Nicholas, who has a sketchy background and hails from parts unknown in Western Pennsylvania, was once a drive-in theater projectionist and disk jockey, Currently, in addition to being a writer, editor, podcaster, and voice-over artist, he contributes to Drive-In Asylum. His first article, “Grindhouse Memories Across the U.S.A.,” was published in issue #23. He’s also written “I Was a Teenage Drive-in Projectionist” and “Emanuelle in Disney World and Other Weird Tales of a Trash Film Lover” for upcoming issues.

Quick. Name a movie written by the late, great Saturday Night Live and National Lampoon writer Michael O’Donoghue and the late, great Saturday Night Live writer and creator of the cult TV show Square Pegs Anne Beatts, starring John Belushi, Bill Murray, Christopher Guest, and Brian Doyle-Murray. (No, it’s not Nothing Lasts Forever, the famous “lost” Bill Murray film produced by Lorne Michaels and written and directed by Tom Schiller.)

Give up? It’s the American version of La Honte de La Jungle, re-titled for the American market as Tarzoon, Shame of the Jungle and later just Shame of the Jungle. (In the UK, it’s known as Jungle Burger). Whatever its title, it’s a dirty French/Belgian animated film, with the English-language version written and voice acted by all those SNL folks.

But why have I never seen nor heard of this thing, a John Belushi/Bill Murray film, you ask? Good question. I’ll get to it. But first, some details about the film itself. Made back in the heyday of adult animated films like Fritz the Cat, The Nine Lives of Fritz the Cat, and Down and Dirty Duck, Shame of the Jungle, to stick with its final U.S. title, is a twisted, adult version of Tarzan. We have Tarzoon, renamed “Shame” after the Edgar Rice Burroughs estate cried foul, along with “June” and a masturbating monkey living in the “bush” of Africa. (Yeah, the movie’s humor goes there—and I just did too.) Evil queen Bazonga wants to take over the world tomorrow, but unfortunately, she’s bald. Along with her beauticians, who are conjoined twins, she hatches a plan to kidnap June and scalp her for her long, flowing locks.

And it gets smuttier and nuttier from there with an army of human-sized penises bouncing along on their testicles, animals having sex, humans having sex, a racist depiction of African natives, a stereotypical British explorer, and Shame, our hero, meeting one “Craig Baker from Champagne-Urbana,” a drunken frat boy with “69” on his shirt, voiced by John Belushi. If you watch the end credits, Belushi is uniquely credited as having “created and performed” the character.

So now you’re asking, what manner of insanity is this, and who created it? Well, it’s the work of celebrated Belgian animator Picha, a/k/a Jean-Paul Walravens. Picha’s animation has that fun, exaggerated 70s look (if you remember the “Keep on Trucking” bumper stickers, you’ll get the idea) in pastel color. Or maybe it was just the washed-out print I saw. In spots, there are some reused backgrounds, not unlike the economy measures taken by Saturday morning cartoons back in the day. (And let’s not forget about all the kinky cartoon sex.) But overall, the film looks good.

The humor starts low (the “bush” joke) and never rises above sniggering middle-school playground stuff, but you know what? It’s mostly funny, if you like the lowest of lowbrow humor, and it doesn’t wear too thin throughout the short run time. That run time, by the way, is debatable. The gray-market versions that I’ve found online all run about 68 minutes, though I’ve seen reports of 71- and 85-minute run times.

The voice actors acquit themselves well to the dubbing script by O’Donoghue and Beatts, with the coup being that the U.S. post-production team got Johnny Weismuller, Jr., son of the legendary original Tarzan, (Johnny Sr. was born in Windber, in my vicinage of Western Pennsylvania, of all places) to play Shame. Another notable, Adolph Caesar, the booming voice of many 70s trailers, including Dawn of the Dead, is also in the cast. But you’ll be hard pressed to identify the voices of the SNL folks, who have small parts. All, that is, except for Belushi. As mentioned, he wrote his college-kid part himself, and he’s a highlight of the film, especially when he goes off on a drunken tangent about the film The Silver Chalice with Jack Palance.

But back to the burning question: Why is this movie unknown to even the most ardent Belushi and SNL fans? I think the answer is that it was released by International Harmony, a company set-up by the great Stuart S. Shapiro, who created the legendary USA Network series Night Flight. While Shapiro’s work on that show was brilliant, his efforts as a movie distributor were far less successful. He made money with Tunnel Vision, an early sketch comedy, but his company was also the original distributor of the ill-fated Effects, the brilliant, low-budget Pittsburgh horror film. It played only a few theaters in 1980 and disappeared without a trace for decades, the victim of no marketing and bookings due to International Harmony’s financial troubles. It seems Shame of the Jungle was plagued by even more distribution problems. First, there was the copyright issue. So the film had to be retitled and perhaps re-looped. And it initially received an X-rating.

I read where Shapiro said that even though the film was pornographic, he didn’t recall any problems importing it into the U.S. It was later cut to get an “R” rating–hence, the different reported run-times—and it played a few places, mainly at midnight showings. Many sources report that it first played in the U.S. in 1979—indeed, there’s a New York Times review from September 14, 1979–but I distinctly recall midnight showings of the X-rated Tarzoon version in Virginia when I was at the University of Richmond, circa 1978. And while later it made it to VHS, it’s never had an official DVD or Blu-ray release in North America. (It’s part of a Picha Blu-ray box set in Europe.) You can find it on YouTube and the Internet Archive in what I’m going to assume is the cut, R-rated version (but I can’t be sure),

So now you know the name of the lost SNL feature film. It’s a “shame” this film isn’t more widely available (keeping with the film’s low humor, I couldn’t resist the pun). If enough people read this review, see the VHS rip, and convince a company like Vinegar Syndrome to find it, we can all enjoy an oddity that has been lost to the sands of time. I sure hope that happens. Shame of the Jungle, by any name, is worth it.