Wednesday, July 30, 2014

Ginger

Ginger is another film from that classic year, 1970 -- also the annus mirabulis of Beyond the Valley of the Dolls, Dinah East, The Party at Kitty and Stud's, Bloody Mama and no less than six vampire movies. It was the era of porno chic and pretty much everyone was working blue.
Ginger sounds totally reasonable on paper -- a "female James Bond," except where Cleopatra Jones crosses the genre with blaxploitation, Ginger crosses it with porn and sets it in New Jersey. The title role was played by Cheri Caffaro, born in Florida, raised in New York City.
Our heroine is even more likely than Bond to drop trou for a mission and she carries the nudity -- and the subsequent action -- far further than Her Majesty's Secret Service would ever dare. But, before anybody gets upset, let me point out that Ginger also has plenty of full frontal junk for those of you who prefer the pole to the hole.

Our heroine makes her big entrance in her bitchin yellow 'Vette ("cars courtesy Derio Oldsmobile Inc.") and goes to an office where she get her "mission." Which is to save the Jersey Shore -- there's some "rich kid" named "Rex" who's dealing drugs and blackmailing summer vacationers and the rich parents of Jersey are willing to throw down a hundred grand to keep the cops out of it. She also gets a cool super-spy briefcase with a gun and ammo and handcuffs and a camera and infrared film and some trail mix and one of  those little spray bottles of Evian and a matchbook that has most of the matches missing and...
Ginger heads off to the Shore, where we get a peep at our villain... Rex. Wearing eyeliner and a studded dog collar.
Really... this guy? What, was everyone else in jail or off fighting Tojo and this was the best villain they could find? Rex's gang consists of suburban whitebros bitching about their fathers' board of directors meetings. Except for the one black guy who is, of course, the drug hookup and is not rich. He's in it for one reason: As he explains, "You promised me all the ass I wanted. White ass." 

  Note pre-self tanner white lines, natural tits and old-school bush.

Ginger promptly infiltrates the gang by gyrating around a bar in hiphuggers and midriff top, thus arousing the prurient interest of one of the wealthy homosexuals in Rex's gang. (No, really, i mean the gang member played by an actor who was actually a gay porn star. Because back in the 70s you could get away with things like gay porn stars in "mainstream" films or a regular major network TV series about science.) This pisses off the ladies of the gang, who challenge Ginger to some kind of bikini catfight on the beach.

Whether it's fuckin' or kickin' ass, Ginger is gonna do whatever she has to do to get the job done. Ginger does not care how many times she must whip her top off or how many chicks she must hogtie with their own bikinis or how many guys she needs to strap down spread-eagle on a bed with piano wire around their balls, she is gonna clean up the Jersey Shore. If only she'd been around in the days of Pauly D.

Anyway, one of the gang girls bends Ginger's ear with an overly detailed account of her entry in the gang, precipitated by a run-in with the demon weed. "Then D.J. took out a joint, took a couple puffs on it and handed it to me... I don't know why in God's name I took it! I'll never know why, but I did!" Ginger comforts the girl by taking off her blouse and making out with her, basically because that's Ginger's modus operandi, regardless of the situation.
Who cares if she doesn't know how to button her shirt? She drinks with her pinkie out like a lady...

She manages to pump her new friend for info about the prostitution ring and of course friend winds up dead. Ginger flashes back to her friend and then to her brother begging her for help -- and totally flips out and strangles the gang member unlucky enough to be nearby. Flashback followed by violence is another Ginger modus operandi. Hey, it worked for Charles Bronson!
So, with the full fury of vengeance -- sure, she seems somewhat wooden and lethargic to the naked eye but, trust me, there is a roiling cauldron of emotions behind that deadpan stare -- Ginger decides to finish the gang off. One the way, there's plenty of breaks for tricks, blow jobs, dominance/humiliation scenarios, various ways of tying people up and the aforementioned flashbacks and castrations.
The adventures of Ginger actually continued into two more films, The Abductors and Girls Are for Loving. Cheri Caffaro went on to a guest spot on Barretta and wrote the script for sororitysploitation flick H.O.T.S. before eventually dropping out of showbusiness, but producer Don Strain is still working -- he produced all the High School Musical flicks. I think we can agree that Ginger and its sequels were the zenith of his career.

Wednesday, July 23, 2014

The Brain That Wouldn't Die


... because they handed me a barrel with a fish in it and i had one bullet left.

 "Horror has it's ultimate and I am that."

As the title subtly indicates, The Brain That Wouldn't Die is a movie of impressive schlockiness. Elvira has done it, Mystery Science Theater 3000 has done it. And, really, how can you not? It's an archetypal piece of bad 50's sci-fi. (Yes, i know, many date the film at 1962, but it took three years to find a distributor and it is so very 50's i'm dating it to then...)
So, here we go. Our main character is one Dr. Bill Cortner. His father is a famous doctor, he has a "secret mountaintop lab" and a short temper and another character warns him, "Don't try to play god." Yeah, we see where this is going...
And his fiancee, Jan Compton. She works as his nurse. A woman gainfully employed in a STEM field who admits that she likes sex. During the Eisenhower administration. Oh, uppity tramp is gonna pay for that...
The Brain That Wouldn't Die opens hauntingly with a black screen and a frantic female voice whispering, "Let me die. Let me... die." Then the mood is immediately broken with some cheap n' bombastic credits, followed by the cheap n' bombastic film. Fade in to several doctors working over a patient who dies on the table. The older doctor -- Dr. Dad -- declares the patient dead. The younger doctor -- Dr. Screwloose -- asks for a chance to do things "my way."
"Very well, the corpse is yours. Do what you want to do."

... just what everyone wants to hear! Dr.  Screwwloose  manages to shock it with electricity and tinker with the brain and bring it back to life. Then heand Dr. Dad argue science and ethics and transplants and bureaucracy ...
"The supervisor had it out with me. He thinks it's you who's been stealing those limbs from the amputee operations."
"So what if it is? I need limbs!"

Fortunately, Jan, the fiancee comes back to distract everybody with her wanton ways.
"When you two are married, it won't be fun to watch anymore."
"Well, I can promise you one thing: Your grandchildren won't be test tube babies."

Dr. Screwloose gets a message from "Carl" imploring him to return to the secret mountaintop lab immediately. Some kind of emergency. The Dr. and his fiancee race to the top of the mountain... oh, you see where this is going. What follows is seven-minutes that could easily be excised and presented as an avant-garde short film of the time. A montage of blurred trees, intercut signage, abstract framing, fumbling through smoke and climbing an endless staircase carrying a severed head. Exactly. Stan Brakhage and Maya Deren, eat your hearts out!


 ... yeah, severed head. His shitty driving crashed the car and got his girl's head chopped off and, well, you can see where this is going. Straight to the lab! Allowing The Brain That Would Not Die to kill another 5-6 minutes of running time on test tubes, beakers and furrowed brows. We also meet Dr.Screwloose's assistant, Carl, also once a surgeon, but he lost an arm in an accident. The Dr. "fixed" it, and now he has something that looks like a dwarf foot for a hand. You know, maybe there's a reason they don't let him do things "my way..."

So, it's sort of the plot of The Man With Two Brains or Frankenhooker. The Dr. manages to reanimate his fiancee's head in a cookie sheet full of jello with some phone cords attached. Jan in the Pan, as she will hereforth be known, is none too pleased with this development.
"I've had success with transplants before, now I'll do it for her."
Uh, success? The dwarffoothand and whatever that "thing" in the closet is that they keep alluding to -- that's success?

Oh, fuck... Yeah, it's bad in there, but Dr.  Screwloose is not gonna deal with that right now. Right now, "I've got to find her a body!" 
Preferably one with big boobs.

What is this place? It's some kind of dive bar, but has Italian restaurant tablecloths and random dancers is fancy showgirl outfits and the most incredible mural. Are you seeing that mural? It's dogs hanging out at a bar. It's like a cross between the mural at the Hard Hat, the mural at the Frolic Room and one of those paintings of dogs playing poker. The Dr. tries to score one of the strippers, but is driven off by a catfight. A catfight so incompetent and literal they show pictures of cats and have "meow" sound effects.
... and suddenly we go from Maya Deren to Doris Wishman!

Meanwhile, back at the lab, Jan in the Pan is awake and starts talking to the thing in the closet, which knocks once for yes and twice for no. Yes, i am telling you about the conversation between the head in the pan and the monster in a closet. Jan in the Pan and... let's call him Tom Cruise. Because they have telepathic conversations while the mad scientist is off trying to decapitate a stripper. Jesus, i love this film! It is the mitzvah of schlock!
But it takes Jan in the Pan about two minutes to break it down for Tom Cruise: "I hate him for what he's done to me. Together we could have revenge. Do you want... revenge?"
(Knocks once)

Jan in the Pan now apparently has psychic abilities that come from... being a head on a cookie sheet full of jello. No, really, the whole explanation is, well, duh, yeah, if they keep your severed head alive you become psychic.  Everyone knows that. And we've already established that Jan was a smart cookie even out of the pan, so...

"I shall create power and you shall enforce it!" What i don't get is how Jan in the Pan is supposedly the villain here. Mad scientist, doing horrible experiments on people, mutilates her, moves on to killing women outright and, well, she's gonna stop him by any means necessary. My inclination is to say, "Thanks, Jan, have at it!"

Meanwhile, back in the big bad city, Dr. Screwloose is still acting creepy and cruising for a woman who he can get along long enough to chop off her head and throw her body in the trunk of his car. Unfortunately, the damn women seem to keep traveling in pairs and packs...


But then he hears of a photographer's model, who works from her home. Alone!
... but she has a heeeedious scar. A scar the Dr. can fix. No, really! If she'll just come to his lab right now, tonight, he can totally fix it!


Meanwhile, back at the lab, Jan in the Pan is trying to bait/mindfuck Dwarffoothand Carl into letting Tom Cruise out of the closet. I gotta say, Virginia Leith does a good job for only being able to use her head to act.

... and then Tom Cruise rips his arm off. Ironically, the good arm. Still got the dwarffoothand!

In the meantime, Dr. Screwloose roofies the bikini model -- Because when you're going to have major surgery in the middle of the night, you and your doctor should always have a drink first! -- and carries her down to the lab, to prepare her for the cranial transplant operation.
In the end, Jan in the Pan and Tom Cruise -- the decapitated head in a cookie sheet of jello and the monster made out of random grafted amputation castoffs that lives in the closet -- save the day.

At the end of the movie, Jan in the Pan, Dr. Screwloose and Carl perish in the burning lab. Tom Cruise carries the scarred bikini model to safety and, i assume, a happily ever after... 

Tom Cruise was played by Eddie Carmel, who was the subject of a famous photograph by Diane Arbus. In monster form, he also looks curiously like a nasty, melted version Muno from Yo Gabba Gabba.
The Brain That Wouldn't Die remains a classic of sci-fi D-movie trash. it's cheap, it's ridiculous, it's entirely entertaining... well, most of the time anyway. And the lulls allow you to add your own commentary. So, watch the movie.  Buy the T-shirt. Make the dress. Build the model. See the musicial stage production. Listen to the record while leaning back on the throw pillow...

Sunday, July 20, 2014

Switchblade Sisters

Switchblade Sisters is among the finest films of the girl gang genre -- with brief detours into women in prison, blaxploitation, high school delinquency tales, class struggle, dystopian semi-future, Mean Girlsploitation and Shakespeare knockoff.
Switchblade Sisters is the work of exploitation maestro Jack Hill, who was also responsible (if you want to call it that) for Coffy, Spider Baby, The Swinging Cheerleaders and The Wasp Woman, among others. It was originally titled The Jezebels, but that apparently confused people. And, well, it is hard to find a more straightforward, descriptive title than Switchblade Sisters.

 So, we find ourselves in our urban mid-70s hellhole -- Hill claimed he envisioned Switchblade Sisters as a Clockwork Orange-style futuristic gang movie, hence the wack-future overtones.

We see one of our fair females, Lace, in her bedroom, sharpening her switchblade, dabbling on perfume and listening to some jackhole try to repossess her mom's TV.  Lace is played by Robbie Lee, whom you may recognize from Big Bad Mama. She looks like Linda Blair and sounds like a second-grader doing a Jimmy Cagney impression. Fun whitebread fact: Roy Rogers and Dale Evans were her godparents and she went on to do voices for Rainbow Brite cartoons.
Lace is the leader of the Dagger Debs. We are introduced to the rest of the girl gang when they help Lace take back the cash from the repo man.

Incidentally, the one in the purple top is "Donut," played by Kitty Bruce, daughter of Lenny Bruce and burlesque queen Honey Harlow. Like all sociopathic teens, violence rouses their appetite for fast food, so they head for the local burger joint, where they encounter the Silver Daggers, the male gang for which they serve as a sort of ladies' auxiliary, despite the fact that they seem much tougher than the boys. The Silver Daggers seem to be a bunch of Adrian Zmed/Deney Terrio knockoffs who hang around the snack shack all day but can't even afford to pay for their own French fries...

But, wait, some new girl in school is sitting at the Debs' table in the cafeteria!
This is Maggie, played by Joanne Nail, who had been doing actual Shakespeare on Broadway when she  auditioned for Switchblade Sisters, and wound up acting in The Gumball Rally afterwards. Anyway, in a more overt version of what happens in lunch rooms all over the world every day, Patch's, Lace's second-in-command attempts to jump Maggie. It should be obvious which one is Patch and why she's Patch. In the role of Patch is Monica Gayle, who was better known as a softcore porn cutie, making her Iago/enforcer role a singular change of pace.

Regardless, Maggie remains impassive, then tears off her chain belt and proceeds to use it to whip some ass, impressing Lace. After said fracas, the girls wind up in lockdown, with the mandatory sexually harrassing dyke warden, Moms Smackley (played by Kate Murtaugh, who was "Mom" in Dr. Detroit, a film i will have to do here someday).


Maggie has shown sufficient class to be asked to join the Dagger Debs and here, ah here, the black seed of downfall is planted in the fertile soil of several flavors of  jealousy....
 
But, in the meantime, Lace sends Maggie to see her boyfriend Dominic at the Silver Daggers clubhouse and give him a message.The Silver Daggers are bitching about what they're going to do about the Crabs. Which are apparently another gang, although i cannot help but suspect that many of the Daggers do, indeed, have crabs. Anyway, egged on by the dad from That 70s Show, Dominic reads Lace's letter aloud to his broke-ass, badly dressed, lady-smacking, VD-ridden subnorm brethren. Sure, Lace's prison poetry is far inferior to that of Bonnie Parker, but, shit, i'm surprised these ass-clowns can even read.

Then Dominic adds injury to insult by raping Maggie. I am consoled by the fact that, in the movies, the guy named Dominic usually gets it. Maggie says nothing about it, not wanting to upset her new buddy, Lace. Next week at school, she acts like things are totally fine -- yes, all the gang kids still go to high school --
 -- but Patch senses that something is up....

... and Patch is furious at the idea of Maggie possibly replacing her as War Chief and Lace's bestie. So much so that she will fuck over Maggie and the Debs and even Lace just to make sure she stays #1 BFF. And so she begins working on Lace, telling her that Maggie's gonna steal Dominic. Because Dominic is such a fucking prize.

Regardless, Lace makes Maggie a full member of the Dagger Debs -- although Patch adds that Maggie has to "do a job," which consists of getting the head Crab guy's medallion, which is some sort of plastic swastika badge he got from a box of Göring-Ös. Seems like kind of a pointless errand, but the dumbasses came up with it, whaddya expect? For this assignment, Maggie puts on a girly dress -- Switchblade Sisters is cartoon-like in its insistence that all characters wear the same outfits at all times -- and bimbos him into submission.
 Also, to add to the confusion, Crabs seems to be the name of both the guy with the bad fashion sense and his loudly-shirted gang. And he seems to run some kind of community center here they clean guns and roll joints and type letters to The Man. But Crabs is most upset that his medallion has been taken and so does a drive-by on Dominic's brother and gang rapes his girlfriend. Because cheap shots and picking on women seem to be what makes a gangsta in this town. At least the Debs can actually kick ass and take on men, cops, wardens...

Lace and Dominic fight over a plot twist that will not be revealed here -- yes, for once, i'm keeping the spoliers. Deal. Regardless, the drive-by/rape triggers the most outrageous scene in Switchblade Sisters, the incredible roller rink massacre.

 



It seems someone set up the Daggers and their Debs, but who...?

So Dominic is dead and Lace is in the hospital. In the meantime, Maggie holds down the fort for the Dagger Debs. And, like women eventually do, she figures the boys have fucked things up long enough and it's time for someone with the ability to deduce, strategize and fight -- not to mention read two-syllable words and find her own ass with one hand -- to take over.

Maggie also changes the gang's name to "the Jezebels" -- fuck being the ladies auxillary!
But the ladies still need allies. So Maggie leads them across town to meet up with her old friend, Muff, played by Marlene Clark of Darktown Strutters. Muff is a militant radical, as you can tell by the posters of Angela Davis and Chairman Mao -- the the AK-47s wielded by her ladies' liberation army.
Yes, the women are not letting color or geography blind them to their common goal and their real enemy. The American people of 2014 have much to learn from Switchblade Sisters.
So, will the girls defeat Crabs? Will Lace and Maggie learn to share leadership? And who set everyone up at the roller rink... It all comes together in pair of climactic battles that owe something to Animal House and High Plains Drifter, Shakespeare and Spartacus.

This is a British VHS cover. As you can see, none of the art has a damned thing to do with the movie.

Switchblade Sisters was a bit of a flop in its time -- the change of name, some confusing marketing made what should have been a straightforward sell curiously confusing. However, the movie's status quietly built over the years and being championed by Quentin Tarantino has set Switchblade Sisters firmly in the grindhouse pantheon.
"Let me give you some advice, cop. You can beat us, chain us, lock us up,
but we're gonna be back. Understand? And when we do, cop,
you better keep your ass off our turf or we'll blow it off!.
Jezebels, cop. Remember that name!"