Archive for the Trailers Category


Posted in AIP, Dope, Fabian, Juvenile Delinquents-Troubled Teens, Trailers on July 2, 2011 by Bill Courtney

1968/Director: Maury Dexter/Writers:Maury Dexter, Richard Gautier   

Cast: Fabian, Diane McBain, Kevin Coughlin, Michael Margotta, Patty McCormack, Terri Grrr, Richard Gautier (uncredited)

Maryjane is an entertaining little piece of 60’s AIP marijuana exploitation starring teen idol Fabian as high school art teacher Phil Blake. When Blake isn’t working on nailing the frigid girl with a big secret Elli Holden (Diane McBaine) he is trying to hold on to his job and stay out of jail after he confesses to school administrators and the town sheriff he smoked some grass in college and trying to stop ‘good kid’ –but total moody, sniveling wuss- Michael Margotta (Jerry Blackburn) from trying to join the school reefer gang ominously called the Mary Janes. The Mary Janes look like harmless extras from Happy Days. These were the good old days when doper teens all wore letter jackets –since they usually played football- and knit sweaters and the girls looked like proper little cheerleaders. The film was directed by Maury Dexter who did other AIP exploitation gems like The Mini-Skirt Mob, Wild on the Beach, The young Animals and Hell’s Belles. Actually I am not 100% sure if all of those films are AIP productions but the titles sure sound like they should be. Dexter co-wrote the script with Richard (Dick) Gautier whose face would be familiar to anyone who watched prime-time TV in the 70’s. Fabian’s singing career was waning at this time and he made a few pictures for AIP including A Bullit for Pretty Boy Floyd, also directed by Dexter. Gauiter has a brief uncredited role as a prisoner in the film. Also appearing briefly in the film are pretty Teri Garr as a party girl and producer Garry (Happy Days) Marshall as a gas station attendant. The film’s obligatory bad girl is played by the original Bad Seed herself Patty McCormick.

The film is not that bad really though certainly a cheese classic. The acting is not really terrible and the photography and color looked great. Even the ‘day for night’ shots are better than average. The film of course garners harsh criticism online from marijuana apologist who feel the sacred herb is beyond reproach and not in any way unhealthy nor does it impair driving or other motor skills. I think these old films were written and shot with tongue firmly in cheek and with most of the cast and crew buzzed out of their gourds on something or another while it was being made. Look at some of the other AIP drug films like The Trip. Can you imagine that Bruce Dern never fried a brain cell or two. I simply think one has to ‘turn off the old mind, relax and float down stream’ while watching these films and forget about social commentaries. Of course the films throws a few in anyway such as when Blake tries to convince the appalled school administrators that weed is less harmful than cigarettes or alcohol and what a shock to find out little miss goody two shoes Elli the history teachers is far beyond grass. Football jock and drug dealer Jordon Bates (Kevin Coughlin) has finally got her hooked on smack, which is where –we all know by know- smoking the devil’s weed leads all who inhale its evil fumes. Lots of unintentional laughs but not over the top or preachy. Good shit.



Posted in Emilio Vieyra, Exploitation, Giallo, South American Movies, Trailers on June 5, 2011 by Bill Courtney
1967/Director: Emilio Vieyra/ Writers: Jack Curtis (English-language dialogue), Antonio Rosso
Cast: Alberto Candeau, Ricardo Bauleo, Mauricio De Ferraris, Susana Beltran, Gloria Prat, Emilio Vieyra
Argentinean director of B-Sleaze and horror Emilio Vieyra is probably best remembered for his 1971 exploitation classic The Curious Case of Dr. Humpp (La venganza del sexo), which starred dark haired and dark eyed Gloria Prat. Prat had previously worked with Vieyra (aka Raúl Zorrilla) in his sort of sexy but not really sexy enough vampire thriller Blood of the Virgins (Sangre de vírgenes) and in an even lesser known film than the practically all but unknown Dr. Humpp called Placer Sangriento (Feast of Flesh or The Deadly Organ) which is the subject of this Uranium Café post. I would like to see a little more of Vierya’s work (I actually found a DVD copy of Blood of the Virgins in a small DVD shop in Jilin City in Northeast China while I worked in that area one very bleak and freezing winter… long story) as well as more of Gloria Prat’s work but this type of stuff is really hard to find. I should quickly add that both films star the lovely Susana Beltran as well and both gals appear to be regulars in Vieya’s films. To be honest in these films I sometimes get confused as to who is who and what the hell is actually going on most of the time. This is made harder in this case since there are no end credits on the film version I have to confirm who is who. If it adds anything Prat is also executive producer of this film.

I actually had searched for some time online for a good Bittorrent or Rapidshare file before finding this on one of my secret sites. This film originally played as a double feature with Rene Cardona’s Night of the Bloody Apes and both are available as a double feature DVD by Seattle’s infamous Something Weird Video. I had originally intended to do a double feature post on Night of the Bloody Apes and Feast of Flesh but nixed the idea when the first version of Feast of Flesh I downloaded was in Spanish with no subs. I finally got a nifty English dubbed version that is pretty watchable if you’re the type of person that can watch a film like this in the first place regardless of the print quality. It seems to be that while the film is pretty spacey and downright incoherent most of the time it is the type of movie I like watching at about two in the morning on the sofa when my mind is half in this world and the next anyway and the effects of such a film act like a psycho-tropic drug on what few brain cells are still functioning.

The movie is easy to pan and deride, as it usually is to extreme degrees, but it has some really interesting moments and is a creepy stalker film that seems to be working with a psycho-stalker formula that is more derived from the Italian style Giallo style films than of the suspense thrillers from America or Britain at the time. The film was made in 1965, but not released in the States until ’67, and while shot in some small but swanky coastal town in Argentina the dubbed version I watched infers the action takes place in Los Angeles. Actually what happens is a police officer mentions that the character Betsy, played by Beltran, is from a small town south of LA but the tone of the conversations seems to imply that they are all near LA themselves. Beltran’s character is nameless at IMDB but credited as Luisa, not Betsy, at a Spanish language film site called Cineconional

I will assume this is the name of the original character before being dubbed. Furthermore she is confusingly nicknamed Bebe or Beba in the film-her real name sounding like Besty Lou or something as out of place- but Gloria Prat’s character (Prat plays a small supporting role in this film actually) is listed at IMDB as Laura ‘Beba’ Villegas. More confusing is the fact that it is after one in the morning and I am actually researching this mess as if in the end I will have cleared up some arcane and yet profound mystery. In any case I am certain the lead character is Susana Beltran and she is called something that sounds like Beba in the film, regardless of what it says at IMDB.

Whoever she is and where ever she is from does not really matter one way or the other since this story seems to take place in another world altogether anyway. For example, if Beba grew up south of LA why does she have a thick Blanche Dubois style southern drawl? The actors use hip lingo, calling each other “cat”, and act mod and liberated but look like the typical thirty or over adult that is the norm for movie teenagers of this time period it seems. The camera work and lighting is not really too bad and the scenes are usually shot in a sharp contrast that I prefer to something grainy, washed out and gray looking. The outdoor night shots are done well enough and there is well controlled back lighting through mist effects in many of the night scenes. Of course the film has plenty of problems and I am certain most people will just not get it (if there is in fact anything to get other than vertigo) but connoisseurs of unintentionally bad films will eat this baby up. And speaking of eating it up the US title of Feast of Flesh is pretty misleading as there is no gore in the film and while there are some sexy moments (including some over the sweater boob groping and girls rubbing other girl’s breasts over bikini tops) you could hardly say there is anything overtly lewd in the film. The original title of Placer Sangriento seems to translate as Pleasures of Blood or Bloody Pleasures and even that is not doing the film justice. The other US title is the double entendre loaded The Deadly Organ and that too is a tad goofy in my opinion. While there is some trance inducing music in the film, except for a couple scenes, it is not really a solo organ for the most part but rather some slow, spacey lounge music that seems pretty innocuous for the most part. I used the original Spanish title for the post since it sounded mysterious and foreign.

The story is a simple enough Giallo inspired whodunit type thriller with a masked killer luring pretty young girls to their deaths with the above mentioned “deadly organ” bossa nova tune. They become entranced somehow from the music and wander with a zombie like stare in their eyes to their seductions and eventual deaths at the hand of the guy with not only a rubber mask but matching rubber gloves as well. It s never explained how it is the music gains this effect over the girls. The means of death is a lethal injection of heroin that is rammed into the victim’s chest with a huge hypodermic needle. There seems to be a period of seduction and courting between the killer and victim and they all speak longingly of him during subsequent police interviews. And that brings me to the topic of the cops and particular lead detective Inspector Ernesto Lauria who has arrived to assist in the investigation of the recent murder of a girl on the beach. We are treated to the murder in the opening moments of the film along with a couple of clueless and hip talking locals. We also get to see a swinging party where Beltran’s character does a topless go go dance to some wild bongo laden pop music. I guess no swinging party was complete without bongos back then. The camera also pans over the faces of spaced out party revelers, any who could be the killer I guess. The film really tries to juggle way to many characters and Inspector Lauria quickly only seems interested in juggling Beba’s bountiful assets. In one scene she is actually in the process of being raped by the beach victim’s fiancée and Lauria only watches from a distance and not only does not intervene but chastises her for being a tease. He does turn his back while she gets dressed so he is okay. In another scene he somehow concludes he must use “lysergic acid” (LSD) as a truth serum on a girl who is one of the killer’s hypnotized concubines. Does not seem to help much.

I have to be honest I really could not always follow what was going on and who was who. Almost every minor female character, and one male, introduced in the beginning of the film is killed off by the masked man who seems to have little trouble getting away with one brutal homicide after another within walking distance of his beachside bungalow. I mentioned above that the film is similar to the influential Italian Giallo (yellow) films that were still in their infancy after Mario Bava’s groundbreaking Blood and Black Lace and while some people reject this comparison I feel it is accurate enough. You have a masked and mysterious killer who will no doubt be reveled in the films final moments to be either some major character you who you are not supposed to suspect but usually do or some minor character who had two lines of dialog in the first twenty minutes of the films and then vanishes until the end when their mask is pulled off. The killer may or may not use a specialized weapon in the murders but usually they do. The camera often focuses on the hands of the killer with the weapon and the death scenes can focuses on the lurid aspects of the death and its details to a gratuitous degree. The stories are often too complex for their own good and atmosphere plays more of a role than does cogent narrative. All those elements are here and while the storyline is mostly vague and even downright goofy at times there is a strange and surreal quality to the film that I enjoyed at times. I never found myself disliking the film. Beltran is great to look at and the scenes of the cops playing the 45 rpm record looking for clues and significance and suddenly all but exclaiming “eureka” are some classic bad movie police moments, but far from the worst I have seen. And how bad can these cops be? they give innocent, potential witnesses free LSD. The killer winds up being a less than minor character in the film but it is no surprise really. Beba becomes a target for the psycho after her new cop boyfriend Detective Lauria decides to use her as bait. Gives witnesses LSD, watches passively as Beba is molested and blames her then uses as untrained bait in a homicide case. This guy is a keeper in my book. She winds up wandering in a hypnotic daze as the not really that strange music plays on the beach on a quaint little portable record player. The killer gets blasted and his mask is removed as we are treated to flashbacks of dialog that tie it all together as Beba and Luisa walk off into the night arm in arm.

The movie is only 77 minutes long and not as terrible as most people make it out to be. It is certainly a good film for late at night right before bed when the mind is at its most receptive for such an experience.


Posted in Trailers, Video Clip on May 26, 2011 by Bill Courtney