42nd Street Cinema



Forced Entry (1973)

Forced Entry (1973)Base, repulsive and morally bankrupt; words I'm sure even contemporary filmmakers would love to see used to describe their pictures. This one deserves it, a real sickie. Shaun Costello's full-tilt degenerate roughie, Forced Entry.

Starring Harry Reems, Laura Cannon, Jutta David, Ruby Runhouse, Nina Fawcett and Shaun Costello.

Shot in two days under the alias of Helmuth Richler, Forced Entry is the first feature film by Shaun Costello, after producing a succession of short "loops" for, as he puts it, "an illiterate Jamaican smut peddler named Smitty". It serves as something of a precursor to Costello's later infamous feature, Water Power (1977). The two films do share similarities; both flirt with slasher tropes and feature a lunatic, predatory male watching, stalking and victimising women. They both also feature a scene in which a woman taking a shower is menaced by the villain à la Hitchcock's Psycho (1960).

In 1975, a non-pornographic remake was made by Jim Sotos, also known as The Last Victim, starring Tanya Roberts and an early appearance from Nancy Allen.

Forced Entry is unique for being one of, if not the earliest example of a film that deals with the ramifications of a Vietnam Veteran who after being relieved of duty returns home deranged, has difficulty readjusting to normal life while suffering a type of PTSD, and subsequently wreaking havoc upon the general population. Predating both Martin Scorsese's Taxi Driver (1976) and Michael Cimino's The Deer Hunter (1978) by several years, two movies that had an enormous success at the box office with a similar concept.



The picture opens with a newspaper clipping about Vietnam War veterans and a brief explanation of "Vietnam syndrome", which is quickly followed up by another quote, this time from an Air Force psychiatrist. The following sequence is of NYPD cops at a crime scene, photographing the corpse of a man. The guy's brains have been blown out the side of his head and it's over one of these frames that the title card is displayed, immediately setting the tone. Forced Entry isn't so much a sex film (I don't doubt for a moment that there are true sickos out there who get off to the on-screen abuse here) but more of what one might come to expect from Extreme-Horror and Exploitation. The plot and substance of the movie is very much like that of an early Slasher, that goes so far as to utilise unsimulated sex scenes to hammer home the viciousness and callousness of Reems' character.

The plot centres on a deranged Vietnam veteran (Harry Reems, sans-moustache and credited as Tim Long) who returns home from the jungles of the Southeast to wage a war of his own on the female population of New York City. He works at a simple one pump gas station called "Joe's Friendly Service". At first I thought this might have been a mere retitling of an existing forecourt for the benefit of the movie, but given the $6,200 budget it's unlikely that was the case. So after a little research it transpires that it was a real gas station named "Joe's Friendly Service", lending a true sense of irony to the plot. The creep selects his victims from female customers that pay using a credit card, the sick son of a bitch uses the address provided during the sale to pay them a house call. Armed with a knife, a gun and a brain buzzing with memories of combat, he forcibly rapes and murders his victims.



To avoid any potential obscenity charges the film needed a "redeeming social value", for this the narrative sees our "hero" blowing his brains out during the climax, after encountering two spaced-out hippie chicks who are so high they show no fear of him, instead they mock and laugh at him. Yes, it's his corpse the film opens with. Though if you're paying any attention, you'd realise that immediately with the recognisable baseball cap.

The rape and murder of Laura Cannon's character is the most talked about sequence in the film and rightly so it's utterly gruelling, not to undermine the attack on Jutta David's character; that's no walk in the park either. But the length of the scene with Cannon, the dialogue and the the filth under Harry's fingernails are truly repugnant. Laura's performance is stellar, even if it doesn't feel quite "ok" to commend a woman for such a realistic portrayal of a rape and murder victim. Reems does his best to appear as menacing as possible, walking, stalking and hanging out on fire escapes. What exacerbates the sickness of the picture is the inclusion of Vietnam War footage throughout, including the sex scenes, for a total battery of the senses.



I believe the final scene with the two hippie chicks is a stroke of genius. Allegedly, they were two real hippie girls who let Costello use their loft apartment, under the condition that they could both appear in the film. The scene took four or five hours to shoot because both girls were high on mescaline. I interpreted it as two lesbians chiding and mocking a man who deems himself to be the pinnacle of masculinity, but when he has no joy in bending them to his will, it's incomprehensible, he's rendered powerless and desperately starts losing control. Plunging him into a spiral of despair that ultimately leads to suicide, or maybe he only wants the noises crashing around in his mind to stop? Either way, it's a tremendously unpleasant film and God only knows what audiences in 1973 thought of it.

A debasing journey through the irreparably war-scarred mind of a psychopath. I actually really like this film, although it is one I tend to watch with little frequency, I appreciate the way it touches upon certain  subjects; voyeurism and psychopathy, along with the damaging and lasting effects of war on the psyche. Costello uses varied and innovative camera angles, and what appears, at times, to be a wide-angle lens, together with an honestly smart sense of framing of shots, I believe there's a genuine talent behind the production of Forced Entry.

Another film with a similar aesthetic that came along a bit later is Buddy Giovinazzo's Combat Shock (1986); purely nihilistic, grimy and depressing exploration of a mind permanently damaged by the Vietnam War.

Four Stars

Absurd (1981)

Absurd (1981)Absurd. Horrible. Joe D'Amato's inferior, sort-of sequel to Anthropophagous: The Beast (1980). Also known as Rosso Sangue and Monster Hunter, not to be confused with the CGI heavy Paul W. S. Anderson / Milla Jovovich flick from 2020.
I must admit, I think the title of Absurd is a perfect fit, it reflects the looseness of the plot and the over the top gruesomeness of the on-screen violence.

Written by George Eastman / Luigi Montefiori, who also stars as the titular 'Monster', and directed by the notorious maestro of euro-sleaze, Joe D'Amato / Aristide Massaccesi, the film was originally conceived as a sequel to D'Amato's earlier horror effort Anthropophagous, and is sometimes considered as such.

While it's not a direct continuation, in fact story-wise the two films are totally unrelated, both do feature a connection to Greece and Eastman in the role of a monstrous hominid committing heinous acts of corporeal carnage. Instead, the plot apes John Carpenter's Halloween (1978) with Edmund Purdom's character being the equivalent to Dr. Loomis and Eastman's in place of Michael Myers.

An interesting and perhaps intentional connection between the two films is how Anthropophagous ends with Eastman's character suffering an abdominal wound before pulling out his own guts and feasting on them; Absurd starts with his character getting his guts impaled on a spiked gate and subsequently receiving abdominal surgery. I'd like to think that it was either Montefiori or D'Amato who had the forethought to deliberately include a self-referential nod like that. The movie is also a very good example of the output from the frequent collaborators. Though it's not their first, D'Amato and Montefiori would go on to create several memorable genre films together.

On the shores of 1980s Great Britain, the authorities were having their own fun with Absurd and sister film Anthropophagous, along with several other hundred titles. Both of the aforementioned films fell afoul of the powers that be, suffering successful prosecution under the Obscene Publications Act and being relegated to the fabled Nasty list, with each movie becoming one of the infamous DPP 39. D'Amato, along with a few other directors, would manage to have more than one picture grace the Section 1 list. Ruggero Deodato, Lucio Fulci and Jesús Franco also had two films land on the Section 1 shitlist, thanks to the newly passed Video Recordings Act.

Starring: George Eastman, Annie Belle, Charles Borromel, Katya Berger, Kasimir Berger, Ian Danby and Edmund Purdom.



The plot concerns Mikos Tanoupoulos (George Eastman), a man who's undergone scientific experimentation at the behest of the Church. The experimentation has given Mikos an uncanny healing factor but has also inadvertently caused him to go insane. Tasked with pursing and neutralising Mikos is the Vatican priest (Edmund Purdom) who helped create him. Shortly after escaping from the hospital where he had his guts repaired from opening impalement scene, Mikos is involved in a hit-and-run. The driver, Mr. Bennett (Ian Danby) speeds off home, as he doesn't want to be late for a a football watch-party at his neighbour's. Later, spotting the offender's car parked outside a house, Mikos wastes little time as he begins to stalk and murder the occupants. In a case of mistaken identity, Emily (Annie Belle); nurse and babysitter of the Bennett children must now try and survive the night.

I can remember watching Absurd many years ago from a time when I was first dipping my toes into the great ocean of Italian genre film, and hating every bloody minute of it. Having previously watched Anthropophagous and thoroughly enjoying it, with its grim atmosphere, great locations and memorable sequences, that when I got around to this it fell considerably short. I filed it under "Meandering and Pointless" and consequently never looked back, until now. Fifteen years on, I'm still not enthusiastic about the film, but I do have a new-found appreciation for it. In hindsight I wonder if I had seen a censored version as I didn't remember the kills being quite so graphic. I must comment on the death of the nurse that occurs quite early on as it is so similar to, and undoubtably inspired by, the drill-through-the-temple killing of Bob (Giovanni Lombardo Radice) in Lucio Fulci's City of the Living Dead (1980).



What took me by surprise watching this again was the off-kilter mood and perturbing atmosphere, with a dreamlike quality that permeates throughout the film. I think a lot of that eeriness stems from the production; the film is mostly interior and night shots, save for the opening, and D'Amato strives make Absurd appear like an American horror film. I don't know if something was lost in translation between the cast and crew, but there's a pervasive nonsense prevalent throughout that feels totally absurd, that's not me being cute either on more than one occasion I felt a real sense of angst that couldn't quite pin down with any specificity.

Although often heavily criticised for its similarities to Halloween (1978) and undoubtably there are similarities between the two, I feel like it's an unfairly quick and easy way to brush off any merits of the film as merely a cheap imitation. After all, this is not a Claudio Fragasso picture; D'Amato cut his teeth as a camera operator and later as a cinematographer before getting in the directors chair proper. In my belief it's less of a slasher film; yes some tropes are present, but it doesn't feel anything like Friday the 13th (1980) or A Nightmare on Elm Street (1984), it's more akin to a creature feature.
Also worth mentioning is how it predates a concept explored in a more contemporary film by 26 years; the intermingling of religion and science. Perhaps I'm reminded of it at the moment because of a recent re-watch (along with the sequels), but it reminded me of the Spanish found-footage horror film [•REC], which deals with the theme more directly using demonic possessions and viral infection.



I admit to feeling a little tremor of excitement at seeing Annie Belle's name amongst the cast credits. I think her performance as Lisa, the femme fatale in Ruggero Deodato's The House on the Edge of the Park (1980) is grand, however she is almost unrecognisable here; she's rocking a head of short ginger hair, and sadly her performance is unremarkable. Save for when her head is shoved inside an oven; the sequence even features a neat POV shot from inside the oven, bravo D'Amato, bravo! Edmund Purdom is equally forgettable, his character isn't even properly named for Christ's sake, he's only credited as "Father", or "Priest" depending on your territory. George Eastman does his thing with glee; maniacal grins and other menacing facial expressions, together with his natural 6' 9" stature, he cuts an imposing on-screen figure. Michele Soavi also stops by to show his face, as he does in Italian genre films of this era, only to be offed by Eastman in a tame and uninspired murder scene.

The tension is ratcheted up during the 3rd act with some inventive kills and Mikos taking his share of lumps, and the climax channels some serious Lizzie Borden vibes. It's also slightly reminiscent of Romano Scavolini's Nightmare(s in a Damaged Brain) (1981), which came out at roughly the same time. If you haven't already check it out, it's certainly an odd film, one may even go so far to describe it as Horrible or Absurd.

2 Stars

Entrails of a Beautiful Woman (1986)

Entrails of a Beautiful Woman (1986)Kazuo 'Gaira' Komizu's grisly Yakuza-infused pinku eiga, Entrails of a Beautiful Woman/Bijo no harawata.
12 years ago I wrote up a short piece about Komizu's other "splattery pinku eiga", Entrails of a Virgin (1986)

A former protégé of the prolific Koji Wakamatsu, Kazuo is renowned for his "splatter eros" films. Entrails of a Beautiful Woman is something of a spiritual successor to the previously mentioned Entrails of a Virgin; the similarities stop at both films having the same director, alike titles and posters that look as though they are two halves of a single image. The two plots are also completely unconnected and entirely different. I think both movies actually compliment each other in this respect. Where Virgin employs a more dense, richer atmosphere with echos of supernatural horror à la The Evil Dead (1981), mixed with softcore porn; Entrails of a Beautiful Woman is a bawdy, drug induced delirium of Yakuza-thriller, goopy monster-horror mixed with softcore porn.

Starring: Megumi Ozawa, Ayako Ishii, Seira Kitagawa, Ken Yoshizawa, Shinji Sekikawa, Kazuhiro Sano, Yoshinari Yoshie and Kimiya Kôdagawa.



From the outset the film aims to get under your skin, and it succeeds with a psychologically crude and primal method. The opening scene is that of offal being diced-up on a chopping block, with an emphatically juicy sound effect to accompany it. A quick cut, and we're watching Yoshioka (Ken Yoshizawa), the head of the Ichiyama clan taking a great ungracious slurp of water from a glass. We watch whilst he greedily and noisily tucks into his meal, the scene is accentuated by close-ups of his lips smacking, slurping, guzzling and gasping. The title card then appears on-screen as if to confirm your disgust. We watch him for a few more moments before he gets up, pays a guy at the restaurant counter and exits. This is only the first 2 minutes, an effective opening that gets your hackles up and your stomach on edge without watching anything more than food being prepared and a man eating it.

I'm want to spend bit of time to talk about the plot and a few things that intrigued me therein, so bear with! The Gang Boss, after leaving the restaurant and catching a cab, meets up with the rest of the Ichiyama clan at their hideout. A young girl named Yoshimi (Seira Kitagawa) is being held captive after trying to find out what happened to her sister. It transpires that the Ichiyama are involved in more than just drugs, they also dabble in human trafficking and sold her sister in Africa via Manilla. Yoshimi is taunted and molested by a few underlings, before being raped by a clan member who sports a vast and colourful back tattoo. A nice touch of characterisation. She's then shot-up with a drug nicknamed "Angel Rain" and told she will be sold next. The drug appears to give the recipient a high similar to that of cocaine, but also makes them sex-crazed.



The SFX used to convey the effects of "Angel Rain" on the human body is ingenious and surprisingly effective; a short blast of air is fired onto the actor's face, arms or legs to simulate an over-the-top, violent and uncontrollable set of muscle spasms. The effect is later expanded upon with a more complex SFX to show engorged pulsing veins.

Another quick cut to a no longer captive Yoshimi staggering up a shadowy street in nothing but a tattered blouse and panties. She finds her way to the "Aquarium Clinic Hospital", where she meets Hiromi (Megumi Ozawa), a female psychologist who takes her in. There's a brief exposition scene as she relates to Hiromi the story of how her sister was nabbed and sold by the Yakuza. Yoshimi quickly gets up; her mind and seemingly her body craving another dose of "Angel Rain", she runs to the top of the building and commits suicide by throwing herself from the roof.
There's a brief but inopportune shot of a watermelon hitting shattering against concrete, which although given the subject matter feels more humorous than harrowing, a pity.



From hereon Hiromi appoints herself as Yoshimi's avenger and sets out on a path of retribution against the Yakuza clan. I found this to be an interesting concept for a plot device because the character of Hiromi has no relation to Yoshimi. They're not friends or family, there is no underlying reason why she would place herself in such danger for somebody she doesn't really know. The only actual bond, or common factor they have is that they're both female. I'm not sure if it was intended to be interpreted this way at all, but the contrast of a woman single-handedly taking on a widely male-dominated Yakuza clan as justice for the woman they fell is riveting.

Her revenge trip is momentarily paused when she too becomes a victim of the Ichiyama clan, and finds herself in the same situation as Yoshimi back at the beginning of the film. Hiromi is gang-raped by just about every member of the clan, including Yoshioka's moll, before being shot-up with a mammoth dose of "Angel Rain" which appears to be fatal. Gang Boss Yoshioka, issues the order for Hiromi's body to be dumped, along with the hacked up remains of Higashi (Kazuhiro Sano), a clan member she had earlier put under hypnosis, and programmed to kill whoever next called him an "idiot". There's a lot of wild ideas thrown into the pan with Entrails of a Beautiful Woman, and if you thought that was a lot, it's at this point when things become very unconventional.



It turns out that the overdose of "Angel Rain" didn't kill Hiromi, but actually gave her the ability to transform into an inside-out-looking hermaphroditic monster. Using all of these newly acquired powers; monster strength, monster penis (complete with gnashing teeth) and monster vagina, she embarks on a bloody crusade of vengeful havoc against the members of the Ichiyama clan, and beyond. Each kill is uniquely memorable given their absurdity and gruesomeness. I dare you to not let out a cheer during a scene that's an honourable nod to Alien (1979).

Building upon the concept I mentioned earlier, which was posited from a more inherently feminist angle about the character of Hiromi avenging the death of the stranger, Yoshimi, because she is sympathetic to the plight of a fellow female, enough to enact her own notion of justice. The idea becomes all the more interesting when her character, through a perceived death, transforms into a hermaphroditic creature, or is it inversely a creature of no sex, or one that has control of its sex; a physical sexual autonomy, unbound by gender completely, to ensure the defeat of a predominantly male crime organisation.

During the final moments of the film there's a transformation sequence that features some neat quick cuts, alternately flicking between Hiromi and the monster in the same pose on the floor. Sure, it's not original, you've seen it happen in countless other films where a character mutates or changes, but it was a nice little way to round out the film.



One thing that really stood out was the set design for the clan hideout. All the walls are black, and the way in which it's staged and shot you can't see a single thing beyond the immediately illuminated area; it gives those scenes a unique appearance, as though it's happening in a space outside of time. What parts you can see look absolutely squalid too; complete with a dirty mattress in the middle of the floor, rusty barrels with chains draped over them and a random assortment of wooden crates lying around. Bravo!

Performances in the film are decent, no-one is really head and shoulders above anybody else. The soundtrack gave me a peculiar feeling, as if I had heard a few of the cues before but I can't for the life of me think where. The monster and gore effects are great, the fall somewhere on the Peter Jackson "Splatstick" side of gruesomeness, think: Bad Taste (1987) & Braindead (1992), it's just a shame that it takes more than half of the movie to get there. There's 2 in particular scenes that suffer from the dreaded "fogging" censorship, but as mentioned in my review for Entrails of a Virgin, sometimes less is more!

Given the short runtime of a lean 68 minutes there's no reason to not check this out. I'd argue that because it's a shorter film, where nothing feels padded or drawn out, it's a tad more enjoyable than Entrails of a Virgin. It would also make a great double bill with Komizu's other film from the same year, the gooey, tentacle monster menacing young girls, Guzoo: The Thing Forsaken by God - Part I (1986).

Lady Street Fighter (1981)

Lady Street Fighter (1981)"So bad it's good"

A phrase that is bandied around so often with low-budget, exploitation and trash cinema that it almost loses any meaning. Not only is Lady Street Fighter "so bad it's good" but I would further postulate that it's a defining picture for the term.

Glancing at the poster (and it really is a great poster) you would be forgiven for mistaking it for a Sonny Chiba by way of Pam Grier martial arts/action flick; The Street Fighter (1974) & Coffy (1973) this ain't. It has its own charm, its own merits and feels very much like it exists in its own universe, where things don't necessarily have to make any sense, but can still be a lot of fun.

Shot in the end of March 1975 and released theatrically in 1977, Lady Street Fighter is directed by James Bryan, best known for the backwoods slasher, Don't Go in the Woods (1981), and penned by German actress Renee Harmon, who also stars alongside a made-up Carradine brother! Friends & folks, this is triple-distilled exploitation filmmaking.

Starring: Renee Harmon, Joel D. McCrea Jr./Jody McCrea, "Trace Carradine" and Liz Renay.



This is the first collaboration Renee Harmon and James Bryan wrote, produced and directed together. The duo would go on to make a total of 6 feature films, including the ludicrous exploitation actioner, The Executioner, Part II (1984) - a film that has no predecessor. I'd imagine decision to choose that title was similar to the titling of "Lady Street Fighter", an attempted cash grab on the coattails of a more successful film. The case here being James Glickenhaus' fiery action-revenger The Exterminator (1980), likely hoping audiences wouldn't remember the title correctly and be confused enough to believe it was a sequel. A true sequel to The Exterminator did however arrive later that year (1984).



I've tried to understand and rationalise the plot, but there are some aspects I still can't wrap my head around. Did I miss something, is she a cop from the get go? is she a vigilante? Lady Street Fighter is genuinely difficult to follow and not in the way a David Lynch, Luis Buñuel, or even a Christopher Nolan feature is. Surreal - yes, convoluted - yes; unintentionally - yes, and please don't think I'm demeriting this picture either, it's in a realm of its own, its own universe. It exists outside of logic and outside of art.

A woman named Linda Allen (Renee Harmon) travels to Los Angeles to seek out and takedown the hitmen who tortured and murdered her sister. The hitmen are members of a group who call themselves Assassins Inc. (yes really), who are trying to locate an audio tape containing evidence that incriminates them. The tape of which is stitched up inside a plush teddy carried around by none other than Linda. Corrupt FBI agent Rick Pollard (Joel D. McCrea Jr./Jody McCrea), who has secret ties to Assassins Inc., is sent to investigate and/or stop Linda by whatever means necessary, only to find himself falling deeply in love with her. If this doesn't whet one's appetite for intrigue I don't know what will.



Chucked into the mix are burlesque joints (featuring a noteworthy performance by Liz Renay), wild toga parties, celery fellatio, champagne bottle innuendo, phone receiver seducing, a murder mystery party where real murders occur, multiple car chases, shoot-outs and gratuitous nudity. Nobody is who they appear to be, characters are double agents, secret agents and there appears to be hidden agendas left, right and centre. One could argue that it's down to the complexity of the script that makes this film difficult to follow, but this is exploitation filmmaking and I just can't buy that rationale.

The champagne orgy scene should come with a warning; it melted my brain to liquid, and I can't be sure I didn't just dream the rest of the movie. It has that effect on you; an uncanny dreamlike feeling where there's so little to grasp onto. Scenes can abruptly end, and in the next you're immediately catapulted forward through the narrative, wondering if there was something you missed. On a few occasions the dialogue is muffled, or the line delivery is so poor that you struggle to even catch a word. It leaves you feeling more than a little lost in a swirl of gaudy imagery and incomprehensible sounds.



Lady Street Fighter is not devoid of merit or talent, and the film looks surprisingly good, scenes are well framed and the action sequences are nicely put together. The score utilises an incredibly catchy, synthesised version of the most memorable melody from Ennio Morricone's main title theme for The Good, The Bad and The Ugly (1966). It's used effectively to punctuate scenes and also serves as a main theme. Renee Harmon's distinctive German accent adds to the absurdity of the picture, and her character of Linda is utterly unpredictable; as are her outfits, including an eye watering gold lamé jumpsuit. Other actors' line readings are stilted, bordering on uncomfortable, I'm also certain that during one or two moments the dialogue track is repeated. It almost begins to feel like a parody of low/no-budget films from this era, only it isn't, it's played straight, which further adds to the unnatural and ultimately unforgettable nature of this film.

2 Stars

The Farmer's Daughters (1976)

The Farmer's Daughters (1976)I've had the genre of "XXX" on the blog for some time now, initially it was used as a short-cut to reviews for European exploitation films that feature inserts of hardcore pornography, or more specifically Joe D'Amato erotic-horror escapades. I'm looking at you Erotic Nights of the Living Dead (1980) and Porno Holocaust (1981) !
Being no stranger to 1970s & 1980s XXX flicks, particularly "Roughies", I thought it's high time to talk about one, although I'm admittedly no authority on the genre!

So squeeze yourself into those daisy dukes, slip the gumboots on, dust the cobwebs off that pitchfork, and get an eyeful of THE FARMER'S DAUGHTERS.
Zebedy Colt's 1976 filthy farmyard roughie, and boy oh boy is this a grubby reminder of how extreme classic porn could be, with scenes of humiliation, gang rape, golden showers, and forced incest. It's a confounding mélange of hicksploitation, rape/revenge & absurdist comedy. And how about that poster, eh? Glorious!

Starring Gloria Leonard, Susan McBain, Philip Marlowe, Marlene Willoughby, Nancy Dare, Zebedy Colt, Bill Cort, John Black & Spalding Gray.

Shep (Zebedy Colt) and Kate (Gloria Leonard) are farm owners, and are the parents to three comely daughters. Martha (Susan McBain), Jane (Nancy Dare), and Beth (Marlene Willoughby). The film begins with the sisters peeping through their folks' bedroom window to discover their parents knocking boots. In the course of this initial sex scene between Zebedy Colt & Gloria Leonard I nearly spat my beer out laughing, as right before he erupts over Gloria's fuzzy muff, Colt groans with a put on hayseed accent, "Oh I can't take it, I just cum". His delivery of the line coupled with the frantic banjo-ing soundtrack is comedy gold. Bloody marvellous!



Amused by what they've witnessed, the sisters decide they want to try it out for themselves. Chasing down the nearest available male, Fred the farmhand (Bill Cort), one of the gals takes up her seat on his face while the other two suck & fuck him 'til he's shooting ropes; presented to you in a competently edited, multi-angled sequence. But, the chicks aren't finished, oh no, one of the sisters sucks up Fred's goo and spits it in his face. Poor ol' Fred is then tied up, has his ass whipped with a flyswatter, before all three of them proceed to verbally abuse, and piss all over him. They further threaten him to never tell their parents about their peeping.

The choice dialogue during this scene is near-pure poetry...
"You better just keep on dreaming honey cos you ate this pussy but you never gonna fuck it!"
"And you fucked this pussy but you ain't never gonna eat it!"
"We sucked your cock, and next time we gonna bite it off!"

Through the golden torrents raining down from above, Fred gargles his revenge, "You bitches, I'll get even, I swear I'll get even!".



The aforementioned scenes do offer a brief, albeit perverse dose of comedy and lightheartedness, before the narrative veers in a grim direction. Once the girls have finished emptying the contents of their bladders over Fred, we cut to three escaped convicts, George (Spalding Grey), Butch (John Black) and Pat (Philip Marlowe). We know nothing about these dudes, it's the first time we're introduced to them, and it looks as though they're having a rotten time in the wilderness. They're clad in dishevelled clothing, looking like they haven't seen a bar of soap or hot water in weeks. Pacing through the forest, acting paranoid, and drinking from streams. Their luck changes when they overhear and follow the sounds of the sisters mid-coitus with Fred, for a second time. The editing is a bit choppy here and I must admit couldn't understand if they got back into it with him, or if the film is far more intelligent than I'm giving it credit it for, and we're meant to believe the cons are in-hiding just outside during that first scene with the girls and Fred.

The power-play roles are now reversed as the sisters become the observed, with the cons now becoming the peepers who get a few ideas of their own.



The three men waste no time in taking over the farm. We're witness to a short home invasion where the cons find a rifle and take it for their own. Furthermore, in a back-room they discover Shep and Kate fucking on a deep pile shag rug, pardon the puns. The guys overpower Shep and throw Kate onto a nearby bed. George and Butch take turns with Kate, and I'm pretty sure Philip Marlowe body doubles for Spalding Grey here, which is bizarre because he does his own performing in a later scene. Underpinning this scene of gang rape is a really ill-fitting piece of cheery violin-heavy country music. Yee-haw.

With rifle in-hand the cons take the family hostage and if it wasn't already clear in your mind, it becomes stunningly obvious in the following scene why there are three daughters AND three convicts, as one of the cons decides to play a perverted game of 'Simon Says'. Cute. The girls are forced to service each man with their mouths before a grubby blanket is spread out on the grass for further fornicatin'. It's only when Fred appears at this most opportune time that there's a shift in power, and it's not for the better. Fred is still pissed off about the earlier shenanigans and is out for revenge. Now dear reader, here is where I stop with the plot breakdown. I'd happily detail every single scene of debauchery during the last act and the finale, but I actively encourage you to find a copy of this scuzz-fest and behold them yourself!



The film achieves a few pleasant frames here and there, but is predominantly shot with medium and close ups, save for a handful of satisfying zooms. My biggest gripe is with the pacing, and as a result an amount of scenes do have a tendency to outstay their welcome. I mentioned previously that there's some slick editing during several of the sex scenes, but during the climax it goes absolutely batshit, and I strongly believe in the case of the latter, the desired effect is lost from sheer excessive repetition. Sometimes less really IS more.

The acting is exactly as you would expect from a picture of this calibre, Marlene Willoughby is as always, an on-screen delight, check out those tatty daisy dukes! Zebedy Colt appears a little dazed and confused in this when compared to his off the wall role in the Death Wish (1974) "inspired" Sex Wish (1976), which was released later in the same year as this. Spalding Grey brings a memorably unique, unsettling way of pausing while delivering his lines throughout the film. I can't tell if it's purposeful to make his character appear like a truly off kilter degenerate, or if he's just reading the lines bad. Either way it's unnerving and effective.
"Never say no, to a, desperado. We're just going to, play, a few games..."
"You're calling the shots...friend...I had to take a leak anyway"


It's scuzzy, it's immoral, it's repulsive, it'll make you want to take a long shower afterwards, but most of all it's a lot of fun. You'll never see anything like this again. Cock-A-Doodle-Doo, indeed!