Friday, August 15, 2014

The Endangered List (Case File #148)



BELINDA (1972)

Starring
Melinda Forrest
Paul Tobors
Jeff Ward
Ralph Guarino
Debby Melrose
Charlotte Hansen

Directed by
Richard Franklin

Written by
Jay Chessic

Produced by
Terry Levene

Associate Producer
Donald Stillman

Running time: 83 minutes
Rating: Self-applied X

Released by
Aquarius Releasing

World Premiere (New York): October 27, 1972

Re-released as MELINDA


On January 26, 1973 (Friday), a print of BELINDA was placed on a Greyhound bus in New York's Port Authority and transported to Buffalo, where it was scheduled to open the following Wednesday (January 31) at the Loews Teck theater...


PLOT SYNOPSIS
(Based on the notes of Special Agents Allan M. Davison
and John F. Lewis Summarizing Contents of Film
BELINDA as Viewed by Them on Jan. 31, 1973)

"The color, sound film began at approximately 12:10 PM and ended at approximately 1:28 PM. The credit at the beginning of the film indicated it was produced by the Aquarius Releasing, Inc., and the film begins with a group of people, including a person dressed in clerical garb, looking at what is assumed to be a corpse in the identification room of a hospital. The next scene shows a 'detective' interviewing an individual in a tavern and requests his cooperation in the investigation. The person in clerical garb arrives with the others from the hospital and is identified as Father KEENE (phonetic). The person being interviewed by the detective begins to tell the story about his knowledge of the deceased. The scene shifts to a picture of an individual identified as MILLER, who is dragging and shoving BELINDA across a snow covered hill and icy area. MILLER throws her down and rubs his hands over her clothing and BELINDA's boyfriend, DOUG, who has been watching, jumps MILLER and they begin to fight. The scene then shifts to a room where DOUG and BELINDA are kissing while on a couch.

"The next scene shows DOUG with a woman who is enticing him in what is an infra-red type scene with all red lighting. The woman performs fellatio on DOUG. The scene then shifts to a room where a black female is performing fellatio on MILLER who is a white male. The next scene shows conversation among the participants back at the tavern. The next group of scenes alternate between the black woman performing fellatio on MILLER and the other woman performing fellatio on DOUG.

"Following this, the scene shows DOUG kissing the breasts of the woman he is with and thereafter engaging in intercourse with her. The scene then shifts to MILLER masturbating the black woman with his finger and then back to DOUG engaging in intercourse with the woman with her on her hands and knees and him behind her. The scene then shifts back to MILLER masturbating the black woman and back to DOUG engaging in intercourse with the woman. The scene then shows DOUG ejaculating on the stomach of the woman. The final scene in this series shows MILLER rubbing and masturbating the black woman with his finger. The next scene shows BELINDA defaced in a bedroom looking in a mirror while dialogue is carried on the soundtrack.

"The next scene shows MILLER and the black woman in bed together at which time MILLER gets out of bed and gets an automatic type handgun and tells the woman that this is how he has money coming in as he waves the gun in front of her. While MILLER talks to the woman, she caresses his penis with her hand. The next scene shows DOUG in the bedroom talking to BELINDA and urging her not to go with MILLER.

"The next scene shows MILLER in bed with the black woman after which time he gets out of bed, goes to the door, knocks, and asks for WILLIAM. He then enters the room, which apparently is a bathroom as there is a female sitting on the toilet stool when he enters the room. This appears to be the same female who earlier had been pictured with DOUG. The female then while continuing to sit on the stool, performs fellatio on MILLER who is standing in front of her. The black woman is then pictured in bed, groaning and rubbing herself. The scene, from an angle below MILLER, and the girl looking up from the floor, shows them rubbing each other and thereafter engaging in intercourse. The scene then shifts back to the bedroom where the black woman is self-masturbating. MILLER and the white female come into the bedroom where MILLER engages in intercourse with the white woman while the black woman is kissing the white woman. The black woman then kisses the buttocks of MILLER while he is engaged in intercourse with the white female.

"The next scene shows DOUG and BELINDA conversing in a bathroom.

"The scene shifts back to a room where MILLER and the black woman and white woman are in bed talking. MILLER is holding the gun and a second white male, identified as WILLIAM, enters the room and all four sit on the bed and talk. An argument then ensues between MILLER and WILLIAM and thereafter between MILLER and the white female. The scene then shifts to a tavern where further dialogue then takes place between the participants there.

"The story continues with BELINDA meeting MILLER 'on the edge of town' where she enters a house with him and MILLER gets into an argument with the black woman where he shoves her and tells her to leave. While this is transpiring, WILLIAM goes to the couch where BELINDA is seated and puts his hand on her leg. MILLER shoves him away and then sits down on the couch where he begins to rub BELINDA's breasts and legs. She resists him and at the same time, the black woman begins to caress WILLIAM. At this point, the other white woman comes down the stairs and enters the room. MILLER and WILLIAM get into an argument with the black woman and white woman and attempt to get them to leave and thereafter WILLIAM forcefully escorts the black woman and the white woman out the front door. MILLER then grabs BELINDA and tells her she will give him whatever he wants to which she responds, 'Doug's the only one.'

"The next scene shows discussion continuing at the tavern.

"The next scene is again of an infra-red type which shows the black woman and the white woman kissing and rubbing each other's bodies and thereafter the white woman kisses the black woman's breasts, performs cunnilingus on her, and thereafter inserts an artificial penis into the black woman's vaginal opening. The scene ends with the black woman and white woman in a simulated intercourse position. The scene then shifts back to the tavern where the detective decides to leave and the story continues.

"The next scene is again an infra-red type scene which shows BELINDA, WILLIAM and MILLER dancing and MILLER caressing BELINDA's breasts while she is still clothed. MILLER proceeds to undress her and thereafter kiss and caress her breasts.

"The next scene reverts back to the tavern where a 'psychiatrist' enters the conversation and thereafter the entire group leaves the tavern.

"The next scene is again an infra-red type which shows BELINDA sitting and standing in a full-length corset. It then shows her entering a bedroom, removing her nylons, and corset, and getting into bed with DOUG who is laying nude. They begin to kiss and caress each other at which time DOUG kisses her breasts and removes her panties. He then performs cunnilingus on her and thereafter assume a simulated intercourse position.

"The next scene shows a theater marquis with a title 'Belinda' on it and shows the person being interviewed at the tavern entering the theater. The next scene shows DOUG standing nude in a room with his arms outstretched over his head and tied to ropes with a rope running between his hands. MILLER, BELINDA and WILLIAM enter the room and MILLER begins to taunt DOUG. WILLIAM begins to wrestle with BELINDA on a bed with her resisting him. The movie concludes with the scene of the theater marquis with 'Belinda' on it and people leaving the theater.

"Individuals listed on the final crediting included TERRY LEVENE and the star as having been MELINDA FORREST."

Taken from


Buffalo’s Federal Indictments Snag Loews and Others

Buffalo, May 15 – Nine men, including the owners and managers of three Buffalo theaters and officials of several film distribution firms, have been indicted here by a Federal grand jury on charges of conspiracy and interstate transportation of obscene films. The indictments were the latest in the recent Federal sweep against pornopix in the Buffalo area.

Charged were prez Dewey Michaels and manager Joe DeMartino of the Palace Theatre; manager Ben Abrams of Loews Teck, and the parent company, Loews Theatres Inc.; Frank Arena, general manager of Loews Theatres in N.Y. State; Louis Sher, prez of Sherpix Inc. of N.Y.; Marvin Friedlaner, prez of Marvin Films of N.Y.; Manny Brown, prez of Frontier Amusement Corp.; prez Joe Adams of Avant Garde Theatres of Syracuse; and Terry Levene, prez of N.Y.’s Aquarius Releasing Co.

The various charges are in connection with the transportation and screening of the X-rated KITTY’S PLEASURE PALACE, NAKED HUNTER and BELINDA.
                                                    -- Variety (May 16, 1973, p.22)


Three Films Are Involved In Federal Indictments

BUFFALO – The owners of three local theatres have pleaded innocent to federal charges of “transporting obscene films across state lines” so they could show them here. Federal Judge John T. Curtin has deferred setting a date for pretrial arguments until after the Supreme Court decides three cases relating to the issue of obscenity.

J. Royce Adams, who heads Avant Garde Theatres, and his son Terrence J. Adams, who is manager of the Village Theatre in the Central Park Plaza, have pleaded innocent. NAKED HUNTER is the film named in that indictment.

Loews’ Teck is charged with transporting the film BELINDA. Pleading innocent are Benjamin F. Abrams Jr., theatre manager; Loews Corp.; New Buffalo Amusement Corp.; Frank Arena; Aquarius Releasing; and Terry Levene.

Manuel A. Brown, head of Frontier Amusement Corp., has pleaded innocent in the transporting of the film KITTY’S PLEASURE PALACE.

Awaiting arraignment are George Dewey Michaels, president of the Palace Theatre, and its manager, Joseph DeMartino; Sherpix; Louis K. Sher; Marvin Films; Marvin Friedlander, and BM&E Theatre Corp.
                                                    -- Boxoffice (June 11, 1973, p.E-5)


"Aquarius Releasing's Terry Levene recently turned over a U.S. Treasury Dept. check for $94.80 to the Buffalo, N.Y. branch of the American Civil Liberties Union. Levene had been issued the check from the government in payment for expenses incurred by him in appearances in Buffalo in an obscenity hearing involving his pic, BELINDA. Levene called the money 'tainted' and turned it over to the Libertarians."
                                                    -- Variety, June 6, 1973, p. 5

Thursday, August 14, 2014

Guest Review: Exhumed Films' Guilty Pleasures Marathon at the Alamo Drafthouse (Yonkers, 8/2/2014)

If you drop by these parts on a regular basis you probably already know how much we love The Journal of Interstitial Cinema, so we're very excited to have JoIC co-founder/co-editor Grog Ziklore with us today as a guest reviewer.  Here he is with his thoughts on the recent Exhumed Films marathon at the Alamo Drafthouse Yonkers...


Exhumed Films'
Guilty Pleasures Marathon
August 2, 2014
Alamo Drafthouse
Yonkers, NY

by Grog Ziklore

The Alamo Drafthouse Cinema sits on the left side of a strip mall on a small hilled area on Route 100 (Central Park Avenue) near the Bronx River Parkway. Although located in Yonkers, it is over eight miles from the Yonkers MTA station (the nearest train station is Scarsdale) and difficult to get to without a car, which is the reason why I had never been to this location. The original branch in Austin's Ritz Theater on 6th Street is excellent - a quality old theater, good food and beer served during the show, and at least once a week 35mm prints of rare '80s horror and sci-fi films are shown for $3.00 (Last night they showed a 35 print of 1987's SUMMER CAMP NIGHTMARE!). Therefore, I wanted to see the Alamo nearest to NYC and heard that Philadelphia's Exhumed Films would be doing an all day festival there. Luckily, I was able to get a ride. The festival took place on Saturday August 2, running from 2-11 PM and screening 35mm prints of five rare genre films. I won't go too into the plots as they are well documented online and in print.


1. 1990: THE BRONX WARRIORS (1982) -- Directed by beloved Italian director Enzo Castellari, this is primarily a WARRIORS rip-off in a post-apocalyptic motorbike society with hilarious acting and fight choreography. Vic Morrow and Fred Williamson turn in good performances, and there is great electronic music by Walter Rizzati. Also lots of great footage of the Bronx during its heyday of rubble and urban decay. Some of these same shots and areas appeared the year before in WOLFEN.


2. FLESHEATER (1988) -- This zombie piece was the most fun film of the bunch. Plot concerns a bunch of dumb young adults besieged by zombies in a barn area. While not a good film by any means, it is hilariously padded out to feature length, using mostly long takes of mundane tasks like people walking, opening doors, crossing over from one house to the next, all done with bad foley effects. Shot on a micro-budget near Pittsburgh, it was a treat to see a 35 print of this as there probably are not many of those left. The tone and types of knucklehead characters reminded me of the slightly superior film SPOOKIES.


3. THE NO MERCY MAN (1973) -- The most serious and well crafted film of the festival concerns a shell-shocked Vietnam vet who returns home with disastrous results. One of the first films dealing with returning soldiers from 'Nam, it came out not long after Bob Clark's DEATHDREAM. The main character is badass and hardcore and there are great action scenes where he takes on a vicious biker gang. Of note for being the first film shot by Dean Cundey. Ray Stella was Cundey's camera operator on this, as he would be later on his films for John Carpenter. Sid Haig appears towards the end of the film. Unfortunately, the print of this widescreen film was very faded and pink looking.


4. DEATH PROMISE (1977) -- This film is rare and coveted by grindhouse and genre fans. A kung fu piece first and foremost where a man exacts revenge on landlords who are evil murderous villains. Good footage of lower Manhattan streets and rooftops from that time period, the Twin Towers, and lots of dojo and kung fu moves and training. Print looked good. Very catchy theme song by Bill Daniels and Mike Felder. The director, Bob Warmflash, did a Q&A after the screening and answered many questions about how the film was shot. This was a treat for me, as back in 2000 I was an assistant negative cutter on the Ernest Shackleton documentary THE ENDURANCE, which was directed by George Butler (PUMPING IRON), and Mr. Warmflash was the post-production supervisor. He would show up to our office frequently and was very friendly. At the time, I looked him up on IMDb and saw that he had directed this one movie. I then tracked down a VHS of DEATH PROMISE off eBay, liked the film, and he was kind enough to give me the poster, which features an excellent painting by legendary Marvel Comics artist Neal Adams. It was nice to catch up with Mr. Warmflash after all these years and tell him that Mr. Adams signed my poster at a comic show free of charge, as he was a fan of the film.


5. NIGHT OF A THOUSAND CATS (1972) -- The weakest film of the bunch was barely longer than 60 minutes, but felt longer. Plot concerns a playboy who lures women to his mansion, kills them and feeds them to his army of cats. Lots of footage of the main character in a terry cloth robe throwing raw meat into a cage of hundreds of stray cats, all meowing loudly. Director Rene Cardona Jr. is the son of the director of my favorite bizarre Mexican horror films, NIGHT OF THE BLOODY APES (aka HORROR Y SEXO or GOMAR THE HUMAN GORILLA, which I named my pet hamster after) and its original version, DOCTOR OF DOOM, which feature nasty horror among Lucha Libre wrestlers and storylines, so I expected more from his son.


This festival was a lot of fun. It ran about 8.5 hours, and while most people won't sit through the whole thing, let alone even go at all once they hear how long it will be, I can honestly say that halfway through the second film it flew by and I was surprised it lasted as long as it did. I am now curious to check out Exhumed's 24-hour horror festival which takes place later this year in Philly.


The latest issue of The Journal of Interstitial Cinema (#5) is now available from Magcloud and the official JoIC website.

Tuesday, August 12, 2014

Character Kings 2 book signing at Dark Delicacies on September 6!



Celebrity Signing at Dark Delicacies - September 6

In-person appearance by
Character Kings 2 author Scott Voisin
and well-known actors from TV and film!

BURBANK, CA (July 22, 2014): Scott Voisin, author of the book Character Kings: Hollywood’s Familiar Faces Discuss The Art & Business Of Acting (BearManor Media, 2009), will appear with some of the actors featured in his new sequel, Character Kings 2 (BearManor Media, 2014), at Dark Delicacies in Burbank, California on Saturday, September 6th at 2:00 PM. In celebration of its release, interviewees from both Character Kings books will attend and autograph purchased copies.

Scheduled to appear are:

Mike Starr (GOODFELLAS, DUMB AND DUMBER, ED WOOD)
Peter Jason (DEADWOOD, THE KARATE KID, 48 HRS.)
Raymond J. Barry (BORN ON THE FOURTH OF JULY, THE X-FILES)
Art LaFleur (THE BLOB, FIELD OF DREAMS, THE SANTA CLAUSE 2)
James Karen (RETURN OF THE LIVING DEAD, POLTERGEIST)
Jon Polito (THE CROW, MILLER'S CROSSING, HIGHLANDER)
Duane Whitaker (PULP FICTION, FEAST, EDDIE PRESLEY)

More character kings will be present if their working schedules permit.

ABOUT THE CHARACTER KINGS BOOKS
Character Kings is Scott Voisin’s ongoing book series featuring exclusive interviews with today's most recognizable working actors. The insightful and entertaining conversations are filled with candid behind-the-scenes anecdotes and secrets for building and sustaining a successful career in Hollywood. Tim Lucas, editor of the award-winning Video Watchdog magazine, says, “Character actors are a prized species, and Scott Voisin selects the cream of today's crop. The actors regale us with some marvelous stories of blood, sweat and fate.”


CONTACT
Scott Voisin/Character Kings books: scott@scottvoisin.com www.characterkingsbook.com
Dark Delicacies: 3512 W. Magnolia, Burbank, CA 91505 www.darkdel.com
BearManor Media: Tel. (682) 703-2676
www.bearmanormedia.com

Monday, August 11, 2014

Blue Movie Monday: "In the Flesh" series returns to Anthology Film Archives!



Anthology Film Archives
32 Second Avenue
New York, NY 10003
(212) 505-5181

Anthology Film Archives' scintillating series "In the Flesh" explores the years when sexually explicit movies that emphasized scripts, acting, and production values were still being shot on celluloid. It was the most creative time in the adult film industry’s history, soon to be quelled by the arrival of video. Every screening features appearances by filmmakers, actors, or crew members, as well as critics, scholars, and other participants in or observers of this ‘Golden Age’ of adult cinema. This fourth installment of the popular series brings together three bold, sexy comedies from the late 1970s and early '80s. Joining in the festivities are special guests and adult film superstars Eric Edwards and Sharon Mitchell, as well as the multi-talented filmmaker Damon Christian, who will share incredible stories of making some of the best adults-only comedies of the era.

Series curated by Casey Scott. Special thanks to sponsors Steven Morowitz (Distribpix) and Joe Rubin (Vinegar Syndrome).

Friday, August 29
8:00 PM
THE BUDDING OF BRIE (1980)
83 min, 35mm
Directed by Ron Sullivan
Starring Hillary Summers, Jennifer Jordan, Eric Edwards, Jake Teague, Laurien Dominique, Kandi Barbour, R. Bolla, Michael Gaunt & Ron Jeremy.
Star Eric Edwards will appear in person with other surprise guests!

Saturday, August 30
8:00 PM
TITILLATION (1982)
81 min, 35mm
Directed by Damon Christian
Starring Eric Edwards, Randy West, Kitten Natividad, Angelique Pettyjohn, Gina Gianetti & Mike Horner.
Director/producer Damon Christian and star Eric Edwards will appear in person!

Sunday, August 31
8:00 PM
JOY (1977)
73 min, 35mm
Directed by Harley Mansfield
Starring Sharon Mitchell, R. Bolla, Jake Teague, Herschel Savage, Gloria Leonard, Dave Ruby & Eric Edwards.
Star Sharon Mitchell will appear in person with other surprise guests!

For more information, click HERE.

Sunday, August 10, 2014

Movie Ad of the Week: THE HOLY INQUISITION (1975)



Nominated for the Palme d'Or at the 1974 Cannes Film Festival, Arturo Ripstein's EL SANTO OFICIO -- starring Jorge Luke, Diana Bracho, Claudio Brook and Ana Mérida -- opened in New York's premier Spanish-language theater, the Cine 1 & 2, as THE HOLY INQUISITION on February 21, 1975.

Thursday, August 07, 2014

The Endangered List (Case File #147)



YOU’VE GOT TO WALK IT
LIKE YOU TALK IT
(OR YOU’LL LOSE THAT BEAT)
(1971)

Starring
Zalman King (Carter Fields)
Allen Garfield (Herby Moss)
Suzette Green (Susan)
Richard Pryor (Wino)
Robert Downey (Head of Ad Agency)
Liz Torres (Singer in Men’s Room)
Roz Kelly (Girl in Park)
Karen Ludwig (Erica)
Billy Cunningham (Fat Lady)
Ruth Locke (Carter’s Mom)
Daisy Locke (Old Woman)
Peter Locke (Shoe Thief / Purse Snatcher)
Chick Kozloff (Mooner)
Michael Sullivan (Man on Toilet)
Steve Landisberg (Men’s Room Attendant)
Tommy Cerafice (Boy in Men’s Room)
Eric Krupnik (Hood-Group Therapy)
Stephen Berke (Food Eater – Park Bench)
Ann Taylor (Pickpocket)
Karen Smith (Pickpocket)
St. Louis (Gynecologist)
George Schultz (Judge)
Jan Smith (Garbage Eater)
Walter Klusner (Father)
Stan Gottlieb (Mr. Fellestrio)
Geegee Brown (Girl Getting Strangled)
Tony Middleton (Strangler)
Paula Frankle (Corinna)
John Fodor (Revolutionary)
Elaine Everett (Anita Lorraine Teitlebaum)

Narrated by
Roger Parsons

Written, Produced, Directed
by
Peter Locke

Associate Producers
Gary Mehlman
David Finfer
Ron Sullivan

Photography by
Stephen Bower

Edited by
Wes Craven
David Finfer
Lana Jokel
Peter Locke

Music Composed
by
Walter Becker
Donald Fagin
Billy Cunningham

Music Produced
by
Kenny Vance

Art Direction
Linda Sampson

Sound
Charles Barecca
John Fodor
Joe La Vecchia

Assistant to the Director
Ann Taylor

Eastman color

Released by
J.E.R. Pictures

Running time: 85 minutes
MPAA rating: R

New York opening: September 19, 1971 (Sunday)















SOUNDTRACK LP


Walter Becker - Bass, guitar
Donald Fagen - Keyboards, vocals
Denny Diaz - Guitar, percussion
John Discepolo - Drums
Kenny Vance - vocals

Arranged by Walter Becker & Donald Fagen
Produced by Kenny Vance

Originally released in 1971 by Spark (SRLP 124), the soundtrack LP was reissued numerous times, under different titles and by various labels, to capitalize on Becker & Fagen's later success as Steely Dan.

TRACK LIST

1. You Gotta Walk It Like You Talk It
2. Flotsam and Jetsam
3. War and Peace
4. Roll Back The Meaning
5. You Gotta Walk It Like You Talk It (reprise)
6. Dog Eat Dog
7. Red Giant/White Dwarf
8. If It Rains

Wednesday, August 06, 2014

Mystery Movie: REVENGE FROM THE UNKNOWN (1972)


We have no idea what REVENGE FROM THE UNKNOWN is, but it played midnight shows at one Seattle theater during the weekend of March 17, 1972. Going by the "3 hrs. of terror" tag line, it's safe to assume it was a double bill or a collection of trailers and short subjects. Does anyone in another part of the country recall seeing this blip appear on their radar, or was REVENGE FROM THE UNKNOWN unique to the Emerald City?