The Endangered List (Case File #145) - FOUND!

DIRTYMOUTH (1970)

Starring

Bernie Travis (Lenny Bruce)

Courtney Sherman (Iris McCabe)

Wynn Irwin (Lou Hamilton)

Sam Teardrop (Marlene St. Clair)

Harry Spillman (Lewis)

Peter Clune (Mr. Murdock)

Eleanor Cody Gould (Mrs. McCabe)

Bob Allen (Judge – Philadelphia)

Gene Wood (Judge – New York)

Chris Gampel (Defense Attorney)

John Becher (Harry)

Fred Knapp (Defense Attorney – New York)

Jim Thorne (Assistant District Attorney)

Reid Cruickshanks (Brady)

Frank Feda (Ed Newton)

Court Benson (Johnson)

Fuddle Bagley (Comic)

Herb Carter (Smith)

Phil Carter (Gerber)

Horatio Fuller (Tipstaff)

Edward Grace (Capote)

Michael Zettler (Policeman – Philadelphia)

Arthur French (Policeman – Philadelphia)

Dorothy Claire (Mrs. McHenry)

Alice Yourman (Mrs. Amperian)

Gladys Lane (Mrs. Gerber)

Frankie Mann (Himself)

Bob Leslie (Himself)

Written, Produced, Directed

by

Herbert S. Altman

Executive Producer

Claude Schlanger

Photography by

Bert Spielvogel

Edited by

Edna Paul

Music by

Manny Vardi

and

Lenny Hambro

Songs by

The Free Design

Sound

Marvin Dworkin

Makeup

J.J. Jiras

Associate Producers

Alfred Gilbert

and

Allan Altman

Color by Movielab

A

Superior Films

production

Released by

Howard Mahler Films

New York opening: May 19, 1971

Re-released by

The Fanfare Corporation

in 1974

New York re-release: December 13, 1974

Running time: 102 minutes

MPAA rating: R

Thanks to John Charles

Movie Ad of the Week: ANGELS FROM HELL w/ THE NAME OF THE GAME IS KILL (1968)

By the time the double bill of ANGELS FROM HELL and THE NAME OF THE GAME IS KILL arrived in Chicago on November 1, 1968, both movies had already played throughout the country to widely different box-office results. ANGELS FROM HELL had its world premiere on May 29, 1968 at the Meadow Lark Drive-In in Wichita, KS, where it set the house record as well as the all-time city record, and continued to rake in dollars for American International Pictures everywhere it played, all summer long and into the fall. On the other hand, THE NAME OF THE GAME IS KILL opened in New York, Los Angeles, and several other major cities on June 5, 1968 -- a few hours before Robert Kennedy's assassination -- and played to mostly empty seats until relegated to second-feature status a few months later.

Movie Ad of the Week: MASTER OF HORROR w/ MASTER OF TERROR (1966)

Presented by Jack H. Harris and released by Joe Solomon's U.S. Films, these "two chillers to turn your dreams into screams" arrived in Houston, TX on March 3, 1966. MASTER OF HORROR is the truncated U.S. version of OBRAS MAESTRAS DEL TERROR (1960), an Argentinian film consisting of adaptations of two Edgar Allan Poe tales, "The Facts in the Case of M. Valdemar" and "The Cask of Amontillado." A third story, "The Tell-Tale Heart," was cut from this version, but later turned up in LEGEND OF HORROR (1972). The co-feature, MASTER OF TERROR, is a reissue of the Jack H. Harris production 4D MAN (1959), originally released by Universal and starring Robert Lansing, Lee Meriwether, James Congdon, Robert Strauss and Patti Duke.

Movie Ad of the Week: GOSH! (1974)

GOSH! (1974), writer-producer-director Tom Scheuer's low-budget comedy about the casting couch exploits of fictional Hollywood starlet Alice Goodbody (Sharon Kelly), was one of the last releases from Joe Solomon's Fanfare Corporation, and certainly the last one he bothered to promote with in-theater personal appearances by cast members. The ad above is from the exclusive Madison, Wisconsin opening on Wednesday, June 19, 1974, with Sharon Kelly scheduled to hand out autographed photos in the lobby of the Majestic Theater. Despite her prominent "introducing" credit, Kelly had already starred or co-starred in a half dozen movies by this time, including SASSY SUE, THE DIRTY MIND OF YOUNG SALLY, and THE DIRTY DOLLS. Solomon never had much use for sexually explicit material, which explains the disclaimer under the R rating (the film had to be cut to avoid an X) as well as his lack of interest in exploitation after the rise of hardcore. GOSH! disappeared from Fanfare's release in September '74 but was picked up by Intercontinental Releasing Corporation and re-titled ALICE GOODBODY for theatrical bookings that stretched from 1975 to the end of the decade. Fanfare released only a few more films -- the Lenny Bruce biopic DIRTYMOUTH, the Tyburn production PERSECUTION (as both SHEBA and TERROR OF SHEBA) and the PG-rated cut of RUN, ANGEL, RUN! -- before cashing it in at the end of 1975.

Movie Ad of the Week: THIS IS A HIJACK (1973)

World Premiere - Friday, June 1, 1973 - Hutchinson, KS

Producer-distributor Joe Solomon held the world premieres of HELLS ANGELS ON WHEELS (1967) and its sequel, ANGELS FROM HELL (1968), at the Meadow Lark Twin Drive-In theater in Wichita, KS, with the stars of both films on hand to meet moviegoers and sign autographs. Solomon returned to Kansas a few years later for the world premiere of THIS IS A HIJACK at the South Hutch Drive-In in Hutchinson, with leading lady Lynn Borden doing handshake-and-autograph duty on opening night.

Movie Ad of the Week: ZATOICHI, THE BLIND SWORDSMAN w/ I CROSSED THE COLOR LINE (1974)

Here we have two disparate movies that were a decade old when paired for this New York City double bill in the mid-'70s. ZATOICHI, THE BLIND SWORDSMAN is the dubbed U.S. release version of ZATOICHI ON THE ROAD (1963), the fifth entry in the long-running Japanese swordplay series starring Shintarô Katsu, while I CROSSED THE COLOR LINE is a re-titling of THE BLACK KLANSMAN (1966), a Joe Solomon production directed by Ted V. Mikels and featuring Max Julien (The Mack!), James McEachin (Tenafly!) and Whitman Mayo (Grady!) in the cast.

"Talented Black Actor Pays High Price for His Success" - 11/19/73

"Director Looks Back on HOT SUMMER WEEK"

Why a third post about a movie we don't even like? Because we enjoy being right when everyone else is wrong.

One-Sheet of the Week: WILD WHEELS (1969)

WILD WHEELS (1969)

Rated X by the MPAA, then edited for re-rating of R

World premiere held at the Berlin Drive-In, Hartford, CT on July 2nd, 1969 with the stars and the director in attendance

It was a HOT SUMMER WEEK in 1972, dammit!

We thought we had cleared up the confusion surrounding GIRLS ON THE ROAD two months ago when we reviewed it HERE, but we were apparently giving ourselves way too much credit. The DVD is out now, and in the past week we've seen a half dozen reviewers get the title and/or the release information wrong because they insist on consulting the IMDb for their (mis)information. One of these critics even swung by the Temple long enough to right-click our ad mats, but evidently didn't rub his eyeballs across any of the text before scurrying off to write his own review, because he made the same mistakes as the others.

OK, let's try this again: GIRLS ON THE ROAD is not the original title, and the movie wasn't released in 1973. The original title is HOT SUMMER WEEK, and it was released in 1972. Don't believe the IMDb, because it's wrong. Flat-out wrong.

The ad above appeared in the January 17, 1972 issue of Boxoffice. Please note the "national release date" of June 21. That's June 21, 1972 -- not June 21, 1973. If you search THE MPAA database for GIRLS ON THE ROAD, you won't find it on file with them, not even as an alternate title -- but you will find a record for HOT SUMMER WEEK (1972).

Let's go over it again, shall we? Original title: HOT SUMMER WEEK. Release date: 1972. Re-release title: GIRLS ON THE ROAD.

Got it? We'll see.

HOT SUMMER WEEK (1972) a.k.a. GIRLS ON THE ROAD

For a brief period of time, producer Joe Solomon really seemed to have his finger on the pulse of young America with low-budget counterculture movies like HELLS ANGELS ON WHEELS, THE GAY DECEIVERS and EVEL KNIEVEL to his credit, but his run of success screeched to a halt not long after he was the subject of an Esquire article by Roger Ebert titled “The Last of the Schlockmeisters.” The most depressing example of this downswing is HOT SUMMER WEEK (a.k.a. GIRLS ON THE ROAD), a hopelessly botched attempt at a youth-oriented psycho thriller that reeks of phony baloney from the first scene. Based on a story by British writer Dail Ambler (NIGHT AFTER NIGHT AFTER NIGHT) and originally titled HAPPENING, the film was set to go before cameras in April 1970 with Bruce Kessler directing, but Solomon pulled the plug and Kessler ended up doing SIMON, KING OF THE WITCHES instead. When we asked Kessler about the project a few years ago he drew a total blank, but his collaborator in the late ‘60s, screenwriter Jerry Wish, had this to say about HAPPENING during our interview with him in early 1999:

“The last project I worked on for Joe Solomon was this film that Bruce and I were going to shoot in Big Sur. Joe had bought some story by an English writer who wrote about two young gals in their teens who go off on a summer drive and run into trouble with a rapist. He couldn’t use it the way it was so he hired me to adapt it, and Bruce and I scouted locations in Big Sur. We were working on it, and I felt we had a good story, but Joe hired some gal named Gloria Goldsmith to write it, and then Bruce didn’t direct it. I saw it one time on TV. All I remember about it is that I think it had Ralph Waite in it.”

Considering the Kessler/Wish team had just successfully salvaged THE GAY DECEIVERS from a reportedly unfilmable script by Gil Lasky & Abe Polsky, it would’ve been interesting to see their take on Ambler's story (Possibly an American counterpart to AND SOON THE DARKNESS? We'll never know). The finished film gives “story by” credit to Goldsmith, with two additional writers joining her on the screenplay (Larry Bischoff and Michel Levesque) and the names Dail Ambler and Jerry Wish nowhere in sight. Also absent from the credits, but listed in the IMDb and elsewhere as a co-writer, is David F. Kaufman, Levesque's collaborator on WEREWOLVES ON WHEELS. With so many cooks stirring the pot, the story still unfolds like it was taken from a first draft, and a sloppy one at that. Pic first made the rounds beginning in June 1972 as HOT SUMMER WEEK, then returned the following year under it's more common handle GIRLS ON THE ROAD (a title that's not even on file with the MPAA).


On the first day of summer vacation, two dingbat SoCal high school chicks -- bespectacled good girl Karen (Dianne Hull) and spoiled rich blonde Debbie (Kathleen Cody) -- take off in the latter’s Mustang for her parents’ beach house in Big Sur and immediately lose points (with this viewer anyway) by driving like idiots for no reason and stealing a hippie hitchhiker’s guitar. Thumbing rides along the same route is Will (Michael Ontkean), a recently discharged Vietnam vet suffering from post-traumatic stress disorder. We know he’s suffering from post-traumatic stress disorder because the flashbacks of him meeting with his Army psychiatrist tell us so. And we know these are flashbacks because they’re wavy, tinted blue, and spliced into the story whenever Ontkean attempts to change his facial expression -– like when he hears a radio news bulletin about a maniac who’s killing young girls in Big Sur. Will's introductory scene has him picking a fight with two bikers in a bar and wiping the floor with both of them by fighting dirty and pulling a gun; he comes across more like a bullying high school jock than a psychologically-scarred war veteran. Now we have three characters we couldn’t care less about.


The filmmakers’ inability to tell a simple freakin' story grows more obvious once the trio reaches Big Sur and it's revealed that Will has gone AWOL from the Institute of Human Potential, one of those uniquely west coast 10-person encounter groups in which members dabble in body painting, meditate in a circle with their hands joined and their eyes closed, and constantly refer to each other as “beautiful.” Wouldn’t you know it, the Institute (headed by a bearded, daishiki-clad Ralph Waite) is not only located right down the beach from Debbie’s parents’ summer home, it’s ground zero for the rash of killings we keep hearing about in news bulletins that were obviously added as post-production afterthoughts since they don’t seem to be emanating from TVs or radios that actually appear onscreen. There’s also no evidence of a police investigation, which is odd considering the amount of media coverage dedicated to the serial slayings. No need for spoiler warnings either: Any suspicion that Will might be the killer goes out the window the second John McMurtry shows up as “The Maker,” a.k.a. Lieutenant Williams, another head case from Will’s platoon…and the same guy who is pictured in the ad mat below menacing the girls with a hatchet. And still we’re subjected to endless wavy blue flashbacks that feebly attempt to establish Will as some kind of red herring.


On the plus side, there’s…well…there's really not much of a plus side. Waite does what he can with the little he’s given and still walks away with the picture. Solomon has a cameo as a liquor store customer who agrees to buy wine for the girls; fans of his motorcycle movies will recognize the Devil’s Advocates "colors" on the two bikers in the roadside café, as well as massacre footage from THE LOSERS that gets recycled as one of Will’s nightmares. The cute opening credits display the names of the cast and crew on bumper stickers, interspersed with real examples such as “Honk if you’re horny” and “Down with hot pants,” but it’s a waste of a good idea since the road aspect of the story is dropped by the 30-minute mark. Tech credits are OK overall, aided considerably by David Walsh's attractive photography, with a pleasant if forgettable Tom McIntosh score (Stu Phillips, who scored all of the Fanfare productions from HELLS ANGELS ON WHEELS onward, recounts his split from Solomon just prior to this film in his very entertaining autobiography Stu Who?). One-shot director Thomas J. Schmidt, an A.D. for John Sturges on HOUR OF THE GUN and ICE STATION ZEBRA, never got a second chance to prove himself with a more competent script. He passed away in 1975 at the age of 35.

SIMON, KING OF THE WITCHES (1971)

Back in the mid-1980s, when SIMON, KING OF THE WITCHES would occasionally turn up on the USA Network, the wiseass in charge of writing the descriptions for the New York Times’ television listings had nothing more to say about the movie than “Happy broomstick, Andy.” I wonder now if that was a typo and the wiseass had meant “hippy” rather than “happy,” for SIMON is a movie that could only have been produced in that 12-to-18-month window when flower power collapsed under the weight of Altamont, Kent State, My Lai and Manson. Pipe dream: “The movement sure could used a groovy cat like Simon around to cast a few spells and make the world safe for strawberry alarm clocks and peanut butter conspiracies.” Reality: “We better get this nonsense wrapped by the end of the week and out to the drive-ins or we’ll hit the vanishing point when Dirty Harry and Popeye Doyle start a panic in needle park, and I don’t think Sweetback or Shaft will be too sympathetic to our cause, uh, man.”

A trippy counterculture character study masquerading as a horror movie, SIMON is very much a product of its time but benefits greatly from Andrew Prine’s energetic performance in the titular role, an egotistical warlock who believes he is the reincarnation of a great magician but lives in a storm drain and ekes out a living casting spells for the wealthy where-it’s-at crowd. With the help of young Turk (George Paulsin) and spacey Luana (Brenda Scott, Prine’s ex-wife), the pill-popping daughter of the district attorney, he intends to force is way into the domain of the gods by stepping through a magic mirror (psychedelic visuals courtesy of Cinefx). Writer Robert Phippeny and director Bruce Kessler spend the first hour getting a groovy little vibe going, only to turn the trip into a bummer with a haphazard third act involving drug pushers and crooked cops. Suddenly, whole pages of the script appear to have been torn out prior to shooting, and even the most attentive viewers will wonder if they nodded off and missed something.

The late producer Joe Solomon specialized in offbeat youth films that dealt with social misfits -- "losers,” he called them -- and this is the fourth such film Dark Sky has rescued from washed-out VHS and TV print hell. As with the others (including WEREWOLVES ON WHEELS), they’ve done a splendid job. The picture is sharp and in the proper anamorphic widescreen ratio (in this case, 1.78:1), the Dolby 2.0 sound is fine, and English subtitles are available. The current trend of skipping audio commentaries in favor of shorter featurettes continues here, with no complaints from this reviewer. “Simon Says” is an entertaining 17 minute chat with Prine, who has a great attitude about the film considering it marked his departure from third-banana roles in “A” movies to a 35-year career in schlock flicks and special guest villain appearances on episodic TV. In the 12-minute “Making White Magic” the spotlight gets turned on Kessler, who went on to a busy career in television but is always enthusiastic when discussing his handful of interesting low-budgeters (ANGELS FROM HELL, KILLERS THREE, THE GAY DECEIVERS) and has fond memories of making SIMON, KING OF THE WITCHES. The original trailer and radio spot, running 60 seconds each, round out this groovy package.

The Endangered List (Case File #17)

VIOLATED! (1974)

a.k.a. THE RAPIST

Directed by Albert Zugsmith
Written by Albert Zugsmith and William Maron
Original story by William Maron
Produced by Roger Gentry
Executive Producer: Alfredo Talarewitz
Associate Producer: Susanne Suzan

Starring
Susanne Suzan, Rene Bond, Rick Lutze, Britt Mari

Released by The Fanfare Corporation
Running time: 90 minutes
MPAA rating: R

Re-released as THE HOLLYWOOD RIPPER

PLOT

Hollywood is under siege by a masked maniac who is terrorizing the city by raping and cutting young girls.

The police have been unable to catch this mad genius of rape and sadism because his method of entrapping or catching the girls is so varied and resourceful.

No girl in Hollywood is safe on the streets or even in their own home from this fiendish monster who chloroforms girls on the street, drags them into his curtained van, manacles them spreadeagled to the sides of the van, rapes them, cuts a bloody swastika into their quivering flesh and dumps their bruised and battered bodies unceremoniously into the gutters.

When the home of AMBER LYTE, beautiful young classified ad taker for the Los Angeles Free Press, is invaded by the masked marauder and AMBER is raped, beaten and cut in her own shower, she decides that she is going to do what the police haven't done -- catch the rapist!

Enlisting the aid of a lovely young girl, SUZANNE SUZAN, the celebrated Swedish beauty, to use psychological means to capture the sadistic fiend, the two young girls set a horrendous trap for the rapist.

Then using a home made electric chair and a blow torch, the girls attempt to torture a confession from the rapist. The action filled, unique true-to-life film is based on a composite of seventeen sadistic rapists from the files of the leading police departments in the United States, where rape is on the continuing increase.