100+ No-Shows on Region 1 DVD

Jeremy Richey's Moon in the Gutter blog is dedicating the whole month of February to movies that have yet to get released on DVD, or at least here in what we at the Temple refer to as "Region 1." Instead of linking to my case files (which spotlight movies that have apparently fallen into a pit somewhere, never to be seen again), I decided to do a Top 10 list of films that maybe play on TV occasionally or perhaps received a VHS release twenty plus years ago but have yet to resurface on DVD. However, that Top 10 list grew into a Top 25 list, blew up into a Top 50, then a Top 100, and finally... I don't even know how many are here. 105? 110? I could've gone to 125 easily; there are at least four Jerry Lewis flicks that didn't make it. Anyway, after you drag yourself through this 100+ alphabetical list, make sure you swing by Moon in the Gutter to see some of Jeremy's picks. And in case I'm wrong and one or two of these slipped past me (that HICKEY AND BOGGS bootleg doesn't count!), send me an e-mail and I'll give you a shout-out.

The Endangered List (Case File #21)

Serious Exploitation's Eric Harvey and I have been wondering about the super obscure Wildman Steve movie AIN'T THAT JUST LIKE A HONKEY! for a couple of years now. As far as we know, it only played a couple of theaters in Wildman's home state of Florida in the early '80s, and until we posted about it on AV Maniacs last year there was no trace of it anywhere on the Internet. We now have more information about this elusive film thanks to Temple of Schlock reader Mike MacCollum, who e-mailed us the following article from a 1976 issue of Boxoffice magazine:

"Harder Says Lensing Done on 'Just Like a Honkey'" TAMPA, FLA. -- Charles Harder, director of Gulf-United Productions' "Ain't That Just Like a Honkey," reports that photography on the screen romp, described as a "sort of black-humor laugh-in," was completed Thursday (June 10). The 85-minute color feature, produced by Jerry Kohake and starring black nightclub entertainer Wildman Steve, is charted for July release. Wildman Steve is featured as narrator for a film clip sequence, according to Harder. "While most of the humor is black-oriented, it is in good taste and a possible cross-over of the film into the white market may result," the director said. In addition to his reputation as a nightclub entertainer, Wildman Steve has recorded eight comedy/party albums (Laff Records) and he received rave reviews in the June issue of Penthouse magazine. "Ain't That Just Like a Honkey" was photographed by John E. Cosgrove, with sound by Peter Kouris. (Boxoffice, June 28th, 1976, p.4)

Now Showing in Chicago -- 1979

Big thanks to Jon Putnam for sending the Chicago move listings for this week in 1979, highlighting the grindhouses in the Loop and some of the more colorful theaters in the outlying areas. Check back this Saturday for another 42nd Street vs. Chicago wrestling match!

Oriental: BRAVEST FIST / BLACKOUT / PIRANHA

McVickers: SLAUGHTER / SLAUGHTER'S BIG RIP-OFF / TRUCK TURNER / SUGAR HILL

Woods: CALIFORNIA SUITE / THE STRANGER AND THE GUNFIGHTER

Luna: ANIMAL HOUSE

Englewood: YOUNGBLOOD / THE INCREDIBLE MELTING MAN

Hamilton: THE MACK / HELL UP IN HARLEM / AMERICAN HOT WAX

Ramova: COMES A HORSEMAN / THE GOLDEN VOYAGE OF SINBAD

Rhodes: UP IN SMOKE / HARD TIMES

53 DRIVE-IN
Screen #1: THE EMBALMER / THEY'RE COMING TO GET YOU / TORTURE DUNGEON
Screen #2: THE SWAPPERS / HELL HOUSE GIRLS / SCHOOL GIRL BRIDE
Screen #3: THE BIG FIX / THE CHOIRBOYS / SLAP SHOT

BARBARIAN QUEEN (1985)

Reviewed by The Keeper of the Pit

In 1957, having already engermed scum success with male/female role reversals of archtypes in a series of Westerns, Roger Corman directed a flick witch was to the first of many in his caroming career in witch the female leads WERE the leads, the legendary THE SAGA OF THE VIKING WOMEN AND THEIR VOYAGE TO THE WATERS OF THE GREAT SEA SERPENT, starring Abby Dalton and the late lay-mented Susan Cabot. The plot had a batch of Nordic women setting off across the waters after their men, who got lost at sea & never came back. & believe me, after laying eyes on these women, you KNOW the men would have made it back to their loving arms, legs, & breastplates if they had demeans. Hex-ecution of this plot, of curse, was somewhat cheap: in one scene you get to see the studio curtain & rods from overhead the "banquet hall." & the villains on the island where the Viking men crashed & were imprisoned wore these funny Hershey-Kisses-shaped hats witch I swear Corman KEEPed, uh, kept in his closet to use in BARBARIAN QUEEN. I also swear that, aside from your Biblical epics, SEA SERPENT boasts the most divine intervention ever seen in one PITure. For one, the "Sea Serpent" is the island folks' god, & they use it to shipwreck sailors for use as labor. &, if the shipwreckees are women, well, labor will come about 9 months laid-her. Any Lamaze, uh, anyways, Abby & friends natchurally find themselves sunk by the serpent and his whirlpool, & lead their slavering, I mean, slaving men to revolt for the climax. Ah yes, butt first (& that's how the Keeper always sees her in his mind's thigh, uh, eye) there's the evil Viking woman played by Susan Cabot, going by the name of Inger the Dark. Inger's the jealous, traitorous type, & she sets up Abby & her men to be burned at the stake. Ole Inger was the (sex) subject of many a young Keeper fantasy, & freekguent T.V. showings of this pic only served to further cause my tongue to dangle tween my knees at an oily age. Little did I know how often this good blonde/bad black-head female archtype would be used in subsequent Queen B flicks of all genres, butt I've always been drawn to the slinky Inger types since sex-posure to SEA SERPENT, & fur be it for me to come plain. Witch ever yer prefurences, letch get on with the plot! Abby & "hero" are bound to the stakes, about to fry & die, when lo & behold the Viking thunder god is invoked to save them (ya gotta see it, I'm saving some stuff here) & hot lil Inger gets zapped by lightning, the waters of the whirlpool are divinely parted & all is swell. Hex-cept, of curse, for Inger, who's feeling mighty Thor!

Cut to 1985. Many years & flicks with stronger men layed-her, uh, later, Corman's riding thigh with a series of female barbarian PITures witch began with SORCERESS & its 2 whose arse is 1, DEATHSTALKER starring Lana Clarkson, abutt more witch later, & THE WARRIOR AND THE SORCERESS, starring David Carradine & a lovely wench named Maria Socas who spends virtually the entire without the benefit of a blouse. Ah, well, Corman never was one to waist, er, waste a ghouled SET. Shot on the cheap on the Argentine, BARB QUEEN is yet anudder pic wherein the babes are tuffer than the wimpy guys, & ass usual the gals are a feast for male eyes. Blonde Lana Clarkson stars as Amethea, whose wedding day is ruined by a gang of marauders who begin the flick by raping her sister Taramis (played by FORBIDDEN WORLD starlet Dawn Dunlap) & spiriting her off bound & gagged after destroying the home village & killing or kidnapping everyone butt Amethea & her bosom budette, Estrild. Estrild is played by STRIPPED TO KILL's own Katt Shea, who fills out a pretty mean furskin lickwise. Threegether with straggling survivor Tiniara (isn't anybody named Beulahbelle in this thing?), played by Susana Traverso who's got some torso!, the gals set (sorry) off to find Lana's missing groom & the rest of the village. Yup, jest like in the Abby Dalton flick previously discursed, the womenfolk here are dealing directly with what in udder films would be serpent-ed-up emotions.

Before long our swordslinging hipslingers drift onto the batch of women snatchers who opened the piece. Seems they have one of their female victims tied to a tree or stumpthing, & she looks tortured, to root, uh, boot. As is generally the rule in Corman films, violence doesn't look pretty, nor do its effects. The spit the Keep's puns here, rape is never a funny thing, guys, no matter what. A woman's body is hers to give, & if she doesn't want to, that's the way it is, & that's the way it should be. Like, it's much bedher when they help…(I stink that line should rank for petty Lauren-cy!) Coming upon this PITiful scene, Lana has no 2'nd thoughts about giving one old boy rapist, about to rePIT his offense, a lesson in swift steele justice. In udder words, she makes him perform a first-time, 1-time-only sword swallowing act. Battle ensues, the women win, & they find Taramis worse for wear and shell-shocked. Witch is only further impetus for Lana/Amethea to hex-claim a motto of sorts: "I'll be no man's slave, & no man's whore!" Ghouled thing she lives in an age before man invented the ultimate device in woman enslavement, the coffeepot! (Having BEAN around in dose daze, the monster sez the guys who invented it, not bean as money-wise as Corman, Sanka fortune into it!)
Unlike Lana & Katt, knot to mention the escaped Dawn, for a 75-minute-or-so film, BARB QUEEN starts to sag a bit in the middle, even though our pre-coffeepot comlies look like they'd be ghouled to the last droop! Our allgal gang eventually gather some assordid fruits & nuts, I mean wimps, well, dull guys who can only be persuaded to join the revolution against the kingdom & the slave trade by a plucky lad, as in boy, the kinda kid the Keep would justice well see run over by a runaway dungwagon. Plots are laid to free the menfolk. Meanwhile, Taramis volunteers herself as bedmate to the main villain/king/coffee, I mean, despot, the guy who spied her bound & gagged & half-naked in the beginning of the PITure, butt then he was to busy adjusting the angle of his Hershey-Kiss-hat. Lickwise, Corman musta had a chocolot of those hats, cuz Tiniara gets captured & tortured, then killed by a Fred Willard look-alike in 1 of those hats who sez things like "Torture you? We have a MAN who does that!" Wow, talk about yer PLAN 9 school of line readings. Even verse, Lana gets chained up by the main heavy & made to kneel in chains before him, butt will she bend to his swill? Of curse knot! So, he dispatches her to the dungeon, where his head interrogator spreadeagles her topless to an upright rack with a steel claw dangling over a nipple she'd much rather KEEP, fang you. Obviously her incredible, edible & hopeless bod is too much for the inquisitor to resist, so he proceeds to stuff & mount her.

Now comes the part that each time I run it I have to yell "Down, monster, down!" This nebbish bad guy starts raping her (yeah, I know I said rape is never funny: so tell script-person Howard Cohen!), she wraps her legs around his back, & pretty quick he's yelling "Too tight! Too tight!" Sheesh, some guys will come-plain abutt anything! Okay, she sez, so untie my hands. Like a jerk, off he takes her bonds, to witch she responds by shoving him into a nearby vat of acid, wherein he becomes a dead skeleton. Witch I guess is what he gets for trying to bone her!

From there it's off to the revolution, the menfolk are free, the main villain bites it big (oiler Amethea almost bit her ear off rather than submit: a case of lobe at 1st fright!), & the plucky boy rushes in to all but rePIT SEA SERPENTS ending by going "My name is Thor!" Talk abutt yer Loki performance!

So, rather than bean Buenos Airheaded, BARB QUEEN, even without any sorcerous elements, comes off as a fine hex-ample of Corman Argen-tuna. Haddock, uh, had I known back in '57 how powerful & continuous these Corman girl archtypes would be. If only we in our tender years could have seen Abby Dalton's halter off! Or a nice shot of Susan Ca-butt!

Ah well, in many ways I'm still that adull-X-scent. A child of the '50s, I KEEP watching the thighs. & remember, fiends & lovers, whenever things look Dark, do what I do: Look back in Inger!

One-Sheet of the Week: HONEYBABY, HONEYBABY (1974)

HONEYBABY, HONEYBABY (1974)

a.k.a. THREE DAYS IN BEIRUT

LOVE IN 3-D (1973)

Because he helmed only five of the thirteen SCHOOLGIRL REPORT movies, I had mistakenly dismissed Walter Boos as little more than producer Wolf Hartwig’s backup director for those rare occasions when the mighty Ernst Hofbauer was unavailable. If Boos is remembered at all today, it’s because of his outrageous softcore EXORCIST cash-in MAGDALENA, POSSESSED BY THE DEVIL (U.S. title: BEYOND THE DARKNESS), but I think a full career reassessment is in order now that I’ve seen the eye-popping LOVE IN 3-D. Not only is it his magnum opus, but it surpasses ANDY WARHOL’S FRANKENSTEIN as the best of the “adults only” 3-D movies of the 1970s. Boasting a fully deserved MPAA rating of X, the episodic West German production was released stateside by Dimension Pictures in 1974, with a re-release in 1977 handled by Monarch Releasing. The field sequential 3-D print reviewed here under the title FIRST KISSES is missing credits and chapter titles but otherwise seems complete.

Top-billed Ingrid Steeger, the impossibly cute blonde who lit up many a Hartwig and Erwin Dietrich production of the period, plays nice girl Peggy in a 3-part story that neatly forms a framing device for four other stories all involving different characters living in an apartment building in Munich. “Love in Schwabing, Part 1” opens with Peggy’s arrival to apartment-sit for her sister Dagmar (Evelyn Reese), who is grabbing one last roll in the sack with her boyfriend before hopping a plane to Africa for a week-long business conference. The couple bangs away in front of Peggy while Dagmar’s parrot tosses out witticisms like “Cock-a-doodle-doo! Everybody screw!” and “Polly wants to crack her!” The sequence would be interminable in any other movie, but Boos and cinematographer Klaus Werner are smart and technically savvy enough to pack the scene with more amusing effects than can be found in the entirety of THE STEWARDESSES and its terrible sequel combined. By the time Steeger turns to the camera to wink at the audience -- blinking her eyes in mock focal readjustment instead -- the film’s playful tone has been firmly established.

“The first thing is to find a job!” Peggy coos as she strips down for a hot, soapy shower. “There must be something I can do!” Luckily, Dagmar’s boyfriend is too screwed-out to work a garden party with his bartender buddy Manfred (Achim Neumann), so Peggy goes in his place as a barmaid. Their employment is compromised, however, when Manfred assaults a couple of guests who toss Peggy into a swimming pool with a bunch of naked revelers. After a hair-raising ride back to the apartment, Peggy kisses Manfred goodbye and agrees to see him again for a proper date.

In “The Rope Trick,” slick womanizer Hugo (Nico Wolferstetter) spies the gorgeous model Nita (Dorith Henke) sunbathing nude on the patio below his apartment window. He locks her outside and steals her clothing with a fishing rod while she dozes. When she awakens and realizes she’s trapped outside with no clothing, he comes to her rescue by throwing a rope down to her so she can climb up to his window -- his bedroom window.

Zaftig barmaid Fanni (Dorothea Rau) flirts constantly with her drooling male customers, much to the annoyance of her boyfriend Ted, who decides to teach her a lesson in “The Revenge.” While Fanni excites every man in the bar, from good-looking Bob the Cop to the oversexed Enrico the Italian (Rinaldo Talamonti as usual), Ted hooks up with mouth-watering Indian beauty Susu (Anik Ellahee) as a ploy to make Fanni jealous.

Of course, once he gets to Susu’s place, Ted quickly forgets all about Fanni. “Hey, I want to do it Hindu, like the common sutra!” he tells Susu.

“The Kama Sutra!” she corrects him.

“Yeah, that’s the book!” Ted exclaims. “It says in there that a Hindu man should be able to make it at least four times a day! With you, baby, I would do it forty times a day!” (Meanwhile, Fanni and Bob the Cop are doing it forty different ways in Ted’s bed).

“Like Krishna, you see your quarry in sight, but can you shoot your arrow straight and true?” Susu asks teasingly as she peels off her panties.

“With a target like that I can’t miss!” Ted replies, hungrily eyeing her hip-to-hip hair pie. Once his taste of India is satisfied and Fanni gives Bob the Cop a happy ending, the two jealous lovers end up back in each other’s arms planning a four-way with their new bed partners.

In “The Frightful Experience,” sweet young Lissy (Ulrike Butz) goes to comfort her older friend Rosy (Elizabeth Volkman), the supposed victim of a sexual assault. Rosy ends up describing the experience in such detail that it becomes a reenactment designed to seduce the pretty (and pretty dumb) Lissy. Highlights include bondage, slow-motion bouncing on the bed, and an appearance by Rosy's horny husband George.

Peg, in a miniskirt that leaves nothing to the imagination, decides to surprise Manfred at his job in "Love in Schwabing, Part 2." Manfred works as a gymnastics instructor, and when Peg walks in she catches him getting a little too touchy-feely with one of his sexy students. There are some great 3-D effects in this segment -- and did I mention Ingrid Steeger in a miniskirt?

Christina Lindberg fans will be in heaven during “Neighbor on the Left,” the longest and best story. The only time Inge (Lindberg) and her boyfriend Rudi (Konstantin Wecker) don't fight is when they're having sex. Otherwise, they yell and throw things at each other until their "neighbor on the left" starts banging on the walls. While arranging a window display at her retail job, Inge catches the eye of a young man who humorously pursues her for a date. She finally relents and has a wonderful time with him at an amusement park (leading to some nice 3-D effects on a rollercoaster and a dark ride). Three guesses who the new beau turns out to be.

Peg forgives Manfred and decides to surrender her virginity to him in “Love in Schwabing, Part 3.” A low-flying airplane chases them away when they attempt the hookup in an open field, so they return to Dagmar's place, only to find that she's returned from Africa early and is already back on the bedsprings with the boyfriend. So they kick it out on the patio, with amusing results.

When Boos and Werner aren't hurling everything they can find at the camera, from punching bags and pillows to buckets of water and flying panties, they make damn sure that every shot highlights depth of field, whether it's a car swerving between trees or a person walking from one room (foreground) into another (background). Needless to say, they pay special attention to the process during the many hot sex scenes, putting all the other softcore 3-D films of the '70s to shame. This is the real deal, and the current crop of directors making so-called 3-D movies could learn a lot from watching this funny, filthy, five-star classic.

Gay Love in 3-D

And now Toronto jumps into the ring!

The Grindhouse Challenge continues! John Charles from Video Watchdog just sent in the Toronto movie listings for this week in 1980. Geez, this is starting to play out like GHIDRAH THE THREE-HEADED MONSTER -- I'm expecting Market Street in San Francisco to show up at any moment in the role of Mothra!

Biltmore: Not advertised

Cinema 2000: DEEP JAWS / FRANCHETTE

Eve: INFIDEL / LULLABY OF BARELAND / SENSUOUS SUZANNE

Hyland I: THE FOG

Imperial Six: WINDOWS

Imperial Six: THE GODSEND

International: A SCREAM FROM SILENCE

Metro: SEX ON THE GROOVE TUBE / DAISY CHAIN / LUST FOR SEX

Rio: Not advertised

Sheraton Centre Cinema I: APOCALYPSE NOW

University: THE NINTH CONFIGURATION (70MM)

Uptown Backstage 2: DRACULA SUCKS

400 Drive-In 1: OPERATION THUNDERBOLT / WILD RIDERS / 3rd movie not listed

400 Drive-In 3: CRY OF A PROSTITUTE / THE RAPE KILLER / THE SUPER JOCKS

Parkway Drive-In: CAGED HEAT! / WOMEN IN CAGES / NIGHT CALL NURSES

Dufferin Drive-In: SEXUAL FREEDOM IN DENMARK / SWEDEN HEAVEN AND HELL / THE STEWARDESSES

42nd Street vs. Chi-Town!

Jon Putnam sent in the Chicago movie listings for this week in 1980, highlighting the grindhouses in the Loop and some of the more colorful theaters in the outlying areas. I thought it would be interesting to dig up the 42nd Street line-up for the same week and pit the two monsters against each other. Enjoy!

NEW YORK'S 42ND STREET

Victory: HOT CHILD IN THE CITY / STAR BABES / HOLLYWOOD SHE-WOLVES

Lyric: NORTHVILLE CEMETERY MASSACRE / IN SEARCH OF HISTORIC JESUS

Times Square: HARD TIMES / WHO'LL STOP THE RAIN / OUR MAN FLINT

Selwyn: ESCAPE FROM ALCATRAZ / NORTH DALLAS FORTY

New Amsterdam: GUYANA, CULT OF THE DAMNED / THE LEGACY

Cine 42
Theater I: DRAGON'S EXECUTIONER / FORCE FOUR
Theater II: SILENT SCREAM / unlisted co-feature

Harris: TIGER JUNGLE / TERMINAL ISLAND

Liberty: THE FISH THAT SAVED PITTSBURGH / BLUE COLLAR

Empire: FISTS OF THE DOUBLE K / HONG KONG CONNECTION / DEADLY CHINA DOLL

Anco: APOCALYPSE NOW / BRASS TARGET

CHICAGO

Oriental: THE FIGHTING CONVOY / BRUKA, QUEEN OF EVIL / GET DOWN AND BOOGIE (second week for this triple-header!)

McVickers: THE HITTER / FISTS OF THE DOUBLE K / THE THUNDER KICK

Woods: THE FOG

Luna: APOCALYPSE NOW

Englewood: A FORCE OF ONE / FIVE ON THE BLACK HAND SIDE

Hamilton: A FORCE OF ONE / SKATETOWN U.S.A. / SPARKLE

Ramova: A FORCE OF ONE / FAST CHARLIE, THE MOONBEAM RIDER

Rhodes: A FORCE OF ONE / GOOD GUYS WEAR BLACK

53 Drive-In
Screen #1: THE FOG / BEYOND THE DARKNESS / UP IN SMOKE
Screen #2: ILSA, HAREM KEEPER OF THE OIL SHEIKS / THE COCKTAIL HOSTESSES / INGA
Screen #3: A FORCE OF ONE / AND JUSTICE FOR ALL / MIDNIGHT EXPRESS

NOW SHOWING -- February 6th, 1984

Here are some of the movies that were in theatrical distribution twenty-five years ago today (February 6th, 1984) and quite possibly were playing at a theatre near you!

AND THE SHIP SAILS ON

ANGEL
AROUND THE WORLD IN 80 DAYS (re-release)
THE BIG CHILL
BROADWAY DANNY ROSE
CONFIDENTIALLY YOURS
THE DRESSER
EDUCATING RITA
HOT DOG...THE MOVIE
THE HOUSE WHERE DEATH LIVES
LITTLE GIRLS LOST
LOCAL HERO
THE LONELY GUY
LOVE LETTERS
THE LOVELESS
THE MARTIAL MONKS
MORTUARY
NEVER CRY WOLF
NIGHT OF THE SHOOTING STARS
THE POWER
REAR WINDOW (re-release)
RECKLESS
REUBEN REUBEN
THE RIGHT STUFF
SCARFACE
SILKWOOD
SLAYGROUND
STUCK ON YOU
SUDDEN IMPACT
TERMS OF ENDEARMENT
UNCOMMON VALOR
WEEKEND PASS
WILD STYLE
A WOMAN IN FLAMES
YENTL
THE YOUNG WARRIORS

Now Showing in Chicago -- 1980

Temple of Schlock contributor Jon Putnam sent in the Chicago movie listings for this week in 1980, highlighting the grindhouses in the Loop and some of the more colorful theaters in the outlying areas. Check back this Saturday for more Chicago listings!

Oriental: THE FIGHTING CONVOY / BRUKA, QUEEN OF EVIL / GET DOWN AND BOOGIE

McVickers: THE KOREAN CONNECTION / THE SINGLE FIGHTER / THUNDER FIST

Woods: THE FOG

Luna: APOCALYPSE NOW

Englewood: A FORCE OF ONE / NIGHTWING

Hamilton: A FORCE OF ONE / THANK GOD IT'S FRIDAY / THE STRANGER AND THE GUNFIGHTER

Ramova: A FORCE OF ONE / CAR WASH

Rhodes: A FORCE OF ONE

53 Drive-In

Screen #1: THE FOG / THE HOUSE BY THE LAKE / THREE IN THE CELLAR

Screen #2: A FORCE OF ONE / BRUCE LEE - SUPER DRAGON / DRAGONS DIE HARD

Screen #3: GRATEFUL DEAD / THE KIDS ARE ALRIGHT / PINK FLOYD

SCHLOCK-SHOCK by The Evil Twin

Here's another installment of SCHLOCK-SHOCK by Barry "The Evil Twin" Wooldridge. This panel, featuring co-editor Paul DeCirce, first appeared twenty years ago in Temple of Schlock #16 (February 1989). Enjoy!

Six years ago

Temple of Schlock remembers

LANA CLARKSON

April 5th, 1962 - February 3rd, 2003

The Endangered List (Case File #20)

CATCH MY SOUL (1974)

a.k.a. SANTA FE SATAN

The recent passing of actor Patrick McGoohan (January 13, 2009) and musician Delaney Bramlett (December 27th, 2008) got me thinking about this m.i.a. musical from the early '70s, a film adaptation of Jack Good's rock-opera version of Shakespeare's Othello. Directed by McGoohan and co-starring Bramlett (who also worked on the soundtrack), CATCH MY SOUL was filmed in Santa Fe, New Mexico in late 1972. According to a 1995 interview with McGoohan for Premiere magazine, one of the producers "found God" during the production and drastically recut the movie, adding over 15 minutes of religious material. McGoohan tried to remove his name but was unsuccessful. Cinerama Releasing opened it in New York City in March of '74 to bad reviews and poor audience turnout. A year later New Line Cinema was distributing it under the title SANTA FE SATAN, and although it was available for rental from the company's non-theatrical 16mm catalog for a number of years, it now seems to have fallen off the radar entirely.

Directed by
Patrick McGoohan

Written by
Jack Good

Produced by
Jack Good and Richard M. Rosenbloom

Cinematography by
Conrad L. Hall

Edited by
Richard A. Harris

Music by
Tony Joe White and Emil Dean Zoughby

Musical Directors
Delaney Bramlett and Paul Glass

Composer, Choral Music
Paul Glass

Sound Editor
George Fredrick

CAST
Richie Havens (Othello)
Lance LeGault (Iago)
Season Hubley (Desdemona)
Tony Joe White (Cassio)
Susan Tyrrell (Emilia)

with

Bonnie Bramlett, Delaney Bramlett, Raleigh Gardenhire,
Billy Joe Royal, Wayne Waterhouse

Above (article from The New Mexican, 11/19/1972, p. 19)

Below (CATCH MY SOUL soundtrack LP on sale at Korvettes)

BOXOFFICE review
Shakespeare’s “Othello” gets a modern rock treatment in Cinerama’s release of Jack Good’s CATCH MY SOUL. Singer Richie Havens leads an impressive cast in a most unusual entertainment. Good’s screenplay is set in a religious commune where rock in the order of the day. Othello (Havens) is a preacher, the other characters being members of his flock. Lance LeGault repeats his London stage performance in the film as the Satanic Iago, singer-composer Tony Joe White is the hapless Cassio, Season Hubley has little to do as but look pretty as Desdemona and Susan Tyrrell interprets Emilia. The male leads are particularly strong personalities, doing a fine job of acting with the original prose and singing the up-to-date songs. Miss Tyrrell makes the most of the one comic number, “Tickle His Fancy.” Songs are a collaboration by most of the cast – Havens, White, Delaney Bramlett, Family Lotus, Allen Lubin, plus Good and others. Conrad Hall shot in DeLuxe Color in Santa Fe, N.M. Shakespearean actor Patrick McGoohan (who was Iago in another modern version, ALL NIGHT LONG) makes his feature film directing debut. Good and Richard Rosenbloom produced. A Metromedia Producers Corp. presentation. For specialized houses.

THE STORY
A religious commune in the Arkansas backwoods is the locale for this modernized rock version of Shakespeare’s “Othello.” Preacher Othello (Richie Havens) baptizes his disciples as the devilish Iago (Lance LeGault) jealously looks on and plots his actions. At the wedding celebration of Othello and Desdemona (Season Hubley), he discredits Othello’s apostle Cassio (Tony Joe White) by burning the church and blaming it on him. Taking Cassio’s place, Iago has his wife Emilia (Susan Tyrrell) steal Desdemona’s handkerchief. Planting it in Cassio’s house, Iago then convinces Othello of Desdemona’s unfaithfulness. Othello strangles his wife in anger, then learns the truth from Emilia. Othello and Iago stab each other, the disillusioned preacher dying and Iago driving off in his truck. Emilia, hit by the truck but unhurt, is united with Cassio in grief.

EXPLOITIPS
Tie-ins with the soundtrack album, available on Metromedia Records, and with albums of the recording talent involved are in order. Mention Patrick McGoohan’s acting credits: ICE STATION ZEBRA and THE MOONSHINE WAR on screen, SECRET AGENT on TV, etc.

[Boxoffice, April 1, 1974, 4676]

"Jackie puts judo hold on newsman"

NEW YORK (AP) -- A newspaper photographer says Jacqueline Onassis flipped him to the sidewalk with a judo hold after he took her picture outside the movie theatre showing "I Am Curious Yellow," the Swedish sex film.

Mel Finkelstein of the New York Daily News said Sunday night that Mrs. Onassis "grabbed my right wrist...put her leg out and flipped me over her thigh."

But the doorman of Cinema 57 Rendezvous on West 57th Street said Finkelstein slipped while taking a picture of the former Mrs. John F. Kennedy.

Neither Mrs. Onassis nor a family spokesman could be reached for comment.

Finkelstein and other photographers were waiting in the lobby of the theatre because the management had notified the news media that Mrs. Onassis and her husband, Aristotle, were viewing the film, after arriving in separate cars.

They spotted Mrs. Onassis walking through the lobby from her seat to the lounge and began taking pictures. Then they headed for the door.

Mrs. Onassis caught up with Finkelstein just outside the theatre. He shot another picture as she moved toward him.

"I thought she was going to say something," Finkelstein said. "I never figured she would do anything physical."

Finkelstein, 37, said he is 5-foot-10 and weights 168 pounds.

Mrs. Onassis, wearing a short leather skirt, dark stockings, a ribbed sweater and a multicolored scarf with zodiac signs over her head, stalked off after the incident.

An hour later, her husband emerged from the theatre, apparently unaware of the disturbance, and left with two men whom the theatre manager described as bodyguards.

[October 6th, 1969]

One-Sheet of the Week: CORPSE EATERS (1974)