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November 11, 2013

Interracial Sex Havoc #2: 1972 - 1974

A selection of film reviews by Christos Mouroukis.

We continue our journey through interracial sex in the movies, and this time we’ll take a look at genre and golden age porn flicks from 1972 to 1974.

There are many films from the period, especially adult ones, that I didn’t manage to track down, but you get what you get.

Even though I have read more than a dozen of books on adult films (mostly biographies), I don’t know much about the subject, and usually I can’t tell who’s who, due to all those phony names. Therefore this journey is a catalog of a man becoming a fan, not a thesis by an expert.

It is a journey that entertains me a lot and I hope the same happens to you when reading my reviews and watching the films. It is a journey full of thrills and kicks; because I dig up movies I’ve never heard of before and get to watch again some classics.

Not all films included here are pornographic, but they had to have at least one interracial sex scene in order to qualify. This chapter includes cartoons, porn, a cannibal flick, a Hammer film, blaxploitation and more. So, enjoy!

Fritz the Cat (1972)
This cartoon is set in the 1960s and revolves around the sexual encounters of the title’s character [voice by Skip Hinnant] and other animals. You got to love adult cartoons! There are burps and pissing (in the first seconds) along with smoking, torture, and nudity. And on the disgusting front, you get to see some swastikas and animal cruelty.
If you like your entertainment to be offensive, you can’t go wrong with this flick. Cops are played by pigs (with small dicks) trying to be tough but end up ridiculous and even get pissed by a rabbit. The whole thing is also full of racial jokes, and technically, loads of “interracial” sex.

Dracula A.D. 1972 (1972)
This film begins with a fight between Van Helsing [Peter Cushing] and the title’s villain [Christopher Lee] in 1872 Hyde Park, complete with a hilarious voice-over which could have been easily avoided had someone thought of putting a title card of the time and place on the screen.
A hundred years later, in 1972 London, a group of hippies look for something way-out in order to kill their boredom. So they decide to proceed on a black mass and they call Dracula who is resurrected. Soon, the strange murders begin.
The whole thing is played straight (yes, even with that kitsch ‘70s set decoration) and that’s part of the cheesiness. What we’ve got here is Hammer’s worst take on the Bram Stoker’s characters.
Directed by Alan Gibson [The Satanic Rites of Dracula (1973)], this flick contains only one interracial sex scene of interest, and that happens between the hippie cult’s white male leader [Christopher Neame] and a black female.

The Big Bird Cage (1972)
“You can’t rape me, I like sex”.
The setting is simple: women are imprisoned and revolutionaries Blossom [Pam Grier] and Django [Sid Haig] will try to free them. Jess Franco started the W.I.P. genre with 99 Women (1969), but a few years later executive producer Roger Corman took it to Philippines [read his autobiography How I Made a Hundred Movies in Hollywood and Never Lost a Dime].
The film starts with Pam [whom is known to younger audiences from the title role of  Quentin Tarantino’s Jackie Brown (1997)] singing a song like a doll, until she grabs a gun out of Sid’s guitar [he’s better known to younger audiences from Rob Zombie’s The Devil's Rejects (2005)].
There is sleaze here, in uncomfortable scenes such as the one in which a prisoner gets hanged by her ponytail. But other than that, the comedy elements are redeeming. There is some welcome nudity too. In general, this is the male fantasy version of a women’s prison (complete with hot shorts etc.).
The interracial scene of interest happens between the leading couple and is played for laughs early on. If you’d like to know more about this or other films from director Jack Hill, buy the book Jack Hill: The Exploitation and Blaxploitation Master, Film by Film by Calum Waddell.

The Man from the Deep River (1972)
The film kicks off with producer Ovidio Assonitis’ name (and this should read as a warning) along with some text that tells us that the practices of the tribes we are about to see are true. I’m not so sure about that.
Anyway, in the copy I reviewed the credits were presented in glorious widescreen, while the rest of the film was cropped beyond belief. So I think I’m missing a lot (especially since some shots look quite inspired).
A Londoner [Ivan Rassimov from Mangiati vivi! (1980)] finds himself between two tribes, and one of them is cannibalistic (yes, you’ll get to see some flesh eating) and the other is not. He sticks with the later and even falls in love with the village’s beauty [Me Me Lai from Ultimo mondo cannibale (1977)] who selects him by a very weird process (it needs to be seen to be believed). And that’s when the interracial sex scenes come in. I’m sorry, but Laura Gemser she is not.

The story has a very interesting Tribe vs. Tribe plot going on, along with a love story, and it had potential, but this was directed by Umberto Lenzi [Cannibal ferox (1981)] so don’t expect Gone with the Wind (1939) greatness.

What you should expect is some animal cruelty (cockfights, Snake vs. Rat, a crocodile etc.), an unrealistic subplot involving an old woman who can speak English, and some torture which is tame when compared to what followed in the likes of Cannibal Holocaust (1980).
Such cultures were always projected in film as something strange and scary to westerners, and this is definitely not the first film to portray them as cannibalistic, but it is the one which spawned the formula that was used by the flesh eating subgenre that shocked ’70s and ’80s cinema-goers. This is a sick little film.

Behind the Green Door (1972)
This is the first adult film I watched for this series of articles and it’s also the earliest. I speculate that there must be older adult films with interracial sex scenes out there, but I haven’t managed to track them down, so I can’t confirm this. This one doesn’t have much of a plot, but it is in one word sensational.
It is full of attractive people, and soon we get to see an incredibly hot all-female orgy, which is then interrupted when a black man comes behind a green door and joins in on the fun, and taking over a bit later (passionate kissing is included). Yes ladies (and gentlemen), his cock looks yummy, but his make-up is weird.
Everything happens in front of a live audience of voyeurs who play with themselves and each other. It all leads to another orgy, and later, a poetic and psychedelic slow motion finale with superb editing and inspired end credits.
Artie Mitchell and Jim Mitchell directed this, the gorgeous cinematography was done by Jon Fontana, and as you all know Marilyn Chambers is the star.

The Sexualist: A Voyage to the World of Forbidden Love (1973)
The hilarious voice-over explains to us that the protagonist is an ex-medical student, turned astrologer and pornographer (he looks like a hippie to me) who has problems with producers.
Early on we get to see masturbation scenes (one involving a candle no less) and interracial ones. But the whole thing is played for laughs (as the voice-over connects everything with zodiac signs’ mumbo-jumbo), and it’s not really funny. How could it be? The best “jokes” revolve around a fat couple, a man in a gorilla suit, and some transvestites.

Sweet Young Sins (1973)
This is a nice little incest film. It kicks off with a scene in which a white MILF (when her husband is away and she is home alone) is harassing sexually the black boy [Jonathan Younger] who just brought the groceries. “The way I like ‘em: black”, she says. She successfully seduces him and sucks his cock (really good). Soon he licks her too, and then they fuck. He unloads his cum on her ass cheeks and then lets her eat it. The rest of the film includes a lesbian threesome, a scene of two girls and one guy threesome, and a two guys and one girl threesome (along with a little bit of foot fetish going on).

The Nine Lives of Fritz the Cat (1974)
In this naughty cartoon (that includes some live action footage), the title’s character [Skip Hinnant] has to take abuse from his old lady [Reva Rose] and at the same time save the world from Nazi animals and other degenerates.
The music is groovy and there are some funky psychedelic moments, but this sequel is not as good as the original (reviewed above). But if you’re into pimp, condom, fart, and piss jokes you’ll probably have a blast. It was directed by Robert Taylor.

The Millionairess (1974)
A woman goes to jail and soon a reporter [Marc Stevens] visits her to whom she tells a story (via flashback) of some hardcore action (it’s a threesome with a male and two females).
Then, she seduces the guard and while blowing him she says “For a pig you have a nice cock”, to which he replies “For a pervert you have a nice mouth”. This is Shakespearean dialogue in my opinion.
The reporter returns and now he gets to learn about an interracial rape scene (between a white girl and a black man) which ends up as a threesome (a girl is added to the sequence). The protagonist then has sex with the journalist.
Then, another girl is visiting the jail and blows the cop, who then takes her to the female lead’s cell and demands a lesbian show, to which he masturbates, but soon joins in.
The film was directed by Leonard Kirtman.

Two Sisters (1974)
This film begins with an outdoor scene in which the girl says she’s a virgin but ends up with a dick in her anyway. In the meanwhile, in another place, her sister is masturbating at the thought. When one of them is being naughty, the other one is getting wet too.
The protagonists (the two sisters and two men they picked up) end in a toy store, where we first get to witness a toy rocket inserted in a vagina, and then they play doctor while they learn from each other.
In the finale, the girls leave for the desert, where they meet a priest, Samantha, and Paul (a black guy) and they all have an orgy, which is the sole interracial scene of interest in this sloppy film.

Certified Mail (1974)
The film kicks off with two male thugs (one white and heavily tattooed and the other black) planning the rape of the mail-girl in a humorous way. Is the audience supposed to sympathize with the about-to-become rapists? The scene is played for laughs. The girl soon gives in and the scene is supposed to be erotic. What does director Leonard Kirtman wants us to learn? That rape is okay? Does the movie want us to believe that rape is every woman’s fantasy? In the meanwhile, somewhere else, another threesome is happening.
From then on, I couldn't find anything interesting and the film becomes rather boring, until the end when we get to witness a very hot lesbian scene, which anyhow ends up as a threesome with the inclusion of a male.

Devil's Playground (1974)
Sometimes, when I am about to review adult films like this one; I wonder why I bother to write a synopsis like every other critic does, since it is irrelevant. The plot doesn't make much sense and the hardcore action starts really quick and comes out of nowhere.
The film kicks off with a cool title card which would be more appropriate for an early heavy metal record or a psychedelic rock album of the era. The theme song is incredible and the jazz music used throughout the film gives an air of quality here.
The movie is trying to be perverted by having most of the girls wear pigtails or with the inclusion of a devil toy in a sex scene, but fails miserably.
The interracial sex scenes of interest are a lesbian one (between a black girl and a white girl) and a “don’t tell anybody” foursome (between the same black girl, a white man, and two white girls).
Other interesting scenes include girls tied-up to chains and locked in cages, beep jokes (I don’t make this up), and a cum-swapping one during which a girl passes the fluid to her partner after the climax.

The title’s devil speaks much like Criswell, a fact that makes the whole thing seem very much like an Eddie Wood film, but this one was written and directed by Rik Taziner.

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