Dark Dreams (1971)
Director Roger Guermantes’ (whoever he may be) feature is about a
newlyweds Jack (Harry Reems, no introduction needed) and Jill (Tina Russell,
again no introduction needed) that on their way to their honeymoon get involved
with a bunch of hippies that are supposedly performing black magic rituals and
loads of sexual encounters ensue.
The screenplay by one Canidia Ference (who is also credited as the
producer) is pure pulp book-like gold, the cinematography by Werner Hlinka
[camera operator of Teenage Tramp
(1973)] is stunning (I believe that the film was shot on 35mm), and the score
by Charles Morrow [composer of the additional music in Altered States (1980)] is – simply put – fantastic, so this is
definitely one that you should not miss.
It all ends predictably with a gang rape, but before that you should
look out for an interracial sex scene between star Harry Reems and June Dulu,
which is something that wasn’t that common in 1971.
Waltz of the Bat (1972)
The titular arch-villain a.k.a. Count Eric Die Fledermaus is played by
Barry Vane [later in Confessions of a
Teenage Peanut Butter Freak (1975)] and is essentially a caricature of
Count Dracula, the only difference being that he seems quite harmless and is
mostly into performing oral sex to 1970s chicks with hairy armpits and pimply
butts – if this is your thing, this film will do the trick.
For reasons that are left unexplained he must be stopped, and a female
super heroine called The Bee (played by Kandi Johnson who is the most
attractive girl in the show and is credited as Honey Lang) shows up in order to
put an end to all this pussy licking.
Bee, on her way to the Count’s estate meets her mentors in the form of
two Native Americans that look mostly like stoned hippies, and since as she
says she doesn’t understand ‘Indian’, they talk in ‘Bee’! Hilarious, right?
Director Rick Beaty’s [Midnight
Hustle (1977)] feature falls within the parameters of porn’s little-known
superhero subgenre which usually features parodies of famous comic book
characters and tends to work as comedy or satire, most of the time. However,
this is nowhere near as entertaining as the notorious Bat Pussy (197?). Sometimes the main characters talk straight to
the camera, but even that is not very funny.
“V” The Hot One (1978)
The titular lady (played by the always gorgeous Annette Haven, no
introduction needed) is going through a frustrating and sexless marriage when
she decides to spice things up for her and become a high class escort, but the
several role-play games required by her highly paying customers confuse her.
Written, produced and directed by legendary director and cinematographer
Gary Graver (credited here as Robert McCallum) this film, despite its thematic
humorist nature, is bearing a tone of misery and a mood full of dread.
Unfortunately the cast doesn’t seem very motivated, but there are so many
visually stunning set-pieces here that should satisfy even the most demanding
adult film connoisseur. The music is also outstanding.
The Cult of the Scorpion (1975)
This is about a young woman who is searching for her missing sister when
she comes across the titular cult which basically consists of people that wear
(obviously fake) scorpion tattoos.
I know virtually nothing about this film and the people that were
involved with its making, but it is so boring (even at only 65 minutes long it
feels much longer) that I cannot say that I care that much about its historical
background.
Sure, there are some interesting exterior shots that feature a variety
of vintage adult bookstores and porn theatres, and the soundtrack is indeed
awesome (probably stolen), but this is where all observational interest ends.
An interracial sex scene stands out, but other than that this is the
standard cheap affair that is featuring performers with pimply buttocks and
stretch marks. Oh, and in a moment of unpredictable innovation ‘the end’ title
card is painted on a girl’s ass.
Sex Wish (1975)
The Night Walker (Zebedy Colt, no introduction needed) is sexually
assaulting and offing pretty much everyone acquainted with Ken (Harry Reems,
again no introduction needed), who when he sees that the police is unable to
catch the maniac on the loose, decides to take the law into his own hands.
As if Death Wish (1974) wasn’t
sleazy enough (and despite being a major studio production, up with the times’
absurdness), we also got this unbelievably creepy film by executive producer
Leonard Kirtman [credited here under his usual pseudonym Leo De Leon, and
notorious for backing forced sex fests including Unwilling Lovers (1977)] which ups up the ante in the rape and
murdering department.
Disgusting and disturbing, writer/director Victor Milt’s film is uncomfortable
to watch at all times, and as such it is one of the most fascinating products
of 1970s New York, at least from an observational point of view. The music is
nightmarish too. Proceed at your own risk!
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