7/29/15 (Part Three): Uncle Herschell’s Dirty Movies

Tags

1960's films, adults only, auteur theory, bachelor party, bad films, Blood Feast, Bonnie Clark, casual sex, cheating fiances, cinema, Dee Howard, Ed Wood, Film auteurs, film reviews, films, flashback narrative, flashbacks, Forman Shane, go-go dancers, Godfather of Gore, grindhouse, Herschell Gordon Lewis, houseboat, infidelity, James Brand, Jeanette Mills, lingerie salesman, lost films, Mark Hansen, Movies, non-professional actors, pseudonyms, set in 1960s, sexploitation films, Sharon Matt, soft-core, strippers, Suede Barstow, Swingers, terrible films, the 1960s, The Ecstacies of Women, The Wizard of Gore, Two Thousand Maniacs!, Victoria Bond, Vincene Wallace, Walter Camp, William Allen Castleman, William Vickers, writer-director-cinematographer, X-rated films

With some directors, you never know what you’re going to get from one production to the next: they might try out a few new techniques, opt to shoot in a completely different format, attempt a genre they’ve never tried before, move on from “popcorn movies” to “prestige films”…with some filmmakers, it’s all about shaking it up, constantly moving and evolving in order to prevent falling into a rut. The progression from the first film to the thirteenth? The difference between fish with legs and early Homo Sapiens. And then, of course, there’s Herschell Gordon Lewis.

Across a career that’s spanned over five decades, Lewis (the original “Godfather of Gore”) has been responsible for some of the most amateurish, inept and flat-out mind-boggling films to ever screen in actual theaters (grindhouses count, folks). Touching on everything from “nudie-cutie” movies and soft-core sexploitation flicks to outrageously splatterific horror films and impossibly wrong-headed treatises on social mores, Lewis has jumped genres with reckless abandon, even if he’s still most famous for his gore epics like Blood Feast (1963), Two Thousand Maniacs! (1964) and The Wizard of Gore (1970). Indeed, the only constant in his impressively broad career has been the excruciatingly bad quality of his films.

You see, for all of his passion, drive, inherent chutzpah and genuine innovations (in almost every way, shape and form, the world had never seen anything like Blood Feast, especially in the dawning of the ’60s), ol’ Herschell is a truly terrible filmmaker. To a one, his films are characterized by non-professional actors doing their best to maintain character, poverty-row sets, an inability to do anything with the camera but set it in one place and hit “record,” some of the worst sound recording in cinematic history, the appearance of lights and equipment in every other shot…you name it, Lewis has done it. As writer, director and cinematographer of his films, Lewis is a true auteur, albeit one more closely aligned with Ed Wood than, say, Orson Welles.

For all of this, however, one fact remains plainly evident: despite their endless shortcomings, Lewis’ films have another common denominator…they’re (usually) a tremendous amount of fun. As someone who grew up on his gore films (I’m not ashamed to admit that Two Thousand Maniacs! is one of the greatest horror films of all time, regardless of the quality), Lewis has been a go-to of mine for some years now. Despite this, however, I was woefully ignorant about his other films, particularly the soft-core adult films that were liberally sprinkled throughout his career. Of these films, a couple were considered “lost” to the world at large until they popped-up several years back. The Ecstacies of Women (1969) is one of those films. It is, of course, absolutely terrible.

In a nutshell, The Ecstacies of Women concerns Harry (Walter Camp) and the bachelor party thrown by his friends, Gene (William Vickers), Fred (James Brand) and Ted (Forman Shane). As the guys hang out at a strip-club and ogle the awkward dancers (there really is no other word to describe them), Harry entertains the others with “wild” stories about his numerous sexual conquests, all by way of “purging his system” for his upcoming nuptials.

The pattern is so simple that it’s basically a loop: the guys sit around, conversing in ways that could never be considered natural (everyone seems genuinely drunk, for one thing, which might explain a lot) before Harry puts his head back and seems to go into a coma. This, of course, is our cue that we’re about to move into the “adults only” portion of the program. If anyone out there thinks things get better from there, let me remove all doubt: they get much, much worse.

All-in-all, we get several different vignettes involving Harry and his random conquests. Harry picks up a woman (Jeanette Mills) in a bar, takes her back to his houseboat to “model lingerie” (he’s a traveling lingerie salesman, dontcha know) and proceeds to grope her into orgasm. Harry gets picked up by an aggressive health-freak on the beach (Vincene Wallace), takes her back to his houseboat and proceeds to grope her into orgasm. Harry gets picked up by an aggressive teenager (Sharon Matt) while parked at a stoplight, takes her back to his houseboat and proceeds to grope her to orgasm. Finally, we get the piece de resistance as Harry, Gene, Fred and Ted take a bunch of strippers back to the houseboat and proceed to grope them into orgasm. Harry decides to run away with Summer Frenzy (Bonnie Clark, who seems to be on heroin for the entirety of her performance, at least judging by her slurred speech, unfocused eyes and baffling “performance”), leaving his unlucky (very, very lucky?) future spouse in the lurch. The End.

Lest it seem from the above description that there’s an overwhelming sense of repetition to what we see, let me clarify it: the whole film is, essentially, the very same scene played out, multiple times, with slightly different people. Each of the “dream sequences” lasts for about 20 minutes (most of which are awkward dialogue scenes that don’t seem improvised so much as dropped from the sky, like bird shit) and features Harry dry-humping and pawing his nude conquests. For variety, Harry sometimes wears his tighty-whities during the “action,” while other scenes give us glorious shots of his pale, pimply ass. There’s never any sense of “realism” to the scenes, which mostly involve Harry fondling bare breasts until over-dubbed heavy breathing indicates a sprint to the finish-line.

There’s absolutely nothing sexy, titillating or, to be honest, particularly interesting about anything that happens. In fact, The Ecstacies of Women might be the single dullest film that I’ve ever had the misfortune to sit through, regardless of the “adults only” designation. As with all of Lewis’ films, the camera-work is as basic as it comes, the non-professional actors constantly flub their lines and talk over each other (one amazing scene features the guys trying their damnedest not to crack up as one “actor” manages to call everyone by the wrong name, several times) and the whole thing looks about as ugly as could be expected.

We could talk about the film’s representations of women, the sex-positive natures of the encounters (at the very least, everyone seems to be having fun, although I’m not quite sure how) or the ridiculously “groovy” catchphrases that must have made this hopelessly dated the week after it came out. We could put a little thought into it but, really: who the hell would we be kidding? The Ecstacies of Women is pure crap, through and through, the kind of oddity that no one could possibly take seriously. In certain ways, the film is absolutely critic-proof: who goes into a Herschell Gordon Lewis film (especially one of his skin flicks) expecting anything more than what’s been presented here?

While I can usually find at least something to recommend in a film (satisfying curiosity, if nothing else), I find myself at a complete loss here: unless you’re a Herschell Gordon Lewis completist (or Mark Hansen, as his pseudonym reads here) or the kind of person who prizes non-acting, tone-deaf dialogue and unattractive people pretending to have sex…well, friend…there’s just not much for ya here.

To quote Harry’s immortal final words: “Gang, goodbye. Goodbye, gang.” I couldn’t have said it better myself.

 

Advertisements

6/9/14 (Part Two): Father of the Living Dead

Tags

1960's films, behind-the-scenes, cinema, Civil Rights Movement, documentaries, documentary, Elvis Mitchell, film criticism, film reviews, film theory, filmmaking, films, George Romero, guerrilla filmmaking, horror, horror film, horror films, independent film, independent films, interviews, Jr., Larry Fessenden, Mark Harris, Martin Luther King, Movies, Mr. Rogers, Night of the Living Dead, Pittsburgh, Prof. Samuel D. Pollard, Rob Kuhns, Robert Kennedy, Russell Streiner, social upheaval, societal changes, talking heads, the 1960s, The Birth of the Living Dead, visual effects pioneer, Whine of the Faun, writer-director-producer-cinematographer

By 1968, the Summer of Love was officially over: the war in Vietnam was in full escalation, racial tensions led to race riots in the inner cities and the disastrous Altamont Free Concert was but a year away, although neither Robert Kennedy nor Martin Luther King, Jr. would survive to know about it. The Zodiac Killer was still killing, the Cold War with the Soviet Union was still decades from thawing and the hippie “revolution” of the early-mid ’60s had failed to bring about the kind of lasting, peaceful change that adherents hoped for. Hope had been replaced by anger: the 1960s had failed to fix anything and the system was just as broken as ever. Into this caustic stew of fear, anger, war and turmoil slipped a humble little film that would go on to revolutionize not only horror films but the world of cinema, in general. When 27-year-old college dropout George Romero first unleashed his seminal horror film, Night of the Living Dead (1968), on an unsuspecting populace, little did he know that the film would permanently change everything that came after it, directly influencing the next 46 years of horror filmmaking.

Rob Kuhns’ exceptional documentary, Birth of the Living Dead (2013), gives an insightful and in-depth look into not only the making of Romero’s classic film but also the societal issues and developments that made the film not only possible but necessary. Night of the Living Dead was a new kind of horror film for a new era of horrors: when the horrors of Vietnam were being beamed into homes on a nightly basis, the same old “haunted house” scares weren’t going to work anymore. Kuhn’s film does an amazing job of showing just how truly groundbreaking NOTLD was, especially concerning its views on race and the family unit. By the end, he actually managed to give me new respect for a film that I’ve idolized for more years than I care to remember: no mean feat and a pretty sure sign that Kuhns is a filmmaker to keep an eye on.

Birth of the Living Dead takes us through the entire process of NOTLD, beginning with Romero’s background making short films for Mr. Rogers (I was surprised, to put it mildly) and beer commercials before taking the filmmaking leap with his first attempt, Whine of the Fawn (what a name!). When his art film tanked, Romero decided to try his hand at horror and the rest, as they say, is history. Romero served as cinematographer, director and editor, while the entire cast pulled double (sometimes triple) duty both in front of and behind the scenes. Some of the most glorious moments in the film come from the fascinating behind-the-scenes insights that Romero shares about the making of the film. Some of my favorites include the special effects experts who constantly smoked cigars while working with explosives and fuses, the actor/producer who built a wooden bridge with his own hands and the fact that the crew only got their sound edit after actor Russell Streiner (who played Johnny in the film) challenged the owner of the sound lab to a chess match: he won and the crew got their sound mix. For anyone interested in filmmaking, particularly ultra-low budget guerrilla filmmaking, the behind-the-scenes stories about NOTLD are absolutely priceless and worth a watch all by themselves.

Far from just being a “making-of,” however, Kuhns film is filled with plenty of insightful “talking head” interviews and commentary on the era that was directly responsible for Romero’s chiller. We get plenty of great stuff from independent filmmaking majordomo Larry Fessenden, whose enthusiasm for Romero’s film is absolutely infectious, along with historians and critics like Elvis Mitchell, Mark Harris and Prof. Samuel D. Pollard. In a truly magical bit, Mitchell talks about seeing NOTLD at a drive-in, when he was 10, and how it absolutely changed his life. There’s also plenty of on-point discussion about the casting of Duane Jones as the lead in a time where a strong, black hero in an all-white film would have been not only eye-opening but revolutionary. This was, after all, the era where one of the biggest black movie stars of all-time, Harry Belafonte, was not allowed to touch Petula Clark (a white singer/actress) in an advertisement. The fact that Ben’s race is never brought up in NOTLD was totally radical: for the first time in popular cinema, a leading black actor was just allowed to be a man, instead of a symbol. There’s real power in the stories about how the black inner city adopted Ben as a true hero, especially when they’re told by commentators who were actually in the theaters at the time of the film’s screening.

As a film, itself, Birth of the Living Dead is a complete success. The structure is well-organized, the footage and interviews are perfectly integrated and everything has a really exciting, kinetic sense of energy. Even better, Kuhns utilizes some really badass “Sin City-esque” red-and-black graphic-novel-type animation for many of the behind-the-scenes bits, making the whole film even more visually appealing. Birth of the Living Dead looks and sounds fantastic, although that just ends up being icing thanks to the fundamentally solid information being shared. If you’re a fan of Night of the Living Dead, Kuhns’ documentary is an absolute must-see, helping to fill in any gaps and offering up a virtual treasure trove of previously unknown insights. If you’re a fan of independent filmmaking, Birth of the Living Dead is a must-see for the ways in which we see Romero and his small band of true-believers literally wrestle this iconic film into being. Basically, if you like movies in any way, shape or form, you owe it to yourself to see Birth of the Living Dead: documentaries about horror films don’t get much better than this.