Exploitation film is a type of film that is promoted by "exploiting" often lurid subject matter. The term "exploitation" is common in film marketing, used for all types of films to mean promotion or advertising. Thus, films need something to "exploit", such as a big star, special effects, sex, violence, romance, etc. An "exploitation film", however relies heavily on sensationalist advertising and broad and lurid overstatement of the issues depicted, regardless of the intrinsic quality of the film. Exploitation films sometimes attract critical attention and cult followings.
Plot Summary -A New York anthropologist named Professor Harold Monroe travels to the wild, inhospitable jungles of South America to find out what happened to a documentary film crew that disappeared two months before while filming a documentary about primitive cannibal tribes deep in the rain forest. With the help of two local guides, Professor Monroe encounters two tribes, the Yacumo and the Yanomamo. While under the hospitality of the latter tribe, he finds the remains of the crew and several reels of their undeveloped film. Upon returning to New York City, Professor Monroe views the film in detail, featuring the director Alan Yates, his girlfriend Faye Daniels, and cameramen Jack Anders and Mark Tomaso. After a few days of traveling, the film details how the crew staged all the footage for their documentary by terrorizing and torturing the natives. Despite Monroe's objections, the television studio Pan American still wishes to air the footage as a legitimate documentary. In order to change their minds, Monroe shows the station's executives the film's final reels, so they could see first hand how the crew's fate came to be.
Review: 1972 was, of course, the year that porno briefly became "chic", entirely due to a triumvirate of films that have lost little of their iconic stature three and a half decades further down the line. Queens hairdresser turned quim artist Gerard Damiano unleashed the double whammy of DEEP THROAT and DEVIL IN MISS JONES while the ultimately tragic Mitchell Brothers pooled their considerable talents and resources for the very different BEHIND THE GREEN DOOR. Different in its approach to erotica, making a serious bid for highbrow respectability rather than just content to stimulate its audience's groin area, it was clearly intended to appeal to women as well as men. As a result, the female contingent of its viewer-ship during its initial theatrical run at the brothers' fabled O'Farrell cinema was rumored as being uncharacteristically high. Though exact numbers are nigh impossible to come by, it has also been documented elsewhere that an inordinate amount of female buyers procured the cassette when it was launched on its particularly profitable video career. Supporting the distinction between "rape fantasy" (fuelled by bodice-ripping romance novels) and the disturbing reality, GREEN DOOR details the feature-length subjugation of one woman – fair-haired all American girl Gloria Saunders, portrayed by former Ivory Snow model Marilyn Chambers in her indelible adult baptism by fire – abducted and taken to an underground sex club where for one night she's told she will be publicly "loved like she has never been loved before" with freedom returned to her the next morning.
Story was taken from an anonymously penned pamphlet that has been passed around among soldiers ever since the Second World War, framed by the supposed eye witness account of two "Everyman" types, strapping young Barry (George S. MacDonald, the boyfriend from David Gerber's superlative SCHOOLGIRL) and elderly Dudley (character actor Yank Levine, who played Abraham in the Mitchells' ill-fated epic SODOM & GOMORRAH) to an inquisitive diner cook. Helpless to save the girl Barry had been flirting with mere moments before, they watch her being dragged (by Jim & Artie no less !) into a car and speeding off. As coincidence would have it, she turns out to be the main attraction at the mysterious Green Door Club both men frequent later that night. Making their bid for real world respectability, the Mitchells enlisted a pair of minor celebrities for brief appearances at this stage. Former pro football player for the Oakland Raiders Ben Davidson plays the bouncer and Angela Castle a/k/a "Toad Attell", who was a regular on Sid Caesar's family-oriented YOUR SHOW OF SHOWS, performs her patented mime routine which stands as one of few elements that really date this film. Though she's an unwilling participant at first, Gloria gradually grows to enjoy the erotic experiences afforded by her captors, a rapt audience progressively partaking which shifts the film's focus from stage to auditorium. In a key element to women's enjoyment of the premise, Gloria is immediately soothed by a sympathetic, tellingly mature matron (with the hint of a British accent, supplied by Linda Grant who thereby has the most extensive dialog scene in the movie) who assures that no harm will come to her and that she should just open herself up – okay, you can stop sniggering ! – to the physical pleasures that await her. Ravishment by half a dozen women in stylized nun garb, beautifully shot at strangely skewed angles by regular Mitchell DoP Jon Fontana (who worked on AUTOBIOGRAPHY OF A FLEA and their rarely revived CB MAMAS), leads to Gloria's response to the call of nature in the shape of the industry's original black stallion Johnny Keyes in an all time classic encounter. No longer on the receiving end, our silent heroine reciprocates in the legendary trapeze number with Mick Jones (another man of color, also in Ann Perry's COUNT THE WAYS and Gary Graver's V – THE HOT ONE) and an early appearance by Tyler Reynolds, culminating in the extended solarized spurting that now unfortunately seems mostly like the brothers showing off their technical prowess as it tends to stop the film dead for a ten minute stretch. The highly ritualized theatrical "performance" contrasts effectively with the spontaneous action bursting out among the rapt audience, including an imposing obese lady whose presence has engendered reviewer references to Fellini, along with a recent French critic likening the film to the works of Godard and Ozu in light of the brothers' documented film school training. Great, so at least I don't have to venture down a path that can logically only lead to ridicule ! More than just a hardcore history relic, GREEN DOOR actually holds up well for most part, save for its few dated aforementioned stylistic touches. By restricting their central heroine to complete silence throughout, the Mitchells adopted the "blank screen" approach onto which each viewer can project his or more specifically her private fantasies. There had been cute girls in porn prior to 1972, like Tina Russell for instance, but Chambers was without doubt the first truly beautiful woman to enter the industry, her until then minor real world recognizability facilitating audience identification. It may also be an important factor, as critic Danny Peary points out, that the sexual feats she performs are relatively modest in comparison to those achieved by Linda Lovelace and Georgina Spelvin around the same time and therefore quite attainable for the average Jill Public. Further proof that the genre was still in its infancy and feeling its way is the haunting and utterly non-porno type music composed by Daniel Le Blanc which perfectly accompanies this timeless and still tantalizing classic.
Review: Anita is a girl of only 16 years, and while she has developed early physically, to a mature woman, she is psychologically completly ruthless. Her relationship the her parents and her friends is very poor and she is regarded with contempt by the people around her, even by the men who so ruthlessly use her. During her troubles she meets Erik, a young psychology student. Gently and carefully he begins to dispell her psychological blocks. In the course of this treatment she reveals to him some of the shocking espisodes of her previous experience and how an inner compulsion forces her into humiliating debauchery in dangerous environments. Erik believes he has the solution to Anita's problems: to let her move into an artist's communal experiment, of which he is already a member. The common interest of this collective is largely the performing of classical music. Anita's prosence in the collective, however, is regarded by some of the other girls as highly provocative. Anita's nymhomania is her means of protest against her parents, school, society and her own enviroment (her whole life situation). Erik holds a scientific theory that Anita will be free of her sexual fixation if she were once able to experience a true orgasm. He therefore tries to get her to see clearly, and with some insight, the breadth of her psychological situation. Against the background of the intensive battle that Anita carries om with the self-destructive drives within her, grows the depth of feeling that bind her and Erik together. She is no longer simply a "case" for him. Anita discovers that Erik is the one man whom she both wants to, and can, remain together with.
Review: saw this singular film double-billed with The Naked Killer (one of my all time favorite movies). Chinese Torture Chamber is weird through and through. It takes place sometime ago in China's glorious past, when the courts utilized Spanish Inquisition-like techniques to get the truth out of defendants. The opening scenes are a fairly graphic, though oddly funny, demonstration of ghastly tortures. Then, we are taken to the estate of a rich prince, married to an insatiable princess. He tries to please her by employing exotic "marital aids", but to no avail. She seeks fulfillment through another man. Sexually curious housemaids secretly watch their trysts through holes in the rice paper walls. One is caught, and becomes the subject of the wrathful princess' ire. Throughout the rest of the movie, as told in flashbacks, this poor maid must prove her innocence of murder (by exploding penis!). The court systematically tortures her and the prince (a suspected accomplice) first by spanking, then through more excruciatingly depicted techniques. What's odd about all these precedings is that they are simultaneously horrifying, erotic and funny. Kind of like the Japanese film Tokyo Decadence. Oh yes, there is one sequence that totally blew my mind: The prince spies two heroes flying through the trees, fighting each other kung fu-style, ripping each others' clothes off (ends up being a man and a woman), and then f***ing while still mid-air! Only Hong Kong could come up with a "porno/horror/fantasy/comedy".
Review: Gunda is a 1998 movie directed by the Kanti Shah, starring Mithun Chakraborty, Mukesh Rishi and Shakti Kapoor. It was produced by Anil Shah, written by Bashir Babbar, and the musical score was provided by Anand Raj Anand. Since its release, it has attained a cult follwing among pan-indian audience.
IMDB User Rating : 8.4 http://www.imdb.com/title/tt0497915/ http://en.wikipedia.org/wiki/Gunda_(film)
Plot: A killer named the Breather terrorizes students at a high school. Whenever the killer finds students having sex, he kills them. He has some intense issues with which to deal. He likes to breathe heavily, and he likes to make prank calls while talking through a rubber chicken
Review: "Studen Bodies" is the movie that started the Horror parody movies. The winning formula of the movie is a mix between sexual/scatological humor and cheesy/teenager humor.
I had to dig into a rare video store's catacombs and after researching and finding some atrocities, I found "Student Bodies". I searched for this movie for years and finally the time came. The VSH copy I found to my surprise had good sound (although Mono) and decent image. I prepared myself pop corns and sat to enjoy this hidden gem.
The Slasher genre has a lot of clichès and "Student Bodies" makes the adequate and necessary parody of them. Sex being the motive for death scenes, gore, dumb characters and a lack of logic are the elements that this movie makes fun of.
The movie makes fun of "Friday the 13th", "When A Stranger Calls" and "Prom Night" mostly (also, look for the "Carrie" ending spoof). I wonder if Wes Craven was inspired by this movie to create "Scream" because most of it's scenes are very similar (including plot!).
The situations are very funny and perfectly mix with the funny lines and one-liners. With some discriminatory jokes towards a black guy, a minus-valid guy, a foreign student, etc. the movie works without being very rude. The script is clever and asks for the jokes and parodies. They don't make movies like this anymore. I prefer 10 times "Student Bodies" than the "Scary Movie" trilogy.
The actors do what they have to do. "The Stick" is a great comedian! and a cult classic character of the 80's cheesiness. The body count meter is another classic moment in the genre. I watched this movie under the name "Thirteen corpses and a half"; the title is explained because of the body count meter. My only beef with the movie is it's silly ending. I know the movie is a Horror Comedy but still the ending left a lot to desire. With a dumb explanation the events get resolved although I felt good for Malvert!
I wonder if they re released this movie in these days, would it be a hit? I think yes. It's a cheesy but funny movie and a good way to kill 80 minutes.
Plot: Female prisoners in a Phillippine jail are being subjected to sadistic torture. Five of the women--along with the help of two men--plot an escape
Director: Jack Hill
REVIEW: Beautiful women, catfights, food fights, torture, lesbianism, mud wrestling and nudity are the highlights of this cult classic Women in Prison film from Jack Hill. There's always a slight bit of sleaze that makes this interesting but overall it's pretty dull without enough story and the dramatic moments don't work. Judy Brown and Pam Grier star.
It should also be noted that I prefer the rougher women in prison films by the likes of Jess Franco. Franco started this genre with 99 Women but I prefer his darker WIP films like Barbed Wire Dolls, Women in Cell Block 9 and Sadomania.
