cigarjoe

Here believe it or not, is the positive side to the mid sixties demise of the MPPC and exploitation of female nudity in films. The female nudity in the 60-70s was "natural" female nudity, I guess I get nostalgic for when real women looked like natural women, not the plastic surgery enhanced hairless, prebubescent looking stringbeans you see today. Where else are we gonna get a dose of reality.

Thanks, Dargo.

Identify this one

Dr. Caligari (1989) Weird experimental, art house, trashy. 5/10

Scenes from the Class Struggle in Beverly Hills (1989) From the director of Eating Raoul, Paul Bartel - The widow's houseboy and the divorcee's chauffeur bet on which will bed the other's employer first. Along with other shenanigans 7/10

PS Dargo, I noticed you didn't comment on N*i*p*s Attack Of The Fifty Foot Woman post. I thought I'd hear from you on that one. You can just imagine a remake, a fifty foot nude woman running around. All the guys, soldiers, police, firemen, etc., etc. would all be standing around with their mouths hanging open, just stunned, babbleing like idots. Female Power!!!! It would be a riot.

Actually now that you got me thinking about it, the female nudity in the 60-70s was "natural" female nudity, I guess I get nostalgic for what real women looked like, know what I mean, Dargo, (here I'd be wagging my cigar like Groucho), wink, wink, not these plastic surgery enhanced prebubescent looking stringbeans. Where else are we gonna get a dose of reality.

Half is exactly right. ?

Because of all the female nudity in moves, of course.

Mitchum was in this 1974 Japanese Gangster flim, surprised it's not on the list

Killer's Kiss (1955) Low Budget New York Noir Written, Directed, and Edited by Stanley Kubrick. This is what you can do when you are low on budget, about $75,000, and big on talent. What's not to like, you got a taxi dancer and a boxer, both of which are voyeurs of each other. A greasy, sleazy ballroom racketeer. And shots of New York City circa mid 1950's. The scenes of Times Square, a 1932 vintage IND R-1 subway car with the old crosswise and facing pattern rattan seats, the real Pennsylvania Station, a taxi dance ballroom, a boxing match in probably the old St.Nicholas Arena, DUMBO before it was DUMBO, and top it all off with a classic mannequin factory showdown. The film is priceless for these sequences alone. Kubric is just at the beginning of an interesting run of films. For it's budget Killer's Kiss is a visual treat, a bit rough around the edges but thoroughly immersive and very entertaining. For a New Yorker the film is an archive of Times Square, Brooklyn and a bit of city life circa 1955. The ending at the mannequin factory is worth the view alone. A Low Budget Classic 8/10. Full review with more screencaps here in Film Noir/Gangster page. More screencaps in Noirsville

Killer's Kiss (1955) Low Budget New York Noir Written, Directed, and Edited by Stanley Kubrick. This is what you can do when you are low on budget, about $75,000, and big on talent. What's not to like, you got a taxi dancer and a boxer, both of which are voyeurs of each other. A greasy, sleazy ballroom racketeer. And shots of New York City circa mid 1950's. The scenes of Times Square, a 1932 vintage IND R-1 subway car with the old crosswise and facing pattern rattan seats, the real Pennsylvania Station, a taxi dance ballroom, a boxing match in probably the old St.Nicholas Arena, DUMBO before it was DUMBO, and top it all off with a classic mannequin factory showdown. The film is priceless for these sequences alone. The Story. Three days in the life of Davey Gordon, (played by Jamie Smith, a mainly TV series actor whose first film was Faithful City (1952). In his bio, he cryptically "then joined the company of Orson Welles" (IMDb) whatever that means. His last credit was Route 66 (TV Series) (1963) as a Deputy), then nothing, zip nada until a 1990 Netherlands TV series. Davey is a fly weight boxer, from near Seattle, fighting bouts at probably the old St. Nicholas Arena that was at 69 West 66th Street, Manhattan. If Kubric shot at the actual arena, they are the only interior shots I've found. Davey's last bout was against Kid Rodriguez. It was on television in the film.. Vinnie Rapallo and Gloria, watch it. The DuMont Television Network's (the first TV Network in the U.S. BTW) last series show ever was "Boxing From St. Nicholas Arena." The story is told mostly in flashbacks. Davey (Smith) and Pennsylvania Station Davey lives in a small studio apartment up in the Bronx. He has a view of the air shaft. For those of you who don't know **** I'm talking about, an air shaft was a sort of natural ventilation system buildings of a certain sizes and style were required by city building codes to have. Cooler air from the basement passages would be sucked inwards towards the shaft as the top walls, exposed to sun heated up. The warm the air in the top of the shaft expands upwards leving a void that draws more cool air up to replace it, like a chimney. A natural "renewable energy" circulation system. Anyway it not as dreary as it sounds. Across Davey's shaft, lives Gloria (played by Irene Kane a one time Vogue model and later aka Chris Chase the writer). Gloria is a local girl from out on Long Island. Gloria's festooned her dump with comfy furniture, curtains that turn an alcove into a closet, and wash line strung with a dainty lace bras, nylons, panties, and and garter belts. Gloria leaves her pull shade open. Davey's got a nightly show named "Gloria" to watch. Coincidentally in the best Woolrich manner, Gloria is both an exhibitionist and a voyeur in turn of Davey, who reciprocates by leaving his pull shade up. Cute visual meet. The ballroom dance song "Once" is the leitmotif for Davey and Gloria. Gloria (Kane) Anyway, the Italian Vinnie Rapallo, is played perfectly by Frank Silvera (Viva Zapata! (1952), The Appaloosa (1966), Hombre (1966)). A very successful black actor. I enjoyed his Westerns. He was like a black Paul Muni, he could play across ethnic boundaries without makeup and be entirely believable. He was also a director. Vinnie and his minions at the dance barn have a sort of demented twisted cha cha as their leitmotif. Vinnie is the sleazy proprietor of Pleasure Land Ballroom depicted in the film as on the Westside of Times Square. It's a taxi dance joint. Vinnie likes to sample the merchandise. He samples Gloria. Vinnie has been picking up Gloria at her apartment house in his snazzy chrome accented 1951 Chevrolet Styleline De Luxe Bel Air convertible. Vinnie a bit jealous when he sees Gloria exit her apartment house with Davey. He tells her that he's a boxer. Tells her that he has a bout that night. Tells her that they'll watch him in his office. At fight time Vinnie goes out into the ballroom and collects Gloria. He has a problem seperating her from a patron. He has to call in his goombah's to rough the guy up and throw him out. Gloria and Vinnie go up to his office to watch the fight. In the sequence during the fight Gloria seems to get turned on watching Davey and Kid Rodriguez beat the **** out of each other. She embraces Rapallo, the lights go out and you know that that was "code" for getting down to business. Feeling down and nusing his wounds and pride, Davey is perked up by both the nightly Gloria show across the airshaft and a phone call from his uncle in Seattle. Later after her shift at Pleasure Land, Gloria is confronted by Vinne at her apartment and is rejected quite forcibly by her. We can only speculate that maybe Vinnie wanted to go a bit father than before. Wanted to sample all her charms. Here is where, thanks to the MPPC, you can imagine the absolute worst, that maybe Vinnie wanted to go all around the world, and Gloria was only willing to go at least two-thirds of it. Make no mistake about it, Gloria is no virgin, she was doing Vinne judging from her statement later in the warehouse when her life is on the line. Gloria Price: [Rebuffing Vinny] Can't you get it, Vinny? To me you're just an old man. You smell bad. Gloria's screams awaken Davey who sees Vinnie physically roughing up Gloria across the air shaft. He shouts, startles Vinne, which causes Vinnie to flee. Gloria is saved. They become close, it's strongly inferred again by visual "code" that they become lovers. Gloria seems pretty "easy." Davey and Gloria decide to leave town for Seattle. Davey arranges for his manager to meet him at Pleasure Land to give him his cut from the fight, while Gloria goes up to collect her last weeks wages. It all goes Noirsville when Vinnie sends his dim bulb goons to rough up Davey and instead kill Davey's manager by mistake. Noirsville Vinnie (Silvera) Kubric is just at the beginning of an interesting run of films. For it's budget Killer's Kiss is a visual treat, a bit rough around the edges but thoroughly immersive and very entertaining. For a New Yorker the film is an archive of Times Square, Brooklyn and a bit of city life circa 1955. The ending at the mannequin factory is worth the view alobe. A Low Budget Classic 8/10. Full review with more screencaps here Noirsville <spoiler> Kubrick actually wanted a darker ending. His last shot would have been of Davey finishing his flashback story and waiting for Gloria who never shows up.

This is the one where Burt went to the big house and Kirk ran their speakeasy/nightclub making a ton of dough, I have seen it I just didn't connect with the title.

Ouch!

I haven't seen The Musketeers of Pig Alley (1912) Regeneration (1915) Underworld (1927) The Racket (1928) G-Men (1935) I Walk Alone (1948) 1,000 Eyes of Dr. Mabuse (1960) Branded to Kill (1967) Bloody Mama (1970) A Better Tomorrow (1986) The Krays (1990) Boyz N the Hood (1991) American Me (1992) Menace II Society (1993) Sonatine (1993) A Bronx Tale (1993) Carlito's Way (1993) Short Sharp Shock (1998) Brother (2000) Infernal Affairs (2002)

Nice List.

One Naked Night (1965) Woman's Noir Vérité New York Artist-Photographer's Model Woman's Noir Directed filmed and probably written (though there is no credit) by Al Viola, (Albert T. Viola born in Brooklyn) a production coordinator for The Naked City TV series (1958-1963), who segued into film, other credits include a "Mondo" film A Fool's World (1964), a thriller called A Woman in Love (1968) it's IMDb page shows zero reviews, Interplay (1970) ditto, and a pair of what sound like Dog Patch Hillbilly films titled Preacherman (1971) and Preacherman Meets Widderwoman (1973), but hey, he did make it to Hollywood. The cinematography is very noir-ish in spots. A great bongo tune by Chet McIntyre (Music) plays during the credit sequence, and the film has nice but appropriately sleazy piano/sax jazz instrumentals. Right from the local Five and Dime stores sleazy pulp fiction paperback racks to the screen! One Naked Night is the story of a girl from "hicksville" it could even be the real one on Long Island. Candy Stevens (Barbara Morris, (Philip Marlowe TV Series (1959–1960 and a couple of other credits, she like thousands of other women trying to break into showbiz, didn't catch fire)) is a young woman, daughter of a high priced call girl, who made lots of money horizontally so that she could send her daughter to an expensive boarding school. Way to go mom! However, Candy is now alienated, desperate to leave her "home" town after she is exposed as the next of kin, a prostitutes daughter, when her notorious mother commits suicide and it's headlines in all the papers. We get a nice voice over narration by Morris of our female character Candy. It's interesting because it's an average, real, plausible young woman's noir. She's not gonna be a female PI, the Femme Fatale, or an ace reporter, she's just telling the distaff side, the female equivalent of an average joe's hard boiled, a hard luck story, of what thousands of women who want to make it big go through, and just from the bios of our female cast you know that either they went through pretty similar circumstances and scenarios or know people who did. This will inform their best they can do acting. This film is really just on the cusp of being an Exploitation Noir. It's not even up to contemporary "R" rated films of today. When the MPPC ended independent filmmakers exploited everything that they were prevented from depicting when the code was in effect. Its just like a dam broke and nothing was going to stop the flood of freedom no matter how crass and tasteless it was. If someone could make a quick buck off something they made it. But this film offers something more. Barbara Morris is surprisingly good in this. Director Viola shows some nice sequences of 1965 5th Avenue, Times Square and its signage, an equally interesting detour into a Harlem dance hall and of a time long ago and far away. Worth a look. Viewed on online streaming site. 6.5/10 Full review with some screencaps here in Film Noir/Gangster pages and with all screencaps here: Noirsville

I love this one it great.

One Naked Night (1965) Woman's Noir Vérité New York Artist-Photographer's Model Woman's Noir "FILM NOIR HAD AN INEVITABLE TRAJECTORY… THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!" The Last Drive In (thelastdrivein.com) Directed filmed and probably written (though there is no credit) by Al Viola, (Albert T. Viola born in Brooklyn) a production coordinator for The Naked City TV series (1958-1963), who segued into film, other credits include a "Mondo" film A Fool's World (1964), a thriller called A Woman in Love (1968) it's IMDb page shows zero reviews, Interplay (1970) ditto, and a pair of what sound like Dog Patch Hillbilly films titled Preacherman (1971) and Preacherman Meets Widderwoman (1973), but hey, he did make it to Hollywood. The cinematography is very noir-ish in spots. A great bongo tune by Chet McIntyre (Music) plays during the credit sequence, and the film has nice but appropriately sleazy piano/sax jazz instrumentals. Right from the local Five and Dime stores sleazy pulp fiction paperback racks to the screen! One Naked Night is the story of a girl from "hicksville" it could even be the real one on Long Island. Candy Stevens (Barbara Morris, (Philip Marlowe TV Series (1959–1960 and a couple of other credits, she like thousands of other women trying to break into showbiz, didn't catch fire)) is a young woman, daughter of a high priced call girl, who made lots of money horizontally so that she could send her daughter to an expensive boarding school. Way to go mom! However, Candy is now alienated, desperate to leave her "home" town after she is exposed as the next of kin, a prostitutes daughter, when her notorious mother commits suicide and it's headlines in all the papers. Candy Stevens (Barbara Morris) We get a nice voice over narration by Morris of our female character Candy. It's interesting because it's an average, real, plausible young woman's noir. She's not gonna be a female PI, the Femme Fatale, or an ace reporter, she's just telling the distaff side, the female equivalent of an average joe's hard boiled, a hard luck story, of what thousands of women who want to make it big go through, and just from the bios of our female cast you know that either they went through pretty similar circumstances and scenarios or know people who did. This will inform their best they can do acting. This is no Pretty Woman (1990) fairy tale its an almost Vérité, Neo Realist in feeling. She splits for New York City, taking up an offer from Laura (Sally Lane, her only credit), a girlfriend from the school, who is now a model, to stay with her in a typical NYC arrangement, a three girls sharing the rent apartment. A fourth girl can easily squeeze in and all will pay less. She can stay there with them while she looks for work. But Laura quickly arranges for Candy to go to cheesecake photographer Charlie Stern (played by Ian Miller) to audition to be a model, and she's got what it takes to be "in the biz." He schedules her for a shoot. The other two girls living in the apartment are also both pin-up models. Peg a blond who is uncredited, and Barbara played by Audrey Campbell who in real life was a model then starred in a live television program on Cincinnati's WKRC network called "The Girl in the Window in the late 40's Audrey debuted playing a Roman princess in Joe Sarno's movie "Lash of Lust." She appeared in TV Soap Dark Shadows. Campbell is most famous for her character Madame Olga and the series of Exploitation films featuring her. Candy has a couple of modeling sessions with Charlie Stern. It eventually gets romantic. Charlie Stern (Ian Miller) with Candy After their last shoot Candy and Charlie hit the sights in Times Square and then head for a dance club up in Harlem. And the finale back at his place..... Below, Charlie slowly goes down out the frame a quote of Richard Conte and Jean Wallace from The Big Combo. Candy is obviously having a good time. After Candy is seduced by Stern she thinks she's in love. Barbara knows the score. Barbara also came from a broken home and had a promiscuous mother. To the accompaniment of a wild Jungle Bongo with liquorish stick theme, we get a flashback as Barbara tells Candy why she should not trust men. It's the tale of how Barbara losing her virginity. On the day of her eighteenth birthday Barbara comes home from school and finds a present on her dresser. At eighteen her mother gives her a negligee and tells her she should find a man. Barbara was always resentful of the men in her mothers life who compete with her for love, but she showers and tries on the gift, admiring the way she looks and experimenting with the awakening of her sexual feelings. At this time a "friend" of her mother's enters the apartment using his key to retrieve his watch. He sees Barbara and thinks she is one of the many party girl friends of her mother. He seduces her, and Barbara lets him. Barbara seems to start out OK but it went South. She's off men and into women. Barbara: I've seen lots of men they're either dull as death or all rotten. To get Candy to see the light, Barbara arranges for Candy to find Charles in bed with Laura. After Candy flees Charlie's apartment, Charlie comments to Laura "Poor thing guess she took everything seriously." Candy goes running to Joe (Joseph Sutherin), a nice guy artist friend of Charlies. At first they hit it off. They get intimate. Candy fixes his meals and even poses for Joe. However, Candy becomes too possessive and prevents David from getting in touch with his creativity. Candy wants him to cater to her. When he frustratingly spurns her, she picks up a mallet and begins to smack it up against his latest sculpture, He smacks her to the floor. Shocked, Candy runs from the apartment and back to the "party pad." There Candy segues into a playgirl lifestyle and has a different man every night. When she tells Barbara that she's tried everything and is bored, Barbara tells her, hint hint, that "she hasn't tried EVERYTHING." Of course it all spirals into Noirsville. Noirsville "You haven't tried everything." This film is really just on the cusp of being an Exploitation Noir. It's not even up to contemporary "R" rated films of today. When the MPPC ended independent filmmakers exploited everything that they were prevented from depicting when the code was in effect. Its just like a dam broke and nothing was going to stop the flood of freedom no matter how crass and tasteless it was. If someone could make a quick buck off something they made it. But this film offers something more. Barbara Morris is surprisingly good in this. Director Viola shows some nice sequences of 1965 5th Avenue, Times Square and its signage, an equally interesting detour into a Harlem dance hall and of a time long ago and far away. Worth a look. Screencaps are from an online streaming site. 6.5/10 Full Review with more screencaps here: Noirsville

Ya know nip in case you're wondering a 50 Foot woman would have a 4.5 foot walk in va jay jay.

Thanks for the correction I knew there was "movie" in the member name.

It depends too on your definition of porn. For some people naked wimmins is enough for it to be called porn. ?

They used to have pretty bad winters, I guess when you are starving, you learn to eat everything. My father would tell me the story of during the thirties they would have to eat fish heads. He said you chew on them, push the meat to one side of your mouth and the bones to the other, the swallow the meat and spit out the bones.

Or Trump the President.....

It's actually a pretty good noir, that and Drive A Crooked Road. I don't remember if I've ever seen The Human Comedy.