cigarjoe

And this is what Sophia is ogling

So how did Jor-el know about Earth, it ever explained?

I thought I remember that Krypton was located between Mars and Jupiter where the meteor belt is now (see Saturn above) Look at the puny rocket also, you think that that is going to be capable of intergalactic travel? I think the tale just evolved through the years to what it is now. It also states in the caption that Jor-el is launching it specifically towards Earth.

We don't get many movies out of the 70s don't you know, that decade has a lot of controversial (to morally conservative types) movies with drug use, free love, and oh my god, do I even have to type the word, "nudity". I'd be surprised if it doesn't get *****.

None of them, DINO !!!!

CALIGULA (1979) Saw it once sort of boring after a while EL TOPO - Like the first half, not so much the second half I SPIT ON YOUR GRAVE - Saw it once THE NIGHT PORTER - Ok but I never have to watch it again PINK FLAMINGOS - Weird John Waters flick about a contest to become "The Filthiest People Alive" SALO, OR THE 120 NIGHTS OF SODOM - never seen THE TEXAS CHAINSAW MASSACRE (1974) - saw once wasn't impressed

He may be right, though I couldn't say for sure. I recently purchased an R2 DVD of Who Killed Teddy Bear during the opening credits there is a sequence of two bodies writhing about it's blurred, but a viewer reported that there was another version with the sequence crystal clear. We'd have to ask Marty about it.

We have Roku, it occasionally freezes but we are a lot happier with it than with a big cable bill and 100s of channels we don't watch.

I thought Anne Baxter did a very good tipsy in The Blue Gardenia (1953)

Fat City (1972) Skid Row Noir A beautifully shot lyrical paean to Leonard Gardner's Stockton, California based novel about the lives of two boxers trying to fight their way up from their personal gutters to Fat City. The Good Life, Easy Street, The American Dream, that Big Rock Candy Mountain. Classic Film Noir vet John Huston masterfully directs the screenplay by Leonard Gardner. The cinematography was by Conrad L. Hall (Harper (1966), Cool Hand Luke (1967), In Cold Blood (1967), Electra Glide in Blue (1973)) and the soundtrack credits are Help Me Make It Through the Night Composed and Performed by Kris Kristofferson, The Look of Love Written by Burt Bacharach and Hal David, Performed by Dusty Springfield, and If Written by David Gates, Performed by Bread. The film is so well realized by John Houston that all the characters come fully to life without any false notes. Life's losers, eccentrics, and misfits are lovingly rendered. Fat City almost makes the life of a stewbum look nobel. Fat City is one of Huston's best films. 10/10 Keach, Tyrell, (nominated for Best Actress in a Supporting Role, 1973) and Bridges are excellent. Nicholas Colasanto, Art Aragon, and Curtis Cokes all put in great performances. Full review with screencaps in Film Noir/Gangster thread.

Fat City (1972) Skid Row Noir A beautifully shot lyrical paean to Leonard Gardner's Stockton, California based novel about the lives of two boxers trying to fight their way up from their personal gutters to Fat City. The Good Life, Easy Street, The American Dream, that Big Rock Candy Mountain. Classic Film Noir vet John Huston (The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), Key Largo (1948), The Asphalt Jungle (1950), The Misfits (1961), The Night of the Iguana (1964), Reflections in a Golden Eye (1967)) masterfully directs the screenplay by Leonard Gardner. The cinematography was by Conrad L. Hall (Harper (1966), Cool Hand Luke (1967), In Cold Blood (1967), Electra Glide in Blue (1973)) and the soundtrack credits are Help Me Make It Through the Night Composed and Performed by Kris Kristofferson, The Look of Love Written by Burt Bacharach and Hal David, Performed by Dusty Springfield, and If Written by David Gates, Performed by Bread. Billy Tully (Keach) Eddie Munger (Bridges) The film stars Stacy Keach (The Killer Inside Me (1976), The New Mike Hammer Mike Hammer (original title) TV Series (1984–1989), Sunset Grill (1993)) as Billy Tully, Jeff Bridges (The Last Picture Show (1971), 8 Million Ways to Die (1986), The Big Lebowski (1998)) as Ernie Munger, Susan Tyrrell (The Killer Inside Me (1976), Bad (1977)), as Oma Lee Greer, Candy Clark (The Big Sleep (1978)) as Faye, Nicholas Colasanto (The Counterfeit Killer (1968), Family Plot (1976), Raging Bull (1980) Cheers TV series 1982-1990)) as Ruben Luna, Art Aragon as Babe, Curtis Cokes as Earl, Sixto Rodriguez as Lucero, Alfred Avila as Lucero's coach, Billy Walker as Wes, Wayne Mahan as Buford, and Ruben Navarro as Fuentes. Billy Tully (Keach) is sliding down the **** heap into obscurity. A past prime time West End Stockton boxer/onion jobber. Getting the itch to climb back into the ring, he stops by a YMCA gym to get in shape. He meets a kid Ernie Munger (Bridges), and spars a bit. The kid is impressive has good legs and a good reach, he's a natural. Billy tells him to visit his old trainer/manager Ruben Luna (Nicholas Colasanto). During his session with Edie, Billy pulls a muscle, he's **** that he didn't warm up more. Afterwards he goes to a dive bar to cry about it in his beer. At this dive he meets a barfly Oma (Tyrell), and her current old man Earl (Curtis Cokes). Billy is in a blue funk ever since his wife split. He also blames Ruben for sending him down to a match in Central America on his own, a match he lost. He drinks too much, can't hold down a steady job, lives in a fleabag residence hotel, and works as a day laborer, picking nuts, fruit, and vegetables in the fields and orchards around Stockton. After Earl is sent to prison, Billy on a bender stumbles into a three sheets to the wind Oma, they're marinated in the same bowl. Billy moves in with her. The two at first are good for each other. Billy gets back in shape, with his bead set on reaching "Fat City." With Eddie shaping up into a good fighter, Ruben has some real contenders. Eddie loses his first fight, and gets KO'ed in his second. Billy's comeback bout is against a Mexican puncher named Lucero (Sixto Rodriguez). Lucero is tough but not well, he's **** blood from his last fight. Their match-up is pretty even, they knock each other down, but Billy' s body punches are hurting When he gets to Oma's he finds Earl has moved back in and all his possessions are in a box. Billy goes back on a bender becoming a serious contender for the title of Skid Row Bum in Noirsville. Noirsville Oma (Susan Trryell) The film is so well realized by John Houston that all the characters come fully to life without any false notes. Life's losers, eccentrics, and misfits are lovingly rendered. Fat City almost makes the life of a stewbum look nobel. Fat City is one of Huston's best films. 10/10 Keach, Tyrell, (nominated for Best Actress in a Supporting Role, 1973) and Bridges are excellent. Nicholas Colasanto, Art Aragon, and Curtis Cokes all put in great performances. Screencaps are from the SPE DVD release 2012. Full review with more screencaps here: http://noirsville.blogspot.com/2017/05/fat-city-1972-skid-row-noir.html

Oooo a Southern.

Eating Raoul (1982) Hilarious black comedy about an insufferably boring couple Paul and Mary Bland who think of a creative way to open up a restaurant. 9/10

Believe me the Sword and Sandal peplums were good for that too.

I remember Chiller Theater, and Zacherley's Shock Theater, too, "The Crawling Eye" and Attack of the Crab Monsters" were a couple of favorites. I used to watch a lot and I mean a lot of Hercules and Machiste sword and sandal flicks. Also what about Laurel and Hardy? They seemed like a Saturday staple also.

Hot Skin And Cold Cash (1965) - Times Square Hooker Neo 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 Shelly ((Victoria Astor)) in Times Square A day in the life of Times Square street walker Shelly (Victoria Astor). It's Hooker Noir. We have our PI's our Femme Fatales, our washed up boxers, our amnesia victims, our falsely accused, our hitch-hikers, our small time losers looking to score one last dream, and now we have a lady of the evening as the subject of our tale. It's a clever realistic angle for a quasi sexploitation flick shot on the gritty streets of Manhattan. This diamond in the rough curiously delivers. Astor is great, there are none of the usual clichés, she's just a working girl selling her body for $25 a trick where Broadway and 7th intersect. It's also another great time capsule to the tawdry side of Times Square circa 1965. Directed by Barry Mahon who (believe it or not) was a distinguished fighter pilot during WWII. He was shot down and imprisoned in Stalag Luft III where Mahon worked on the same escape tunnels made famous by the movie The Great Escape (1963). It has been said that the part of Steve McQueen in that film was partially based upon Mahon. He's mainly known for producing a number of Errol Flynn and Gina Lollobrigida pictures Crossed Swords (1954), Cuban Rebel Girls (1959), as well as a considerable amount of children's programs and for the most part quickie, mostly bad sexploitation features. As Mahon is quoted (explaining his style of low-budget filmmaking), "We have not aimed for the single picture that is going to make us rich. We are looking for the business that's like turning out Ford cars or anything else. If there is a certain profit per picture and we make so many pictures, then we have established a business that is on a basis that's economical." Luckily for us a few of these justmay hit on all cylinders. There are curiously no writing credits on the film proper, though a script girl is listed. The film consists of a series of realistic encounters that a hooker might have on her typical day. It's possible that it's just a rough sketch gleamed from interviews with actual prostitutes, who knows. The cinematography is by Joseph Mangine (The Lords of Flatbush (1974), The Sword and the Sorcerer (1982)) and the effectively cheap sleazy jazz score is by Al Klap. The film stars Victoria Astor (Some Like It Violent (1968)) as Shelly, Charles Howard, John Connant as the lawyer Mr. Stone, Phil Fitzpatrick as the College boy, Michael Garlock as the Weirdo, Allen Joseph (Naked City TV Series (1958–1963), The Fugitive TV Series (1963–1967), Eraserhead (1977), Raging Bull (1980)) as the Priest, Scott Lehman as the Police lieutenant and Dixie Van Cortlandt (as possibly the rival prostitute). Again, what makes some of these these low budget films worthwhile, to quote V. Vale & Andrea Juno in Incredibly Strange Films, is the "unfettered creativity. Often the films are eccentric-even extreme-presentations by individuals freely expressing their imaginations..." To quote Picasso "Ah, good taste! What a dreadful thing! Taste is the enemy of creativeness." Fuller review in Film Noir/Gangster thread.

Hot Skin And Cold Cash (1965) - Times Square Hooker Neo 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 Shelly ((Victoria Astor)) in Times Square A day in the life of Times Square street walker Shelly (Victoria Astor). It's Hooker Noir. We have our PI's our Femme Fatales, our washed up boxers, our amnesia victims, our falsely accused, our hitch-hikers, our small time losers looking to score one last dream, and now we have a lady of the evening as the subject of our tale. It's a clever realistic angle for a quasi sexploitation flick shot on the gritty streets of Manhattan. This diamond in the rough curiously delivers. Astor is great, there are none of the usual clichés, she just a working girl selling her body for $25 a trick where Broadway and 7th intersect. It's also another great time capsule to the tawdry side of Times Square circa 1965. Directed by Barry Mahon who (believe it or not) was a distinguished fighter pilot during WWII. He was shot down and imprisoned in Stalag Luft III where Mahon worked on the same escape tunnels made famous by the movie The Great Escape (1963). It has been said that the part of Steve McQueen in that film was partially based upon Mahon. He's mainly known for producing a number of Errol Flynn and Gina Lollobrigida pictures Crossed Swords (1954), Cuban Rebel Girls (1959), as well as a considerable amount of children's programs and for the most part quickie, mostly bad sexploitation features. As Mahon is quoted (explaining his style of low-budget filmmaking), "We have not aimed for the single picture that is going to make us rich. We are looking for the business that's like turning out Ford cars or anything else. If there is a certain profit per picture and we make so many pictures, then we have established a business that is on a basis that's economical." Luckily for us a few of these hit on all cylinders. There are curiously no writing credits on the film proper, though a script girl is listed. The film consists of a series of realistic encounters that a hooker might have on her typical day. It's possible that it's just a rough sketch gleamed from interviews with actual prostitutes, who knows. The cinematography is by Joseph Mangine (The Lords of Flatbush (1974), The Sword and the Sorcerer (1982)) and the effectively cheap sleazy jazz score is by Al Klap. The film stars Victoria Astor (Some Like It Violent (1968)) as Shelly, Charles Howard, John Connant as the lawyer Mr. Stone, Phil Fitzpatrick as the College boy, Michael Garlock as the Weirdo, Allen Joseph (Naked City TV Series (1958–1963), The Fugitive TV Series (1963–1967), Eraserhead (1977), Raging Bull (1980)) as the Priest, Scott Lehman as the Police lieutenant and Dixie Van Cortlandt (as possibly the rival prostitute). The film starts with a shot of a voluptuously pneumatic sleeping blonde. Shelly. She lives in her 9th Avenue Hotel flop with her pet parakeet Orpheus. A room with a view of a brick air shaft. Shelly: (with a New York accent in a voice over narration) There is no rest for the wicked, I guess I'm pretty lucky to get any sleep at all. I'm a hooker, a prostitute and when I finish my nightly rounds the sun is usually coming up. Between then and when my phone starts to ring is the only chance I have to get any rest. Why did I turn pro? Because my husband, the only man that I ever loved, is in prison. Lawyers don't come cheap, and I've been trying to get him out. Times Square Noirsville (circa 1965) Majestic Dancing (a taxi dance ballroom) Victoria Astor's matter of fact humanizing portrayal of Shelly is what makes this flick so interesting, hooking is her job and she goes about it quite methodically and with no stigmas attached. She turns down offers of pills and weed, she is serious about her business and keeps her wits about her in all situations. It's quite a different take. The usual Hollywood treatment in most films dealing with hookers is to burlesque the role with the usual clichés (i.e. the hooker with the heart of gold, the cinderella hooker that meets her prince charming), make them the butt of eye-rolling jokes, or kill them off violently as plot points. Hot Skin And Cold Cash fits an aspect of the original French definition of Film Noir "the content contains murder or suicide and the other social taboos that are a mainstay of the film noirs." As far as the sexploitation aspect, it's more Titillation & Assignation than actual T&A. One good rule of thumb to keep in mind when reading the reviews of films labeled exploitation/sexploitation; if the sexploitation reviewer rates the film low it's not because it's a bad film it's usually because he/she thinks there is not enough skin/sex shown on the screen. These are the films that may be lost Film Noir, films that went beyond the cultural taboos of the time they were made, (hence their label as exploitation) but now in our current time and, looking back with noir shaded glasses, would be labeled say PG13 or R. Of course being independent and low budget with mostly amateurish actors they aren't going to resemble the Hollywood product but they are still going to entertain despite some excessiveness. Again, what makes these low budget films worthwhile, to quote V. Vale & Andrea Juno in Incredibly Strange Films, is the "unfettered creativity. Often the films are eccentric-even extreme-presentations by individuals freely expressing their imaginations..." To quote Picasso "Ah, good taste! What a dreadful thing! Taste is the enemy of creativeness." Screencaps are from the Something Weird Video DVDr 6.5/10 Fuller review with more screencaps at Noirsville, wink, wink.

The Strangler (1964) Serial Killer Noir Leo Kroll (Victor Buono), is a mama's boy who absolutely hates his nagging domineering mother (Corby). Leo has got a serious schoolboy crush on the Odeon Fun Palace arcade ring toss gal Tally (Raymond). He spends his days working as a mild mannered lab tech and most of his nights (when he can't get away to the arcade) at his mother's Park View Hospital bedside. Leo murders nurses (because they keep his mother alive) and collects dolls which he uses as sort of trophy tchotchkes for each of his kills. His usual m.o. is to follow his targets home, break into their apartments and strangle them from behind with their own nylon stockings. He then composes their bodies into a restful pose. Burt Topper and cinematographer Jacques R. Marquette display a bit of style, one shot at the beginning of the film is from the POV of the peeping Leo, we see a woman victim undressing through the pupil of his eye, and then not a whole lot else at that level that quite approaches the first six minutes. Too bad, it was a promising start, this film could have used a lot more of the same. I viewed the Sinister Cinema DVD, there is also a Warner's release available with hopefully a better restoration. It would be worth checking out. As is it's about a 6.5-7/10. Full review with more screencaps in Film Noir/Gangster thread.

The Strangler (1964) Serial Killer Noir Victor Buono was a real piece of work. I first remember him from his many turns as a TV heavy, and I mean that literally, from Perry Mason, Batman, 77 Sunset Strip, to his recurring turn as Count Carlos Manzeppi in The Wild Wild West. He always struck me as genuinely creepy, a bit off, a bit eccentric, not quite normal. Maybe it was his eyes, his insincere smile, and cherubic paedomorphic face sticking out almost pustule like from an obese rotundity of a body. Think of all the abhorrence you'd experience upon finding a blood engorged tick in some nether region of your body and you'll get an idea of his effect in a performance. His notable film roles were What Ever Happened to Baby Jane? (1962), The Silencers (1966), and Beneath the Planet of the Apes (1970), but it really was TV where he really made his lasting mark. Directed by Burt Topper with a screenplay by Bill S. Ballinger (Wicked as They Come (1956), Pushover (1954)). The film was inspired by the notorious Boston Strangler, a serial killer of the 1960s and of course Alfred Hitchcock's Psycho (1960) . The cinematography was by Jacques R. Marquette (Attack of the 50 Foot Woman (1958)), and the music was by Marlin Skiles (Music Department for Gilda (1946), Framed (1947) Sudden Danger (1955)). Leo Kroll (Buono) Besides Buono the film stars David McLean (X-15 (1961), Nevada Smith (1966)) as Lt. Frank Benson, the detective in charge of investigations. Veteran character actress Ellen Corby (Vertigo (1958) and best known as Grandma Walton in The Waltons) played Mrs. Kroll, Jeanne Bates (Vice Raid (1960), Mulholland Drive (2001)) was Clara Thomas, an attending nurse. Davey Davison (Route 66 TV Series (1960–1964)) as Tally Raymond, the female lead, and Diane Sayer (Kitten with a Whip (1964)) as Barbara Wells, Tally's colleague at the arcade ring toss. Baynes Barron (The Big Combo (1955)) played Sgt. Mack Clyde, Russ Bender (I Bury the Living (1958)) was Dr. Clarence Sanford and Wally Campo (The Little Shop of Horrors (1960), Shock Corridor (1963)) played Eggerton. Opening Sequence Leo Kroll (Buono), is a mama's boy who absolutely hates his nagging domineering mother (Corby). Leo has got a serious schoolboy crush on the Odeon Fun Palace arcade ring toss gal Tally (Raymond). He spends his days working as a mild mannered lab tech and most of his nights (when he can't get away to the arcade) at his mother's Park View Hospital bedside. Leo murders nurses (because they keep his mother alive) and collects dolls which he uses as sort of trophy tchotchkes for each of his kills. His usual m.o. is to follow his targets home, break into their apartments and strangle them from behind with their own nylon stockings. He then composes their bodies into a restful pose. When Leo gets back to his house, he takes the doll he carries (which somewhat looks like his latest victim) out of his pocket and undresses her. The doll (something along the lines of a Barbie Doll) even has nylon stockings which Leo removes one one by one. When the doll is naked Leo places it in a locked desk drawer along with the others he has collected. At the start of the film we are well into Leo's serial murder spree. He's been questioned by police in the course of their routine dragnet investigations because of his lab work connections to the various hospitals. His mother suffers from yet another heart attack and is saved by the quick actions of nurse Clara (Bates). When Leo hears from his mother all the praise she bestows upon Carla he positively seethes with resentment. Carla becomes his next victim. However the circumstances of this kill are different. He follows Carla home he knocks on her door and after he is let in (since she knows him as her patient's son) strangles her to death in a struggle with his bare hands. Leo panting looks like he's ecstatically climaxing in his pants. During the struggle a baby doll was knocked from a shelf falling to the floor. Leo picks up the doll and flings it angrily against the wall and then runs from the apartment. The climax Leo's mother's doctor tells him not to mention the murder of Carla to his mother. The shock might kill her. Of course Leo gleefully does so, inducing another heart attack which kills her. Because of Carla's connection to his mother Leo is again pulled in for questioning. He passes the lie detector test though, and is again released. Leo goes back to the arcade where he sees Barbara (Sayer), Tally's co-worker, talking to the fuzz. Kroll tails her back to her flat, uses a screwdriver to turn her window latch, pushes the window up, and steps into her apartment. He strangles her as she is coming out of the shower with her own stocking. Of course this aberration in the m.o. at first throws the police off. With His mother now dead Leo finds his aversion to women abating. He approaches Tally and proposes to her cold turkey. She rejects him. Leo now believes everything his mother told him about the evils of women. This sends Leo into a death spiral towards Noirsville. Noirsville Buono is excellent as the strangler, he's always halfway there in his looks alone, his performance completes the effect. Ellen Corby is nicely irritating as mother. The rest of the cast is adequate in their various functions putting in good showings, but it's Buono's film. Burt Topper and cinematographer Jacques R. Marquette display a bit of style, one shot at the beginning of the film is from the POV of the peeping Leo, we see a woman victim undressing through the pupil of his eye, and then not a whole lot else at that level that quite approaches the first six minutes. Too bad, it was a promising start, this film could have used a lot more of the same. Strange Compulsion (1964) did the noir stylistics infinitely better. Had The Strangler gone a bit more into the sexploitation route as Strange Compulsion with the strength of Buono's performance it would be much better regarded. As is it's about a 6.5-7/10. One more concluding observation, the film prominently displays almost everyone either sucking on tar bars (one shot lingers on an office smoke stand another shows a cigarette machine in the squad room), or curiously drinking milk from rectangular containers. It must have been some product placement deal, lol. These screencaps are from the Sinister Cinema DVD, there is also a Warner's release available with hopefully a better restoration. It would be worth checking out. Full review with more screencaps here: http://noirsville.blogspot.com/2017/05/the-strangler-1964-serial-killer-noir.html

Bad (Andy Warhol's) (1977) Transgressive Underground Neo Noir Crossing into John Waters territory Bad is a product of some of the various underground film movements that flourished in the early 1970s to the mid 1980s. Cinema of Transgression, was a term coined by Nick Zedd in 1985, to describe a New York City-based underground film movement that employed shock value and black humor in their films. Working out of Andy Warhol's Factory, director Jed Johnson (who was editor for Heat (1972), Flesh for Frankenstein (1973), Blood for Dracula (1974), editor and cinematographer for L'Amour (1973), cinematographer for Women in Revolt (1971)), filmed this "bizzaro," one off, Transgressive Neo Noir. Carroll Baker twenty some odd years down the road from her Baby Doll turn is excellent as the matronly, somewhat heftier, Hazel. Her performance is matter of fact deadpan as she juggles the outlandish, absurd, and at times morbid details of her two jobs efficiently. She even services her hit gals electrolysis needs, deducting the cost from their fees. Susan Tyrrell does a complete 180 from the previous years The Killer Inside Me, in this she is a bewildered, dowdy, mousy, bellyacher, and the mother daughter tête-à-têtes with Hazel are highly amusing. Perry King in a believable performance provides the beefcake, Stefania Casini is standoffish and deliciously wicked as the cheesecake, and seriously whacked Glenda and Marsha's sisterly bickering will get you chuckling. Watch for Charles Welsh as the blind newsdealer whom Hazel tries scam out of change for a five after handing him a one dollar bill. A very bizarre film that fits in nicely with Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Seven Beauties (Pasqualino Settebellezze) (1975), Eating Raoul (1982), After Hours (1985) Delicatessen (1991), Fatal Instinct (1993), The Big Lebowski (1998), Kiss Kiss Bang Bang (2005), Sin City (2005), Sin City: A Dame To Kill For (2014) the delightfully ludicrous black comedy sub genre of Neo Noir. The Cheesy Films DVD (2005). Be forewarned this film can get pretty gross and will definitely not be for everyone 6.5-7/10 Full review in Film Noir/Gangster.

Bad (Andy Warhol's) (1977) Transgressive Underground Neo Noir Crossing into John Waters territory Bad is a product of some of the various underground film movements that flourished in the early 1970s to the mid 1980s. Cinema of Transgression, was a term coined by Nick Zedd in 1985, to describe a New York City-based underground film movement that employed shock value and black humor in their films. Working out of Andy Warhol's Factory, director Jed Johnson (who was editor for Heat (1972), Flesh for Frankenstein (1973), Blood for Dracula (1974), editor and cinematographer for L'Amour (1973), cinematographer for Women in Revolt (1971)), filmed this "bizzaro," one off, Transgressive Neo Noir. Written by Pat Hackett (Blood for Dracula (1974), Flesh for Frankenstein (1973)) and, George Abagnalo (Women in Revolt (1971) Beautiful Darling (2010)). Cinematography was by Alan Metzger (The Rehearsal (1974), The Baron (1977)) and the music was by Mike Bloomfield (Easy Rider (1969), Medium Cool (1969)). The Film Stars Carroll Baker (Baby Doll (1956), Something Wild (1961), Ironweed (1987), ) as Hazel Aiken a beautician electrologist who sidelines a New York City, Murder Inc. -ish business for women out of her suburban home. Perry King (Slaughterhouse-Five (1972), Lipstick (1976), ) as L.T. the California hit man who is recommended to Hazel. Susan Tyrrell (Fat City (1972), The Killer Inside Me (1976)) as Hazel's chain smoking daughter Mary Aiken. Stefania Casini (Suspiria (1977), 1900 (1976)) as P.G. the Italian hit woman. Cyrinda as R.C., Mary Boylan (The Wrong Man (1956), The Night of the Iguana (1964), No Way to Treat a Lady (1968), Midnight Cowboy (1969)) as the Grandmother. Lawrence Tierney (star of Classic Noir, The Devil Thumbs a Ride (1947), Born to Kill (1947), The Hoodlum (1951), Reservoir Dogs (1992)) as O'Reilly-O'Crapface. Charles McGregor (The French Connection (1971), Super Fly (1972), Across 110th Street (1972)) as Detective Hughes. Gordon Oas-Heim as Mr. Aiken. Geraldine Smith (Raging Bull (1980)) and Maria Smith (Paradise Alley (1978)) as sisters Glenda and Marsha Montemorano. Barbara Allen as S.F., and Charles Welch as the newsdealer. L.T. (King) lt. Hazel (Baker) Hazel (Baker) making ends meet, prides herself on employing only women in her efficient murder and mayhem for hire business. Her legit cover is as a Beautician/Electrologist. She boasts of being able to do 650 hairs per hour. She runs her operations out of her Queens home which also doubles as a boarding house for her posse of hit gals. She takes referrals, appointments, and jobs over the phone. She caters only to desperate women. Her assignments run the range as from the relatively benign trashing of candy stores, to murdering men, autistic children, babies, and pets. Hazel lives with her unemployed husband (Oas-Heim), her ailing mother (Boylan), her whiney daughter in law Mary (Tyrrell) and her child. Hazel is getting hit on by corrupt Detective Hughes (McGregor) he knows about her operations and gets a cut of the swag. He also is pestering her about setting up one of her operatives so that he can make a collar for murder one. Into this picture arrives L.T. (Perry King) a referral from C.C. (Hazel's sort of screening agent). She passes him off as her laid back nephew from California to Detective Hughes. He wants to become part of her hit crew, which consist of R.C., a ditsy bleach blond, P.G., an Italian femme fatale professional killer, and the twisted sister act of Glenda and deviant Marsha (the latter is both a pyromaniac and man crazy too boot). With a set up like this and the injection of L.T. into the all women mix, it's only a matter of time before it all goes Noirsville. Noirsville O'Reilly-O'Crapface (Lawrence Tierney) Carroll Baker twenty some odd years down the road from her Baby Doll turn is excellent as the matronly, somewhat heftier, Hazel. Her performance is matter of fact deadpan as she juggles the outlandish, absurd, and at times morbid details of her two jobs efficiently. She even services her hit gals electrolysis needs, deducting the cost from their fees. Susan Tyrrell does a complete 180 from the previous years The Killer Inside Me, in this she is a bewildered, dowdy, mousy, bellyacher, and the mother daughter tête-à-têtes with Hazel are highly amusing. Perry King in a believable performance provides the beefcake, Stefania Casini is standoffish and deliciously wicked as the cheesecake, and seriously whacked Glenda and Marsha's sisterly bickering will get you chuckling. Watch for Charles Welsh as the blind newsdealer whom Hazel tries scam out of change for a five after handing him a one dollar bill. A very bizarre film that fits in nicely with Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Seven Beauties (Pasqualino Settebellezze) (1975), Eating Raoul (1982), After Hours (1985) Delicatessen (1991), Fatal Instinct (1993), The Big Lebowski (1998), Kiss Kiss Bang Bang (2005), Sin City (2005), Sin City: A Dame To Kill For (2014) the delightfully ludicrous black comedy sub genre of Neo Noir. Screencaps are from The Cheesy Films DVD (2005) Be forewarned this film can get pretty gross and will definitely not be for everyone 6.5-7/10 Full review with some NSFW screencaps here: http://noirsville.blogspot.com/2017/05/bad-andy-warhols-1977-transgressive.html

Watched it last night, a real hoot.

R.I.P.

Yea it's 1280 What I like about the 1976 version of The Killer Inside Me is that it seems a bit more realistic violence wise. Compared to the 2010 version. The problem I have with the 2010 version (though I do like the correct time frame of the 50s is the unbelieveable beating that Affleck gives to Jessica Alba, she's like one of those punching dummies with the weight on the bottom that keep staying up it gets too cartoonish. In the 76 version the violence is more real, Keach gives Susan Tyrrell one brutal punch that breaks her neck and it's over. Check out Hit Me (1996) directed by Steven Shainberg starring Elias Koteas, Laure Marsac, and William H. Macy. It tweeks Thompson's A Swell-Looking Babe in a good way. Also check out This World, Then the Fireworks (1997) starred Billy Zane and Gina Gershon as a pair of very twisted siblings. You may have to shower after this one, lol.

He still could, the series spans the late 1940s into the late 1960s so an older Easy Rawlins would work just like Mitchum did the older Marlowe in Farewell My Lovely