cigarjoe

Because the Motion Picture Production Code was just about dead by 1966. Remember the The Pawnbroker came out in 1964. I'm pretty sure it was the first mainstream U.S. film showing a topless woman. The rating system that was replacing the MPPC was evolving in the courts at this time. The other possibility could be that there may be an international cut that is a bit more explicit. That's been known to be a practice during that time period.

Out of your list of Actresses I'd go these. Eva Marie Saint - North By Northwest Maureen O'Hara - The Hunchback of Notre Dame Natalie Wood - Splendor in the Grass

Ok go to left hand corner of image, count the pearls, go up five what do you see just to the right of the fifth pearl?

It's a screencap, and PS you don't have to it's right there for you to see. 😎

Eleanor Parker in American Dream

Updating as I come across examples... Eleanor Parker (Caged, Detective Story, Man With The Golden Arm, The Sound Of Music) is topless, unobtrusively though in American Dream (1966)

Another plus is that Eleanor Parker is topless so we have another Classic Film Actress doing so in the 60s & 70s.

Victor Buono and Dan Seymour

correct, anything, food, a bookie tip, a crap or poker game in one of the rooms....

The above, and always a similar sounding sleazy saxophone or horn jazz leitmotif for a sexy woman.

Most likely the above.

this one?

Big fan. I'll give you a bonus if you can name the jazz tune she's listening to?

snake oil salesman heard a lot in films, origin is interesting when oil was first commercialized in the US it happened in the Southwestern NY, Northwest Pennsylvania oil fields. That country was in the homeland of the Seneca tribe. The oil was also used in patent medicines. It was called Seneca oil but pronounced Se-nake-a Oil which evolved into snake oil.

Sure, no problem, and the film you mention doesn't ring a bell with me.

aka See You in Hell, Darling (1966) a very dark drama, a dysfunctional marriage, Stuart Whitman a decorated war vet now talk show host, is married to Eleanor Parker an alcoholic millionairess **** who lives in a penthouse atop the Kelly Building. She's just returned from sleeping around Europe. She calls Stuart while he's railing about the local Mob Boss. She calls him up live on the show to tell him she's back in town. He heads over after the show to tell her he wants a divorce. She's drunk and goes all Virginia Woolf over him. They have a knock down drag out. She cracks a bottle and tries to cut him with it. He's choking her by the neck. Eventually she's getting rocks from along the terrace to throw at him and loses her footing, toppling backwards teetering on the terrace wall. He jumps reflexively to save her but oh well he hesitates and she goes over. 300 feet to the pavement and is immediately run over by a car causing a pileup. Pretty violent and in your face unexpected for 1966. Its an impressive sequence similar in shock value to Meet Joe Black and another scene from a film where a woman runs out of a building into a two lane highway and is immediately run over by a semi. After that police detective Barry Sullivan hounds Whitman about the facts in the case they think he killed her, he tell them she committed suicide. It goes of on a tangent when Lloyd Nolan shows up to burry Parker but since she committed suicide cant have a funeral or be buried in "sacred ground." Meanwhile Whitman meets old flame Janet Leigh, they hit it off, but she is seeing Mob Boss Gaucci's son. So the police and mob are after Whitman. Leigh rats him out when stevens threatens to crush her nose, and the mob hit man Warren Stevens is waiting with his boys at Leigh's place to whack Whitman. If it had stayed at the level of the confrontation with Parker and Whitman it would have been pretty impressive, but it loses steam. Based on a Norman Mailer novel. 6-7/10 source: Youtube.

American Dream wasn't it.

Girl In Trouble (1963) New Orleans Tail Fin Sexploitation Noir "TAMMY CLARK is a Girl in Trouble, a Farmer's Daughter from the sticks who runs off to the Big City in search of "glamour, bright lights, pretty clothes, and excitement" but, instead, becomes a maybe-murderess-lingerie-model-turned-stripper named "Jane Smith" in this fun, shot-in-New-Orleans melodrama-with-titty that's sleazy, nasty, and often downright hilarious! (Handsome Harry Archer - Something Weird) Directed by Brandon Chase (credited as Lee Beale) who is better known as a New-Orleans based producer. Written by Anthony Naylor (screenplay), and Brandon Chase (as Lee Beale). The film boasts some great Cinematography by Leo J. Hebert but has no Music credit just a sound department. The film stars Tammy Clarke as Judy Collins/Jane Smith, Ray Menard as John Watson, Neiomi Salitech as Mona, Larry Johnson as Mr. Joe Smith, Martin Smith as Harry Calhoun, Bettina Johnson as Loni, Charles Murphy as the Hotel Clerk, and "The Crescent City." Once again, out of the lurid pulp fiction paperback kiosks and newsstands, comes a film based on a plethora of "girl in trouble" titles that titillated young male psyches, including mine, in the 50s and 60s. It's starts like the old public service warning films about marijuana, or other vices. The opening shot is of a letter written to a friend warning of how big city life has caused poor Judy Collins to sin, and how she wishes she could get back home. This is followed by a nicely filmed sequence of a frenetic ambulance ride shot from the top of the vehicle behind the gumdrop emergency light through the streets of New Orleans. The story is told in flashback. Here is another Tail Fin Noir with comparably decent acting that gets unfairly dumped in with all the Sexploitation dregs. The acting is adequate enough for a low budget film and the cinematography and seedy locations intriguing. The archival nature of the New Orleans of 1963 worth the watch alone. Screencaps with full review are in Film Noir/Gangster pages 6.5-7/10.

Girl In Trouble (1963) New Orleans Tail Fin Sexploitation Noir "New Orleans Sexploitation Sinema" TAMMY CLARK is a Girl in Trouble, a Farmer's Daughter from the sticks who runs off to the Big City in search of "glamour, bright lights, pretty clothes, and excitement" but, instead, becomes a maybe-murderess-lingerie-model-turned-stripper named "Jane Smith" in this fun, shot-in-New-Orleans melodrama-with-titty that's sleazy, nasty, and often downright hilarious! (Handsome Harry Archer - Something Weird) Directed by Brandon Chase (credited as Lee Beale) who is better known as a New-Orleans based producer. Written by Anthony Naylor (screenplay), and Brandon Chase (as Lee Beale). The film boasts some great Cinematography was by Leo J. Hebert but has no Music credit just a sound department. Judy Collins (Tammy Clarke) The film stars Tammy Clarke as Judy Collins/Jane Smith, Ray Menard as John Watson, Neiomi Salitech as Mona, Larry Johnson as Mr. Joe Smith, Martin Smith as Harry Calhoun, Bettina Johnson as Loni, Charles Murphy as the Hotel Clerk, and "The Crescent City." Once again, out of the lurid pulp fiction paperback kiosks and newsstands, comes a film based on a plethora of "girl in trouble" titles that titillated young male psyches, including mine, in the 50s and 60s. It's starts like the old public service warning films about marijuana, or other vices. The opening shot is of a letter written to a friend warning of how big city life has caused poor Judy Collins to sin, and how she wishes she could get back home. This is followed by a nicely filmed sequence of a frenetic ambulance ride shot from the top of the vehicle behind the gumdrop emergency light through the streets of New Orleans. The story is told in flashback. Judy Collins is a hayseed from hicksville Louisiana. The place is called Springfield. She's just graduated, her boy friend John wants to get married but Judy 's been taking care of her father, cooking, cleaning and washing clothes and she doesn't want to just make a square trade off and start do it all for John. She tells John no and sneaks off at night for New Orleans. She wants adventure and bright lights. So Judy is walking into town with a suitcase. It's night. She twists her ankle and begins to limp. Judy with John Watson (Ray Menard) Up drives a Lincoln Continental with a good Samaritan Joe Smith. He's a traveling salesman. He offers her a lift into town. She accepts. He asks if she's going to the bus station or the train depot. Tammy hasn't thought that far ahead. Joe tells her that she may have a long wait. He then suggests that since he's driving to New Orleans she might as well ride with him it's 2-300 miles he tells her. Tammy is reluctant at first but true to form dumb as a stump. She gets in the Continental. Joe Smith (Larry Johnson) Tired, Judy falls asleep. The traveling salesman takes a dirt road detour with some backwoods **** in mind. He figures a ride for a ride. He drags Judy kicking and screaming out of the car. He throws her to ground and tries to wet his noodle. Judy wants none of his al dente pasta. In a sort of updated switched gender homage to Detour Judy kisses him in the head with a rock. A blood covered Judy scoots out from under limp Joe. Judy V.O. narration: I didn't know if he was dead or not! I was past thinking! Judy jumps in Lincoln and drives herself in a downpour to New Orleans. It's a nicely filmed sequence. In the "Crescent City" Tammy ditches the car grabs her suitcase and checks into The Lynrose a fleabag hotel tucked in between the New Orleans Vending Company and Julio Lopez's Press Bar and Cocktail Lounge in the Raymond's Beach section of New Orleans. A leering old geezer desk clerk gives her a card. Thinking she better cover her tracks she signs it Jane Smith. Judy heads up to her room. The desk clerk has sunk up into an adjoining room and is spying on her. Judy strips down to her panties,stockings and garter belt. She's washing the blood off her dress and bra. When she notices the peeping tom she freaks out grabs her suitcase and handbag and splits. Down it the lobby the clerk tells Judy that she better be nice to him or he'll tell the cops about the bloodstains. Cut to Judy walking down a tree lined street. She spots a room for rent sign and decides to get it. She makes friends with Mona a hooker who's been around the block quite a few times. Judy goes job hunting getting turned down most places because she has no experience. Judy and Mona (Neiomi Salitech) Judy settles for a job as a waitress. When Judy doesn't put out for the owner he fires her. Mona gets Judy a job modeling lingerie. All goes well until a special out of town buyer Mr. Calhoun wants a girl to "model" up in his hotel room. Judy reluctantly agrees to do the job. It all starts to go really Noirsville when Calhoun jumps her bones **** her in the bedroom. When Judy gets back to the rooming house she packs up her belongings and is about to leave when she meets Mona who again offers her some comfort and more advise. Mona suggests since she has the body for it she might as well show it off for money. Mona: What do ya got to loose? Oh I'm sorry kid, what I mean is let 'em look, but make them pay for it. Judy: I guess you're right, I've got to do something. Judy now a genuine "soiled dove" goes along with Mona's idea to become a Bourbon Street stripper at her friend Nick's place, the Club Flamingo. Noirsville Here is another Tail Fin Noir with decent comparably decent acting that gets unfairly dumped in with all the Sexploitation dregs. The acting is adequate enough for a low budget film and the cinematography and seedy locations intriguing. The archival nature of the New Orleans of 1963 worth the watch alone. Screencaps are from a Something Weird streamer 6.5-7/10. Full review with more screencaps here Noirsville

The Kill-Off (1989) Jersey Noir A spider nest on the Jersey Shore. A flyspeck (Keansburg) covered with the glistening webs of utility wires. It's an attraction. A run down amusement park town in the dead of the off season is the bleak setting for The Kill-Off an excellent, off the radar, low budget, Neo Noir based on Jim Thompson’s novel of the same name. The story is updated to postcode late 1988, Newbie Director Maggie Greenwald does a fantastic job re-creating a Neo Noir milieu effectively, with limited sets and aside from Jorja Fox (Myra), William Russell (Rags), and Cathy Haase (Dannie Lee), for the most part a majority of great but career-wise, comparatively flash-in-the-pan actors. Produced in 1988 by Palace Pictures. The cast of practically all looser slime balls include, Luane (Loretta Gross), a bedridden hypochondriac, a black widow who has sat for years in the center of a web of telephone lines. Her poison tongue gossip and innuendos about the various denizens of the town results most recently, in the twin suicides of a brother & sister when she suggests that the sister has her siblings “bun in the oven“. The telephone Luan holds is a powerful weapon in the hands of a skillful equivocator. Ralph (Steve Monroe) is Luane’s slow on the uptake “stupe” of husband. Pete (Jackson Sims) is the owner of The Pavilion a boardwalk skid row dive bar who needs money, Rags (Russell ) is Pete’s on the wagon, head bartender, Myra (Fox) is Pete’s rebellious daughter, Bobbie (Andrew Lee Barrett) the “skell” drug pusher after Myra who is dealing out of The Pavilion. Myra gives Bobbie sexual favors in the front seat of his parked '69 Chevy Impala. And the last to be introduced is a full figured ex prostitute turned stripper, Dannie Lee (Hasse) who is wonderfully spot on as one of the femme fatales who triggers The Kill Off. There are poignant yet equally touching moments throughout the film especially Dannie Lee's learning curve as a stripper and the love story that develops between her and Ralph. Also watch for the sequence where Luane vamps about her bedroom as Dannie Lee strips. Every aspect of the film hits on all cylinders, the script based on Jim Thompson’s novel by Maggie Greenwald is ripe with good one liners. The music by Evan Lurie (Silver Linings Playbook, American Hustle) tongue & grooves with the environs of the story well. The noir-ish cinematography by Declan Quinn (Leaving Las Vegas) enhances the dreary winter Raritan Bay seaside atmosphere and the low class bungalow interiors, especially when filtered through a murky unofficial DVDr, the film can only improve with a proper DVD release. 7/10 and going up with a proper release. Screen caps with review in Film Noir/Gangster pages.

The Kill-Off (1989) Jersey Noir (origin - SLWB, August 03, 2014, 03:12:30 PM ) Surprisingly I neglected to published this here as I usually do. A spider nest on the Jersey Shore. A flyspeck (Keansburg) covered with the glistening webs of utility wires. It's an attraction. A run down amusement park town in the dead of the off season is the bleak setting for The Kill-Off an excellent, off the radar, low budget, Neo Noir based on Jim Thompson’s novel of the same name. The story is updated to postcode late 1988, Newbie Director Maggie Greenwald does a fantastic job re-creating a Neo Noir milieu effectively, with limited sets and aside from Jorja Fox (Myra), William Russell (Rags), and Cathy Haase (Dannie Lee), for the most part a majority of great but career-wise, comparatively flash-in-the-pan actors. Produced in 1988 by Palace Pictures. The cast of practically all looser slime balls include, Luane (Loretta Gross), a bedridden hypochondriac, a black widow who has sat for years in the center of a web of telephone lines. Her poison tongue gossip and innuendos about the various denizens of the town results most recently, in the twin suicides of a brother & sister when she suggests that the sister has her siblings “bun in the oven“. The telephone Luan holds is a powerful weapon in the hands of a skillful equivocator. Luane (Loretta Gross) Ralph (Steve Monroe) is Luane’s slow on the uptake “stupe” of husband. Pete (Jackson Sims) is the owner of The Pavilion a boardwalk skid row dive bar who needs money, Rags (Russell ) is Pete’s on the wagon, head bartender, Myra (Fox) is Pete’s rebellious daughter, Bobbie (Andrew Lee Barrett) the “skell” drug pusher after Myra who is dealing out of The Pavilion. Myra gives Bobbie blowjobs in the front seat of his parked '69 Chevy Impala. And the last to be introduced is a full figured ex prostitute turned stripper, Dannie Lee (Hasse) who is wonderfully spot on as one of the femme fatales who triggers The Kill Off. Ralph (Steve Monroe) Pete (Jackson Sims) Rags (Russell) Myra (Fox) Bobbie (Andrew Lee Barrett) Dannie Lee (Hasse) The story un-spools as follows, years ago Luane’s dead father scams $10,000 from Pete but dies before he can spend “the sugar“. The money is never recovered and Pete strongly suspects Luane of holding out on him. Pete and Rags decide that the best way to get The Pavilion off the skids is to turn it into a strip joint so Pete takes off down the Garden State Parkway looking for a stripper. In some industrial section he spots local talent Dannie Lee selling her **** on the street in front of a gutted building. Pete pulls over, gets out and looks her over. Dannie Lee gets apprehensive as Pete physically twists her about checking her various assets, and asking her if she ever took dancing lessons. She indignantly tells him to f-off until Pete responds by asking “how would you like to make money inside.... standing up for a change?” Meanwhile, Bobbie gets Myra hooked by Bobbie on horse and scams Ralph out of his winter maintenance job at the Park. "Why'd you do it Bobbie?" Ralph: Why'd you do it Bobbie? Bobbie: I needed a job. Ralph: I had that job for ten years. Bobbie: Too bad. Ralph: Taking the bread out of peoples mouths. Bobbie: So what? Ralph married at 18 to Luane who was in her 30's have a bizarre open marriage, Ralph has one night stands with local teeny boppers and as long as Ralph tells Luane the details she’s cool with it, cool with it until Ralph gets bounced by Dannie Lee. You watch the train wreck in Noirsville unfolding with rapt interest. Noirsville “how would you like to make money inside.... standing up for a change?” There are poignant yet equally touching moments throughout the film especially Dannie Lee's learning curve as a stripper and the love story that develops between her and Ralph. Also watch for the sequence where Luane vamps about her bedroom as Dannie Lee strips. Every aspect of the film hits on all cylinders, the script based on Jim Thompson’s novel by Maggie Greenwald is ripe with good one liners. The music by Evan Lurie (Silver Linings Playbook, American Hustle) tongue & grooves with the environs of the story well. The noir-ish cinematography by Declan Quinn (Leaving Las Vegas) enhances the dreary winter Raritan Bay seaside atmosphere and the low class bungalow interiors, especially when filtered through a murky unofficial DVDr, the film can only improve with a proper DVD release. 7/10 and going up with a proper release. Full review with more screencaps at Noirsville

It's streaming under American Dream I'll watch it tonight and get back to you.

So in some Classic Film Noir now when you hear that expression "that old geezer" they may be talking junkie, rather than crusty old curmudgeon. 😎

That one may be it, though it's later than I expected, I'll check it out more and get back to you. I was thinking in the 1963-1965 range but it's possible it's 1966. I may have seen it under the title See You in Hell, Darling.

Don't see any possibilities.