Machete Maidens Unleashed!

taken from firebert

A restricted trailer for the documentary about B-movie films made in the Philippines during the 70s, 80s and 90s.
At last, the all-too-often overlooked world of drive-in filler from Manila gets the Mark Hartley (NOT QUITE HOLLYWOOD) treatment in Machete Maidens Unleashed!. This is the ultimate insiders' account of a faraway backlot where stunt men came cheap, plot was obsolete and the make-up guy was packin' heat!



Machete Maidens Unleashed! features interviews with cult movie icons Roger Corman, Joe Dante, John Landis, Sid Haig, Eddie Romero and a large assembly of cast, crew and critics, each with a jaw-dropping story to tell about filmmaking with no budget, no scruples, no boundaries and - more often than not - no clothes.

See the trailer here at Firebert NSFW!

Angels' Wild Women (1972)

Another Al Adamson epic. Maggie Demby stars or rather her 48-inch chest is the star attraction in this biker girl/free love/devil worship flick.

The whole mess is also on You Tube for those of you who have an hour or two to waste.

Haunted Cinema

Jack Stevenson writes about grindhouse/porn cinemas for Bright Lights Film Journal:

Haunted Cinema - A Client-Centered Approach to Film Spectatorship.

"... The theatre never had more than one employee on the premises, a union projectionist who could sit at either the ticket counter or in the projection booth, since he was responsible for both. If he sat behind the counter, he could see the screen in a mirror. He couldn't really make out what was happening in the movie, but when the film had tailed out of the projector and the screen went white, he knew it was time to put on another film. If he happened to be reading a book or was otherwise diverted, it could be quite a while before he happened to notice the movie had ended. No one ever came out of the theatre to complain. If the projectionist chose to kill time in the booth he could snooze on a sofa. When the film tailed out of the projector, it would flap away until he woke up and started the next movie. If he put the machine on rewind and went downstairs to sell tickets, the same thing would happen to the beginning of the film; it would flap away and eventually break off in pieces. This was how the beginnings and ends of so many porn films were lost. ..." (about The Green Parrot in Seattle)

Duke Mitchell's "Gone With The Pope"

Hardcore B-list fans might remember Duke Mitchell as part of the 50's Lewis and Martin knock off comedy act Mitchell and Petrillo who starred in the putrid film Bela Lugosi Meets a Brooklyn Gorilla (1952). Subsequent to ditching Petrillo, Mitchell went on to write and direct Massacre Mafia Style aka "The Executioner" in 1974. I had the pleasure of watching this abomination during it's limited theater release in my salad days in White Plains at the Colony Theater. Most likely had a head full of snow at the time. Surfing El blog Ausente this afternoon I espied the poster for Mitchell's unreleased masterpiece "Gone With The Pope" (1976) and was stoked to hear that it has been released by Grindhouse Releasing's Film's Bob Murawski (most recently up for an Oscar as editor of "The Hurt Locker").

Murawski is unabashedly proud of this labor of love. "Of all the films I have been involved with, the one that I am most proud of is Gone with the Pope. Duke Mitchell didn't live to see this masterpiece finished. I am honored to be the person to finish it for him. Completing this movie was a 15-year labor of love. No expense or effort was spared in rescuing this classic from cinematic oblivion and finishing it with the utmost quality. Our beautiful new 35mm print stands as a testament to Duke Mitchell's unique and explosively entertaining vision."

Bravo. Limited run in LA, hopefully followed by a DVD release.

Dread Central has more details.



I'd post the trailer but it's very raw and DF might ban my ass for linking it. Search You Tube if you want to rot your brain further.

Scum of the Earth

Those of you living below Tobacco Road might enjoy a trip to Junk Shop Juke Box for his collection of punk, party records, B movie promo spots and more that I am too lazy to tell you about. Myself, I'm listening to Chubby Checker's Popeye the Hitchhiker and a song by the 1965 LA Rams from the blog.

Sometimes a Toy Box is Just a Toy Box.

This is the poster for "The Toy Box" from 1971. As you can see, it's a specifically "Freudian depravity." (I assume that's mom in the chains there.) If you want Jungian depravity... well, you're on your own.

[via Wrong Side of the Art.]

The Loco Weed'll Get Ya.

As the calendar turns to April 20th, we here at PCL Headquarters want to remind you 420 revelers to celebrate responsibly. Mostly that means staying away from this guy here:

(Personally, I think this would make a great double bill with "Killer Condom.")

[via Wrong Side of the Art.]

They're Not French, But An Incredible Simulation.

What they don't tell you is that in the sequel, they all die of consumption.

[via Wrong Side of the Art.]

film stills

thousands of film stills and other delights shared on Flickr' by Olga-Saglo
check out here and here

Philippine Movie Ads

If I don't check Blonde Zombies regularly, I get overwhelmed ... in the best way!

I Love Me Them Shaw Brother Flyers

Men in Women-in-Prison movies

" ... In a scene right at the beginning of the film, socialite Terry Rich (Anitra Ford) walks into a nightclub in which Blossom (Pam Grier) is performing. Terry pauses in front of the stage with her (apparently wealthy and/or influential) boyfriend beside her. Blossom grins at the boyfriend (who stands there looking awkward) and then more emphatically at Terry, who, after a second, gives a half-amused, half-appreciative smile in return, and sways two or three times to the beat. ...


"The Big Bird Cage" (1972) Opening Scene
From: iwasateenageshutdown

... In other words, the power and the sexual charge in the scene comes from two women connecting with each other. This isn't all that unusual in male-oriented entertainment; there's lots of lesbian porn for guys, obviously. What is less familiar, though, is the insistence with which the scene deliberately excludes men — whether it be the boyfriend or, by extension, the male sexploitation viewer. Terry doesn't want to be Blossom; rather she is enjoying being with Blossom. In contrast, my investment in the scene is not just a lust for the protagonists, but a lust to be them; to gain access to a power and knowledge specifically inscribed in female relationships, which is unavailable to men, and thus all the more desired.
This dynamic — of eroticized male exclusion from, and investment in, female relationships — was the defining feature of a handful of women-in-prison films from the 1970s. In these movies, female sisterhood, generally in the face of oppression, is itself fetishized — feminism is turned into a kind of masochistic male wet dream. How this unlikely cathexis occurred, and how it functioned, is the subject of this essay. ..."
Noah Berlatsky, for Bright Lights Film Journal, is having a look at Men in Women-in-Prison.

Wrong Side of the Art

Wrong Side of the Art: a weblog "originally made as an easy access page to view/manage my collection of movie posters specializing in cult/horror/exploitation/B/sci-fi and basically any other genre to which one may refer as 'shit'."

Man, that's some good 'shit'!