StingrayFilms In a sub-genre dominated by hacks, director/cinematographer Saul Resnick stands out -- if for one brief, shining moment -- as a true talent with the eye of an artist. It is a great shame that he disappeared without a trace after directing this one film. His only other screen credits are as camera operator on the sexploitation films "Mondo Bizarro" and "Everybody Love It".Supposedly adapted from the novel "The Degenerates", this is set, for no practical reason, in 1928 Los Angeles. The appearance of a 1920s car, an antique radio, and a phonograph are the only feeble attempts at period detail. Otherwise, the film, especially the scenes inside an adult bookshop, seem contemporary.The episodic, near-plot less story concerns Nick (Ken McCormick), a lonely middle-aged creep who divides his time between strip joints, sex shops, and visiting whores. He goes to The House of Fetish and shacks up with the ugly old madam proprietress. But Nick gets caught fooling around with the other hookers and the jealous, hell-on-wheels madam spanks and whips the hell out of them several times. In one particularly strange scene, Nick lusts after a lovely black girl (Toni Lee Oliver) who dreams of tying him up, dumping molasses on his head and letting loose an ant colony on him.The 62-minute movie is padded with several interesting ten-minute "art film" shorts presented as flashbacks or mood-piece interludes. The best one is a silent (only a couple scenes have live sound), beautifully filmed and edited vignette of a nude model (Kellie Everts) posing for a lesbian artist. Everts went on to become a well-known Christian stripper ("I strip for God") and body-builder who is still around today. The only other interesting cast member is Barbara Nordin, who appears with Nick in the last scene. She was one of the topless dancers from beyond the grave in Ed Wood's nutty "Orgy of the Dead" (1965).The only connective tissue linking these disparate elements is a narrator who describes each scene in rich purple prose. Resnick delivers the seedy atmosphere, frequent nudity, and kinky perversity one expects from a "roughie" flick, but clearly didn't have (or didn't care about) a plot-driven story with structural logic. Instead, he created a moody, dream-like twilight world with film noire lighting, camera tricks, and bizarre sound effects. Strange as it is, in the end, this is more satisfying as an art film than the typical crude, simplistic sexploitation melodramas from lesser directors.

Michael_Elliott The Maidens of Fet Street (1966) * 1/2 (out of 4)Silly and rather boring sexploitation film tells various stories about some girls from "F" street (the alternate title of this is THE GIRLS ON F STREET). The stories include a couple women and their true feelings for one another, a loser pays an angry prostitute and a husband decides to have some fun after watching a dirty show. I think there might be something going on to connect all of these stories but I freely admit that I lost track of what was going on or at least what director Saul Resnick was trying to do with it. On one hand this is a rather technical sexploitation picture meaning that the director was obviously trying to do something "special" with the picture. There are all sorts of weird edits, strange lighting situations and even some Dragnet-like narration and all of this actually brings an art-house feel to the picture. It also takes away from the grindhouse feel of the film but none of this really matters because the story is just so weak, unerotic and in the end downright boring. The film barely runs a hour and for the most part there's just nothing going on here that really keeps you entertained. Fans of the genre, or at least those who made it through the first two films on the Something Weird disc, might want to give it a shot but don't be shocked if you turn it off early.

Woodyanders Man, is this vintage slice of 60's oddball grindhouse depravity one seriously strange flick! Lonely, bespectacled middle-aged loser Nick (the genuinely creepy Ken McCormick) goes to the grimy brothel the House of Fetish after watching chunky stripper Eve St. Pierre do her thing on stage. Meanwhile, meek, pathetic Joe (the blubbery Nick Nickerson) pays bitter, snippy prostitute Margo (a memorably vicious portrayal by Althea Curier) to have sex with him and two steady gal pals barely manage to suppress their lesbian longings for each other. Director/producer/cinematographer Saul Resnick provides the expected constant avalanche of tasty female nudity, but totally subverts any sense of eroticism by effectively creating and maintaining a grim, harsh, and thoroughly hard-boiled film noirish big city after dark squalid tone. Bill Arnold's gloomy doomsayer narration, Sonny Resnick's moody, yet rousing score, the bizarre amplified sound effects, and the stark, gritty black and white cinematography all further enhance the overall compellingly austere and sordid atmosphere which in turn makes this freaky soft-core romp a tough one to shake. Sexy and alluring this baby sure ain't, but if you're looking for twisted perversion and deviant sexuality served up severe and unsparing in a bleakly brooding package than this picture is just the tawdry ticket, man.