Doris Wishman - My Brother's Wife (1966)

A little info about Doris Wishman:
by Jens Hellroute
"After I die I will make movies in hell!" was a line Doris Wishman, the most prolific female independent filmmaker ever, stated many times. Well, I hope Beelzebub treats her nice because the queen of sexploitation cinema left us on August 10, 2002, in Miami. Like many ladies she lied about her age, but her nephew Norman Wishman recently informed the world that Doris was born July 23, 1912, which makes her an impressive 90 at the time when she sadly lost her long battle with lymphoma cancer.

Doris Wishman wasn't only a director, she also wrote, produced, did her own editing and designed the marketing campaign for most of her movies. A bonafide auteur and a very clever no-nonsense businesswoman in the male-dominated world of American exploitation movie industry. Wishman made around 30 films from 1959 to 2002, she took a break from cinema from 1983 to 2001. Her style is pretty unique and unconventional and isn't so easy to compare to her peers in the heydays of exploitation cinema like Herschell Gordon Lewis, Russ Meyer, Ed Wood Jr., Harry Novak, Joe Sarno, A.C. Stevens, the Findlays, Ray Dennis Steckler, T.V. Mikels and David Friedman who were her friend for many years.

Description:
MY BROTHER'S WIFE, Wishman-heads are back in safe territory with plenty of cutaways to paintings, chairs, and shoes and awkward dubbing. But more than a roughie, this film is Wishman's take on the 40s film noir genre, with a doomed love triangle, scheming criminals, hard-boiled dialogue and a number of far-fetched plot twists amidst the typical Wishman trappings. To keep the plot moving, a cast of familiar faces play each sad and pathetic character. To play the unhappy hausfrau, Wishman tapped June Roberts, a baby-faced nude model whose figure could cut glass and who bears a striking resemblance to Mike Vraney and Something Weird's #1 lady, Lisa Petrucci. Roberts would also grace the films of Barry Mahon, Michael Findlay, and Joseph Mawra, but her talents would be best tested by sexploitation maestro Joe Sarno in a leading role in MOONLIGHTING WIVES and supporting roles in FLESH AND LACE, THE NAKED FOG, RED ROSES OF PASSION and THE LOVE MERCHANT. Her adorable face is one of the best-loved by Something Weird followers. Darlene Bennett, who appeared in more 60s grindhouse films than any other actress, is given one of her biggest roles as the femme fatale Zena. Her acting left an awful lot to be desired, but she had a dark, mysterious beauty which many of her contemporaries didn't, and she fits perfectly in this sleazy film noir. Not to mention she had a bust to be proud of and a derriere that wouldn't quit, which is witnessed when she sits on the camera lens in a typically bold and brilliant move by cameraman C. Davis Smith. Also in the cast is Darlene's often forgotten twin sister, Dawn, who plays Zena's lesbian cousin Della, making the move on Zena in a signature uncomfortable Wishman sapphic love scene. Dawn was like a pudgier, less photogenic carbon copy of Darene, which is why she wasn't as frequently cast in films as her sister. Making up the male cast members are two Doris Wishman favorites: Sam Stewart and Bob Oran. Stewart (whose self-portrait hangs on the wall in several of Doris' films) was a muscular square-jawed actor who had legitimate acting talent, and was usually cast as the heavy in films like BAD GIRLS GO TO HELL, ANOTHER DAY, ANOTHER MAN and MR. MARI'S GIRLS. His natural good looks also landed him hero roles in THE GIRL FROM S.I.N. (directed by C. Davis Smith) and CARGO OF LOVE. Bob Oran is best-remembered as the sleazy john who pummels prostitute Mary O'Hara in ANOTHER DAY, ANOTHER MAN.

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no pass

Doris Wishman - Bad Girls Go to Hell (1965)

After hubby Ted goes to work, Ellen putters around the apartment in her nightgown cleaning up. When she takes the trash out, the janitor forces her into his apartment and rapes her. When he tries to rape her again, she dispatches him and then hits the road, a fugitive from injustice. She goes to the Big City and encounters a string of situations where she gets used and abused. When she finally finds a nice woman to rent from, the woman's son turns out to be a detective, which threatens her newly found identity and peace of mind.








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no pass

Doris Wishman - The Immoral Three (1975)

Three sexy women, raised separately as orphans, are summoned to a funeral, where they learn that they are in fact sisters and that the dead woman was their mother. The latter had been a secret agent – the notorious Double Agent 73 (a reference to Wishman's earlier "Chesty Morgan" flicks) – who had been murdered in the line of duty. (The actress shown playing her in flashback bears very little resemblance to that formidably proportioned actress-stripper, especially at the bust level -- but of course, who could?). She had used her feminine wiles (if you know what I mean) to seduce and betray enemy agents, but was rather careless in executing this modus operandi – the unwanted daughters being one of the job hazards. The executor of the will tells the girls that they can inherit a cool million each as long as they can track down their mother's killer within one calendar year. Plenty of absurd violence and nudity ensues.

Fans of her earlier work may be surprised at the relatively large budget Wishman must have had at her disposal for this one. It's in living colour, we actually see people's mouths move while they talk (though out-of-sync in most cases), and one of the sequences may actually have been filmed in Las Vegas (mixed with plenty of stock footage, of course). The women are better looking than usual – two have voluptuous 50s- style exotic dancer proportions, but lithe "Sandy" wouldn't be out of place in a Playboy movie today (except for her obviously natural bust). Of course, the men are generally horrid – probably investors getting in on the "action".

But don't be deterred – the film shows all the earmarks (and other body parts) that we've come to cherish -- canned lounge music cues, crass set decoration (now in hideous day-glo colour!), closeups of feet, aimless scenes of cars driving and pedestrians walking, and most of all, a complete lack of logic in how the characters act. The women's threads are dropped at random, and they alternate between abruptly seducing some lucky(?) male passer-by and being sexually assaulted by others. The prop master uses a couple of covered card tables laid end-to-end for the coffin and a cardboard box for the back of a picture frame; another photo has a bra hastily drawn over the breasts of the protagonist with a black magic marker. When the girls are skinny dipping, one of them does a handstand in the water (all the better to reveal her assets), and judging by the wobbly pose and quick cutaway, the lifeguard probably had to drag her off the bottom of the pool a split second after the shot.






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Language(s):English
Subtitles:none

Doris Wishman - Too Much Too Often! (1968)

Take a deep breath, meditate for a few moments to cleanse the mind, make sure there are no sharp objects in the room, strap on a seat belt, and carefully enter the world of Too Much Too Often, yet another slice of unintentional surrealism from The First Lady of Sexploitation, director/producer DORIS WISHMAN (here billed under the name of her then-husband, Louis Silverman). But beware: your mind may never be the same...

When swaggering and conceited teddy boy Mike (played by fleshy-faced BUCK STARR) isn’t combing his wavy hair in a stance reminiscent of The Fonz, he’s latching onto each and every female who crosses his slimy path. The guy is bad news and has everybody fooled, except Mr. Dite (rotund BOB ORAN), an advertising executive and recent recipient of Mike’s services as a whip-wielding sadist. Taking advantage of the weak-willed masochist, Mike blackmails Dite into giving him a cushy job, then takes advantage of his new position by stealing Dite’s clients, seducing Dite’s elegant daughter, Sara (JOANNE CUNNINGHAM), and climbing his way up the social ladder.

But Dite’s daughter isn’t enough to fill Mike’s sexual appetite and he makes conquests of a parade of women who find him irresistible. There’s Lynn (SHARON KENT), the lovely college coed; Lita, the hooker with a heart of gold; Ellen, the dockside floozie whose husband neglects her; and Midge, the naive secretary who falls for Mike’s lies and unknowingly gives him the information he needs to screw over Dite. He uses all of these women and discards them like old snot rags. And when Lynn tells him she’s pregnant, he proceeds to beat her up. He also slaps Lita around when she doesn’t make her quota, and promptly dumps Midge after she hands over the files he needs.

Meanwhile, Dite desperately tries to bribe Mike into leaving his daughter alone and even tells Sara what a sick perv Mike really is, but Sara ignores him and she and Mike plan to elope. Which is when Sam (New York nudie vet SAM STEWART), a detective with a bad foreign accent, enters the scene. Angry that Mike had once-upon-a-time pulverized him and attacked his wife (DARLENE BENNETT in a rare good-girl role), Sam takes his revenge...

Director Doris actually used a few different locations to shoot Too Much Too Often (as opposed to her usual apartment), but her quirky trademarks still remain: the convoluted and typically bizarre plot, the strange post-dubbed dialogue put in mouths mostly off-screen, the oddball cutaways to inanimate objects, sexploitation starlets admiring themselves in the mirror; bras, panties, fishnets and spike heels galore; and very expressive feet which share equal screen time with the actors.



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Language(s):English
Subtitles:none