Wednesday, February 20, 2019

Short Film: Supervenus (France, 2014)

Supervenus is a meanly fun, experimental short film by France's Frédéric Doazan. It takes a look at the evolution of the ideals of female beauty. The short doesn't exactly offer an answer to the why behind the development in beauty standards, other than perhaps inferring (by the hands) that it is due to manly influences, but Doazan does take a quirky and bloody look at the excessive steps so many are willing to take to meet the given standards of any given time. We stumbled upon Doazan's short animation on one of our favorite websites, Short of the Week, and promptly decided it had to be a wasted life's Short Film of the Month for February.
 
As Street Anatomy points out, within the last 400 years alone physical preferences (and medical text books) went from the above (from: Valverde de Amusco, Juan, Anatomia del corpo humano, 1560) to the below (from: The Anatomical Basis of Medical Practice, 1971). Indeed, a truly noticeable evolution in the concept of the female ideal. An evolution that has hardly ended, as even the shapely forms found in the 1971 anatomy publication are themselves a far cry from the plastic-breasted anorexic Venuses of today's Playboy.*
* All in all, however, we here at a wasted life can understand the development in beauty standards far more easily than how the Republican Party can go from someone like Abraham Lincoln to Donald "Toadstool" Trump.
 
The title, of course, is a direct reference to that classic sexploitation flick of that great breast-fetishist Russ Meyer, namely Supervixens (1975 / trailer / featuring, among others, Haji and Uschi), one of the favorite films of the breast-fetishist behind a wasted life. But there is more to the short than just love pillows...

But when it comes to what Supervenus is about, well, Art Fucks Me says it better than we ever could: "Supervenus is […] is the modern vision of the Venus, the common ideal of beauty. Imagine a game that combines the legendary board game Operation and the endearing paper dolls we used to play within our childhood. Now, imagine how unpleasant a plastic surgery can be. Put it all together and the result will be Supervenus. In as little as 2:38 minutes, Frédéric Doazan achieves to deliver a quick (and creepy) review of the evolution of the concept of beauty in society and how the canons have changed over the years: the idea of eternal youth turned into an unhealthy obsession. Thus, in Supervenus we see the hands of surgeon opening an anatomy book where we discover a classic woman's body. Not satisfied with what he sees, his hands begin to operate, unscrupulously changing the figure of the woman and adapting it to the trends in plastic surgery: elongated neck and legs, sharp cheekbones, thin, wasp-like waist…"
According to Dioniso punk, Supervixens cost Frédéric Doazan about 10 euro to make, but ten months to complete. Impressive.
And ladies, remember:
"We must, we must, we must
do something to improve our bust.
The bigger the better
the tighter the sweater
the boys depend on us."

Thursday, February 14, 2019

Isle of Darkness / Mørkets øy (Norway, 1997)

If there's one thing all city slickers should know, it's that the rural backlands are dangerous. We've seen the proof of that in hundreds, if not thousands, of movies. Whether in the Appalachians, as in Deliverance (1972 / trailer), Tasmania, as in Dying Breed  (2008), the Outback of Australia, as in Wolf Creek (2008 / trailer), the backwaters of Ireland, as in Plague Town (2008), the scrubby hills of rural California, as in Necromancy aka The Witching (1972), or on some obscure island somewhere, as in either version of The Wicker Man (1973 / trailer and 2006 / trailer), those picturesque rural hamlets are all pretence, and the inhabitants are out for... something unpleasant. (And if the villagers pray and sing and are oh-so-pious — you know, Republican-like — well, it's your own fault if you stick around.)
It would seem that the distant, outlying but inhabited islands of Norway are no different than the rest of the world, if only a little bit less gratuitously bloody. But it would also seem that Julie (Sofie Gråbøl of  The House That Jack Built [2018 / trailer], Alien Teacher [2007 / German trailer], and the original Nightwatch [1994 / trailer]), the Danish heroine of this totally obscure, flawed but surprisingly intriguing and effective slow-burn horror thriller, has never seen a movie like those previously mentioned because she does what no person (much less a single woman) should do: moves, all by her female lonesome, to become a teacher at some remote fishing village somewhere deep within the beautiful fjords of Norway populated by fine if extremely reserved, God-fearing people.
But then, unlike her the viewer already knows that those fine people aren't quite as traditionally upstanding as one might think: the viewer has the advantage of an opening scene of suicide/murder in a church bell tower to the singing of the town choir. But what first appears to be the lead-in for some Harvest Home (1978 / trailer) scenario soon reveals itself to be far less supernatural-based, if not downright anti-church and/or anti-blind faith, and liberally sprinkled with an aftertaste of anti-patriarchy. (Unluckily, much as in real life, patriarchy cannot be stopped.)
How Julie ends up in that picturesque village is, perhaps, the stuff of TV movies — which this movie could possibly be, despite the limited but often unpleasant nudity and sex and violence, including some narratively necessary but nevertheless repellent rape scenes. (Seriously: if for whatever reason you cannot deal with rape scenes, skip this movie.)
But back to how the Danish school teacher Julie ends up in the boonies. Basically, within the course of an afternoon she loses her job as a teacher, catches her boyfriend screwing her coworker gal-pal and, if that weren't degrading enough, that same night she gets turned down by the handsome but gay bartender while drowning her sorrows at some Copenhagen bar. Since work for teachers is so plentiful in Scandinavia, however, she decides to pin the "Teacher Wanted" classifieds to the wall and take the first job that her tossed dart hits — even if it's in Buttfuck, Nowhere (or Norway, as the case may be).
In all truth, the whole pre-isolated island sequence is rather lame, and features some pretty bad acting, but once Julie is on the ferry gliding through the fabulous fjords, the movie gets a lot better and, over the course of events, delivers more than one sucker punch. That said, it also somewhat episodic and slow, with some wonderfully atrocious 90s fashion and style — were any rooms outside of bars and bordellos really painted red back then? — but by the time the movie reaches its moebius strip ending, all is forgiven. (Including the fact that a woman in a coma for around nine months wakes up in makeup and as full-figured as she was when she lost consciousness.)
Actually, as soon as Julie lands in town, sticking out like a sore thumb on a hand with no fingers, there are multiple points where one can only wonder why she doesn't just pack up and leave (especially considering the Scandinavian job market for teachers). But there is her sense of duty as a teacher, all the more awoken by the young teen Solveig (Sina Langfeldt), a girl with budding breasts trapped in an unhappy family situation and chronically mobbed by all her classmates. It is through her that Julie learns that the truth behind some local tragedies — including the suicides of two of Solveig's friends — is something else than the prevailing stories told. Likewise, her itch for the charismatic local pastor, Roald (an effective Paul-Ottar Haga), makes her think twice about leaving, but like that of so many women her choice in men is not praiseworthy. In the end she stays in hope of somehow saving Solveig from the town of religious hypocrites that blindly follow a man with a narcissistic personality disorder surely equal to that of Fjotolf Hansen, nee Anders Behring Breivik — only to make the clasic mistake of not swinging her shovel a third or fourth time (a mistake common to so many horror movies, even after Scream [1996 / trailer]).
Title track to the movie —
Seigmen's Mørkets øy:
Much of the first half of the movie is mostly false scares and unseen threats: Julie faces dangers that prove unfounded (like the ax-wielding town idiot), or is forever unaware that she is not alone in her house. But come the big feel-good scene, in which Julie and Solveig finally bond as only gals can, the veneer begins to fade and the tragic horror and tension begins to increase. The horror of the movie reveals itself as not that of the typical body-counter or slasher, and the bodies — despite the opening scene and known prior deaths — do not exactly fall in great number. The horror of Mørkets øy is far more psychological and sexual, with the focus being far more on the abuse of patriarchal and religious power, the reduction of women (of any age) to sexual objects meant for domination and procreation, and the innate evil of blind faith and obedience. And, lastly, that smiling faces sometimes lie.
We caught the German release of this movie film, entitled Insel der Dunkelheit by chance: it simply lay at the top of our DVD pile. Once upon a time it was also available in English, either as Isle of Darkness or Island of Darkness. Again, Isle of Darkness is far from a perfect movie, but if you like suspenseful European slow burners, it is worth a gander if you stumble upon it.
As for us, Mørkets øy surprised us enough that we're seriously thinking about taking a look, someday, at director Trygve Allister Diesen's subsequent, and surely equally depressing, tale of American country life and social intercourse, Red (2008 / trailer).
Used somewhere in the movie —
Mono's Life in Mono:

Saturday, February 9, 2019

Babes of Yesteryear – Uschi Digard, Part III: 1970, Part II

Babes of Yesteryear: a wasted life's irregular and PI feature that takes a meandering look at the filmographies of the underappreciated actresses cum sex bombs of low-culture cinema of the past. Some may still be alive, others not. (Being who we are, we might also take a look at some actor cum beefcake, if we feel like it.)
As the photo above possibly doesn't reveal but the blog-entry title above does, we're currently looking at the films of one of the ultimate cult babes ever, a woman who needs no introduction to any and all red-blooded American hetero male whose hormonal memory goes further back than the start of the 80s: the great Uschi Digard.*
* A.k.a. Astrid | Debbie Bowman | Brigette | Briget | Britt | Marie Brown | Clarissa | Uschi Dansk | Debbie | Ushi Devon | Julia Digaid | Uschi Digaid | Ushi Digant | Ursula Digard | Ushie Digard | Ushi Digard | Alicia Digart | Uschi Digart | Ushi Digart | Ushi Digert | Uschi Digger | Beatrice Dunn | Fiona | Francine Franklin | Gina | Glenda | Sheila Gramer | Ilsa | Jobi | Cynthia Jones | Karin | Astrid Lillimor | Astrid Lillimore | Lola | Marie Marceau | Marni | Sally Martin | Mindy | Olga | Ves Pray | Barbara Que | Ronnie Roundheels | Sherrie | H. Sohl | Heide Sohl | Heidi Sohler | U. Heidi Sohler | Sonja | Susie | Euji Swenson | Pat Tarqui | Joanie Ulrich | Ursula | Uschi | Ushi | Mishka Valkaro | Elke Vann | Elke Von | Jobi Winston | Ingred Young… and probably more.
As The Oak Drive-In puts it: "With her long hair, Amazonian build & beautiful natural looks (usually devoid of make-up), nobody seems to personify that 60's & early 70's sex appeal 'look' better than [Uschi Digard]. She had a presence that truly was bigger than life — a mind-bending combination of hippie Earth Mother looks and a sexual wildcat. […] She always seemed to have a smile on her face and almost seemed to be winking at the camera and saying 'Hey, it's all in fun.' Although she skirted around the edges at times, she never preformed hardcore…"
Today, Uschi Digard is still alive, happily married (for over 50 years), and last we heard retired in Palm Springs, CA. To learn everything you ever wanted to know about her, we would suggest listening to the great interview she gave The Rialto Report in 2013.

Herewith we give a nudity warning: naked babes and beefcake are highly likely to be found in our Babes of Yesteryear entries. If such sights offend thee, well, either go to another blog or pluck thy eyes from thee...

Please note: we make no guarantee for the validity of the release dates given… or of the info supplied, for that matter. And if you know something we don't, let us know.

Go here for
Uschi Digard, Part I: 1968-69
Uschi Digard, Part II: 1970, Part I



The Last Step Down
(1970, dir. Lawrence Ramport)

A.k.a. Young Love and Even Devils Pray. A simple online search finds this film available for free at any number of online porn sites — look and ye shall find.
Over at that bane of free enterprise known as Amazon, you can find the most common commentary on the film, probably taken from the DVD itself: "The recent revival of interest in 1970s grindhouse cinema has unearthed some bizarre and seedy films, but none are as shamelessly exploitive as these two entries in the softcore horror genre. The Last Step Down observes the initiation of several voluptuous young women into a satanic cult. With its zoned-out actors and lethargic plot, The Last Step Down is a cynical reaction to the counter-cultural fascination with the occult in the early 70s, reducing the worship of the Prince of Darkness to a prolonged humping-and-groping session. Also included is Russell Gay's ultra-rare [short film] Blood Lust, an especially salacious (and unexpectedly stylized) adaptation of Le Fanu's Carmilla." The image below is of the German 8mm release of Blood Lust (image found at Gav Crinsom). The German title translates, literally, into something like "Dracula and His Bold Teeth"; in daily slang, however, it translates into "Dracula and His Hot Babes".
Cartelera de Cine reduces the plot of this one-day wonder to "A naive country girl new to the big city gets involved in the underground sex scene," but TCM goes into greater detail: "Prostitutes Norma and Sue (Uschi Digard & Neola "Malta" Graef) decide to initiate Kathy (Terri Johnson), a virgin, into prostitution. They take her to a hidden monastery where devil worshipers are holding a black mass. Kathy zealously submits to a series of sexual assaults during the black mass, in reality, an orgy. Norma and Sue force Kathy to join them in a lesbian orgy when they perceive that the bacchanal has stripped her of her inhibitions." The image below shows Graef and Johnson conducting verbal intercourse.
The "Monk with Mustache" is played by Michael Donovan O'Donnell, who is also found in bit parts in Dick Tracy (1990 / trailer) and Satan's Cheerleaders (1977 / trailer below).
Trailer to
Satan's Cheerleaders:
Bill R., at the blogspot The Kind of Face You Hate, thinks that "The Last Step Down is the kind of film that can make you think that sex is maybe just gross and stupid and you shouldn't ever do it." He also mentions that, "Released in 1970, The Last Step Down is the vision of director Lawrence Ramport and screenwriters Arthur Allen and Phil Miller. It could be that each of those names is a pseudonym, and, indeed, it appears that none of those men ever worked on another film again, if, I repeat, they're credited here under their real names. Both possibilities strike me as equally likely. Who would want the credit for having made The Last Step Down, and who would want to offer work to the men who made The Last Step Down?"
The imdb, at least, lists Phil Miller as the production manager of two far superior films, Peter Bogdanovich's credited feature film directorial debut Targets (1968 / trailer) and Ted V. Mikels' The Black Klansman a.k.a. I Crossed the Color Line (1966 / trailer), the latter of which did not serve as the inspiration for Spike Lee's Black Klansman (2018 / trailer).
 
In any event, "It should not come as a surprise that The Last Step Down was Lawrence Ramport's one and only film as a director. [10K Bullets]"


Love Thy Neighbor and His Wife
(1970, dir. "B. Ron Elliot" & "L. Ray Monde")

Written by "Virginia Vulvania". As Letterboxd points out, "Mark 12:31 instructs, 'Thou shalt love thy neighbor as thyself.' After Hours 69:69 suggests, 'Do unto thy neighbor as she likes it.'"
"B. Ron Elliot" is actually actor/director Byron Mabe (10 April 1932 – 13 May 2001) who, of course, achieved everlasting cult fame due more to some of his more infamous directorial projects, of which this sex film is not one — but what true trash-film fan hasn't heard of A Smell of Honey, a Swallow of Brine (1966), She Freak (1967 / trailer further below), The Lustful Turk (1968 / trailer) or The Acid Eaters (1968 / a trailer of sorts)?
Co-director "L. Ray Monde", otherwise known as Lee Raymond, is less renowned, but he did appear in She Freak and, in 1972, directed the trashy and fun The Adult Version of Jekyll & Hide (1972 / body swap). Supposedly his real money-making career was as a pilot for United Airlines.
Trailer to She Freak (1967),
Mabe's tacky remake of
Tod Browing's Freaks (1932):
Love Thy Neighbor and His Wife is one of two Mabe films Uschi appeared in; the other one being one of Mabe's lowest-budgeted and least-liked films, The Big Snatch (depending on the source, 1968 or 1971, see Part I). That film he directed as "Ronnie Runningboard", the same name he uses in this film as the actor playing the character of Dan. Uschi, credited as "Heidi Sohler", plays the character named Uschi. (The wardrobe, by the way, was supplied by "Phunkie Attire", while "Otto Focus" was the cameraman.) As the title infers, the thematic focus of the movie is the oh-so-contemporary topic of wife swapping.
Altered Trailer:
"Filmed at a Swapping Center", Love Thy Neighbor and His Wife doesn't seem to be readily available any longer — or it is so dull no one wants to write about it. So, let's go to TCM (again) for the plot: "A prominent attorney and his client bring their wives to a lakeside cottage for a weekend. The group's sexual inhibitions break down after much drinking and the screening of stag films. The two husbands exchange partners, and the wives later have sex with each other. On the other side of the lake, a lecherous, middle-aged professor has brought three of his female students to a rented cabin. Two raunchy dune buggy enthusiasts make camp near the professor's cabin, smoke marijuana, and attract the attention of the three coeds. They soon become sexually acquainted. Later, the five young people go to a nearby tavern and meet the lawyer's party. After some initial disagreement, they proceed to have an orgy."
We found the newspaper advertisement directly above at Chateau Vulgaria, which points out that the clipping is for an "Entertainment Ventures double-feature at the Center Drive-in, from June, 1971. Love Thy Neighbor and His Wife (1970), with Uschi Digard, has been MIA on video; Starlet! (1969 / scene), with Shari Mann and John Alderman, told the story of an actress' rise to the top; on VHS and DVD-R from Something Weird."
Contrary to some sources, including the imdb, the Ann Dee [Mann] of this movie is not the same Ann Dee singing in A Thoroughly Modern Millie (1967 / trailer).
The Ann Dee of ATMM singing
a medley of Carnival/This Dream:
It is probably also safe to assume that the movie Love Thy Neighbor and His Wife has absolutely nothing in common with the 1968 Brandon House erotic novel Love Thy Neighbor and His Wife by "Lew Palmer", other than the title [image below from alt glamour]. "Lew Palmer", by the way, if we are to believe the Library of Congress's Catalog of Copyright Entries. Third Series: 1968: July-December, is actually Thelma L. Reahm, "a happy, healthy, married, active Christian writer, content with a simple life."
 
As for the US poster, it is yet another example of the fine art from the forgotten, self-taught (!) Mexican American artist Rodolfo Escalera (1 June 1929 – 25 Jan 2000); the current purveyors of his legacy tend to ignore his days as a sleaze film poster artist.


The Magic Mirror
(1970, dir. Unknown)

Another one-day wonder featuring Uschi as an unnamed woman who buys a magic, antique mirror that takes her on sex trips by making her fantasies become real; the result is four distinct sexual scenes. Some people assume The Magic Mirror to merely be an a.k.a. title for two other later hardcore movies Love and the Great Grunt (1972 / trailer) and Satisfaction Guaranteed (1976?), which are pretty much the same movie, but The Magic Movie is the egg that came before the chicken: scenes from this softcore sex film were edited into the later hardcore versions to pad time, add characters, and/or make a "new" movie … in which it looks like Uschi is actually taking chorizo onscreen. (She, famously, denies to this day that she ever filmed "real" hardcore scenes — but if you search long and hard, you can find a rather boring homemade B&W short of her on her back doing the dirty for real with her husband.)

The pedigrees of all three films mentioned are open to conjecture: the "unknown" director of The Magic Mirror is claimed by some as being Stu Segall, while the imdb claims that Satisfaction Guaranteed was directed by "Melvin Kissem" (which just happens to be the name of a no-budget porn flick from around the same time [full movie] supposedly directed by Charles Davis Smith [18 June 1930 – 20 Sept 2017]). In turn, tapatalk says Love and the Great Grunt "employs copious footage from […] The Magic Mirror, as well as hardcore footage lifted from Devil's Due* (1973)," the latter of which was shot by "Ernest Danna". In its graffiti credits, LATGG claims to have been directed by Antony Weber, who directed Uschi in Cries of Ecstasy, Blows of Death (1973), a film we look at later. More than one website claims Weber as the director of "Satisfaction Guaranteed a.k.a. Love and the Great Grunt". (So you decide for yourself who did it. We think it was the butler.)
* Famous for its inspired line of dialogue, "You must kiss the cock of Satan!" (And also for being one the many porn movies that derailed the career of former Cortland County district attorney Mark Suben when it was revealed that he was the former porn actor "Gus Thomas", one of the the lead wieners of Devil's Due. [Poster below.])
 
Way back in 2002, at the imdb, Sum Flounder wrote that the film, "in grainy, sweaty 16mm", is for "the most undiscerning members of the 'raincoat' crowd": It "involves Uschi purchasing a large mirror. Whenever she gazes into it she witnesses (or experiences?) various fantasies. The only one I can still remember after all this time involves a copious amount of shaving cream. [...] There are probably more than a few people out there who will watch any movie with Uschi in it. Those guys won't be disappointed, although I won't say the same for everybody else."
Also the imdb, five years later john22900 has a slightly different take on the same basic tale of what he says is "not a particularly great film": "Uschi purchases a haunted mirror that she is told has the effect of making one's inhibitions disappear and their dreams and fantasies come true whenever they gaze into it. There are four separate episodes in which Uschi (or others) gaze into the mirror and lose their inhibitions — and clothes. The first involves a balding TV repairman, the second some lesbian poll takers, the third some friends of hers, and the final episode concerns a burglar and a cop. Low budget and very simple in concept. The best thing — correction: the only thing — worthwhile here is the fabulous Uschi."
The rest of the unnamed skin is supplied by Maria Arnold (of Meatcleaver Massacre [1977 / trailer]), Kathy Hilton (of Sex and the Single Vampire [1970] and Blood Sabbath [1972 / full movie]), William Howard (of Terror at Orgy Castle [1972 / full movie], poster above), and other people with Joe and Jane Schmoe bodies. 
Music from
Blood Sabbath:



Oddly Coupled
(1970, dir. Henry Bolder & Karl Rawicz)

Produced by William Byron Hillman. More than one website claims that this movie is a.k.a. Betta Betta in the Wall, Who's the Fattest Fish of All? They might be the same film, but then they might not be. Though the VHS cover below does share some of the same names, Betta Betta in the Wall, Who's the Fattest Fish of All? shares more same names with 1977 cheapie What A Way to Go a.k.a. Bottoms Up,* also by director Karl Rawicz and producer William Byron Hillman (or William B. Hillman). The thing is, that movie, marketed as a teen T&A comedy, shares the exact same plot and some of the same characters as the adult film Oddly Coupled, but seems to have a completely different cast ... but then, none of the cast of Bottoms Up ever made another movie, which lends credence to the concept that all names might be pseudonyms — which in turn leads to the logical assumption of simple repackaging.
* Neither of the two titles, What A Way to Go or Bottoms Up, should be confused with the earlier films likewise bearing them: What A Way to Go (trailer below), the odd black comedy from 1964 starring Shirley MacLaine (and featuring Dick Van Dyke, Paul Newman, Robert Mitchum, Gene Kelly, Bob Cummings and Dean Martin), and the unknown British comedy from 1960 (poster above).
Trailer to
What A Way to Go (1964):
Compare the plot of Bottoms Up — "A skinny, virginal mechanic (Adam Janas) is taken into erotic captivity by three lovely nymphs who decide to give him an enlightening course in sex education. Their goal: to transform a naive nerd into a sexual dynamo for the voluptuous Gertie (Sparky Abbrams)." — to that of Oddly Coupled as given by Mike King at the imdb: "Nerdy Hobart Moore is kidnapped by three women, and brought to a house occupied by Gertie, a morbidly obese nymphomaniac. Hobart is more interested in making sure his tropical fish are being fed than in any of the women." Also at the imdb, dardura108 mentions how he "especially liked the heavy-set chick who gets compulsively excited anytime someone says the word 'sex'. Also, the slo-motion slap-stick on the water bed is pretty funny."
In any event, Uschi appears (uncredited) in Oddly Coupled as the "Brunette in Bed" — or rather, as the woman in a sex film the lead character is made to watch.
Oddly Coupled is available at Something Weird, where Don the Deviate, says: "A jumbo order of Fish 'n' Chicks! The vivacious Malta [a.k.a. Neola Graef] screws some guy in the front seat of her convertible. Pretty Donna Young screws some guy on a beach blanket. But Hobart Moore prefers the company of his fish. Say what? Hobart ('My friends call me "Ho-Ho".') is a shy skinny proto-nerd (and Huntz Hall clone) who is kidnapped by a carload of pretty gals — Gloria (plain), Didi (airhead), and Sheri (tart) — and taken to their home as a prospective boyfriend for Gertie. Say who? Gertie is an obese nymphomaniac who doesn't like to be called 'Madam' because 'it sounds so dirty, boo-hoo'. (Are we in a brothel of some sort? Don't know.) Fat-mama Gertie desperately wants Ho-Ho to be amorous, so the gals (including Maisie Day, a prunish, washed-up cook and former beauty queen who talks and acts like Ruth Gordon) take turns trying to interest Ho-Ho in the birds and the bees rather than fish. This includes watching home videos of normal people having sex (like Uschi Digard and Johnny Rocco). Trouble is, the gals prove to be too neurotically wacky to screw — indeed, in light of Sheri and Didi's behavior in bed, Ho-Ho's preference for fish actually appears perfectly sensible. Moreover, anytime the word 'sex' is uttered, Gertie comes charging through the door like a rhino in heat! Obscenely clad in a baby-doll nightie, all 300 pounds of her quavering in slow motion, she launches herself into bed like a dirigible gone amuck. In a final touch of delirium, Oddly Coupled (a.k.a. One More Time) keeps flashing to a hallucinogenic scene shot through a fish tank where some lovely naked woman beckons. Ho-Ho's fantasy? Who knows. Just how odd is Oddly Coupled? Its original title was Betta Betta in the Wall, Who's the Fattest Fish of All? That odd."
 
One must say, the plot as given at SWV sure doesn't correspond to the movie's poster, does it? Also, contrary to one or two online sources, the actress credited as "Betty Blake" in this movie is not the forgotten lounge singer Betty [Ann] Blake (9 Apr 1937 – 19 Sep 2001).
Betty Blake sings
Moon and Sands:
 

Raquel's Motel
(1970, dir. Unknown)

A.k.a. Uschi's Hollywood Adventure, a title given once she became legendary. But under its original title, which obviously enough was inspired by the name of the then A-list actor Raquel Welch, Raquel's Motel was theatrically distributed by the legendary firm Distribpix.
Speaking of Raquel Welch —
Space-Girl Dance:
As Uschi's Hollywood Adventure, you can get it at Something Weird, where Mike Accomando of Dreadful Pleasures offers the following description of events: "See Uschi French kiss a foot-long hotdog! Gasp in amazement at her gravity-defying pumpkins! Thrill to Uschi and her coital colleague Maria Arnold [a.k.a. Carie South, Tina La Wise, Franki Rider, Marie Arnold, Maria Aronoff, and Maria Jamison] in the climactic group orgy! Gag in horror at the acne-scarred hillbilly stud who wears two different colored socks! This paean to perversity features [...] sex goddess Uschi Digart in another sin-soaked, soft-X bonanza of blazing lust. Uschi is a peek-freak who admits, 'There aren't too many women voyeurs around, but I'm one of them!' She operates a sleazy motel that's 'rigged with secret panels and peepholes'. John, 'a good, strong, sturdy-looking guy', and his new bride Barbara (Mycle Brandy),* check into the motel on their honeymoon. Uschi, nostrils flaring, spies on them as they have a pillow fight then consummate the marriage: 'He was some man. He met her stroke for stroke and she gave him one hell of a ride!' Back in her bed, Uschi wiggles out of her low-cut nightie. She kisses her reflection in the mirror, tweaks her erect nipples, rubs baby oil over her [...]. In no time our newlyweds are crotch-deep in carnality. John goes all giddy over a horny maid (skin flick veteran Maria Arnold). He bends her over a table and skewers her doggie style. While this is happening, Uschi is delivering her own special brand of 'room service' to Barbara. Uschi's Hollywood Adventure (a.k.a. Raquel's Motel) culminates in a 4-way orgy: 'The more the merrier!' If you're a fan of Uschi Digart — and who the hell isn't? — this movie will affect you the same way a full moon affects a werewolf."
* Mike Accomando, like "heystevesteinberg" below, is a bit mixed up here: Barbara is played by Nora Wieternik (a.k.a. Sally Acres, Me Me, Nora, and Paula Principe), while Mycle Brandy, now a "four time stroke survivor", is the bearded dude who two years later played Prince Precious in the classic Flesh Gordon (1974) — you see him in the trailer below. (Nora Wieternik is also there to play Queen Amora.) 
Trailer to
Flesh Gordon (1974):
Over at the imdb, back on 8 October 2013 heystevesteinberg shared some childhood memories with us: "I saw this, first run, Times Square in NYC. Before the projectionists got their mitts on this, there was original hardcore action in this movie. I think, like many movies of that specific timeframe, it was released in two versions, one harder than the other. Most of the action in the movie is simulated and as all Uschi fans know, there is no existing footage of her doing anything hardcore, but Mycle's bj scene definitely included hardcore, non-simulated action. Which should surprise no one: she did a ton of h/c stuff in the early 70s. [...] Sexploitation flicks in 1970 and 1971 were pushing the envelope, often shooting two versions, one with h/c scenes and the other, for the adult drive-in circuit, were tamer. [...]"
Score the Film says, "This is typical of the era during the transition into hardcore pornography, monotonous simulated sex with strange narration and a groovy soundtrack.  This one is better than most in that the visuals aren't as repetitive and it's got Uschi Digard and her jungle drums.  I swear those things should be hanging in a museum like the Louvre."
The newspaper clipping above is from Pittsburgh, where Raquel's Motel was paired with the 1972 release Distortions of Sexuality (full movie), another Distribpix picture, written and directed by Gary Kahn (a.k.a. Khan). "Distortions of Sexuality is a serious film. It deals with rape, voyeurism, chronic masturbation, hypnotism. The hardcore sex scenes are explicit in detail, boldly conceived, and visually stunning. An intelligent film for mature audiences has finally been made that meets the standards of a perceptive audience. [One Sheet Index]" The Art Cinema is still around, though it was renamed the Harris Theater in 1995. 


Roxanna
(1970, dir. Nick Millard)

Art house porn that, imagine, if you can, was remade direct-to-video by Ted W. Crestview in 2002 as — Duh! — Roxanna (credit sequence). Ted W. Crestview disappeared after the mildly diverting direct-to-video Satan's Schoolgirls (2004 / trailer). Nick Millard (a.k.a. Jan Anders | Max Boll | Joe Davis | Hans Dedow | Hans Delow | Jamie Delvos | Pet Elephant | Bruno Geller | Alan Lindus | Allan Lindus | Allan Lundus | John Meyer | Nicholas Millard | Philip Miller | Nicholas Milor | Clem Moser | Alfredo Nicola | Nick Philips | Nick Phillips | Don Rolos | Helmud Schuyler | Otto Wilmer) is still around, but no longer seems to be able to get the funding to make movies.

Little known fact: Millard's father, Sam S. Millard, was an early exploitation film distributer/maker and one of the infamous "40 Thieves", alongside illustrious names like Kroger Babb and Dwain Espser (see: Maniac [1934]), "a circle of innovative and money-minded American exploitation film distributors. [Gentle Thug]"
Of Sam S. Millard's movies, the most famous one is perhaps Is Your Daughter Safe? a.k.a The Octopus (1927), a now lost movie that "was one of the earliest exploitation films which contained nudity. A compilation of medical documentary films and stock footage of nude scenes dating back to the 1900s, it was presented as an educational film about the dangers of venereal disease, white slavery, and prostitution. [Wikipedia]" (Notice how, on the advert above, the screenings were segregated by sex.) Other early [also lost] titles he was involved include Scarlet Youth (1928) and Pitfalls of Passion (1927, poster below).
 
But back to Nick Millard and the original version of Roxanna. Therein, Uschi shows up, un-credited, as the "Lesbian in Gloves" who breaks the heart of the movie's lead actress (Louise Thompson) — watch Uschi put on the gloves directly below.
Scene with gloves:
As odd as it might sound in this contemporary world of direct-to-internet plotless porn, once upon a time porn was considered by some as a radical statement and/or a genre within which artistic statements could be made. Be it the early softcore roughies of Russ Meyer or the later porn chic fluff of "Henry Paris" (i.e., Radley Metzger), some of those involved were talented filmmakers, and others simply wanted to go places where no man had gone before: whether the gay flicks of Wakefield Poole or the avant-garde heterosexuality of the Amero Brother's Bacchanalle (1970 / scene) or the hippy B&W Thundercrack (1975 / trailer) — the last a film that could easily be mistaken as a Guy Maddin film, had Guy Maddin ever made porn — or even the surreal hardcore sex and gore of Hardgore (1976), many filmmakers agitating in the nether regions of the sex film would try (some more often, some less often) to add some art to their product. This is also the case with Roxanna, a depressing, almost anti-sex sex film by the underappreciated West Coast exploitation filmmaker Nick Millard.
Some of Nick Millard's Roxanna
set to Sebastien Tellier's Fantino:
Over at Women In Prison films, the film description they surely stole uncredited from elsewhere also makes note of this: "[...] Roxanna is classic softcore in the freaky 70s tradition and unlike most 'modern' pornography, it's void of any hardcore scenes. But while most of the films of this genre and from this decade are basically just fluff, Roxanna stands out with its genuinely unsettling tale of a (possibly) drug-addicted girl (Louise Thompson) who finds more than she expected with her first lesbian encounter. She becomes so enthralled with her experience that when her lover (played by Uschi Digard [...]) leaves her, she finds herself needing to fill the void that's been left. She does this by basically taking her sexual experiences to more and more outrageous extremes. [...] The film ends as it started, with scenes of Roxanna, naked and screaming to herself, tearing out her hair, and evidently locked in a white room that looks very much like it's supposed to represent an institution. She's there because her sexual appetite has gained her nothing, and because of this, she tries to take her own life. This is one of the most unusual films of this nature that I've ever seen. There is no dialogue ever during the movie, only narration; done in a strange 'jivish' beat style, over top of one of the best 70s scores I've heard. The movie is filmed from bizarre angles that only go to accentuate the genuine weirdness that permeates every part of this film. Roxanna is basically an artsy porno with morals."
Also on hand enlivening the procedures is cult fave starlet Monica Gayle, whose nubile assets graced exploitation films for around ten years beginning in 1969 and whose career spanned from movies like Paul Hunt's The Harem Bunch (1969), Ed Wood's Take It Out in Trade (1970 / trailer) and Larry Buchanan's Strawberries Need Rain (1970 / a trailer) to Jack Hill's The Jezebels a.k.a. Switchblade Sisters (1975 / trailer) and Gus Trikonis's Nashville Girl (1976 / Monica sings). Like so many of those working in the soft-core biz, she eventually disappeared… for years no one knew what happened to her, but dedicated research reveals that Ms. Gayle-Kern, "a former actress who had television roles in General Hospital, Days of Our Lives and Fantasy Island", currently lives in a section of the Valley previously belonging to Edgar Rice Burroughs.

Spread It Around
(1970, dir. Unknown)

Spread It Around is found listed on almost all Uschi Digard filmographies, including the one at what seems to be her own website. What's odd is that she isn't in the movie, at least not in the Spread It Around available at Something Weird, where you can watch a rather entertaining trailer to a movie entitled Spread It Around… Basically, there seems to be more than one movie bearing that title. What a surprise — not.

At Something Weird, in any event, Don the Deviate (who would surely always mention when Uschi is there), makes no note of her in his film description for SW: "A redhead, a brunette, and a blonde decide to spread it around in, yes, Spread It Around. You see, they're unsatisfied suburban housewives who need extra cash. In the end, of course, they become satisfied suburban housewives with plenty of cash. The gals — each looking more delicious than the other — make a valiant attempt at acting and there's some genuinely funny dialogue here, but the show-stopper is the soliloquy by 'Lance the Plumber', who claims to be a Ph.D. in chemistry but who's really, as they might have said in the Seventies, no Olivier." The beautiful buxom gal exploring the limp dicks and dry tacos of the swinger lifestyle in the one-day wonder shown in the trailer is the less renown but equally attractive Malta (a.k.a. Neola Graef).
Has nothing to do with the film —
Brian Collins sings
Spread It Around:
Over at the blog Scorethefilm, as part of his Uschi Digard Needs to Have My Babies project, the dude watched the movie and found further inconsistencies, saying: "Here's a 47-minute softcore snoozer from 1970 that has five typically tedious sex scenes, one with the gals and four with each of them balling their doctor, milkman, etc. The girls are attractive and the acting as is you expect but there's one thing missing and that's Uschi Digard, the sole reason for my wanting to see it. [...] I checked out the Something Weird Video site and they have a movie with this title and accurate description but the trailer is for another movie of the same title and there's no Uschi in that one either." 
For that, however, at the imdb Hans-56 also watched a movie entitled Spread It Around and, rating the film a 1 out 10. He wrote on 8 October 2010: "[...] Three women can't get enough sex at home, so they jump on every man in sight. This is 1970, so we are talking soft core. And it shows. [...] The acting is awful, the budget super low, the direction is clumsy, the camera-work is jumpy. So, to sum it up: this is a misery on celluloid. I cannot recommend this movie to anyone, with the exception of fans of Miss Digart [italics ours]. But I think even they will be very disappointed, for she did make tastier movies."
 
 
Street of a Thousand Pleasures
(1970 or 72, dir. "Clay McCord")

"Clay McCord" is actually William Rotsler (3 July 1926 – 8 Oct 1997). For some odd reason, this film is often (and obviously incorrectly) claimed as Uschi's first film appearance... at best, it might be the first time she's credited on a poster. She is one of the many naked slave girls bouncing around in the movie which, depending on which source you choose to believe, was made either in 1970 or 1972. Street of a Thousand Pleasures is easily found online at almost every porn film site.
As Harry H. Novak distributed Street of a Thousand Pleasures at one point, we took a look at it in Part IX: 1972 of his career review, where we cobbled the following together:
A.k.a. Arab Slave Market and Dreams. Novak distributes another Rotsler film, this one co-written by "Sam Dakota", who seems never to have done anything else. [Since then, we've come to assume that "Sam Dakota" is actually "William Rotsler".]
Boob GIF:
This movie has the distinction of being mentioned in AMC Filmsite's History of Sex in Cinema: The Greatest and Most Influential Sexual Films and Scenes, where they write: "This was a notorious X-rated sexploitation (called a 'nudie cutie') film from the early 70s [...]. The film's subtitle was: 'There's something in it for everyone.' It also promised: 'A Journey through the Whispered World of Women.' In the virtually plotless movie, American businessman/oil field geologist John Dalton (John Tull), during a trip to the Middle East away from his nagging wife in Los Angeles, rescued Arab sheik Abdul Ben Hassein from an assassination knife attack by shooting the assailant. He was rewarded with a trip to the spectacular 'street of a thousand pleasures,' where he was introduced to the slave market-harem filled with dozens of naked women functioning as sex servants.* He viewed scores of feminine treats with 'Girl-A-Vision' (a hand-held camera presented his point of view from a hands-on perspective, often with enlarged close-ups of body parts). Bodies could be caressed or kissed, and eventually, John had brief sex with a few of the females, including a black belly dancer (Malta**). The film ended with another strike by the Arab assassin, who killed the sheik (having sex) by stabbing him to death, while nearby, John was also having sex. After wrestling with the assassin, John left the Middle East and returned home with a willing American slave."

* [Uschi Digard is the "Busty Slave Girl"; pin-up girl Michelle Angelo is the "Busty Girl with Apple" (the photo of her above comes from a 1968 issue of Playboy); Joyce Gibson a.k.a. Joyce Mandel (10 Mar 1950 – 13 Oct 2016) is the "Busty Girl with Goblet".... "Busty" can be used to describe 97% of all the gals in the movie.]
** [Interesting casting: "Malta", a.k.a. Neola Graef, was a white chick. So either the credit here is wrong or there was a second Malta on the scene back then.]
Flick Attack, which finds "the breast-to-penis ratio is something like, what, 4,200 to 3", says "I have never seen more female nudity in a motion picture than the flesh on parade in Street of a Thousand Pleasures. Hell, I have never seen more female nudity anywhere — motion picture or otherwise. For that alone, you really don't need to read further; just watch it."
The lead "non-Arabic" man of the movie, John Tull, has long since fallen off the face of the earth, but prior to doing so, in 1976 he had a few "assistant director" jobs, including on the disasterpiece Drive-In Massacre (trailer) and, more interesting, on Matt Cimber's The Witch Who Came from the Sea.
Trailer to Matt Cimber's
The Witch Who Came from the Sea:


Take My Head
(1970, dir. Michael & Roberta Findlay)

A surprise to us! According to the imdb and her own filmography at her website, Uschi (supposedly) takes part in a Michael & Roberta Findlay movie — admittedly, one of their most obscure titles in a career full of obscure titles.
"Shot without sound, this is little more than a series of soft-core vignettes strung together via narration. Not a highlight in the careers of NYC sexploitation filmmakers Michael and Roberta Findlay. [Kodiapps]"
Michael Findlay, as most sleazesters know, died at the age of 39 by helicopter-blade beheading on 16 May 1977. Roberta Findlay only stopped making movies in around 1989; we've only ever seen her 1985 horror movie The Oracle, a poorly made sleazy funfest if there ever was one. Among their early joint projects is the B&W roughie Satan's Bed (1965), a movie remembered now primarily because it features a young Yoko Ono — you even see her in the trailer below.
Trailer to
Satan's Bed (1965):
Take My Head was released by Distribpix — the poster art alone would indicate that, even if the company name weren't there. At their own website, they currently (Date: 9 Jan 2019) have the poster but absolutely no info about the flick.
Interesting here is that like the Findlays, and unlike Uschi (and Maria Arnold), cast members Arlana Blue and Alex Mann (24 July 1941 – 6 July 2010) were active on the East Coast sleaze-film scene, not the West Coast (though Mann did eventually go west in around 1979). Mann's "best" films are probably The Love Captive (1969 / let's dance), Behind Locked Doors (1968 / trailer), the ridiculous Microwave Massacre (1983 / trailer) and the "classic" I Drink Your Blood (1970 / trailer). Arlana Blue, a lithe actress from the early days of NYC sleaze, faded away soon after her few final appearances in sublime sleaze like Bloodsucking Freaks (1976 / trailer), Let Me Die a Woman (1977 / trailer below) and Invasion of the Love Drones (1977 / trailer).
Doris Wishman's classic
Let Me Die A Woman:
But to return to Uschi. Our search of the web dug up only one person who had seen the Take My Head and bothered to write about it, the ever reliable purveyor of porn lor, which he did on 27 July 2011 at the imdb: "The Findlays detoured into all-sex filler with this obscure 1970 porn film which, other than for Michael's purple-prose voice-over, lacks the qualities of their other work. [...] It survives only in fragmentary form on VHS. The 45-minute version I watched does not feature superstars Uschi Digard and Maria Arnold [italics ours] [...]. No matter, the picture as it stands is merely MOS footage of lesbian gropings or Alex Mann groping femmes shot in loop fashion, silent and pointless. It cries out for hardcore, XXX content, which was just around the corner. With scenes presented out of order, even the slapped-on narration doesn't help, as Michael Findlay attempts to create interest via his alter ego commentary. He keeps exhorting Alex to live his dreams, imagine making love to the two lesbians living next door he peeps at, or to have sex with a young woman he encounters out in the snow, with an injured ankle. [...] Level of Michael's writing here is below the campy standards of his best '60s soft porn, for example, telling Alex's character: 'Eat breakfast David, eat as you have never eaten before!' The ingestion here refers to the film's dubious moniker, all about cunnilingus. That's because fully visible simulated cunnilingus on screen was permissible by 1970, not fellatio (the hit Mona [1970 / NSFW] changed all that). The actual humping is as phony as all soft porn, with much full-frontal female nudity provided by the Findlays, but only fleeting shots of Mann au naturel, he generally relegated to 'sex in underpants' mode. Non-content includes a distressingly cheap sequence of thin Nadia (Arlana Blue) belly-dancing for David and then humping him on his breakfast table — strictly home-movie production values. She is later pressed into service as a random lesbian. [...]"
It is entirely possible that an original copy of the film still exists somewhere, walled away in a walled-up closet. Trash film fans, listen to this interview of Roberta Findlay at the Rialto Report and weep...


Love Secrets of the Kama Sutra
(1970, dir. "Raj Devi")
(Trailer) Not to be confused with the "serious" European flick Kamasutra — Vollendung der Liebe, which made it to the US, recut, as Kamasutra — Perfection of Love (1969, poster below). The great soundtrack to that film is by Irmin Schmidt and Inner Space Productions, otherwise known as the Krautrock band, Can.
Soundtrack to
the other Kamasutra film:
According to Jason S. Martinko's The XXX Filmography, 1968-1988, Love Secrets of the Kama Sutra is a.k.a. KAMA SUTRA '71. At the imdb, however, they are listed as two different films with only a few names in common (John Holmes, for example, but not Uschi Digard). We don't see Uschi in the trailer below, but we do see the great Neola Graef...
Trailer to
Love Secrets of the Kama Sutra:
In any event, Martinko says "Raj Devi" is actually some guy named "Phil Todaro" and the plot concerns: "A young couple with an unhappy sex life visit an Indian guru, and he educates them on the lovemaking described in the Kama Sutra. Different positions are acted out in a series of vignettes. The couple is enlightened and has a graphic encounter with the old Indian's maid before they leave. The screenplay was written by Larry Roberts. Cinematography was done by Stephen Gibson (as Steve Gibson) and film editing was done by Cineatro. Luristan worked as the music supervisor. It was distributed theatrically in the USA by Variety Films in 1970. It was also distributed in the USA as Love Secrets of the Kama Sutra by Compix in 1970."
"Phil Todaro", by the way, was the producer of a variety of obscure New York sleaze films in the 60s, but seemingly retired after producing, as "Phil Todd", the 3-D gay porn flick Manhole a.k.a. Manhold a.k.a. Manholed (1978), the last directorial effort of the same guy who brought you that trash classic I Drink Your Blood (1970 / trailer), David E. Durston (10 Sept 1921 – 6 May 2010), who is credited in Manhole as director "Spencer Logan").
The guy pictured on the above advert to an Adonis Theater showing of Manhole is probably one-porn-film wonder Eric Swenson, but the notable name of the movie is DeVeren Bookwalter (8 Sept 1939 – 23 July 1987), who started his film career on the receiving end of Andy Warhol's early short, Blow Job (1963, see below).
An edit of Blow Job set to
The Velvet Underground's
Waiting for My Man:
Manhole also features Jamie Gillis (!) (20 April 1943 – 19 Feb 2010), Zebedy Colt (20 Dec 1929 – 29 May 2004), and Wade Nichols (28 Oct 1946 – 28 Jan 1985) — the last of whom we mention so as to have an excuse to once again embed below his time capsule of a disco song, Like an Eagle.
Wade Nichols as Dennis Parker
singing Like an Eagle
We assume that Martinko's "Phil Todaro", a.k.a. "Phil Todd", is the same person that Bill Landis (1959 – 2008) & Michelle Clifford refer to as "Phil Todero" in their oddly condescending 2002 publication, Sleazoid Express, whom they describe as the "bewigged henchman" of the "bottom-feeder film distributor/exhibitor Chelly Wilson" (25 Dec 1908 – 24 Nov 1994). To share some of their published gossip regarding Todero and Andy Milligan's (12 Feb 1929 – 3 June 1991) movie Vapors (1965): "Chelly Wilson's Variety Films distributed the film. But Phil Todero, who worked for Chelly managing the Eros Theater, got his hands on the print. Todero was a bewigged old queen, a true piece of 8th Avenue debris who acted as Chelly's front man even while baldly skimming off of her on the side. Todero was so low that, in the 1980s, he was even stealing $50 from each of the Eros's male dancers' pathetic $125 weekly pay envelopes. Andy [Milligan] would fume that Todero made money off of San Francisco showings of Vapors, where it played as a gay cult film through to the mid-1980s. Long before the movie was released on tape, Todero was selling video bootlegs for $100 a copy to film collectors out of the Eros box office." 
Andy Milligan's 
Vapors:
But to get back to Love Secrets of the Kama Sutra. As perhaps to be expected, the only person who seems to have seen the film and seen reason to write about it is the ever reliable purveyor of porn lor, which he did at the imdb on 8 December 2014: "The fact that KAMA SUTRA '71 was released late in 1970 explains its contents: what would have been a normal storyline porno film has the semblance of documentary footage appended in order to pass for the sex education mantle that was permitted during the early days of public exhibition of XXX features. There is travelogue footage of India, pompous narration about erotic art and ancient texts on the art of love. […] Film proper begins presumably back in La-La Land on the West Coast of our proud nation […]. Main couple of Harry Anderson (John Dulaghan, of The Thing with Two Heads [1972 / trailer] & Sweet Sweetback's Baadasssss Song [1971]) and his wife Grace (Ruthann Lott) peek through the doorways of various rooms, a lame loop-carrier technique so that they can voyeuristically watch folks making love in the various bedrooms and we, the paying customers can see what they see. […] First porn couple features an ultra-busty actress whose technique is still arousing 44 years later, and like some of the other footage was reprised a year later in another junker titled Worlds of Love (1972). […] Back home we witness their unhappy marriage, as the film unsteadily segues into a routine porno soap opera. Grace cheats on Harry with a young stud named Joe (Robert Lott), while Harry's off cheating with his blonde secretary Susie (Ann Perry). Turns out Susie is married to Joe. Later the foursome meet up at an unsettling dinner where the audience enjoys knowing more than Harry does about their actual relationships. A contrived happy ending occurs after we see the Indian girl's big dark nipples for one last time. Naturally the end title reads 'The Beginning'."
As according to the newspaper clipping below, the movie was part of a double feature at the Colony Theater in Schenectady, which had a sad end, and the Oxford, which is also history. The second movie, Temporary Wives — "One's fun... three can kill a guy" — was directed by "Gene Shamblin" and seems lost; check your attic.


Titillated Tex
(1970, dir. Unknown)

The film seems to be lost, but the trailer is still around online, just not on any website we would want to embed from. The trailer is definitely NSFW. Despite what some sites claim, it isn't a Russ Meyer movie. DVD Drive-in goes so far as to say, that the "film [was] apparently unreleased despite the obvious involvement of Harry Novak". Plot? Softcore sex and more softcore sex — including softcore senior sex — and Uschi shot from her best angle... or should we say "breast angle"?
Meandering off to other cast members, Jack Richesin (13 Feb 1917 – 5 Jan 1986), one of the male members, wrote the screenplay to Ted V. Mikels's The Doll Squad (1973, trailer below), which features the great Tura Satana (10 July 1938 – 4 Feb 2011).
Trailer to
The Doll Squad:


The Art of Gentle Persuasion
(1970, dir. Sanford White)

Possibly a.k.a. The Gentle Persuasion. Director "Sanford White" is best known, if at all, as the scriptwriter to William Rotsler's great anti-drug roughie, Lila a.k.a. Mantis in Lace (1968 / trailer further below). Considering Rotsler's penchant for being a jack of all trades and using pseudonyms, we find "Sanford White" a very suspicious name. The Art of Gentle Persuasion is apparently both White's only directorial project and his last foray into film, for he disappeared afterwards. Prior to TAoGP, White wrote and produced Gordon Heller's Free Love Confidential (1967 / poster below) — Heller also ceased to exist after his single film credit.
  
If we are to believe The American Film Institute Catalog of Motion Pictures (Volume 1, Part 1, Page 253), the theme song of The Art of Gentle Persuasion, entitled Sexy World, is sung by "Tushi Grabasso". We figure this movie here a lost film, as so little is to be found about it. Check your attic.
Trailer to William Rotsler's
Lila a.k.a. Mantis in Lace (1968):
Though described as a white-coater by most, TCM has a plot description — the only one we could find — that doesn't sound very "documentary": "Rolf, a self-assured executive known as 'The Boss,' runs his home and his business by the same guiding principle: 'What's good for the boss — is good for the company.' He dominates an assortment of people, including his wife and domestic servants, his friends, and his business associates, and encourages them to participate in a variety of sexual practices — various positions of sexual intercourse, mate swapping, group sex, lesbianism, anal and oral sex." Uschi is there for the ride, but we know not where.


Marriage American Style
(1970, dir. Unknown)

This soft-core short (c. 37 m), which plays like a less-than-one-day wonder but could well be an eviscerated version of a forgotten longer-length one-day wonder, undoubtedly makes a titular play upon the then-popular anthology comedy TV show, Love American Style (1969-74). It should not be mistaken with the Ralph Rose & Marty Friedman comedy Marriage American Style? (1966), a film so obscure that it hasn't even found its way into the imdb yet.
Full movie  
Marriage American Style?

Over at Something Weird, Don the Deviate, Ph. D. says, "And how's this for a high concept: Uschi Digard meets the Marx Brothers! Well... sort of. See for yourself in Marriage American Style, a mélange of zany monkey business and madcap mammary merrymaking. Mmmmmm... See Uschi's cunning-Swedish-lingus bring 'Candy Clit' (Donna Young, the scrumptious star of Wild Honey [1972]) to the climactic decision to leave her lug of a husband! See divorce lawyers 'Groucho & Co.' depose their clients in a topsy-turvy hands-on consultation abounding in visual puns! See the six-inch kielbasy! See the Bingo game in the bedroom! And, best of all, see Uschi's delectable double Ds in action!"
According to Sex Gore Mutants, "Marriage makes no sense, has no style and appears to have been made with virtually no script. Direction is perfunctory at best, while performances are game but insanely overbearing. Lighting and camerawork are hideous, and production values are strictly non-existent. The sex is limited in this 38-minute production, with the only real prolonged scenes of flesh being the aforementioned lesbian encounter between Candy and Miss Grunt (Uschi). But, let's face it, the only reason you'd want to watch this mess is for Digard. […] Here, she looks fantastic and those breasts are given a healthy amount of screen time."
The magazine that the boss reads at his desk is the December 1970 issue of Playboy (cover above), featuring centerfold Carol Imhof, and the soundtrack supposedly uses (uncredited) Johnny Pearson's (18 June 1925 – 20 March 2011) Sleepy Shores… which seems odd, seeing that the song was released in 1972.
Johnny Pearson's
Sleepy Shores:


Thaw the Frigid Bird
(1970, dir. Unknown)

Another one-day wonder with no credits in which Uschi has three sex scenes (straight, lesbian and orgy). Once a "lost" movie, it was rediscovered for DVD release. The common plot description: "From 1970 comes the classic erotic title Thaw the Frigid Bird, starring stacked Swedish magazine model Uschi Digard in a tale of what happens when business and pleasure come together. In this office taboo trysts and scandalous sex are the order of the day. Enjoy this vintage film digitally for the first time!"
DVD Drive-In, which only saw the trailer, says Thaw the Frigid Bird is "another graphic sex film with an appearance by She of the Gargantuan Bust, Uschi Digart, the undisputed queen of the Double DDs! It has an unsexy love scene with a nasty bald guy and his 'secretary' on top of a desk, followed by the steamy Uschi bedroom scene where she really gets into it! When was she never into it?! […] It looks ultra-cheap, which is a major plus, and was shot with live sound apparently!"
Trivia: Uschi's female costar, Fifi Watson, played the title character in Mona: The Virgin Nymph (1970), poster above, "the first, theatrically-released, feature-length 35mm 100% hardcore narrative film with an actual storyline — actually a threadbare plot (accompanied by explicit sex scenes) that created the pattern for future porn films of the 70s. [AMC Filmsite]"


Sexual Freedom in Denmark
(1970, dir. "M.C. von Hellen")

A "documentary" a.k.a. Dansk sexualitetSensual Freedom in Denmark, and Love and Sexual Freedom. "M.C. von Hellen" was a guy named John Lamb (30 April 1917 – 21 Dec 2006), a.k.a. John Haynes and/or Harry Z. Ross. Lamb's first movie, which he wrote and directed, is the seldom seen Mermaids of Tiburon (1962), which features the great Diane Webber a.k.a. Marguerite Empey (29 July 1932 – 19 Aug 2008), one of the great nudists of all time. She, as Marguerite Empey, was a Playboy magazine's Playmate of the Month twice: first in May 1955, and then in February 1956. (She is also a total Babe of Yesteryear and fond memory of many a post-Baby Boomer.)
The totally unknown music group Islandrocks
uses Mermaids of Tiburon for their video
to the song Freaky Girl:
As a director, John Lamb went "documentary" a total of four times: prior to Sexual Freedom, he took a look at nudism in The Raw Ones (1965 / trailer), and then he later decided to document Sexual Liberty Now (1971 / full NSFW doc) and Sex Freaks (1974 / full NSFW film). But perhaps his most out there movie is the unjustly forgotten head-trip downer, Mondo Keyhole (1966), co-directed by Jack Hill.
Trailer to
Mondo Keyhole:
To return to Sexual Freedom in Denmark: according to the abstract to Eric Schaefer's scholarly text Hardcore Education: The Case of Sexual Freedom in Denmark, Sexual Freedom in Denmark "explored the liberalization of censorship in Denmark in the late 1960s while advocating for similar changes in the United States. Lamb used explicit sexual imagery with educational material to promote enlightened attitudes. The film was a box office success and became a popular tool with teachers while paving the way for hardcore movies on American screens."
In Jason S. Martinko's The XXX Filmography, 1968-1988, Martinko says: "This was a groundbreaking film when it was released in American theaters in 1969 or 1970. It gives an honest view of the perspectives of sexuality and pornography by Danish people of all ages. In Denmark at the time, there were no censorship laws against any material depicting consenting adults in a sexual manor. It gives an interesting visual history of Greek, Indian and Chinese erotica; a section on different lovemaking positions; a segment on contraceptives and how to use them; a graphic sequence showing childbirth and breeched birth; prostitution; female frigidity; the history of censorship in the USA; a segment about nudist colonies and more."
Like most white-coaters and marriage-manual films, it hasn't aged all that well. Sex Gore Mutants gets it right by saying, "Freedom is a bizarre relic, an oddly compelling and undeniably amusing throwback to a time when the very idea of pornography worried and offended people. It's impossible in these Internet-savvy times to appreciate how shocking this must've been upon its release, but it holds up as an interesting albeit naïve and overly serious 'documentary' regardless."
Among those featured in the documentary: Rasa von Werder (born 16 July 1945), better-known as Kellie Everts, Miss Body Beautiful of 1969 and Miss Nude Universe of 1969 — that's her above. She was into weightlifting long before it was socially acceptable: "On February 2, 2007 the World Bodybuilding Guild (WBBG) awarded her 'Progenitor' of Female Bodybuilding and in August 2007 inducted her into their Hall of Fame. [Wikipedia]" Currently, she strips for god and runs The University of Mother of God Church.
The female of film's bookend scenes of a nude couple cavorting like Adam and Eve in nature is none other than: Uschi. Who knows who the guy is... Do you know?
As can be seen by the advertisement above, and as one would naturally expect, Sexual Freedom in Denmark was also screened at one of the many (legendary) Pussycat Theaters, in this case the tenth that was opened (of around an eventual 30 or 40 locations), at 7734 Santa Monica. The chain, originally founded by the underappreciated Dan Sonney (23 Jan 1915 – 3 March 2002) and the legendary Dave Friedman when they bought an abandoned 40-year-old, 400-seat theater at 444 South Hill Street (Fifth and Hill) in downtown L.A. once known as Bard's Cinema Theatre and/or the Town Theatre, was eventually taken over by the couple Vince Miranda (15 April 1933 – 3 June 1985) and George Tate a.k.a. George Munton (unknown – unknown). Between 1977 and 1994, at the Pussycat at 7734 Santa Monica, which began its history as the Monica, "the Los Angeles Police Department made 2000 arrests for lewd conduct on the premises". By 2003, it was the last remaining Pussycat after filmmaker Roger Corman saved it "by brokering a deal with an unnamed buyer". It now belongs to Jonathan Cota, who became George Tate's significant other soon after Miranda's death from cancer. Currently, the location is known as Studs at the Pussycat and runs gay porn.
Trivia: When the theater manager of the original Monica got busted for showing "obscene materials" in the mid-60s, he got busted for screening the film above, Stephen C. Apostolof's Motel Confidential (1969 / scene). Plot: "An old Italian dude runs the aptly named Quickie Motel where a variety of customers come for romantic romps, seedy sex and afternoon delights. [Movie DB]"
Trailer to
Dad Made Dirty Movies (2015):


Coming eventually:
Uschi Digard, Part IV: 1971, Part I
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