Category: 1970s

Seytan (The Turkish Exorcist, 1974)

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Welcome back to B-Movie Enema and my Exorcist Rip-Off Month!

Say!  Remember last week when I said that I couldn’t just write about The Exorcist because I’d probably be run out of town for having a blog called B-Movie Enema and doing movies that aren’t just A movies in money, but also in quality?  Yeah, well fuck that.  I found a way to do it.

For this week’s movie, I’ll be digging right into the shitty bowels of 1974’s Seytan from Turkey.  Seytan is pretty much a direct copy of William Friedkin’s masterpiece The Exorcist in just about every way it possibly can be.  It’s a little shorter, but I remember the first time I ever saw Seytan, I kept looking at the screen and thinking…  “Is the audio just fucked on this movie, or what?” Continue reading “Seytan (The Turkish Exorcist, 1974)” →

Shock (aka Beyond the Door II, 1977)

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It’s October!  It’s the spoooooookiest month of the year!

In years past, I generally would find some sort of loose theme to tie all the movies covered in the month (with usual exception to the actual Halloween “special” article).  This year is no different!  This is B-Movie Enema and that means I can’t do no movies like The Exorcist or its sequels.  They are hardly “B” in quality of production, even if Exorcist II really fucking tried pretty hard.  I can, however, do the next best thing.

Welcome to the 2020 October theme month I’m calling Exorcist Rip-Off Month!  We’re getting things started with Mario Bava’s Shock from 1977.  Here’s the thing about Shock…  It’s a possession movie, yes.  However, it may only be an Exorcist Rip-Off in sort of name only.  You see, Shock was released in the United States as Beyond the Door II.  Beyond the Door was a 1974 rip-off of The Exorcist and a B-Movie Enema alum.  I really really really needed to cover this. Continue reading “Shock (aka Beyond the Door II, 1977)” →

The Working Girls (1974)

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Welcome back for another round of B-Movie Enema goodness.

This week’s movie, The Working Girls, has a lot of interesting things going for it.  First, it’s yet another exploitation film.  It’s about a group of liberated women living together in a Los Angeles apartment.  They all have different types of jobs and start dating different types of guys.  However, the girls each start to have issues in which they are endangered by the men in their lives.

Second, the director, Stephanie Rothman, is quite a figure in exploitation film in the 60s and 70s.  She worked with Roger Corman as an associated producer shortly after she finished college.  She got the opportunity to make a couple movies under Corman’s tutelage.  She did eventually venture out on her own and made another film I’ve written about before – The Velvet Vampire.

What’s most interesting about Rothman, though, is that she never liked being linked to the exploitation subgenre.  After making a couple films with Corman, she learned that label was given to her movies.  It horrified her.  However, after learning more about what that meant, how it worked in film, and what she might be able to do with that, she thought, “Fine, I’ll do the best exploitation movies I could.”  It didn’t go unnoticed. Continue reading “The Working Girls (1974)” →

Penitentiary (1979)

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We’re getting back to some good old blaxploitation with this week’s B-Movie Enema.  Penitentiary was written, produced, and directed by Jamaa Fanaka.

Fanaka was part of the L.A. Rebellion from the late 60s and into the late 80s.  This was a movement of black filmmakers whose whole intent was to make films that offered an alternative to what most deemed “classical” Hollywood films.  This was mostly influenced by Latin American and Italian cinema, but also from an emerging African cinema.

You see, the 1960s was a particularly turbulent time.  After a series of events like the Civil Rights Act, Affirmative Action, and the Watts Riots, society shifted and evolved very quickly.  Affirmative Action allowed for many more black students to attend colleges – and particularly at UCLA which got urged to create an ethnographic studies program to allow black filmmakers to tell more of their story and stories that would expose their struggles. Continue reading “Penitentiary (1979)” →

Satan’s Slave (1976)

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Well hey there!  It’s another Norman J. Warren joint!

If you’ve been around the site for a while, you know I’m a fan.  Prey is a good little home invasion story that is wrapped up in an alien invasion story – that also features lesbians.  Terror is a fun supernatural flick that has a vengeful witch – that may or may not have included a near miss for a fat guy on a train to have sex with a really pretty British lady.  Bloody New Year is just…  Well, it’s just bonkers, silly fun – that also happens to include an experimental plane that broke time and space.

Satan’s Slave is the first horror film that Warren made that pre-dates all of the above mentioned greatest hits.  As it turns out, it’s not the first of his films I covered in 2020 and it won’t be the last.  That said, I should maybe hold up because I’m quickly running out of his movies! Continue reading “Satan’s Slave (1976)” →

Nashville Girl (1976)

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I think it’s safe to say that just about everyone has had a dream of being the hottest new country music sensation, right?

No?  It’s just me?  Come on, guys, I cannot be the only person who ever thought about running away to Nashville, Tennessee, wearing a short skirt, pretend that I’m only about 18 years old, and use my looks to make it big in the world of country music.  Really?

You may say that you’ve never thought about it, but I can smell a lie like a fart in a car, dear Enemaniacs.  But, hey…  Maybe that bug just hasn’t bitten you yet.  I guarantee that after watching this week’s B-Movie Enema feature, Nashville Girl, you will have a new life dream.

Country music is a fascinating beast.  It’s a genre of music that I just cannot abide.  I’m a rock and roll guy through and through.  Yet…  I really like southern rock.  My favorite singer/songwriter is Tom Petty and, despite being heavily influenced by The Birds, he’s undoubtedly a southern rocker.  However, there is an element of country music that I really do have some appreciation for. Continue reading “Nashville Girl (1976)” →

Two Female Spies with Flowered Panties (1978)

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I love Jess Franco.  I do.  He started off in the 60s with films like The Awful Dr. Orloff and The Diabolical Dr. Z, the latter being a film I covered on this blog before.  These were black and white flicks that were beautiful and moody and incredibly artistic in style.  Once the later part of 60s came along, he transitioned into much more erotic fare.  He started doing things like Vampyros Lesbos as well as many full on X-rated type stuff with his muse and second wife Lina Romay.

Guess what…  I love that stuff too.  He’s just got a great flair to his movies that register as both incredibly artistic and deeply sensual.  Of course, the aforementioned The Diabolical Dr. Z is one of the finer films ever covered on this blog as it is incredibly well shot.  He also directed my favorite Ilsa film too – Ilsa, The Wicked Warden.  Now, yeah, you can say that isn’t fair because it wasn’t meant to be part of the series, but I’m counting it goddammit.  He also did one of the worst movies on this blog – Oasis of the Zombies.  I won’t get too hung up on that, though.

No, this week’s new B-Movie Enema will intersect his 70s eroticism with his muse Lina Romay.  This week, I’m watching Two Female Spies with Flowered Panties. Continue reading “Two Female Spies with Flowered Panties (1978)” →

Up! (1976)

Published on by Geoff Arbuckle2 Comments

We’ve come to the end of Russ Meyer Month here at B-Movie Enema.

Over the last several weeks, we’ve gone from Depression-era Missouri farms to a sexually liberated Canadian girl to go-go dancers with an axe to grind to wild Hollywood hippie parties.  So naturally there is only one place left to go…  Nazisploitation.  This week, it’s the 1976 soft-core sex comedy Up!

This is another of the Meyer-Ebert collaborations, much like with last week’s Beyond the Valley of the Dolls.   After that film and its success with audiences and some critics, Meyer tried his hand a couple more times with mainstream films, but both flopped.  He decided he needed to get back to boobs… er basics.  Back to basics.  He swore he’d never stray away from his formula again. Continue reading “Up! (1976)” →