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)”
Yay! Roger Corman! If he can’t do it, nobody can!
As a kid who did a lot of growing up in the 1980s, it was well into the 2010s before I knew much of anything about this week’s featured B-Movie Enema, Teen Witch.
I like to think of this subgenre, particularly in the 1980s, an American tradition. Certainly it was nothing new to either the United States or other countries before the decade or even to this very day, but there was something pretty special about the American landscape of both horror and comedy in the 1980s. It was the decade of slashers and Porky’s ripoffs. But, maybe more important, it all falls back onto an idea I’ve discussed numerous times before – you had to stock video store shelves and late night cable TV time slots.
Disney.
We’ve come to the end of Russ Meyer Month here at B-Movie Enema.
I love how Russ Meyer uses punctuation in his titles.
David DeCoteau is back under one of his many pseudonyms, Ellen Cabot. One year after Cabot/DeCoteau made the epic 