| Vintage Pulp | Jan 28 2024 |
Liking this film will demand very hard work.
We're back to Cheri Caffaro quicker than you thought, finally taking a look at The Abductors, part of a trilogy of films, along with Ginger and Girls Are for Loving, in which she plays government agent Ginger McAllister. The character, who is no James Bond or Emma Peel (budget alone prevents that), usually lounges around sun-drenched climes, but occasionally is called in by her handler to deal with tough cases. This time she's needed to take down a sex trafficking ring. She recruits her pal Laurie Rose as bait, has her swallow a tracking chip, allows her to be kidnapped, and intends to follow her to the heart of the operation. But the plan doesn't quite work out—cut to Caffaro and Rose bound, gagged, and at the mercy of bad men.
Things look dire at that point. There's not much upside in being tied up in a basement in nothing but your panties. However Caffaro and Rose have two advantages. First, they both know karate or something. And second, they both love sex. They don't even have to fake it. These two can get off even with the flabbiest villains. And if their martial arts and sexual prowess don't bring down the crooks, they have outside help from an entire government funded crimefighting organization. In short—they'll be just fine. The movie is less so. In the end you can say about it exactly what you can say about the other two entries in the Ginger McAllister series: it's bad but interesting; it's surprisingly equal opportunity with its nudity; and it showcases a uniquely brave actress in Caffaro. The Abductors premiered today in 1972.
| Vintage Pulp | Jan 13 2023 |
Sometimes you have to hunt for something fun to do.
After watching the 1932 hunter-stalks-humans flick The Most Dangerous Game a few months ago we stumbled across a 1972 variation on the theme titled The Suckers. Both movies, surprisingly, were derived from the same source, a 1924 short story by Richard Connell. The Suckers stars Richard Smedley, Steve Vincent, Laurie Rose (aka Misty Dawn), and Sandy Dempsey, and the aforementioned variation is sex. We knew that going in, and we were thinking, hell, this might be fun—a classic pulp story adapted for the sexploitation-happy ’70s. But we were wrong. It turns out The Suckers had a $30,000 budget—which is infinitesimal even for a grindhouse flick—and the lack of expenditure shows across the entire spectrum of production, from acting, to staging and blocking, to pacing, to screenwriting and more.
In Connell's short story and the 1932 adaptation the unfortunate guests land on an evil guy's desolate island because their yacht runs aground. In The Suckers, the guests—who are models, an employee of the modeling agency, and his wife—show up voluntarily after being invited. They're soon running for their lives after being told by their host that their sole purpose for visiting is to be stalked by professional hunters. Obviously, there comes a point when they realize survival means fighting back. But they seem unlikely to manage that effectively. Why? Did we mention that they're models? And that the agency guy is a total schlub? Luckily, great white hunter Richard Smedley and his monobrow side with the prospective prey. He's a lardass but at least he has a rifle. With his help, the fashion plates just might make it back to the Garment District alive.
Even though The Suckers is a sexploitation movie, we expected the ratio of skin to action to be roughly equivalent, but the hunting scenes take up only about twenty minutes, while sex consumes about thirty minutes, a couple of sexual assaults take about ten, and bad dialogue fills out the rest of the running time. Except for one sex scene that manages to get pretty steamy the movie is a waste of all those aforementioned minutes. The film's main value, to us anyway, is as an example of what we're referring to whenever we point out that it wasn't just Japanese studios that explored unsavory themes during this period. The difference is those films were artfully made. The Suckers is just gratuitous and haphazard. Its failure is probably why it was later released as The Woman Hunt—because a certain segment of the male population would see it based on that title alone. Those who did were—you guessed it—suckers.
The SuckersThe Woman HuntThe Most Dangerous GameRichard SmedleySteve VincentLaurie RoseMisty DawnSandy DempseyRichard ConnellBarbara Millsposter artcinemamovie reviewsexploitation
| Vintage Pulp | Jun 23 2016 |
Machine gun Margaret strikes again.
In the tropical Republic of San Rosario four beautiful nurses—Margaret Markov, Rickey Richardson, Andrea Cagan, and Laurie Rose—are kidnapped and forced to teach the healing arts to a revolutionary army so it can bring medical care to villages it liberates. While one of the nurses begins to agree with the captors, the others just want to escape. But when they do, they are captured by an army leader and what they learn prompts them to escape back to the revolutionaries' jungle compound to warn them of an impending government attack.
Scripted by Jonathan Demme and produced in the sweaty Philippines by sexploitation specialists New World Pictures, The Hot Box features most of the elements you expect from jungle sleaze, with perhaps less skin than the standard. But there's plenty of leering, drooling, and general depravity, followed by punching, kicking, stabbing, and Margaret Markov going cyclical with a machine gun. By the way, we'd not note this ordinarily, but post-massacre we'll add that mowing down people with machine guns is fine for cinema, but all other applications are idiotic and tragic.
There's a debate online about whether this is a women-in-prison film. People often get obtuse online—of course it's a women-in-prison film. The nurses don't spend three reels inside a bamboo cage being hosed down with river water, but they are twice held against their will and escape both times. Textbook stuff. Do we recommend the film? Not quite. But Markov is always worth the time. Amongst a slate of atrocious performers, she can almost act. Almost. The Hot Box premiered in the U.S. today in 1972.
PhilippinesNew World PicturesThe Hot BoxAndrea CaganLaurie RoseRickey RichardsonMargaret MarkovJonathan Demmeposter artcinemasexploitationwomen in prisonmovie review
