The Road to Ruin (1934)

Road to Ruin is a 1934 exploitation film directed by Dorothy Davenport, under the name "Mrs. Wallace Reid", and Melville Shyer, and written by Davenport with the uncredited contribution of the film's producer, Willis Kent. The film, which is in the public domain, is about a young girl whose life is ruined by sex and drugs. The Road to Ruin is a sound re-make of a 1928 silent film of the same name, written and produced by Willis Kent and also starring Helen Foster.

To promote the film, the producers advertised that it was not to be shown to anyone under eighteen, implying that it contained salacious material. Film censors in Virginia required a "record number" of cuts in the film before clearing it for release, according to Film Daily, while in Detroit, the film was boycotted by the Catholic Church, but was cleared by the local censors after some cuts. A novelization of the film was put out by the producers, apparently intended for use by school and civic groups as an aid to discussion of the social problems presented in the film: teenage drinking, promiscuity, pregnancy and abortion.

From Wikipedia

THE ROAD TO RUIN
DOROTHY DAVENPORT  (1934)
TRUE LIFE PHOTOPLAYS
62 MIN
USA

The Sinister Urge (1960)

The Sinister Urge is a 1961 crime drama film that was written and directed by Edward D. Wood, Jr.

The film revolves around a series of murders of young women. The killer, Dirk, works for a pornographer named Johnny Ryde. It is outright stated that Dirk's impulsive murders are a direct result of viewing pornographic pictures and films. This is stated both by Ryde's boss, Gloria Henderson, and the police (represented by Lt. Carson, Sgt. Stone and Officer Kline). Several subplots attempt to emerge during the course of the film: the ongoing police investigation into underground pornographic distribution (in one scene, a fight breaks out between two rivals, one of whom is played uncredited by Wood himself); Ryde's attempts to shoot porn (accompanied by his director Jaffe, an elderly man who is somewhat elfin in appearance); Gloria's rising concern about the out-of-control Dirk, which comes to a head when her overlords in "the Syndicate" order her to remove Dirk permanently; and in an obvious attempt to interject pathos into the film, the tribulations of a young girl from a small Midwestern town who starts out seeking a career as a legitimate actress, but who ends up making porn for Ryde and Gloria, before becoming one of Dirk's victims.

The film reaches its climax when Gloria and Ryde attempt to get rid of Dirk by putting him in a car with faulty brakes. Dirk survives, and forces Ryde to blackmail Gloria. Dirk then murders Ryde, before being shot in the dark by Gloria, who assumed that she was shooting Ryde. The film ends with Gloria's disbelief that she shot the wrong man as the police arrest her.



THE SINISTER URGE
ED WOOD JR  (1960)
USA
71 MIN

Teenage Devil Dolls (1955)

Teenage Devil Dolls (aka One Way Ticket to Hell) is a 1955 American black and white teen crime drama film about a high school graduate whose life spirals out of control when she becomes addicted to heroin.

Pert and pretty high school teen Cassandra Leigh opts for the easy life of a pot-smoking biker in order to avoid the demands of her neurotic career mom. When Cassandra's grades slip and her college plans fall by the wayside, she marries a love-smitten high school swain. The devotion of her husband bores the young bride: she looks up her old thrill-seeking buddies and splits from home. It isn't long before she's peddling dope on the streets in order to finance her growing list of addictions. A young Mexican takes the wayward girl under his wing and makes her not only his partner-in-crime but his woman With the police on their heels, Cassandra and her lover are forced to ditch a stolen car in the desert and take refuge in a shallow cave. With the posse closing in, the Mexican abandons Cassandra and the deputies nab the semi-conscious heroine. The court sends Cassandra to a Federal Narcotics Hospital.

From Wikipedia

TEENAGE DEVIL DOLLS
B. LAWRENCE PRICE JR. (1955)
58 MIN
USA

Chained for Life (1951)

Chained for Life is a 1951 exploitation film directed by Harry L. Fraser featuring the famous conjoined ("Siamese") Hilton Twins, Daisy and Violet. It features several vaudeville acts, including juggler Whitey Roberts, a man doing bicycle stunts, and a man who plays the William Tell Overture at breakneck speed on an accordion. The movie incorporates aspects of the twins' real life, including their singing act, a futile attempt by one sister to obtain a marriage license, and a publicity-stunt marriage.

The movie opens with a judge (Norval Mitchell) begging the audience for help in resolving a terrible dilemma. The action moves to a courtroom, where Vivian Hamilton is on trial for the shooting death of her sister's lover. The story unfolds in flashback as various characters are called to testify. Conjoined twins Dorothy and Vivian Hamilton (Daisy and Violet Hilton) have a successful vaudeville singing act, but their manager Hinkley (Allen Jenkins) thinks a publicity stunt will reinvigorate their career. He pays stunt shooter Andre Pariseau (Mario Laval) to fake a romance with one of the twins. Vivian, the brunette, dislikes Andre and wants nothing to do with the scheme, but Dorothy, the blonde, quips that she is too old to turn down a chance at love, and agrees to serve as Andre's love interest. The ploy works, with "the girls" singing for standing room only crowds. But Dorothy actually falls in love with the scheming Andre, though he is secretly involved with his shooting-act partner, Renee (Patricia Wright). Andre proposes marriage, but the couple is unable to obtain a marriage license due to allegations that the marriage would constitute bigamy. A desperate Dorothy convinces Vivian to seek separation surgery, even at the risk of their lives, so that she can pursue her dreams of love. Doctors, however, inform the women that such surgery is impossible. But, the doctors stress, there is no physical reason that Dorothy can not marry. By consulting with a blind minister, Dorothy and Andre are able to obtain their marriage license. The wedding ceremony is performed on-stage before an audience of dignitaries including the mayor. But the next day, Andre leaves Dorothy, claiming that he could not adjust to life as the husband of a conjoined twin. Vivian knows differently, because she has seen Andre and Renee kissing passionately and her suspicions of Andre are confirmed. Vivian is outraged that her sister was mistreated.During Andre's shooting performance, Vivian seizes one of Andre's guns and shoots him dead before a horrified audience.The film returns to the judge, who can not decide how to dispose of the case. Justice for Andre requires that his murderer, Vivian, be executed. But this would cost the life of the innocent Dorothy. The film ends with a plea for the viewer to resolve the dilemma.

The twins' voices are featured in three duets, including "Every Hour of Every Day" and "Love Thief".

From Wikipedia

CHAINED FOR LIFE
HARRY L. FRASER  (1951)
CLASSIC PICTURES INC
USA
69 MIN

"She Shoulda Said No" (1949)

"She Shoulda Said 'No'!" (also known as Wild Weed; Marijuana, the Devil's Weed; The Story of Lila Leeds and Her Exposé of the Marijuana Racket; and The Devil's Weed) is a 1949 exploitation film that follows in the spirit of morality tales such as the 1936 films Reefer Madness and Marihuana. Directed by Sherman Scott and starring Lila Leeds, it was originally produced to capitalize on the arrest of Leeds and Robert Mitchum on a charge of marijuana conspiracy. The film was issued under many titles; it struggled to find a distributor until film presenter Kroger Babb picked up the rights, reissuing it as The Story of Lila Leeds and Her Exposé of the Marijuana Racket. Its relative success came only after the promotional posters were redone and a story fabricated that the film was being presented in conjunction with the United States Treasury.


Leeds' character is "Anne Lester", a young orphan who is trying to pay for her brother's college education. After meeting Markey, a drug dealer, Anne begins to believe that she must smoke marijuana to fit in with her friends. She then goes to a "tea party", where she tries the drug for the first time. She is unaffected by the initial experiment, and loses her fear of drugs as she continues to smoke. Anne's drug use results in the loss of many of her inhibitions, and the film shows her actions under the influence, including scenes implying sexual promiscuity. As the film progresses, she is fired from her job and begins selling drugs for Markey. Her brother hangs himself when he learns of her new job, and she is arrested and given a tour of the various psychiatric wards and jails that drug users end up in. Finally, after 50 days in jail, she is released, cleaned up and ready to cooperate with the authorities regarding Markey.

The film itself is semi-biographical, its story following what Leeds herself experienced. The film was inspired by the highly-publicized arrest of movie stars Robert Mitchum and Leeds for marijuana possession. On September 1, 1948, the actors, along with two others, were arrested after being caught smoking marijuana at the home of Leeds in the early morning, and were charged with the felony of narcotics possession. Public empathy for Mitchum resulted in the charge being downgraded to the lesser one of conspiracy to possess marijuana, and his sentence of sixty days in jail was set aside in 1951. Leeds, however, was sentenced to sixty days in prison and placed on probation for five years. Upon her release, Leeds struggled to find work in Hollywood, and signed on to star in Wild Weed, a film that was, according to producer Richard Kay, "based on the circumstances of the arrest of Lila Leeds and Robert Mitchum." During publicity for the film in 1949, Leeds, who had been 21 at the time of the arrest, said that appearing in the picture would keep other people her age from trying drugs, but in 1952 she confided in Collier's that she "only had one offer . . . which was an obvious attempt to capitalize on the Mitchum case notoriety. I took it. I was broke." The film gained approval from the Federal Bureau of Narcotics to use the drug references, a standard practice at the time even though the Bureau had no power to censor the films. The film used its plot to push many of the beliefs of the time: that drug-using youth would turn to crime and the theory of "marijuana as a gateway drug". The latter was a leading argument for drug prohibition during the era, and an argument that Leeds herself made, based on her own history with marijuana and heroin. She Shoulda Said 'No'! released as The Devil's Weed.Via Franklin Productions, Kay filmed the production in six days, a common occurrence given that most films of the era were shot with a quick turnaround. Eureka Productions initially distributed the film, but it struggled to find an audience until Kroger Babb's Hallmark Productions acquired the rights for distribution. Babb initially marketed the film under the title The Story of Lila Leeds and Her Exposé of the Marijuana Racket, but failed to achieve success with that title and eventually changed it to "She Shoulda Said 'No'!". He pushed the sensuality of Leeds with new promotional photographs and a new tagline: "How Bad Can a Good Girl Get...without losing her virtue or respect???", while sending letters to local communities falsely claiming that the United States Treasury Department implored Hallmark to release the film "in as many towns and cities as possible in the shortest possible length of time" as a public service. The square-up misleadingly stated that the producers wished to "publicly acknowledge the splendid cooperation of the Nation's narcotic experts and Government departments, who aided in various ways the success of this production. . . . If its presentation saves but one young girl or boy from becoming a 'dope fiend' – then its story has been well told."

Babb, who gained notoriety for his various marketing gimmicks, occasionally had Leeds make appearances and give lectures at showings of the film. Babb often booked the movie as a midnight presentation twice a week in the same town; David F. Friedman, who would later use the film in his own double-billings, attributed the distribution plan to a film that was so low in quality that Babb wanted to cash in and move to his next stop as fast as possible According to Friedman, Babb's presentations of the film made more money than any other film the same theater would showcase over a typical film's full booking. While actual dollar figures are not available because of the nature of the genre (which was known for poor record keeping and unconventional distribution practices), the general financial success of "She Shoulda Said 'No'!" prompted producers, in 1951, to import a similar film from Argentina titled The Marihuana Story. That film, about a doctor who goes undercover into the world of drug addicts to learn about his wife's death only to become addicted to marijuana himself, was not as successful as other exploitation-style efforts as the public was more concerned about drug use by younger people.


"She Shoulda Said 'No'!" was not well-received critically upon its initial release, with The New York Times saying "[n]ever did vice seem so devoid of enchantment." Production and distribution of drug films slowed considerably following the film's run until Frank Sinatra's The Man with the Golden Arm forced changes to the Production Code, which was a studio-based system which regulated various aspects of objectionable content in films. The film achieved some attention due to its B movie status over the years,being featured in a number of film compilations while continuing to focus on the salacious material as a selling point. In 1993, a VHS version was released as part of "David Friedman's Roadshow Rarities", the twenty-ninth volume in the Something Weird video series. In 2006, Alpha Video Distributors produced the first stand-alone DVD release of the film, which continued to include exploitation-style advertising.

From Wikipedia

"SHE SHOULDA SAID NO"

SHEMAN SCOTT  (1949)

HYGIENIC PRODUCTIONS

70 MIN

USA

The Violent Years (1956)

The Violent Years is a 1956 American exploitation film starring Jean Moorhead as Paula Parkins, the leader of a gang of juvenile delinquent high school girls. The film is notable for the input of Ed Wood, Jr. as author of its screenplay.


Paula Parkins, the spoiled daughter of a well-to-do newspaper editor, gets her kicks by organizing and directing a gang of bored young women like herself. The gang dresses in men's attire, robs gas stations, and terrorizes habitués of a local lovers' lane—even raping a young gentleman (off camera) after tying up his girlfriend. As a newspaperman, Paula's father has some inside information on police plans to capture the gang, so the girls are able to avoid capture with Mr. Parkins' unwitting complicity. After a make-out party with a few local gangsters, Paula and her pals agree to wreck a few classrooms — and destroy the American flag — in a public school at the behest of a female crime boss (it is implied that this is part of an anti-American Communist plot). The girls perform the job with gleeful competence until the police arrive and a deadly shootout takes place. Paula is captured and dies in the hospital giving birth to the child she conceived during the rape.


The cynical tag line "So what?" is used repeatedly by the girls to underscore their uncaring, nihilistic attitude.



THE VIOLENT YEARS
WILLIAM MORGAN  (1956)
HEADLINER PRODUCTIONS
65 MIN
USA

The Curious Dr. Humpp : Trailer : (1967)

The Curious Dr Humpp is a 1967 exploitaton direct by Emilio Vieyra

For all you aficionados of cult, horror and sleaze, Emilio Vieyra's The Curious Dr. Humpp is a must-view in just about every respect. Don't let the black and white photography lead you to think this is a sedate little old time-killer. This one has wall-to-wall visual thrills of the subtle and not-so-subtle kind, and colour would have somehow dampened its charms. Originating as La Venganza del sexo in Argentina, it was picked up by American distributors, dubbed and more sex scenes inserted to become the more marketable Humpp. So having never seen sexo in it's original form, I'll be reviewing only the Humpp version of this film. Was it worth the sheckels? Are you curious?

People all over town - I guess, an Argentinan town - are being kidnapped while in the throes of being amorous by a strange, silent man-monster. That's him pictured above playing the lute. Portrayed by an actor in a fixed mask with painted-on eyes, this guy is completely memorable despite the lack of expression. Lesbians, orgiastic hippies and even good old-fashioned heterosexual couples end up in his clutches, spirited off in a station wagon to the isolated mansion of Doctor Humpp (Aldo Barbero) and his female assistant, the blonde Enfermera (Susana Beltrán), where they are injected with 'aphrodisiac compounds' to make them super-sexual. Cue the sex inserts, but they aren't too intrusive and the actors are all right to look at, at least. Beautiful jaz-club stripper Rachel (Gloria Prat) is also kidnapped by the monster, at least after giving us a dance wherein the saxaphone player from the band is shown to be heartbroken at her unattainable naked gorgeousness.

We gradually get some sort of handle on what Humpp is up to. By experimenting on these people, Humpp is keeping himself alive by extracting a serum from their post-orgasmic bodies. We see him drinking a formula that stops a strange creeping mutation on his hand. Humpp also claims to be creating a better future for a type of super-sexual, super human that only he can create. Enfermera is against the experimentation on hapless, captive humans but devoted to Humpp, so goes along with it all, reluctantly. She begs Humpp to use her alone for his sexual experiments and not the others. Humpp heartlessly says he will, but in his own time.

In town, reporter George (Ricardo Bauleo) is adamant there's a link between these kidnappings and ones he covered in Italy years ago - where beautiful young people were turned into monsters by a crazed scientist experimenting with sex. He tries to convince the police, to little avail. The monster has been sent by Hummp for more compounds to druggists, but when one sees his visage from the newspapers, he panics and calls George. He's killed by the monster for his troubles. When setting up a stakeout with another pharmacist who eventually receives a drug-obtaining visit by the monster, George ends up following the station wagon to Humpp's lair. He encounters the other soulless automatons that Humpp has created, - sort of less severe versions of the main monster - and is taken into captivity along with Rachel. George falls in love with her, but the monster loves Rachel also. Playing a lute while Humpp's victims wander the grounds somnambulistically, Rachel comes to meet him, in a kind of trance, while the lesbian lovers fondle each other. Quite a scene, folks, you won't forget it in a hurry. Later Humpp forces George and Rachel's libidos electronically, forcing them to have mental sex as sexual images ebb and flow in the air before us. Humpp proclaims at last ... "Sex dominates the world - now I dominate sex!!"

Later George gets Rachel to drug Enfermera with ether, and when she wakes up later, dazedly thinking George is Humpp, they make love. Enfermera then decides to help the captives and takes a rescue note to the bartender where Rachel stripped. The monster follows her and kills the bartender, taking the betrayer back to the furious Humpp. We realize Humpp is under the tuteledge of a headless brain in a bubbling jar, the Italian scientist of years ago who, is still alive in a disembodied state. Humpp gives Enfermera the 'automaton serum' in front of the horrified George and Rachel, and forces them to begin having drugged-up sex. Suddenly George produces a hidden gun, and wards Humpp off. In the confusion the monster strangles Enfermera and attacks Humpp for trying to harm his lady love. George is knocked out and the creature bears Rachel away. The police, alerted to Humpp's lair, turn up and begin blasting Hummp's robot-like guards. Will they be in time to stop Humpp and his monster? What part will the disembodied brain play in the proceedings, and what is its connection with the curious Doctor Humpp?

Don't hesitate on this one, dear friends. Our poor dessicated monster has not one moving part on his face but he's a cutie, and his attempts at pathos with Rachel will stay with you. Aldo Barbero as Humpp is perfectly fine playing arrogant, desperate and angry in equal measure. His dubbed lines are entertaining enough, though - who knows what the original lines were? Gloria Prat as Rachel is great to look at, and does an alluring, wiggling strip in the smok-filled jazz club. Jesus Franco would have been proud. Ricardo Bauleo as George plays spirited and determined quite well, but again, sometimes it's hard to tell if the performance is in the dubbing or the physical presence of the actor. The sexual content in the Americanized version is pretty high but even in the softer original version, would have been quite titillating. To cap it all off, the gorgeous chiaroscuro photography is quite beautiful in places, sometimes at odds with the tawdry goings-ons at Humpp's mansion. There's a lyricism going on here that even the harder sex inserts can't fully dissipate.

I fully recommend this one at some stage of your cult cinema viewing career - it's a lot of fun on so many levels, and there don't seem to be that many Argentinian films available today for lovers of offbeat cinema - even if they have been 'doctored' by the American distributors. Come on ... get curious!


THE CURIOUS DR. HUMPP : TRAILER
EMILIO VIEYRA  (1967)
2 MIN
ARGENTINA

Another Day Another Man : Trailer (1966)

Exploitation filmmaker Doris Wishman directed this peculiar black-and-white roughie about the travails of a blushing bride named Meg (Gigi Darlene). After her husband leaves her, she is forced to kill her building's janitor-rapist in self-defense. The panicked Meg flees to New York under an assumed name and picks up a drunken lout who beats her with a belt, then she moves in with a lesbian. As the dragnet tightens, Meg moves to an apartment and is attacked by the landlady's husband and finally ends up working for an elderly woman whose son is the detective assigned to the janitor's murder. Wishman's bizarre film is almost surreal in style, with the requisite circular ending and aimless photography popular in art-house features of the time. Virtually impossible to see for many years, Bad Girls Go to Hell has gained a cult following on videotape for its campy, melodramatic elements and even received some theatrical playdates in the late 1990s. ~ Robert Firsching, All Movie Guide

ANOTHER DAY, ANOTHER MAN is much more dialogue-driven than other roughies Doris Wishman appeared to make around this time. And really, all you have to do is watch the trailer to check out all the sex and violence because there isn't a whole lot that was left out. And as with other early Doris Wishman films, this is another one that was shot without recorded sound so the dubbing afterwards tends to make the movie more funny than what was originally intended. One personally amusing moment for me was in the middle of the movie when Burt suddenly has a dream/flashback and tells the viewers of when and where he first grabbed a certain batch of his call girls. Burt's dubbed voice is hilariously reminiscent of those narrators that you might've heard on Tex Avery's MGM cartoons. Hell, I'd recommend this movie just for that scene alone.

ANOTHER DAY ANOTHER MAN : TRAILER
DORIS WISHMAN
JURL PRODUCTIONS
2:41
USA

Girl in Trouble : Trailer (1963)

Girl in Trouble is a exploitation film from 1962 written and directed by Brandon Chase

TAMMY CLARK is a Girl in Trouble, a Farmer's Daughter from the sticks who runs off to the Big City in search of "glamour, bright lights, pretty clothes, and excitement" but, instead, becomes a maybe-murderess-lingerie-model-turned-stripper named "Jane Smith" in this fun, shot-in-New-Orleans melodrama-with-titty that's sleazy, nasty, and often downright hilarious!


Miss Clark plays Judy Collins, an All-American Girl-Next-Door in love with Johnny, her high-school sweetheart. But despite Johnny being "everything a girl could ask for," she secretly wants "a taste of life" and, figuring Johnny can wait, runs away from home and "takes her first steps toward destruction!" (Said steps are accompanied by wonderfully overwrought, overwritten narration that makes her "destruction" that much more comical.) Hitching a ride from A Stranger, she awakes from a nap with the guy trying to attack her. They fall out of the car and struggle on the ground until she bonks him on the head with a rock: "I didn't know if he was dead or not! I was past thinking!" Stealing his car, she hightails it into New Orleans, checks into a gloriously crappy flea-bag hotel, and tries to wash the blood off her brassiere — "Would I ever feel clean again?" — only to be spied upon by the creepy old codger that runs the place!

Quickly renting a room in a once-fancy mansion ("Real Charles Adams, ain't it?"), she makes friends with a haggard old hooker who gets her a gig modeling lingerie until — yup! — she gets attacked again! Not understanding the dynamics of cause and effect, our heroine next gets a job as a stripper (with a towering hairdo!) at The Club Flamingo until — oops! — who should enter the dressing room but Johnny.... Since the birth of motion pictures, no plot has been as consistently popular, no story has been so used, reused, and abused, as that of the good girl who falls into the perils of vice and corruption. Be it the innocent girl who's sent to jail, or the sweet young virgin forced to walk the streets, cinema loves girls in trouble! And, truth be told, so do we all, providing, of course, that the girl is really really good and the fall is really really bad. And Girl in Trouble — with its gritty location photography and bonus points for brief (but surprising for 1963) nudity — is yet another excellent exploitation version of the classic tale, made even more entertaining with a character who's as incredibly stupid as she is good, proving once again that stupid good girls getting into trouble is even more perverse fun than ordinary good girls getting into trouble, since it all but forces the viewer to shout at the screen such words of encouragement as, "You idiot," "What the hell is wrong with you," and "Wotta jerk!"

Writer-producer-director "Lee Beale" is actually BRANDON CHASE, a New-Orleans based producer whose credits include Barry Mahon's The Dead One (1961), four for the Morgue (1962), and Alligator (1980). He also ran Group 1 Film Distributors which fed grindhouses such Seventies sleaze as Crash!, Room of Chains, and Jailbait Babysitter. Digitally remastered from the original 35mm negative. — Handsome Harry Archer


GIRL IN TROUBLE (TRAILER)
BRANDON CHASE  (1963)
VANGUARD PRODUCTIONS
2:31
USA

The Wild and the Wicked (1956)

The Flesh Merchant (also released under the title The Wild and the Wicked) is a 1956 exploitation flick that tries desperately hard to be lurid and shocking, but without going so far as to be actually lurid and shocking. It wants to be bad, but it doesn’t quite make it. The ingredients are certainly there. A young woman from a small town arrives in the big city, looking for excitement. She looks up her big sister, who’s been in the city for a while. Big sister advises her to get straight back on the bus, or she’ll end up like her. Big sister lives a nightmare existence of luxury apartments, fancy clothes and lots of money, but she’d gladly give all that up to go back to her home town and marry a decent guy and raise children. Well, she doesn’t actually plan on doing that, but she would if only wicked men would stop providing her with luxury apartments, fancy clothes and lots of money. Little sister promises to go back home, but she doesn’t. She gets a job, modelling for “art classes” - and of course, as we all know, that’s the first step on the road to degradation and ruin. Pretty soon she’s mixed up in a white slavery racket, and (shameless hussy that she is) she’s accepting expensive gifts from the rich men who hang out at The Colony. All sorts of debaucheries are practised at The Colony. Dancing. Mixed bathing (with the women wearing nothing but bathing costumes). And “photography” - real hardcore stuff, with the girls wearing nothing but bathing costumes. Things get complicated when it turns out both sisters are working for the same white slavery ring! Can big sister do something in time, to save her kid sister from certain ruin? The first half of the movie is quite entertaining, in a very campy sort of way, although it loses steam a little in the second half. But since it only runs for about an hour it doesn’t really have the chance to wear out its welcome. The obligatory moralising speeches are even more clumsy than usual, but that adds to the fun in this type of movie. The acting is cringe-inducing, and the dialogue is of the same standard, Citizen Kane it ain’t, but if you find this type of thing amusing (and I do) you’ll get a giggle or two out of it. from Cult Movie Reviews


THE WILD AND THE WICKED
W. MERLE CONNELL  (1956)
SONNEY AMUSEMENT ENTERPRISES
58:34
USA

Teenage Mother : Trailer (1967)

Teenage Mother (a.k.a The Hygiene Story) is a 1967 American exploitation film directed by Jerry Gross and starring Arlene Sue Farber. The film is about teenage pregnancy and hygiene. It was billed as "The film that dares to explain what most parents can't." The film also features a graphic actualization of birth.

TEENAGE MOTHER:

She's a motor-cycle momma! Drugs, hormones and a hot new teacher send local high-school rabble-rousers over the edge in 'Teenage Mother'. See the film that shocked parents across the country, and probably bored the pants off their kids... A campy cautionary tale that's more joke than anything else, but typical for that mid-60's time frame when censors gave one last shot at saving our young'ins from going to hell in a Harley-Davidson heartbeat.

A bad film made watchable by its high level of cheeky camp and melodramatic overacting.

TEENAGE MOTHER : TRAILER
JERRY GROSS
5:09
USA