Doris Wishman Films of the 1960s and Later:

Prolific adult-oriented, self-taught, pioneering filmmaker Doris Wishman, known as the "Queen of Sexploitation Films," was responsible for many varieties of titillating underground films ("nudies", "roughies", and "skin flicks"). In some cases (among the approximately 30 films that she wrote, produced, cast, directed and edited), she had to take pseudonyms as male directors (Louis Silverman and Kenyon Wintel).

Wishman's films are now regarded as kitsch, drive-in quality pieces of vulgarity and guilty pleasure - paving the way for the films of Roger Corman, Russ Meyers and John Waters.

Her films over 40 plus years included first, a number of nudist camp films (a total of eight) in the 1960s. She took advantage of the fact that recent court rulings had removed them from censorship. One of her nudist films, Blaze Starr Goes Nudist (1962), was the only feature film starring the burlesque queen (as Herself). She stretched the law with a nudist camp film set on the moon, Nude on the Moon (1961), causing it to be banned in New York.

Next came a series of grainy, B/W sexual melodramas or sexploitation films, sometimes called "roughies," in which violence and the gratuitous nudity of tragic heroines was depicted, but without explicit sex. Examples in the mid-1960s included Bad Girls Go to Hell (1965) and A Taste of Flesh (1967). She also attempted a comedy with Keyholes Are For Peeping (1972).

When more explicit sex was demanded in the 1970s, she directed a few soft-core features, although reportedly wasn't present on the set when some of the more revealing sex scenes were shot. Then, she hit it 'big' with two films (with little sex and nudity actually) starring Chesty Morgan, named for her large physical endowments (73-32-36).

After a 17 year hiatus, she made a comeback film - Satan Was a Lady (2001), a remake of her own film from 1975 starring Annie Sprinkle. This latest lurid pulp melodrama told about a red-haired, curvy dominatrix-stripper named Cleo Irane (Honey Lauren) who was obsessed with a fur coat.

Doris Wishman Films: Naturist (Nudist Camp) - "Nudie Cuties"
Hideout in the Sun (1960)	Nude on the Moon (1961)	Diary of a Nudist (1961)	Blaze Starr Goes Nudist (1962)
Gentlemen Prefer Nature Girls (1963)	Playgirls International (1963) (aka Playgirls of Nature) (lost film)	Behind the Nudist Curtain (1964) (lost film)	The Prince and the Nature Girl (1965) (only available in German)
Doris Wishman Films: "Roughies" or Sexploitation Melodramas (1960s)
The Sex Perils of Paulette (1965)	Bad Girls Go To Hell (1965)	Another Day, Another Man (1966)	My Brothers Wife (1966)
A Taste of Flesh (1967)	Indecent Desires (1968)	Too Much Too Often! (1968)	Love Toy (1968)
Doris Wishman Films: Soft-Core Films (mid-1970s)
Satan Was a Lady (1975)	The Immoral Three (1975)		Come With Me My Love (1976)
Doris Wishman Films: Two Very Unusual and Sensationalist Features
	The Amazing Transplant (1970)	Let Me Die a Woman (1977)
Doris Wishman Films: Two 1974 films featuring Polish stripper Chesty Morgan (see detail below) Wishman's Comeback Film Remake: Satan Was a Lady (2001)
Deadly Weapons (1974)	Double Agent 73 (1974)	Satan Was A Lady (2001)

Deadly Weapons (1974)

Doris Wishman's notorious and off-beat sexploitation film was advertised as featuring Polish burlesque stripper and star Chesty Morgan's (real name Lillian Wilczkowsky) 73-inch enormous and grotesque bustline (her measurements: 73-32-36), with the tagline: "See the mob get busted when Chesty takes her revenge."

Chesty starred as Crystal (billed as Zsa Zsa), who performed an unsexy and lethargic striptease in a Las Vegas club to lure a cold-blooded hitman (one eyed 'Hook' Larry played by Gaylord St. James) to her room where she drugged and then smothered him with her mammoth 'deadly weapons' on the sofa -- it was the first of two such murders (to the sound of ten-pins falling).

In another Chesty film titled Double Agent 73 (1974) (with the tagline: "Watch out for the booby traps...They're explosive"), Jane Genet (Chesty) used a spy camera implanted in her left breast to photograph enemy agents.