History of Sex in Cinema:
Feature: Doris Wishman Films
of the 1960s and Later
|Movie Title/Year and Film/Scene Description|
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. She made 26 features between 1960 and 1977 - her first film was Hideout in the Sun (1960).
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.
The first five nudist films were: Hideout in the Sun (1960), Nude on the Moon (1961), Diary of a Nudist (1961), Blaze Starr Goes Nudist (1962), and Gentlemen Prefer Nature Girls (1963). Wishman stretched the law with one of the nudist camp films set on the moon, Nude on the Moon (1961), causing it to be banned in New York. Its tagline was: And the Heavens Brought Forth the Wonder of Woman.
Another of her nudist films, Blaze Starr Goes Nudist (1962) (aka Back to Nature), was the only feature film starring the busty redheaded burlesque queen (as Herself/Belle Fleming). It was advertised as exhibiting "nature's carefree daughters in all their natural beauty."
Three of Wishman's films from 1963 to 1965 were unavailable for viewing: Playgirls International (1963) (aka Playgirls of Nature) (lost film), Behind the Nudist Curtain (1964) (lost film), and The Prince and the Nature Girl (1965) (only available in German).
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 bought two films from a struggling film company while vacationing in Greece, The Hot Month of August (1966/69) and Passion Fever (1969), and she dubbed both films into English (with no regard for the original scripts which were lost) and added soft-core scenes (mostly nudity with obscured faces). And she attempted a comedy in the early 1970s, 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): Deadly Weapons (1974) and Double Agent 73 (1974).
Her 27th feature, a gory horror film titled A Night to Dismember (1983), was released in 1983. After a 17 year hiatus (from 1983 to 2000), 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.
Wishman's last two films were: Dildo Heaven (2002) (aka Desperate Desires) and Each Time I Kill (2007) released after her death in 2002.
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.
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