All language subtitles for MV5BMWY2YWQzOTUtZTIzMS

>> WHEN I HEAR THE TERM

IS HOLLYWOOD BOULEVARD IN THE

42nd STREET NEW YORK IN THE

>> 42nd STREET, IN ITS HEYDAY,

DOZEN CINEMAS ALL CONTAINED

WHEN YOU'D GO INTO THESE

EVER-PRESENT FEELING OF DANGER.

REMEMBER, ONE NIGHT, AND SO,

PANDEMONIUM, AND I'M STILL

I WANT TO SEE THE MOVIE.

I'M -- EVERYBODY'S, YOU KNOW...

THE POLICE CAME IN.

LIGHTS.

WHERE IT'S REPORTED THAT A MAN

A DOUBLE-FEATURE HORROR

>> IF YOU EVER SAW THE MOVIE

HAD THE BEST DEPICTION OF

FILM BECAUSE THAT REALLY WAS

EITHER PEOPLE WATCHING MOVIES OR

THEATER.

IT'S LIKE -- DID YOU EVER SEE

"PINOCCHIO"?

DISNEY'S "PINOCCHIO" WHERE

GOES OFF TO THIS ISLAND --

THIS GUY WITH A DERBY AND A

HE'S AT A PODIUM, AND HE'S

GO INSIDE, BOYS, IT'S THE

AND THAT'S WHAT I LIKE ABOUT

IT'S SHEER HUCKSTERISM.

THAT NEVER CLOSES.

EXPLOITATION THE SAME?

>> SOME THEATERS WOULD SHOW ALL

WEREN'T SHOWING QUESTIONABLE,

THEY WERE SHOWING REGULAR FILMS.

PROBABLY ONLY ABOUT 100 THEATERS

WOULD HAVE QUALIFIED AS

AND SO, I THINK IT'S IN THE

REALLY BEGIN TO SEE THAT

URBAN THEATERS, A.K.A.

>> EXPLOITATION BASICALLY MEANS

EXPLOIT.

SEX OR VIOLENCE OR A MONSTER OR

A LOT OF EXPLOITATION IS JUST

IT'S SOMETHING TO TAKE ADVANTAGE

IT'S A HOOK TO GET THEM INTO THE

MANAGEMENT OF THIS THEATER.

UNFORGETTABLE JOURNEY DOWN DEEP

>> WHY WAS THIS GIRL CHOSEN TO

>> THIS MOTION PICTURE IS A

YOUNG GENERATION.

OF YOUR LIFE, BABY.

WILL BE SHOWN ON THIS SCREEN.

HOUSEWIVES.

AND PORNOGRAPHIC REALISM.

AWAY FROM PROSTITUTES AND

THEY'RE NOT SAFE.

>> THAT'S A GOOD SHOT.

AND I'LL DO AS I PLEASE!

ABOUT TO SEE ARE NOT SUGGESTED

>> SOON AT THIS THEATER, THEY'LL

>> HERE'S YOUR CHANCE TO SEE ALL

>> ASK NOT WHAT YOUR COUNTRY CAN

>> AND REMEMBER -- GET MORE OUT

>> AND REMEMBER -- GET MORE OUT
GO OUT TO A MOVIE.

GO OUT TO A MOVIE.

EXPLOITATION IS AS OLD AS THE

THOMAS EDISON'S COMPANY WAS

THE 20th CENTURY, SO THERE'S

OF EXPLOITATION IN THE FILM

DAYS.

AS SOON AS THE MOVIE CAMERA WAS

LIKE FIVE SECONDS LATER.

'CAUSE SOMEBODY SAID TO HIS

TAKING OFF YOUR CLOTHES FOR THE

THAT IS THE STORY OF

IT'S LIKE, NOW THAT WE HAVE A

OF ALL OF THIS, WHAT IS IT THAT

AND, BY AND LARGE, WHAT THEY

WAS TABOO.

THE DAWN OF THE MOTION PICTURE

MANY OF THOMAS EDISON'S FILMS

CENTURY WERE WIDELY CONSIDERED

PRURIENT IN CONTENT.

WAY FOR THE EXPLOITATION FILM BY

TASTES.

GENIUS.

GENIUS.
GIVING PEOPLE WHAT THEY WANTED.

GIVING PEOPLE WHAT THEY WANTED.

SENSATIONALISM OF P.T. BARNUM

MOVING PICTURE CAMERA, THE FIRST

WAS RELEASED ON NOVEMBER 24,

>> "TRAFFIC IN SOULS," IN A LOT

A PROTOTYPE FOR EXPLOITATION

DURING THE TIME AROUND 1910,

TREMENDOUS SCARES IN THE

ABOUT THE SO-CALLED

PROSTITUTION, FORCED

THESE TRACKS USUALLY

THAT, YOU KNOW, THIS TRAFFIC

CAPTURED THE POPULAR

AND EVENTUALLY,

WHO WAS WORKING AT UNIVERSAL,

"TRAFFIC IN SOULS," WHICH TRADED

THE WHITE SLAVE SCARE.

WAS MADE FOR $57,000.

STAGGERING $450,000 DURING ITS

UNIVERSAL PICTURES FIRMLY ON THE

IN THE BLOSSOMING MOVIE

>> THE FILM WAS ONE OF THE FIRST

UNITED STATES.

IN ITS ADVERTISING -- HUNDREDS

THOUSANDS, AND SO ON, PLUS THIS

OF WHICH IT REALLY DELIVERED ON

OF WHICH IT REALLY DELIVERED ON
EXPLOITATION FASHION.

EXPLOITATION FASHION.

MOVIES FLOURISHED IN HOLLYWOOD

SILENT FILMS TO TALKIES.

MOTION-PICTURE INDUSTRY WAS

MORAL DEPRAVITY.

MANY OF THESE FILMS RAISED

>> PRE-CODE HOLLYWOOD IN THE

IT'S KIND OF LIKE DISCOVERING

YOU'VE SEEN THINGS -- YOU CAN'T

THERE WERE ALWAYS WOMAN

OFF, YOU KNOW.

TO ME, THEY'RE NOT REALLY LIKE

I MEAN, TO ME, THEY'RE SORT OF

WHAT WAS GOING ON IN AMERICAN

SCREWED UP.

ON CAMERA.

THEY WANT TO SEE VIOLENCE.

>> YOU KNOW, I THINK IT'S

THE LATE TEENS, THE EARLY

AROUND 20, 25 YEARS.

THEY WERE VERY SUSCEPTIBLE TO

IN 1920, HOLLYWOOD BEGINS TO GO

SO BY 1922, THERE'S TREMENDOUS

UP ITS ACT, THAT PEOPLE ARE

AND GOMORRAH ON THE WEST COAST.

GET TOGETHER, AND THEY DECIDE

WILL HAYS.

GENERAL.

STALWART.

PRESBYTERIAN CHURCH.

OUT HERE, COME TO WORK FOR US,

WHOM IS DUE CREDIT FOR THIS, THE

AND MOTION PICTURES, I OFFER MY

APPRECIATIONS.

JOB IN THE HISTORY OF

$100,000 A YEAR OR SOMETHING

>> SERVICE IS THE SUPREME

>> Narrator: IT CAN BE ARGUED

PRODUCTION CODE WAS ESTABLISHED,

INDUSTRY WAS BORN.

EXPLOITATION FILMS, MUCH LIKE

AND SO, YOU REALLY HAD TO GO OUT

PICTURES.

THESE SORT OF CARNIE SHYSTERS.

PRODUCTION CODE WOULD BE

MAJOR HOLLYWOOD FILM WOULD TEST

TASTES AND WOULD, IRONICALLY,

FILMS EVER RELEASED ON THE

>> METRO-GOLDWYN-MAYOR, AFTER

THEY SAID, "WE HAVE TO MAKE A

YOU KNOW, WE'RE METRO.

SO, THEREFORE, WE WILL MAKE THE

AND THEY HIRED TOD BROWNING, WHO

"FREAKS."

IT'S WELL-PRODUCED.

THEY GOT MORE THAN THEY

>> Narrator: "FREAKS" MAY BE THE

FILM EVER RELEASED DURING THE

BROWNING'S CHOICE TO CAST

AN OUTRAGE, RESULTING IN A

$160,000 IN TICKET SALES.

CONSIDERED TO BE THE DIRECTOR'S

"FREAKS" EFFECTIVELY PUT AN END

CAREER.

SO-CALLED "PRE-CODE PERIOD,"

REALLY BEING ENFORCED.

IT, YOU KNOW, PUTS IT ON THE

BUT SOME YEARS LATER,

DWAIN ESPER GOT THE RIGHTS TO

LIFE IN THE 1940s AND INTO THE

LIFE IN THE 1940s AND INTO THE
EXPLOITATION CIRCUIT.

EXPLOITATION CIRCUIT.

"FREAKS" FROM MGM, DIRECTOR

"FREAKS" FROM MGM, DIRECTOR
GRINDHOUSE FILM "MANIAC."

GRINDHOUSE FILM "MANIAC."

EDGAR ALLAN POE'S

VARIOUS CUES FROM UNIVERSAL

"MANIAC" WAS WRITTEN BY ESPER'S

DURING THE SUMMER OF 1934.

EXPLOITATION, "MANIAC"

EXPLOITATION FILMS, WHICH

GREAT DEPRESSION.

THEY WEREN'T SHOWING IN

THEY EXISTED COMPLETELY OUTSIDE

>> Narrator: WITH ITS EMPHASIS

ALSO ESTABLISHED A BLUEPRINT FOR

WHICH PRODUCTION QUALITY

THE REQUISITE DOSES OF GRAPHIC

>> DWAIN ESPER WAS INTERESTING

WERE REALLY AMAZINGLY AWFUL.

AUDIENCES.

DWAIN ESPER AND OTHERS LIKE HIM

INDEPENDENT FILMMAKERS AND

COUNTRY IN THE 1930s AND PEDDLED

THRILL-SEEKING AUDIENCES.

THIEVES," THESE CARNIE ROAD SHOW

BUSINESS ETHICS AND STOPPED AT

>> GRINDHOUSE MOVIES AND

DOMAIN OF KIND OF FLY-BY-NIGHT

GAVE THE PUBLIC WHAT THEY REALLY

THESE MARGINAL LITTLE CRACKS IN

THEY'D FIND A PLACE TO SHOW THIS

A TENT OR FIND A THEATER THAT

SYSTEM WHERE THEY COULD JUST

>> ONE OF THE KEY THINGS ABOUT

TIME WAS THAT THEY WERE

ADULTS ONLY.

EVERYBODY, BUT THESE MOVIES, BY

PEOPLE THIS IS SOMETHING

THIS IS SOMETHING OUT OF THE

THIS IS SOMETHING I'M NOT GONNA

MGM FILM OR THAT

THERE'S GONNA BE SOMETHING, YOU

THIS MOVIE.

EXPLOITATION FILMS RELEASED BY

EXPLOITATION FILMS RELEASED BY
SENSATIONALISM OF TRUE CRIME.

SENSATIONALISM OF TRUE CRIME.

SHERIFF LOUIS SONNEY.

PUBLICITY FOR HIS APPREHENSION

1921, SONNEY WAS CONVINCED TO

FOR HIS FIRST FILM,

>> WELL, GOODBYE, ROY.

>> SONNEY WAS THE SHERIFF OF

ACTUALLY TRACKED HIM DOWN AND

HOTEL UP THERE.

BEGIN TO THANK YOU FOR WHAT

>> THEY INITIALLY STARTED WITH

ROY GARDNER WOULD APPEAR

THIS ESTABLISHED THIS WONDERFUL

IT'S OKAY TO TALK ABOUT ALL THIS

KNOW?

LONG AS IN THE END, EVERYBODY

SO, AS LONG AS AT THE END,

IS TESTIFYING TO, YOU KNOW,

IT'S ALL OKAY.

>> BUT IN THE MEANTIME, YOU CAN

OFF-LIMITS.

THINGS OPERATED, AND

ORIGINALLY DID THAT.

EXPLOITATION FILMMAKERS GOT

THEY WERE DOING.

OFFERING LESSONS IN MORALITY."

LEARN SOMETHING ABOUT EITHER

WHATEVER THE CASE HAPPENED TO

>> IT HAPPENS TO THE RICH.

TO YOUR OWN SON OR DAUGHTER.

TIMES THE PARENTS ARE AT FAULT,

INNOCENT THROUGH IGNORANCE.

TOO MANY LEARN THE HARD WAY.

NEXT VICTIM OF UNWED MOTHERHOOD

BRING THEM TO SEE THE TRUTHS AND

IT'S TOO LATE!

AND MAYBE EVEN TODAY, A LOT OF

AND MAYBE EVEN TODAY, A LOT OF
WHEN THEIR WIVES GAVE BIRTH.

WHEN THEIR WIVES GAVE BIRTH.

STAND DOWN AT THE BUSINESS END.

KNOW, PACE IN THE WAITING ROOM,

SOMEBODY TO COME TELL THEM WHAT

AND YOU'RE RIGHT.

PEOPLE -- EVEN PEOPLE WHO HAD

BEAUTIFUL OR THE MOST DANGEROUS

GIGGLED ABOUT OR FOULED WITH

CHILDBIRTH IS A SACRED THING.

SEVILLE" PLAYS ]

THIS SORT OF CLASSICAL ERA WERE

ON THE ONE HAND.

SELLING EDUCATION.

KIND OF GOT AWAY WITH IT.

PUBLIC ENEMY -- GONORRHEA, AN

VULGAR ALIASES, SUCH AS "THE

"THE STRAIN," OR "THE RUNNING

>> THIS WAS INFORMATION THAT WAS

PEOPLE, AND THESE MOVIES WERE

LEAST TO SOME EXTENT.

HYGIENE FILMS, OFTEN THE

WOMEN WHO HAD NO OTHER WAY OF

INFORMATION.

YOU HAD ALMOST A PROTECTIVE

YOU KNOW, DAVE FRIEDMAN USED

CALLED THEM "SKY GRIFTERS"

AND IT WAS ALMOST JUST LIKE A

THE GUY WAS USING GOD TO FLEECE

HE HAD A PERFECT COVER.

BABY MOVIES AND STUFF WAS.

PEOPLE WHO MIGHT BE...A LITTLE

RESPECTABLE AND STILL SHOW YOU

APPROACHED IT IN A DIFFERENT

PROBABLY BEEN RUN OUT OF TOWN ON

>> Narrator: PERHAPS THE MOST

BABY" FILMS WAS 1945's

PRODUCED AND DISTRIBUTED BY

DIRECTED BY

JUST SIX DAYS AND ON A BUDGET OF

IT WOULD GO ON TO BECOME THE

THE DECADE.

NAMED ELLIOT FORBES, THE EMINENT

ELLIOT FORBES, WHO TRAVELED

NOW, OF COURSE, THAT MEANT THAT

IN THE UNITED STATES

ANY ONE TIME.

YOU'LL BE GLAD YOU DID.

ADULT COMPANY.

>> Narrator: WHILE FILMS LIKE

APPEAR ON THE GRINDHOUSE

BEING ADDRESSED IN THE STUDIO

THE PRODUCTION CODE FORCED

SEXUALITY AND VIOLENCE IN A MORE

THE RESULT WAS A STYLE OF MOTION

NOIR.

LOYALTY WITH MONEY AND NOTHING

>> WHAT ELSE IS THERE I CAN BUY

THERE'S ANY KIND OF CONNECTION

FILM NOIR, AND IN REALITY, THERE

>> WHAT'S THE MATTER?

>> BOTH OF THESE TYPES OF FILMS

[ GUNSHOTS ]

THAT IN FILM NOIR, THE ARTISTS

CREATIVE WAYS TO EXPRESS ALL

CONSTRAINTS OF THE PRODUCTION

THE GRINDHOUSE GUYS JUST SHOWED

>> Narrator: GRINDHOUSE THEATERS

DISTRICTS AND SKID-ROW SECTIONS

CENTURY, AN IMAGE THAT WAS

1941.

REPRESENTATION OF A GRINDHOUSE

REPRESENTATION OF A GRINDHOUSE
IS IN "I WAKE UP SCREAMING."

IS IN "I WAKE UP SCREAMING."

WELL-MAINTAINED, AND PEOPLE

THEY'RE SLEEPING.

THE THEATER 'CAUSE THEY HAVE NO

IT'S A VERY INTERESTING

IS THAT YOU DIDN'T SEE TOO OFTEN

>> Narrator: THE DEPICTION OF A

"I WAKE UP SCREAMING" MAY HAVE

CODE WAS LOSING TOUCH WITH

AND BY THE 1950s, THE PORTRAYAL

MOVIES WOULD CHANGE ONCE AGAIN.

PROSECUTION THAT HAD BEEN

DEPARTMENT.

DECISION KNOWN AS "THE PARAMOUNT

THAT MEANT, FOR THE MAJORS, THAT

PLACE TO SHOW THEIR MOVIES.

COMPETE IN A MUCH MORE OPEN

>> AND THAT'S WHEN I THINK THE

OUR DAYS MAY BE NUMBERED HERE.

DO THESE KIND OF MOVIES, WHAT

>> THE PARAMOUNT DECISION

PRODUCTION CODE BEGINS TO FALL

TO ENFORCE IT ANYMORE.

TO FALL APART, THAT MEANS THAT

TAKE ON THESE MORE ADULT SUBJECT

>> THIS IS THE 19-YEAR-OLD BABY

SHE WOULDN'T LET HER HUSBAND

SHE WOULDN'T LET THE STRANGER

>> OH, MR. VACARRO.

FAMILIAR.

EXPLOITIERS AND THE 40 THIEVES,

OF THE TOPICS THAT THEY HAD

BECOME THE PROVINCE OF

>> AFTER WORLD WAR II, SEX

IT WAS RECOGNIZED THAT AT LEAST

ALL OF THAT WAS REALLY A BIG

AND SO, BURLESQUE BECAME A MORE

ENTERTAINMENT.

HOW PREVALENT STRIPTEASE AND

WE ARE IN SUCH A PRUDISH,

THINK PEOPLE FORGET THAT THERE'S

THERE'S ALWAYS BEEN STRIP.

AMERICAN SHOW BUSINESS.

GRIND" WAS LIFTED FROM THE

THE NATION'S RED-LIGHT DISTRICT

TRANSITION TO MOVIE HOUSES, THE

THIS CHANGE IN VENUES PAID OFF

OWNERS, BUT IT WAS ANOTHER STORY

>> AND THEN A LOT OF PRODUCERS

THE ECONOMIC BENEFITS OF FILMING

VENUES IN WHICH THEY COULD SHOW

SENDING WOMEN AROUND ON THE

THAT WAS JUST MANNA FROM HEAVEN

COULD GET LILI ST. CYR AND

POPULAR BURLESQUE ARTISTS TO DO

AND, QUITE FRANKLY, I THINK THE

BECAUSE THEY DIDN'T UNDERSTAND

THAT STILL EXISTS TO THIS DAY,

FINE.

ACT.

AND THEY DIDN'T UNDERSTAND THAT

THEIR ABILITY TO MAKE MONEY AS A

AND THEN LITTLE BY LITTLE, ONCE

IT JUST BECAME, YOU KNOW, THE

I MEAN, HOW LONG WAS THE DAM

>> KISS ME QUICK.

>> KISS ME QUICK.
SKIN CAN YOU ACTUALLY SHOW?

SKIN CAN YOU ACTUALLY SHOW?

THE TRADITION OF BURLESQUE TO

GRINDHOUSE FILMMAKERS TURNED TO

A SOURCE OF INSPIRATION.

RELAXED ATTITUDES TOWARD SEX,

FROM CONCERNED ORGANIZATIONS, AS

FILM PRODUCED BY THE CITIZENS

>> AND THEN WE COME TO NUDIST

IF THEY WERE PRINTED ONLY FOR

NEVER EXIST.

THESE CULTISTS.

THAT VERY FEW BLIND PEOPLE JOIN

>> NUDIST CAMP MOVIES HIT THEIR

WALTER BIBO'S

RELEASED IN 1954, THE FILM

OF CONTROVERSY.

APPEARS IN THE MID-1950s, IT WAS

SEEMINGLY CONSERVATIVE AND

IT DREW A LOT OF ATTENTION.

CENSORSHIP ACTIVITY.

CHALLENGE THE CENSORSHIP ISSUE

HIS CASE TO THE NEW YORK COURT

>> WHAT THAT MEANT WAS YOU COULD

THEY JUST COULDN'T BE ENGAGED IN

>> Narrator: ENCOURAGED BY

EXPLOITATION FILMMAKERS JUMPED

A PLETHORA OF NUDIST CAMP

THE LAST.

OF FILM WHERE PEOPLE JUST KIND

BALL HERE AND THERE AND THIS AND

AND AGAIN, MUCH LIKE THE BIRTH

IT AS A HEALTHY LIFESTYLE -- YOU

PEOPLE OF HIGH MORAL FIBER WHO

NAKED.

TICKET TO SEE A BUNCH OF PEOPLE

TICKET TO SEE A BUNCH OF PEOPLE
MOSTLY GIRLS, I HOPE.

MOSTLY GIRLS, I HOPE.

POLICE AND THE COURTS.

HANDS OF THE LAW.

BEEN CAUGHT, BUT HIS DELINQUENT

THE CONFLICTS OF AN UNHAPPY HOME

WHICH WAS HIS REFUGE.

TEENAGERS WERE GROWING UP IN A

TEENAGERS WERE GROWING UP IN A
ATTITUDES TOWARD SEX.

ATTITUDES TOWARD SEX.

I REALLY MEAN IT.

TEENAGER CLASHED WITH THE

GENERATION, THEIR STORIES OF

WAY TO THE SILVER SCREEN.

AROUND, IF YOU GO AS FAR BACK AS

THE 1930s.

>> WHAT'S THE MATTER?

COME ON!

COME ON!
EXPLODE UNTIL THE 1950s.

EXPLODE UNTIL THE 1950s.

WITH TEENAGERS LIVING IN THE

THEY HAD DISPOSABLE INCOMES.

ROCK 'N' ROLL CERTAINLY HAD A

>> HEY, THEY AIN'T MAD, ARE

>> NO.

NOWADAYS.

OR BOP OR SOMETHING LIKE THAT.

THAT YOU WERE NOT UNDERSTOOD BY

UNDERSTOOD BY YOUR SCHOOL.

AGAIN TONIGHT?

>> YOU WERE AN OUTCAST IN

>> JOHNNY AND 200,000 OTHER

YEAR ARE AMERICA'S NUMBER-ONE

>> IN THE POST-WAR ERA, WHEN

THINKING OF YOUNG PEOPLE

A LOT OF CRIME.

BECAME A "BLACKBOARD JUNGLE"

"BLACKBOARD JUNGLE" WAS A

IT WAS NOT MADE AS AN

PERFORMED THE SAME FUNCTION.

LEADING TO A FIGHT FOUGHT WITH

>> COME ON!

MINUTE...ROCKIN' AND ROLLIN'

>> THE TEEN EXPLOITATION MOVIES

AND A.I.P. REALLY KNEW HOW TO DO

>> A.I.P. WAS A COMPANY --

THEY WOULD MAKE POSTERS AND COME

>> THESE WERE PICTURES THAT

SEE.

GIVE US THAT MOVIE!

PICTURES.

DELINQUENCY PICTURES.

PICTURES, SCIENCE FICTION

DISREPUTABLE GENRES.

CAME OUT OF THE AMERICAN

THE BASIS FOR A LOT OF OUR WORK.

D.I.Y. SPIRIT, AND THEY WERE PUT

PUNK-ROCK RECORDS WERE PUT

VERY FAST, VERY CHEAP, DOWN AND

KIND OF THING.

TEEN EXPLOITATION FILMS

ATTENTION TO THE BEACH AND

LEATHER COATS FOR SWIMMING

[ LAUGHTER ]

BIZARRE.

>> HOW DO YOU LIKE THIS TITLE --

YOUNG ADULT AND ITS RELATION TO

>> I'VE GOT A SHORTER TITLE.

>> "TEENAGE SEX."

TO SEE TITS AND ASS.

>> Narrator: TEEN EXPLOITATION

MARKET DURING THE '50s AND '60s,

RESTRICTED TO THE CONFINES OF

TEENS NEEDED A PLACE THEY COULD

ADULTS, AND THE DRIVE-IN THEATER

>> THE DRIVE-IN THEATERS ALSO

PRODUCT, EXPLOITATION PRODUCT.

GRIND.

GRIND.

THE TEENAGE MARKET.

MOVIES, WHEN YOU HAVE FILMS LIKE

[ Laughing ] WHOA!

[ Laughing ] WHOA!
TALK ABOUT HAIRY PALMS.

TALK ABOUT HAIRY PALMS.

FOR ADOLESCENT, HORMONAL, YOU

SO THEY WANTED TO GO AFTER THEM,

WHATEVER WAS POPULAR AT THE

>> [ SCREAMS ]

THE MOUNTAIN KING" PLAYS ]

>> [ SCREAMS ]

>> NOW THEY MAKE "HOSTEL."

>> NOW THEY MAKE "HOSTEL."
MOVIES FOR KIDS, BUT THEN...

MOVIES FOR KIDS, BUT THEN...

SAY, AND THEY'RE ALL VERY

MOST OF THEM ARE SHIT, BUT EVERY

>> Narrator: ALONG WITH THE

EXPLOITATION FILMS, NEW WAYS OF

CINEMA WERE ALSO FINDING THEIR

BUT UPON CLOSER INVESTIGATION,

THESE MARKETS MAY HAVE SHARED A

>> HOW MANY TIMES HAVE I TOLD

LIKE THAT?!

>> YOU HEARD WHAT I SAID!

SOMETHING ON.

[ GASPS ]

PEOPLE WENT TO SEE THE BEACH

A KID, WE THOUGHT THEY WERE

I THINK THEY WERE ACTUALLY AIMED

YOU KNOW, SAM ARKOFF WAS THE

SAM WAS, "NO, NO, IT'S THE

WE DON'T NEED MONEY IN THESE OLD

WHAT DO YOU SEE --

ALL OF A SUDDEN, THE BEACH PARTY

BE AIMED AT KIDS.

FILM STARS OUT OF RETIREMENT.

WHAT KID WOULD GO SEE THAT?

>> PAPAYA SURPRISE.

>> "LORD LOVE A DUCK" WITH

HAVE YOU SEEN THIS MOVIE?

OH, MY GOD.

TRYING ON SWEATERS WITH HER

EXCITED WHILE SHE'S SAYING

>> IT'S PERIWINKLE PUSSYCAT.

>> DON'T YOU JUST LOVE IT?!

[ LAUGHS ]

RUSS MEYER TOOK THE SEX FILM AND

ONSCREEN A STEP FURTHER.

MEYER'S "THE IMMORAL MR. TEAS"

CRITICAL THOUGH SHORT-LIVED

>> RUSS INVENTED THE NUDIE

>> Narrator: BESIDES PLACING

SETTING OUTSIDE OF THE NUDIST

FEATURED SOMETHING THAT NOBODY

PLOT.

PLOT, AND WITHIN THE PLOT, THERE

GIRLS.

VERY, VERY INNOCENT, AND THEY

CALENDARS COME TO LIFE.

THAT HE MADE A MOVIE WITH A

"THE GREAT TRAIN ROBBERY,"

THESE MOVIES, THEIR IMPORTANCE

NARRATIVE FILMMAKING -- RUSS IS

PORNO BECAUSE HE MADE THOSE

>> Narrator: NUDIE CUTIES WERE

NUDITY ON SCREEN.

THE STORY LINES WERE EQUALLY

BUT AS THE CYCLE OF NUDIE

A DARKER AND MORE SINISTER STYLE

>> GET UP!

>> GET AWAY FROM HER!

THEY WERE LATER CALLED

>> Narrator: ROUGHIES WERE JUST

THESE FILMS OFFERED A STARTLING

BATTLE BETWEEN THE SEXES, A

REVOLUTION THAT LAY AHEAD.

ELEMENTS OF WHAT ARE OFTEN

MOVIES AS EARLY AS, LIKE,

"THE LONELY SEX" FROM LATER ON

>> Narrator: LIKE THE NUDIST

THOSE FILMS, THE ROUGHIES WERE

MAGAZINES.

READING.

THEY WON'T EVEN KNOW YOU'RE

>> YOU HAD MEN'S MAGAZINES, YOU

THESE NOTIONS OF WOMEN IN

AND IT'S PULLED FROM THE DARK

KNOW?

>> NO! PLEASE!

>> THESE ARE THE MALE FANTASIES

>> WHEN THESE KIND OF PICTURES

WAS IN PHILADELPHIA, THERE

RUN PICTURES LIKE

STUFF LIKE THAT.

A CLIENTELE.

>> ROUGHIES GREW OUT OF THE

AND THEY'RE UGLY.

>> DISCOVERING A SQUEALER AMONG

OF A GIRL'S TONGUE AS A WARNING

>> Narrator: MORE THAN JUST

SEXPLOITATION FILMS, THE

SHIFT IN THE NATION'S

>> YOU COULD SAY THAT ROUGHIES

GOT REALLY VIOLENT.

THE '50s.

MOVIES, THE ROUGHIES, WHERE NO

PEDESTAL AS OBJECTS OF

THEY'RE THINGS TO BE BEATEN AND

>> [ GROANING ]

WAS CALLED, WAS JUST NOT THOUGHT

KIND OF THINGS THAT PLAYED IN

>> Narrator: FILMS LIKE

THE AMERO BROTHERS, HELPED TO

MAJOR PLAYER IN THE

FEATURING THE LIKES OF

ROBERTA FINDLAY AND

EMERGED FROM NEW YORK DURING THE

WORLD OF TIMES SQUARE, 42nd

THEATER LIFESTYLE.

NEW YORK WERE CRANKED OUT LIKE

THEY WERE BEING MADE BY PEOPLE

A MOVIE, MAYBE OVER THE COURSE

THEY REALLY HAVE THIS KIND OF

NEW YORK IN THE 1960s.

SENSATIONAL AND STARKLY

TO THE SCREEN.

FILM DEVELOPED WHERE THE SEX WAS

AND A HUGE PART OF THE REASON

YOU COULD NOT SHOW SEX ON

SO YOU HAD TO SHOW A SUBSTITUTE.

>> Narrator: FOLLOWING THEIR

CAMP MOVIES, TWO MEN --

DAVE FRIEDMAN -- PRODUCED WHAT

ARCHETYPAL ROUGHIE,

THAT SAME YEAR, THE DUO STUMBLED

MOVIE, AND THE WORLD OF

SAME AGAIN.

TRANSITIONAL PICTURE.

SHOT IN BLACK AND WHITE.

WHILE THAT THIS PARTICULAR KIND

INTO A FIELD THAT WAS TERRIBLY

THEATERS THAT WOULD PLAY IT --

AND THE NUMBER OF COMPETITORS,

SWARM.

FILL YANKEE STADIUM.

STANDARD QUESTION THAT I ASK

MIGHT LAUGHINGLY CALL, MY

OF MOTION PICTURE MIGHT THERE BE

EITHER WILL NOT MAKE OR CANNOT

AND SOMEBODY MIGHT PLOP DOWN IN

I WAS WATCHING SOME ANCIENT

THE POLICE SHOT THIS FELLOW FULL

"WAIT A MINUTE," AS HIS EYES

I SAID, "THAT'S NOT RIGHT."

THAT MARVELOUS FOUR LETTER WORD

WELL, THE NEXT QUESTION WAS,

WELL, THE NEXT QUESTION WAS,
AND SO WAS BORN "BLOOD FEAST."

AND SO WAS BORN "BLOOD FEAST."

I WAS CUTTING THIS THING IN MY

AND IT WAS, TO USE A EUPHEMISM,

SO, WE DECIDED TO OPEN THAT

DIE IN PEORIA, WHO WILL KNOW?

SMASH.

OTHER AND SAID, "WHAT IF WE MADE

>> Narrator: WITH "BLOOD FEAST"

"TWO THOUSAND MANIACS!,"

MADDENING ONSLAUGHT OF LACERATED

BLOOD-HUNGRY HILLBILLIES.

OR TO IMAGINE, FOR THOSE OF US

HAVE BEEN LIKE TO SEE PEOPLE BE

>> STOP! STOP!

FIRST DID THAT.

>> AND WHETHER YOU THINK THAT

EXCITING OR GREAT OR TERRIBLE,

IMPORTANT BECAUSE NOBODY HAD

>> I'M NOT A BIG FAN OF

FILMMAKER, BUT WONDERFUL

>> THE CAMPAIGN IS MORE

>> YOU KNOW, HE HAD THIS EXTREME

MISPRONOUNCE IT.

HOW DO YOU SAY IT?

[ LAUGHS ] I'M EMBARRASSED.

I CANNOT PRONOUNCE

IT MEANS!

PARIS FOR MANY YEARS THAT WOULD

MURDERS AND EXECUTIONS AND

GORE.

OR THE GORE PIECE, HAS ALWAYS

>> THE KEY SCENE IN

A GIRL'S MOUTH AND PULLS OUT HER

AND THAT BECAME THE WATERSHED

BEEN -- IT'S THE ONE THAT EVERY

THIS KIND OF MOVIE, SINGLES OUT

THIS KIND OF MOVIE, SINGLES OUT
COURSE OF MOTION PICTURES.

COURSE OF MOTION PICTURES.

OF "BLOOD FEAST'S" EXCESSIVE

BUT WHAT IS CLEAR IS THAT THE

IN AMERICA'S CINEMA OWES A DEBT

THREE YEARS BEFORE

THE PREMIER FILM ARTIST OF HIS

STUDIO.

WOULD BE THE MOVIE THAT CHANGED

[ VIOLINS SCREECHING ]

>> EVERYBODY AFTER THAT HAD THE

THEIR MINDS BASED ON THE SUCCESS

>> Narrator: IN 1960,

RELEASED.

TACTICS THAT WOULD MAKE THE

"PSYCHO'S" SUCCESS HAD TO DO

USED TO PROMOTE THE FILM,

DISTINCTION BETWEEN HOLLYWOOD

DOWN TO LITTLE MORE THAN THE

INDIVIDUAL PRODUCTIONS.

ASKED -- IS THERE REALLY MUCH OF

FILMS?

SOMEBODY'S USING A KNIFE ON

SHOT ON MOTION-PICTURE FILM, I

SIMILARITIES.

>> IN TERMS OF EXPLOITATION, I

FILM LIKE "BLOOD FEAST" AND A

>> HITCHCOCK'S FILM IS PURE

I MEAN, HE HAD A BRILLIANT

>> THE ENTIRE MOTION PICTURE

BEING EXHIBITED WITH A SPECIAL

OF PARAMOUNT PICTURES

>> ALFRED HITCHCOCK, WHEN HE

EVERY SINGLE PERSON IN AMERICA

I BELIEVE THAT HIS MOTIVATIONS

FRIEDMAN AND LEWIS.

HAVE IN COMMON?

>> SEE THE MOVIE VERSION TV

UNCUT! INTACT!

>> BALLYHOO, P.T. BARNUM, YOU

IT'S ALL ABOUT GETTING THE

>> Narrator: AS THE 1960s ENDED,

PRODUCTION CODE.

COUNTLESS MOTION PICTURES, THE

CLEARLY GROWN OUT OF TOUCH WITH

VIEWS.

INTRODUCED A NEW RATING SYSTEM.

SELF-REGULATION OF THE MOTION

IT MEANS THAT THE FILM

THE CREATIVE BOUNDARIES OF

THAT THE THEATER SHOWING THIS

>> Narrator: AND WITH THE

CAME A NEW AND EXPANDED

>> ORGY! HAVE AN ORGY!

>> Narrator: THIS PERIOD IN

MOST EXCITING AND LIBERATING

>> I BLINKED IN 1965, AND,

WHEN I LEFT, EVERYBODY HAD SHORT

WHEN I CAME BACK, EVERYBODY HAD

DOPE, THE BEATLES HAD PLAYED THE

CHANGED OVERNIGHT.

"THE WILD ANGELS,"

TOOK THE CONVENTIONS OF THE

FILMS AND EMBELLISHED THEM WITH

AMERICA'S GROWING

>> JUST WHAT IS IT THAT YOU WANT

>> WELL, WE WANT TO BE FREE.

WANT TO DO.

AND...

MACHINES WITHOUT BEING HASSLED

>> AND THEN, OF COURSE WHEN THE

INTERESTING POLITICAL MOVIES,

ABOUT THE YOUTH GENERATION.

COLLECTIVE, CONFORMING SOCIETY

>> AND IN THESE MOVIES, THEY

DRUGS ARE BAD.

AND THEN THEY'RE PRETTY GOOD.

SEE DRUG MOVIES EVERYWHERE.

THERE'S NOTHING WRONG WITH

>> YEAH!

TIMES AND YOU'LL NEVER GO TO

>> I THINK THE ONLY TIME I THINK

MYSELF WAS ON AN ACID TRIP.

WERE GETTING IN LEGITIMATE

GETTING IN YOUR CLASSROOM.

RISK BLOWING THE MOST IMPORTANT

>> I'M PETER FONDA.

MOVIE DEALING WITH THE MOST

DAY -- LSD.

PSYCHEDELICS DIDN'T REALLY

EVEN THOUGH THERE ARE LITTLE

>> DAVE, THAT DRUG YOU BROUGHT?

IT'S AN ACID.

MOVIE IS NOT THAT INTERESTING TO

[ LAUGHS ]

THE WALLS!

>> Narrator: THE EXPLOITATION

MARKET DURING THE LATE '60s

ANARCHISTIC ATTITUDES, SEXUAL

NOT EVEN THE GODFATHER OF GORE

OF A RUMBLING MOTORBIKE.

MAKING BIKER MOVIES, BUT THEIR

PATTERN.

MOLD BY HAVING FEMALE BIKERS

>> MAN-EATERS, GET THAT UGLY

>> THERE'S NO QUESTION WHO RAN

"SHE-DEVILS ON WHEELS."

WHEN SOMEONE SAYS THAT SOME OF

TAKE IT ALL OUT ON WOMEN.

'SHE-DEVILS ON WHEELS'"?

BY THE FINANCIAL SUCCESS OF

EARLIER BIKER MOVIES,

"EASY RIDER," THE FILM THAT

SYMBOLIZE THE ERA.

THAT EXISTS BECAUSE OF

I DON'T THINK IN ITSELF IT IS

MOVIE.

WESTERN-LIKE PLOT.

>> Narrator: AMERICA'S GROWING

INSPIRED A NUMBER OF LOW-BUDGET

ACTION WITH THEIR OWN RESPONSES.

ANGRY AND NIHILISTIC PICTURES

YOUTH AS VICTIMS.

PICTURE TO OFFER, TO THE DARING,

SPACE BETWEEN LIFE AND DEATH.

>> SEE, "LAST HOUSE ON THE LEFT"

NASTY.

AND I WANT YOU TO PUT IN YOUR

YOUR BRAINS OUT!

>> BLOW YOUR BRAINS OUT!

[ GUNSHOT ]

SICK THAT A STUDIO WOULD NEVER

YOU WOULD NEVER HAVE SEEN THAT

>> GROWING UP IN THE '60s,

WE WERE GROWING UP AS AMERICANS,

EXPERIENCING OUR OWN HISTORY FOR

>> Narrator: AS THE 1960s

AND EXPANDED, EVIL WAS NO LONGER

AND EXPANDED, EVIL WAS NO LONGER
LOW-BUDGET MONSTER MOVIES.

LOW-BUDGET MONSTER MOVIES.

MANSON-FAMILY MURDERS AND

HUMAN.

OUT WHILE YOU WERE FEELING IT

AND TO CUT YOUR DICK OFF WHILE

>> Narrator: WITH 1972'S

WES CRAVEN USED SWEDISH DIRECTOR

"THE VIRGIN SPRING" AS A SOURCE

FILM AND AS AN INDIRECT RESPONSE

>> [ SCREAMING ]

ON ME ONCE, WHEN I WAS JUST

AND THIS WAS BECAUSE ALL OF THE

SO GOD, OF COURSE PEOPLE WERE

SEE ME THERE WITH A FUCKING

THEY'RE GONNA GO, "WHOA!

YOU KNOW, "OOH!"

EXPLOITATION FILM WITH A SOCIAL

"LAST HOUSE'S" INFAMOUS

SUCCESSFUL, IF NOT WHOLLY

THE PROMOTIONAL TAGLINE, "IT'S

ALREADY BEEN USED TO MARKET

"COLOR ME BLOOD RED," RELEASED

YOURSELF, "IT'S JUST A MOVIE.

IT'S JUST A MOVIE."

MOVEMENT OF THE LATE '60s HAD

INSPIRED BY THE CIVIL-RIGHTS

EVEN BEFORE THE SO-CALLED

1970s, LOW-BUDGET FILMMAKERS HAD

TENSION IN A SERIES OF

WHICH OFTEN REMAIN OVERLOOKED

EXPLOITATION FILMS.

REACTIONARY.

MOVIES ARE CERTAINLY INFUENTIAL.

THE BUSINESS.

THEY WILL MAKE ANYTHING --

WILL MAKE ANYTHING IF IT MAKES

>> HOTTER THAN BOND, COOLER

>> THEY STARTED MAKING A LOT OF

EXPLOIT THE CIVIL-RIGHTS

COUNTRY.

[ SIREN WAILING ]

>> MELVIN VAN PEEBLES, WHO WAS

PLAYWRIGHT -- HE MADE A MOVIE

BAADASSSS SONG," AND IT WAS MADE

IT WAS MADE THE SAME TIME I

WE SHARED EQUIPMENT.

>> Narrator: ACCORDING TO

AMERICA WOULD AGREE TO PLAY

SONG."

THE FILM BROKE THEATER

EVENTUALLY GROSS OVER

THE FILM'S SUCCESS INSPIRED BOTH

MAINSTREAM STUDIOS ALIKE TO MAKE

MAINSTREAM STUDIOS ALIKE TO MAKE
LIFE FROM A BLACK PERSPECTIVE.

LIFE FROM A BLACK PERSPECTIVE.

AMERICA, INNER-CITY AUDIENCES

MOVIES THAT PORTRAYED THEM IN A

EVENTUALLY, THE MOVIE INDUSTRY

NOTICE, AND THE ERA OF THE BLACK

>> ♪ OOH, SUPER FLY

PICTURE "SUPER FLY" HAS BROUGHT

ATTENTION.

MADE THE FILM IN WHICH HE TAKES

>> ABOVE ALL, I THINK WE WANTED

REALISTIC IN CONTENT, REALISTIC

A BLACK MAN BECOMES A HUSTLER IS

LED INTO IT BY SOCIOECONOMIC

BECAUSE BEING A HUSTLER IS NOT

>> IN THE DAYS OF THE CHITLIN'

WESTERNS OR WHATEVER IT WAS,

WHITE AUDIENCES.

SOUL BROTHER?

BEAUTIFUL?

OF.

AUDIENCE SEEING THEIR

JUST AMAZING.

THE BLACK AUDIENCE, BECAUSE WE

>> Narrator: BLAXPLOITATION MAY

AUDIENCES OF ALL COLORS, BUT

FILMS CONTRIBUTED TO CULTURAL

EVEN PROMOTED REVERSE RACISM.

"FOXY BROWN" FOR BEING ALMOST

VIEW, YOU KNOW?

NOT, YOU KNOW?

MOVIES ALL OUR LIVES.

FROM THE OTHER SIDE AND ENJOY

AND I THOUGHT IT WAS FUN.

IMAGE TRANSCENDED THE CHARACTERS

STEREOTYPES WAS FORMER AFL

NEVER A PIMP, NEVER A PUSHER,

WILLIAMSON'S ACTING CAREER

EXPLOITATION MARKET OF THE

>> DAMN, BROTHER, YOU HAVE

>> WHAT WE NEEDED AT THAT TIME

WE NEEDED PHYSICAL HEROES.

WE DIDN'T NEED ACTORS.

YOU SPRAY THAT WATER ON ME, IF

KILLING THEM, AND THEN AFTER I'M

KICK YOUR ASS."

DO NO DANCING, AND YOU AIN'T

FIGHTS, AND I'M GONNA GET THE

THAT'S IT. BOTTOM LINE.

WRONG SIDE OF THE LAW, SO I

FOR EXAMPLE, WAS ANYTHING

OR "PUBLIC ENEMY."

LIKED THE SECOND FEATURES BETTER

THOSE PICTURES MEANT MORE TO ME

THAT PLAYED AS THE MAIN FEATURE.

BETTER, SO I SET OUT TO MAKE A

>> Narrator: WELL-KNOWN FOR HIS

LARRY COHEN'S PRODUCTIONS ARE

CONTENT BUT ALSO FOR THE BOLD

WHICH THEY WERE MADE.

FILMMAKER.

IT WAS JUST TO HEAR THAT CERTAIN

GO, "YEAH!"

TIMES SQUARE TO THE L.A.X.

AT ALL, SOUGHT PROPER SHOOTING

PUBLIC PLACES.

LARRY COHEN.

HOW TO DO BIG SCENES WITHOUT

WHEN WE DID THE SCENE IN

COMING OUT OF TIFFANY'S, I'M

EVERYBODY, THEY'RE SLOWING DOWN,

DON'T WANT TO BE INVOLVED, WHO

AND THEN THEY SEE BLOOD.

BE INVOLVED.

STREET AND I FELL ON THE GARBAGE

WALL, AND PEOPLE JUST LOOKED AT

NOBODY CAME BY.

WHICH THEY DIDN'T GET ON FILM, A

"HAMMER, WHAT YOU DOIN'?

I SAID, "YEAH."

HE SAYS, "I'M NOT ASKING.

I'LL BE BACK IN 15 MINUTES.

I SAID, "OKAY, WOULD YOU MIND

IN MY SHOT?

>> Narrator: AS THIS ERA DREW TO

EXPLOITATION FILMS MOVED TO

THESE FILMS BEGAN TO TURN AWAY

HAD BEEN INCORPORATED EARLY ON

STORY LINES.

BIG BROTHER IS COMIN'.

IT.

AFRICAN-AMERICAN ARTISTS HAD

THAT THIS WAS WHERE THE

GOT TO WORK, AND THEY WERE ALL

I THINK IT WAS AN INCREDIBLY

SO -- AND I FOUND THAT I HAD

CONTEXT.

ABOUT EXPLOITATION.

EXPLOITATION, THAT'S ALL THEY

DEALING WITH PEOPLE WHO ARE

AND -- AND CASTING, YOU KNOW.

BASICALLY -- HE DELIVERS THE

HE DELIVERS THE GUNFIGHTS, THE

HIM ALONE.

THE EXPLOITATION, YOU GET TO BE

[ GUNSHOT ]

CONCRETE AND STEEL, GUARDED BY

TROPICAL HELL.

"THE BIG DOLL HOUSE."

JACK HILL MADE

CAPITALIZING ON A DECADE OF

PHILIPPINES-SET ACTIONER

TRIED-AND-TRUE FORMULA OF

UNNAMED BANANA REPUBLIC WHERE

JUNGLE WARFARE WAS THE NAME OF

>> WELL, IT WAS THE FIRST BIG,

MOVIE, I DON'T KNOW.

EVER MADE ON THAT SUBJECT

>> WATCH OUT FOR HER.

>> WOMEN-IN-PRISON FILMS HAVE

AND IN THOSE FILMS, THEY'RE

IN PRISON.

CONDEMN SCORES OF UNFORTUNATE

REFORMING MORE THAN THE

>> SO, WHEN I GOT BACK TO THE

EXCITED ABOUT THE MOVIE, WHICH

THE SCRIPT, I THOUGHT IT WAS

I COULDN'T -- "OH, GOD."

THIS?"

THAT MOVIE NOW, IT'S VERY

>> WELL, YOU DON'T LOOK LIKE A

>> [ GROANING ]

GREAR ANYMORE.

YOU.

IN A NAIVE WAY, IT WAS AHEAD OF

>> Narrator: THE TRIUMPH OF

DEPICTION OF WOMEN NOT ONLY AS

AS THE AGGRESSORS.

OFF.

CONFRONTED FREUDIAN COMPLEXITIES

MALE-DOMINATED SOCIETY, ALBEIT

MALE-DOMINATED SOCIETY, ALBEIT
AND TAKING GROUP SHOWERS.

AND TAKING GROUP SHOWERS.

NAKED, SWEATY WOMEN, SO I GUESS

NAKED, SWEATY WOMEN, SO I GUESS
ENJOY WOMEN-IN-PRISON FILMS.

ENJOY WOMEN-IN-PRISON FILMS.

BUT IF THERE WAS A

PLAYING ON 42nd STREET, I'D MAKE

>> WOMEN LIKE TO WATCH OTHER

I'M SORRY.

WOMEN DON'T HAVE A PROBLEM WITH

AND WOMEN LIKE IT.

[ LAUGHS ]

>> WELL, I WROTE

TO "THE BIG DOLL HOUSE."

"THE BIG DOLL HOUSE" CAME OUT,

EVERYBODY RUSHED OUT WITH COPIES

ON TELEVISION -- AND SO, I FELT

KIND OF DO A SPOOF ON IT, I

GENRE IN A WAY BUT YET STILL

>> Narrator: IN

THE WOMEN-IN-PRISON FILM

HIS CHARACTERS BREAK INTOPRISON

UNDER THE WATCHFUL EYES OF GAY

>> DON'T PLAY COY WITH ME,

YOU DON'T HAVE ANYTHING I'D BE

>> HI, THERE, ROCCO, YOU BIG

WHAT'S UP?

>> WE HAD TALKED ABOUT DOING

IDEA FOR A MOVIE CALLED "THE

THE GENRE KIND OF

GO BACK TO THE PHILIPPINES

[ LAUGHS ]

IT'S A CORPSE-GRINDING MACHINE.

"THE CORPSE GRINDERS" IS THE

COUNTRY.

THING HERE IN THE UNITED STATES.

THESE TWO GUYS THAT DECIDED THEY

THEY COULDN'T GET INGREDIENTS,

SO ON, SO THEY DECIDED, "WELL,

>> Narrator: DIRECTED BY

"THE CORPSE GRINDERS" TYPIFIES

ABSURD AND RIDICULOUS.

SOCIO-POLITICAL SUBTEXT OF THE

FROM THE 1970s REFLECTED THE

IF AN AUDIENCE IS CURIOUS ENOUGH

THEN THERE WILL ALWAYS BE

>> A TITLE LIKE

DIFFERENT, UNUSUAL.

TRANSPLANT."

JAMES GORDON WHITE, "THE

MIXED THE ELEMENTS OF CARNIE

FRANKENSTEIN MYTHOS FOR MODERN

>> [ SCREAMING ]

TRANSPLANT" WAS REALLY A SEND-UP

AT LEAST THAT'S WHAT ITHOUGHT,

IT WAS JUST MEANT TO BE A LIGHT

EVERYONE SEEMS TO THINK, "OH,

>> PEOPLE WILL SIT THROUGH MOST

PEOPLE WILL ACTUALLY -- "WELL,

>> "DRACULA VERSUS

>> "IT'LL GET BETTER."

HALF."

>> Narrator: MOST OF THE

SHARE ONE SIMPLE GOAL -- TO

SHARE ONE SIMPLE GOAL -- TO
THEREFORE, MAKE A BUCK.

THEREFORE, MAKE A BUCK.

ALWAYS PROSPERED DURING TIMES OF

1970s WAS NO EXCEPTION.

AN ESCAPE DURING DARK DAYS, AND

WHITE PROVE THAT THE CARNIE

NEVER CHANGE.

WANTED TO WRITE THE GREAT

I WANTED TO ENTERTAIN AND

WORKING ON THE SCRIPT, AND THEN,

WHEN THE SAW THE MOVIE.

PEOPLE, YOU GOT TO GRAB THEIR

>> MORE SPINE-TINGLING

TERROR.

OPERATION WILL BE TO REMOVE THE

>> Narrator: WRITTEN BY,

JAMES GORDON WHITE,

NAZI-VERSUS-JESUS ACTION

FORAY INTO THE CURIOUS SUB-GENRE

"NAZI EXPLOITATION."

CONVINCING A LOT OF PEOPLE OF

OF NAZI EXPLOITATION FILMS.

TO ME, THE IMAGE IS A SEMI-CLAD

WHIPPED.

THAT IN THE '40s, IT DIDN'T

AND '70s.

PICTURES GET MORE AND MORE

GET BEYOND ANY CONCEPT OF TASTE

EXIST AS AN EXCUSE FOR IMAGES OF

MURDER.

SAY THAT DON EDMONDS WAS

FILM BECAUSE OF HIS STRONG

[ LAUGHS ]

PICTURE THAT, UM...I HAD BEEN

LOW-BUDGET STUFF.

YOU KNOW, RENT WAS 85 BUCKS A

AND I HAD BALD TIRES ON MY CAR

SO, YOU KNOW.

HOLLYWOOD.

INTERCONTINENTAL HOTEL ON

VERY DISTINGUISHED, WITH THE

SUIT AND THE THING.

SHOP, AND HE SAYS, "I'D LIKE YOU

YOU COME HIGHLY RECOMMENDED.

PICTURES.

I SAID, "SURE."

"ILSA, THE SHE WOLF OF THE SS."

AND I'M READING THIS THING...

I HAVE EVER READ IN MY -- YOU

DON'T KNOW IF I COULD DO THIS!

THIS.

I SAID, "WELL, IT'S A TERRIBLE

YOU CAN'T MAKE IT!

AND MAN."

MONEY, MAN, AND THIS GUY IS

CASH.

COMES OUT.

THINGS THAT WE CAN FIND THAT..."

>> Both: HEIL HITLER!

ENSUING TIME AFTER I BECAME THIS

THIS MOVIE, I STARTED LOOKING AT

I GOT TO DO IT."

ON THIS THING.

PEOPLE HAVE NEVER SEEN IT,

STUFF."

"ILSA, SHE WOLF OF THE SS" WAS

I THOUGHT THE SCRIPT WAS GREAT.

INVENTIVE.

OF THE FILMS WERE KIND OF

YEAH.

YEAH.
SO MUCH YOU CAN DO WITH NAZIS.

SO MUCH YOU CAN DO WITH NAZIS.

THE KIND OF "HOGAN'S HEROES" OF

>> Narrator: THE OUTLANDISH

"ILSA, SHE WOLF OF THE SS"

VIEWING THE FILM.

SAME SETS AS THE POPULAR

>> IF YOU'RE GONNA BE

AND...I DID.

>> Narrator: BY THE 1970s, SEX

ITS CLIMAX.

UP TO PORNOGRAPHY, RIGHT?

THAT WE CAN ACTUALLY SHOW SEX,

AND THEN IT REALLY BECAME A

SEE IT, WHAT IS IT THAT YOU WANT

AND THE PORN THEATERS WERE

AND YOU FELT DIRTY GOING TO 'EM.

>> WHAT?

>> DO YOU WANT TO SEE PEOPLE

OR DO YOU STILL WANT TO SEE THE

THE PEOPLE MAKING THE FILMS, THE

WERE REALLY DOING SOMETHING

THEY ACTUALLY THOUGHT THERE WAS

SIGNIFICANT ABOUT WHAT THEY

LIBERATING THE CULTURE FROM ITS

ETHIC.

>> BY THE TIME OF "DEEP THROAT,"

WHERE IT WAS RESPECTABLE ALMOST.

"DEEP THROAT."

>> NO TIME TO MASTURBATE.

>> Narrator: WITH THE WIDE

"DEEP THROAT" IN 1972, THE

PORNOGRAPHY HAD ESSENTIALLY

>> "THE AMAZING TRANSPLANT!"

PRODUCERS FROM THE CLASSIC ERA

PRODUCE FOR A TIME WHAT THEY

EVENTUALLY EITHER FORCED TO

THE GAME.

WAS THE GOLD RUSH.

35 MM CAMERA, BOTH HERE IN THE

COAST, WERE RUNNING OUT MAKING

TONS OF MONEY.

SALESMEN, YOU KNOW?

ABOUT.

MAKING MONEY.

MONEY IS GOOD.

IN THE TERMS OF THE BUSINESS, A

PICTURE.

>> GUN DOESN'T WORK.

>> Narrator: UPON THE RELEASE OF

HOLLYWOOD BLOCKBUSTERS AND

BECAME BLURRED.

CINEMA HAD MERGED, AS THE

MAYHEM MET WITH MASSIVE

>> WHAT I'VE FOUND IS WHETHER

UNIVERSAL, FOX, COLUMBIA --

I MEAN, THEY ALL ARE PRETTY MUCH

I MEAN, THEY ALL ARE PRETTY MUCH
ARE MORE UP FRONT THAN OTHERS.

ARE MORE UP FRONT THAN OTHERS.

PARTLY BECAUSE IT WAS A TERRIFIC

BASED ON A BIG BEST-SELLER AND

KNOW, ADVERTISING AND LOTS OF

IT IS REALLY A BIG-BUDGET

THE BLACK LAGOON," WHICH EVEN

>> YOU MAKE A STUDIO PICTURE,

BUGGER BUDGET AND STUFF TO, YOU

PRODUCT.

>> Narrator: FOLLOWING THE

LOW-BUDGET EXPLOITATION VERSIONS

MOVIES QUICKLY FLOODED THE

IT WAS NOW THE EXPLOITATION

KNOCK OFF AND CAPITALIZE ON THE

>> "PIRANHA" WAS, UNFORTUNATELY,

RIGHT AROUND THE TIME THAT

AND IT HAD OCCURRED TO ME THAT

RIP-OFF OF A PICTURE THAT WAS

>> ROLL 'EM!

WHATEVER I MEAN.

EXPLOITATION FILMS NAMED

FILM COMPANY, DECIDED HE WANTED

AND A FRIEND OF HIS HAD WRITTEN

ALLIGATOR, WHICH, I GUESS, WAS

SO I LOVED THE IDEA, BUT THE

I AGREED TO DO IT IF I COULD

THE SCRIPT.

SUCCESS OF "JAWS," THE MAJOR

CONCEPTS AS A RECIPE FOR

>> THAT SEEMS TO HAVE ABATED

I MEAN, THEY DO COME BACK EVERY

I THINK THE GIANT RABBIT MOVIE

OF IT.

CAN SEE IT ALL, WHAT IS THERE

HAVE THE TRADITIONAL ELEMENTS OF

THEY SIMPLY EVOLVED INTO

ENTERTAINMENT?

EVER HAD.

YOU'RE GONNA WAKE UP THE REST OF

>> Narrator: NOW WITH SUCH

"BLACK DYNAMITE" AND

THE SPIRT OF GRINDHOUSE LIVES

>> QUENTIN TARANTINO AND

"GRINDHOUSE," AND I LOVE THE

BUT THE ONLY REAL GRINDHOUSE

IS "THE PASSION OF THE CHRIST."

"TEXAS CHAINSAW JESUS."

THAT'S A GRINDHOUSE PICTURE.

IT'S ALL SHOW BUSINESS.

"AMERICAN GANGSTER" IS A VERY

HE'S PRESENTED AS A TOTALLY

HE'S SUPER FLY!

PICTURE -- BETTER-MADE, BIGGER

SAME.

SOMETHING UNIQUELY AMERICAN

YOU KNOW, A LOT OF THESE LITTLE

BUT THEY WERE REALLY STRIVING

PART OF WHAT AMERICA IS ALL

IS.

100 YEARS OLD, LITTLE OVER

BUT THE MOVIES HAVE BECOME OUR

AND THE GRINDHOUSE IS VERY MUCH

AND THE GRINDHOUSE IS VERY MUCH
[ UP-TEMPO FUNK MUSIC PLAYS ]

>> YEAH.