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Hideout in the Sun (1960) More at IMDbPro »


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Doris Wishman (original story idea)
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Escape to a modern Garden of Paradise where Nature's sun-kissed daughters walk forth in all their natural beauty!
Two brothers rob a bank and take a young girl hostage. They find out that the girl is a nudist, so they force her to take them to a nudist colony so they can hide out. | Add synopsis »
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A Hideout worth discovering See more (5 total) »


  (in credits order)
Greg Conrad ... Duke Martin
Dolores Carlos ... Dorothy Courtney
Earl Bauer ... Steve Martin
Carol Little ... Betty
Ann Richards ... Ann
Mary Line ... Mary (as Mary Jane Line)
Pat Reilly ... Pat
Fran Stacey ... Fran
Richard Falcon ... Dick (as Dick Falcon)
Richard Schmitz ... George
Olivia Ann Line ... Olivia
John C. Line ... John
Paul C. Line ... Paul
Walter Film ... Rodriquez
rest of cast listed alphabetically:
Doris Wishman ... Lady Exiting Bank (uncredited)

Directed by
Larry Wolk  (as Lazarus L. Wolk)
Doris Wishman (uncredited)
Writing credits
(in alphabetical order)
Eugene Fernett  uncredited
Doris Wishman  original story idea

Produced by
Martin Caplan .... producer
Doris Wishman .... producer
Cinematography by
Larry Wolk  (as Lazar)
Eugene Fernett (uncredited)
Film Editing by
Paul Falkenberg  (as Victor F. Paul)
Art Department
Emanuel Licht .... settings
Special Effects by
Harold Chaskin .... special effects
Camera and Electrical Department
Bunny Yeager .... still photographer (uncredited)
Editorial Department
Alice Falkenberg .... assistant editor
Music Department
Harry Glass .... music arranger
Bill Haast .... thanks (as W.E. Haast)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Beauties in the Sun" - USA (promotional title)
See more »
70 min
Color (Eastmancolor)
Sound Mix:
Filming Locations:

Did You Know?

Ralph Young, part of the singing team Sandler & Young, sings the title song. He later starred for director Doris Wishman in another nudist film Blaze Starr Goes Nudist (1962).See more »
Woman on phone:Police! There's a man running around the serpentarium waving a gun! He looks dangerous!See more »
Movie Connections:
Referenced in 100 Girls by Bunny Yeager (1999) (V)See more »
Hideout in the SunSee more »


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6 out of 8 people found the following review useful.
A Hideout worth discovering, 2 December 2007
Author: FilmFlaneur from London

When her husband died, Wishman was already part of the film distribution industry but, as she explained years later: "I needed to do something that would be so different that it would keep me occupied every second. I didn't know what I was doing when I started production.." The title which kick-started her long career as a cult exploitation director in such uncertain fashion was Hideout in The Sun. The first of several nudist films made by the director until, along with most of the industry she abandoned the genre in the mid-60's, Hideout may not on the level of Nude on The Moon (1961) which was to follow, let alone the delirious excesses of some of her other films as Deadly Weapons (1974) it still retains enough charm, and is characteristic enough of Wishman's work, to be eminently watchable. Whether or not the film is worth such lavish treatment as it has now been accorded in the recently released deluxe 2 disc set will be down to fans and viewers to decide.

Combining Dragnet melodramatics and naked frolics in one cheaply constructed package, Hideout is the tale of two brother heisters, Steve and Duke (Earl Bauer and Greg Conrad), on the run after a payroll robbery, forced to hole up in the Hibiscus Country Club which, oddly enough, turns out to be a nudist colony. Along the way they kidnap Dorothy (Delores Carlos), a member of the club, and during their brief stay with the naturists she and Steve find a mutual liking for each other. But even as the anxious and humane Steve finds a new happiness in arms of his winsome nude and her lifestyle – "I feel healthy in body and mind for the first time in my life" he says - so equally does the permanently cross and resentful Duke, in hiding and so excluded from the naked goings on, want to leave – he's in a hurry to get the ill-gotten gains off to safety. Finally (courtesy of the sparsely attended Miami Serpentarium) events come to a head in a show down with some snakes, a croc and a lone policeman.

Hideout in the Sun is distinguished by a title song of the same name that appears, to good effect, thrice in the movie: a mellow ballad which fits in well with the laid back jazz permeating the rest of the soundtrack. The film was also shot on bright Eastman Colour stock which, although the print here (apparently salvaged from a sole remaining version which the director held on to) suffers a bit from the odd tramline and the distraction of missing frames, is still enough to give a vivid evocation both of Dorothy's familiarly innocent lifestyle, as well as being a product of an adult movie industry moment now long past. Much of the dialogue is looped or post-synched, thereby gaining a dreamlike, or distancing effect familiar to those who relish this sort of genre. It also allows Wishman to play on the disassociation between the cruel world outside the Hibiscus club and it's Eden-esquire interior; a timeless sunlit place where naked folks wander around amongst tame flamingos, swans and emus, splash contentedly (if coyly) in pools, play the jiggling handball variant that's was such a prerequisite of contemporary nudist cinema, shoot archery, or just stretch out in the sun with over emphatic casualness. At this stage in the cycle pubes were verboten; instead strategically placed towels and crooked legs cover the necessary areas in studied ways which quickly became a stereotype all of their own.

If the Hibiscus Club is a sort of Eden, then it's apt that bad Duke is ultimately consigned to expulsion from the enclave, onto a fate amongst the serpents. But how you respond to Hideout overall depends on how you accept the budding director as the genre 'auteur' that some argue she became. If nothing else, although she was never a woman's libber, Wishman was a feminist role model, a survivor in an industry where men predominated. And if for some 'trash' remains trash, no matter how much fancy pleading is made, I'd argue there is a form of art here, even in her first film, and not just of the naughty postcard variety. (One can imagine how the some story would have been treated, full of sniggers and studio flatness, if it had been given the Carry On treatment, for instance.) It's art of a guileless type, but sneaked in under the cover of 'bad movies'; one of narrative non-sequiturs, where already there's the feeling that the director is going her own fledgling way disorganising narrative just as eventually, in both time and with greater respectability, Godard was to do in the art house much further down the cinematic road. As critic Andrea Juno put it in his piece on the director in the seminal book Incredibly Strange Films: 'behind her economically deprived visuals lies a wealth of imagination: wildly improbable plots, bizarre "method acting" and scripts yielding freely to fantasy '. Whilst the recently long-lost Hideout remains a minor work in Wishman's extensive oeuvre, still unsteady on its feet, it remains junk not to be just thrown away.

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