2 user 10 critic

Satan's Bed (1965)

| Crime, Drama
2:35 | Trailer
A young Japanese girl arriving in New York City gets mixed up with mobsters and dope dealers.


(uncredited), (uncredited) | 1 more credit »


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Cast overview, first billed only:
Glen Nielson
Gene Wesson
Robert Williams
Steve Shaw
Lydia Martin
Cathey Stevens
Judy Adler ...
(as Judy Young)
Sarah Gold
William Stein
Marvin Holtz
Philip Dunn
Franklin Clark
Ruth Rawson


This brutal drug drama (actually two films edited together) features Yoko Ono as the fiancee of a drug pusher who wants to go straight. His supplier kidnaps Ono in order to keep him selling dope, while in an unrelated story three black-clad addicts terrorize women. Written by Sujit R. Varma

Plot Summary | Add Synopsis


The story of angry youths who terrorize young innocents.


Crime | Drama





Also Known As:

Satan's Hot Bed  »

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Aspect Ratio:

1.85 : 1
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Featured in Extra Weird (2003) See more »

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User Reviews

B-movie fun, but not for the easily offended.
14 August 2003 | by (Uniontown, Pennsylvania, USA) – See all my reviews

This movie has recently taken a place (alongside such gilded classics as Plan 9 from Outer Space and Manos, Hands of Fate) on my list of the Worst Movies of All Time. But don't let that discourage you! This movie is rarely less than entertaining. Yoko Ono stars (oddly enough, she gets top billing, even though this film was released a good three years before she became widely known) as a young Japanese who comes to the U.S. as the fiancee of a drug-smuggling government agent. And that's about as much sense as one can make of the plot, such as it is. The rest involves homicidal perverts and a succession of deeply unpleasant individuals. Whether you're pro-Yoko or anti-Yoko, you can't help but feel awful for her character in this film. Never before have I seen a pathetically innocent character treated so badly in a film. And that's where the caveat comes in: this movie can be a very nasty experience in places. The group of murderous perverts rape and kill a number of women before the film is over, and Yoko's character is frequently subjected to the nonconsensual sexual attentions of a portly, greasy-looking gentleman. It makes one wonder how anyone could have seen this film as genuine, unironic entertainment. The frequent nudity is barely titillating, and the nonstop sexual nastiness ought to be enough to remove any hope of arousal. That being said, this film is useful as an historical relic of the grindhouse market and is sufficient to whet your B-movie appetite.

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