IMDb > Smoke and Flesh (1968)

Smoke and Flesh (1968) More at IMDbPro »


Overview

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Director:
Writer:
Joseph Mangine (written by)
Contact:
View company contact information for Smoke and Flesh on IMDbPro.
Release Date:
23 August 1968 (USA) See more »
Genre:
Plot:
Turk, a "cool swinger", throws and wild sex and drugs party, but has trouble when three hoodlum friends of his crash the party and Turk resorts to drastic measures to remove them from the festivities. | Add synopsis »
Plot Keywords:
User Reviews:
Wasn't THAT a party! See more (5 total) »

Cast

  (in credits order)
Richard Howell ... Turk
Ed Sansone ... Babe
Lee Parker ... Skiff
Joel Bently ... The Man
Ann Brandt ... Sue
Bo Barten ... Walter
Cherie Winters ... Charlotte (as Victoria Astor)
rest of cast listed alphabetically:
Janet Banzet ... Aspiring Actress at Party (uncredited)
Alex Mann ... Muscleman at Party (uncredited)
Natara ... Black Party Guest (uncredited)
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Directed by
Joseph Mangine  (as Joe Mangine)
 
Writing credits
Joseph Mangine (written by) (as Joe Mangine)

Cinematography by
Joseph Mangine (director of photography) (as Joe Mangine)
 
Film Editing by
Phil Fitzpatrick 
Joseph Mangine  (as Joe Mangine)
 
Production Management
Ian Merrick .... production supervisor
 
Sound Department
Doug Angel .... sound recordist
 
Camera and Electrical Department
Phil Fitzpatrick .... assistant camera
Harry Petricek .... second camera operator
Ed Weil .... lighting assistant
 
Other crew
Jane Swett .... script supervisor
 

Production CompaniesDistributorsOther Companies
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Additional Details

Runtime:
70 min
Country:
Language:

Did You Know?

Movie Connections:
Featured in Twisted Sex Vol. 19 (1998) (V)See more »

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15 out of 15 people found the following review useful.
Wasn't THAT a party!, 9 May 2003
Author: madsagittarian from Toronto, Canada

God bless Something Weird Video for digging up any old films in people's vaults, basements, trash bins, etc., and unleashing them again for a new generation of discriminating viewers who appreciate the subterranean qualities of "fringe cinema". (Now if only they would find some more Phil Tucker films... hint hint)

SMOKE AND FLESH sounds like a title for a Tennessee Williams play, but is instead a near-plotless account of a sex and drugs party gone awry. This is the SCORPIO RISING of the 60's softcore sex film-- on the surface it is a campy piece of trash, but hindsight reveals it to be a scathing portrayal of 60's liberation gone straight to hell.

This film is cheerfully bereft of any pesky things such as character development. It seemingly operates as a simple exploitation picture-- if all you want is people getting high and rolling in the hay, well, that's all you're gonna get! Even so, this study of mankind's primal activities shows just how much less civilized we are than the beasts.

The long opening scene shows this dude in leather on a motorcycle going through alleys, parking his hog, going up a fire escape, hopping over into another building, and finally, into someone's apartment to buy some dope for tonight's big party. That's the crux of this whole picture: the extremities people will go for some pleasure. And what ensues in this party is a non-stop laugh riot up until its bizarre third act.

There's enough steamy sex and campy laughs to keep you interested. Most memorable is the guy making love to a beautiful woman (with generous amounts of whipped cream for good measure), and the 50-ish professor who encourages these hippie studs to make love to his wife for some research he's doing! Wilheim Reich, eat your heart out.

The movie turns sour when bikers crash the party and begin to have their way with the booze and the women. The stoned-out hippies retaliate by putting acid in their beer! So much for "peace and love", man! Sure this campy romp ends on an ugly note, but this is not necessarily a flaw. What is this picture but a sobering look at the outrageous limits of a supposedly liberated society.

Most assuredly, SMOKE AND FLESH seems like a picture from another world now, but what distinguishes this from a dozen other exploitation films is its curious misanthropy, and its surprisingly creative B&W photography. It is apparent that the filmmakers were at least trying to make something out of the undemanding conventions of its exploitation contents (check out when the bikers freak out on LSD- everything is shot in negative).

It is discovering lost goodies like this while flipping blindly through the titles way back in your favourite non-corporate video store that makes an incurable film archaeologist so much fun.

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