Wishman's plot rotates around the maneuverings of a whore who longs for a touch of mink and a seat at the finer tables in life. Blackmail, betrayal, murder and malice are all part of her ... See full summary »
Underworld drug king Toplar is flooding the market with low-grade heroin. Agent 99 gets a bit too close to the truth, but manages to gasp out a clue as to the identity of Toplar: he has a ... See full summary »
After the mob hits a guy with a list, one of the hoods keeps the list for himself to blackmail the people on it. When the mobsters find out he's a double-crosser, they off him, which angers... See full summary »
After hubby Ted goes to work, Ellen putters around the apartment in her nightgown cleaning up. When she takes the trash out, the janitor forces her into his apartment and rapes her. When he... See full summary »
Charles E. Mazin,
Mangus Spedgwick has had one dream his whole life... He wants to be Jesus - in his high school's annual production of "Jesus Christ Spectacular", that is. When unforeseen circumstances ... See full summary »
Charles Solomon Jr.
Jessica has it all: smarts, beauty, and an engagement to handsome, wealthy businessman Matthew. She's also a gold digging, hustling sociopath and pathological liar who will stop at nothing ... See full summary »
A naive young man takes a wrong turn through a mystical tunnel and lands in a fable-like universe where he is forced to assist a whimsical group of misfits in their quest to capture "The Grail of Popularity."
Doris Wishman's film-making style was quite unique, and one could say informed by the Ed Wood approach of 'anything goes.' This project continues in that tradition, despite the fact it was completed after her death at age 90, and on video, not her usual format. Part of the charm of a Doris Wishman film is the off-kilter feel of (usually) beautifully photographed celluloid, juxtaposed with either plain or strange-looking actors speaking non-sync sound (dubbed in later, with sometimes a different actor).
It is too bad that this last project could not have been photographed on celluloid, since all the elements are there - a strange-looking cast (with a cameo from John Waters, and a performance by the B-52's Fred Schneider), outlandish acting and post-sync sound. The video image is murky, but knowing that Doris was still behind the camera is reassuring.
The plot is straight from a 1960's drive-in flick, the teens are proper (they still bring flowers to the girl with whom they're going steady because they gave them their class ring), and there is a charming 'out of pace with the times' feel.
The Florida-photographed locales, once sunny and bright in the 1950's nudist films that made Doris famous, now dark and foreboding in the twilight of her career, particularly when a kind soda-jerk who serves Coca-Cola with Cream gets brutally knifed in the woods, will make you yearn for the more colorful days of Chesty Morgan in the discotheque, speaking to a stranger in DOUBLE AGENT 73 about how well those kids can dance as she sips her cocktail.
Even in 2007, no matter how hard they try, they just can't make them like they used to. It's a good try, though. Thank you, and farewell Doris.
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