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 »
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 »
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 »
A documentary on the work of sex-change specialist Dr.Leo Wollman, including interviews with Dr.Wollman and a few of his patients, with an illustrated lecture on the various aspects of ... See full summary »
A seemingly pleasant fellow, Arthur goes berserk and rapes any woman in front of him wearing gold earrings. One woman tells the investigating detective (who is Arthur's uncle) she was raped... See full summary »
A day in the lives of a hit-and-run driver and her victim, and the bizarre things that happen to them before and after they collide (sexual assault by a crazed foot-fetishist, visions of ... 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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