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...
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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 tries to rape her again, she dispatches him and then hits the road, a fugitive from injustice. She goes to the Big City and encounters a string of situations where she gets used and abused. When she finally finds a nice woman to rent from, the woman's son turns out to be a detective, which threatens her newly found identity and peace of mind.Written by
Ed Sutton <firstname.lastname@example.org>
There were several different posters for this film, all of which featured various women in states of undress (bra and panties, negligee, etc.). None of the women in the posters appeared in the film. See more »
When Meg is walking down the staircase to the janitor's apartment, she is wearing open-toed mules. In the scene in the apartment itself, however, she is wearing regular pumps. (Fact: the feet in the shot on the stairwell are actually those of Doris Wishman; they can also be seen in the Port Authority crowd scene). See more »
A sexploitation flick that's risen to cult status based on its lurid title alone, Bad Girls Go To Hell is a time-capsule of sixties' sleaze. Don't expect Doris Wishman to inject any feminist subtext into this misogynist genre. This was Wishman's first roughie, a sub genre focusing on titillating the audience with male violence perpetrated against women. Sadly, this trend of equating sex with violence continues to be prevalent in pornography today. Wishman, like fellow exploitation director Russ Meyer, shows considerable skill as an editor. However, Bad Girls Go To Hell is a technical mess. The threadbare plot focuses on a housewife who flees the police after murdering her rapist. Why she doesn't claim self-defense for the quite justified killing is never explained. The housewife, played by Gigi Darlene, is quite a beautiful woman. She carries herself with grace and poise, seemingly unaffected by Wishman's leering camera. There are numerous salacious shots focusing on Darlene's buxom form, but most of the nudity appears in the first ten minutes. After that, the film relies more on her meager acting talents. The movie ends with an "it was all just a dream" coda, explaining away some of the more bizarre and unrealistic moments. The strongest moments of this film, a lesbian subplot, appears to have been cut to ribbons by outraged censors.
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