5.8/10
59
3 user 2 critic

The Girls on F Street (1966)

A pathetic Joe (Nick Nickerson) pays a bitter prostitute, Margo (Althea Curier) to have sex with him, and is abused endlessly. A woman sculptor and her live model try to suppress their ... See full summary »

Director:

Saul Resnick
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Cast

Complete credited cast:
Ken McCormick Ken McCormick ... Nick
Toni Lee Oliver Toni Lee Oliver ... Toni
Nick Nickerson Nick Nickerson ... Joe
Althea Currier Althea Currier ... Margo (as Althea Curier)
Kellie Everts Kellie Everts ... Sandra - Model
Barbara Nordin Barbara Nordin ... Voluptuous Blonde (as Barbra Norton)
Eve St. Pierre Eve St. Pierre ... Eve - Exotic Dancer
Margo Lynn Sweet Margo Lynn Sweet ... Sweet - Sculptor
Dotty Dare Dotty Dare ... Madam
Bernice V. Phipps Bernice V. Phipps
Bobby Carlina Bobby Carlina
Giga Patterson Giga Patterson
Bill Arnold Bill Arnold ... Narrator (voice)
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Storyline

A pathetic Joe (Nick Nickerson) pays a bitter prostitute, Margo (Althea Curier) to have sex with him, and is abused endlessly. A woman sculptor and her live model try to suppress their lesbian longings for each other. Lonely, bespectacled middle-aged Nick (Ken McCormick) goes to the House of Fetish - the local brothel - after watching a buxom stripper (Eve St. Pierre) do her exotic dance on stage. His wife catches him in bed with another woman, and whips her silly... Written by Artemis-9

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Taglines:

F stands for friendly, F stands for feeling, F stands for fabulous, F stands for fun, F stands for fantastic, F stands for free-woman, F stands for free-loving. See more »


Certificate:

R | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

4 September 1974 (France) See more »

Also Known As:

'F' Street See more »

Company Credits

Production Co:

Cameo Pictures (II) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono
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Did You Know?

Trivia

A card in the opening credits reads, "from the screenplay The Degenerates". However, there is no indication of its author, nor is it a known title of a published work. See more »

Connections

Featured in American Grindhouse (2010) See more »

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User Reviews

 
Part art film, part bizarre exploitation
15 April 2013 | by jivers01See all my reviews

In a sub-genre dominated by hacks, director/cinematographer Saul Resnick stands out -- if for one brief, shining moment -- as a true talent with the eye of an artist. It is a great shame that he disappeared without a trace after directing this one film. His only other screen credits are as camera operator on the sexploitation films "Mondo Bizarro" and "Everybody Love It".

Supposedly adapted from the novel "The Degenerates", this is set, for no practical reason, in 1928 Los Angeles. The appearance of a 1920s car, an antique radio, and a phonograph are the only feeble attempts at period detail. Otherwise, the film, especially the scenes inside an adult bookshop, seem contemporary.

The episodic, near-plot less story concerns Nick (Ken McCormick), a lonely middle-aged creep who divides his time between strip joints, sex shops, and visiting whores. He goes to The House of Fetish and shacks up with the ugly old madam proprietress. But Nick gets caught fooling around with the other hookers and the jealous, hell-on-wheels madam spanks and whips the hell out of them several times. In one particularly strange scene, Nick lusts after a lovely black girl (Toni Lee Oliver) who dreams of tying him up, dumping molasses on his head and letting loose an ant colony on him.

The 62-minute movie is padded with several interesting ten-minute "art film" shorts presented as flashbacks or mood-piece interludes. The best one is a silent (only a couple scenes have live sound), beautifully filmed and edited vignette of a nude model (Kellie Everts) posing for a lesbian artist. Everts went on to become a well-known Christian stripper ("I strip for God") and body-builder who is still around today. The only other interesting cast member is Barbara Nordin, who appears with Nick in the last scene. She was one of the topless dancers from beyond the grave in Ed Wood's nutty "Orgy of the Dead" (1965).

The only connective tissue linking these disparate elements is a narrator who describes each scene in rich purple prose. Resnick delivers the seedy atmosphere, frequent nudity, and kinky perversity one expects from a "roughie" flick, but clearly didn't have (or didn't care about) a plot-driven story with structural logic. Instead, he created a moody, dream-like twilight world with film noire lighting, camera tricks, and bizarre sound effects. Strange as it is, in the end, this is more satisfying as an art film than the typical crude, simplistic sexploitation melodramas from lesser directors.


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