The pseudonym "Giulio Alti" hides the incompetent pornographer behind "Watch the Birdie", a very poor sexploitation film notable only for the "Introducing" credit for male lead Richard B. Shull. That talented comic actor truly embarrasses himself in this raincoater effort early in his career.
The technical crudity of the production makes it seem as antiquated as a 1929 feature release - one of those hybrids mixing equal parts Silent Era scenes with static talkie footage. Except for an introductory spoiler tease of footage later shown at the end in sequence, the first 10 minutes of the movie are silent MOS footage, with condesending voiceover narration by Joel Holt, a familiar voice during this soft-core era.
He tells us in too much detail the story of four girls in that corniest of exploitation movie plots -in the Big Apple to seek fame or fortune. He even gives away their fates, encouraging us to watch merely to see which one succeeds, which one gets killed, etc.
The acting is extremely poor, and in Shull's case, over the top. Perversion is the name of the game, and Shull's modelling agency racket is to lure unsuspecting females into perhaps vying for being the next Bettie Page. The very tame BDSM content seems to be satirizing a shoot by Page's famed mentor Irving Klaw, but the only moment of spanking, paddling or whipping that seems real is when Shull's domenatrix assistant Miss Killin spanks a model's behind with such a loud whack that her reaction seems real.
The AFI's useful catalog of all the films (it could document) released in the USA 1961-1970 has a synopsis for this feature that leaves out (or garbles) some key points. Most of the salacious content is rather tamely presented by today's standards, including necrophilia by a sleazy writer working for Shull, who basically creates a ritual with candles lit as he deflowers (not actually shown) one of the heroines (Sandy) after she gets drunk at a Shull party. Similarly the murder of a girl (Joanna) by Shull sticking her head in a toilet is represented by a montage that is as inept as the rest of the footage. It is shown twice, once at the beginning (an intentional spoiler by the filmmakers) and then near the end in sequence.
Miss Killin has a lesbian scene dominating Ursula that is somewhat erotic though hardly explicit -we only see Marlene Eck in the throes of ecstasy, and topless, while the butch lesbian is completely out of frame and left to one's imagination. Notably, the cause of the murder is when Shull is caught by Joanna in his office in a homosexual embrace with some tattooed guy, a plot twist completely omitted from the AFI synopsis & list of keywords.
One lengthy sequence has a couple of the models dancing around in their lingerie and garter belts in the photo studio as six of the actresses await posing for stills in various bondage postitions. That plus a minute or two of toplessness is what is the film's 1965 drawing card for Adult Cinema bookings back then, sure to be hooted off the screen by any punters still wide awake.
The technical crudity of the production makes it seem as antiquated as a 1929 feature release - one of those hybrids mixing equal parts Silent Era scenes with static talkie footage. Except for an introductory spoiler tease of footage later shown at the end in sequence, the first 10 minutes of the movie are silent MOS footage, with condesending voiceover narration by Joel Holt, a familiar voice during this soft-core era.
He tells us in too much detail the story of four girls in that corniest of exploitation movie plots -in the Big Apple to seek fame or fortune. He even gives away their fates, encouraging us to watch merely to see which one succeeds, which one gets killed, etc.
The acting is extremely poor, and in Shull's case, over the top. Perversion is the name of the game, and Shull's modelling agency racket is to lure unsuspecting females into perhaps vying for being the next Bettie Page. The very tame BDSM content seems to be satirizing a shoot by Page's famed mentor Irving Klaw, but the only moment of spanking, paddling or whipping that seems real is when Shull's domenatrix assistant Miss Killin spanks a model's behind with such a loud whack that her reaction seems real.
The AFI's useful catalog of all the films (it could document) released in the USA 1961-1970 has a synopsis for this feature that leaves out (or garbles) some key points. Most of the salacious content is rather tamely presented by today's standards, including necrophilia by a sleazy writer working for Shull, who basically creates a ritual with candles lit as he deflowers (not actually shown) one of the heroines (Sandy) after she gets drunk at a Shull party. Similarly the murder of a girl (Joanna) by Shull sticking her head in a toilet is represented by a montage that is as inept as the rest of the footage. It is shown twice, once at the beginning (an intentional spoiler by the filmmakers) and then near the end in sequence.
Miss Killin has a lesbian scene dominating Ursula that is somewhat erotic though hardly explicit -we only see Marlene Eck in the throes of ecstasy, and topless, while the butch lesbian is completely out of frame and left to one's imagination. Notably, the cause of the murder is when Shull is caught by Joanna in his office in a homosexual embrace with some tattooed guy, a plot twist completely omitted from the AFI synopsis & list of keywords.
One lengthy sequence has a couple of the models dancing around in their lingerie and garter belts in the photo studio as six of the actresses await posing for stills in various bondage postitions. That plus a minute or two of toplessness is what is the film's 1965 drawing card for Adult Cinema bookings back then, sure to be hooted off the screen by any punters still wide awake.
