Tuesday, July 7, 2009

H.O.T.S. (1979)

Directed by Gerald Seth Sindell
Starring Angela Aames, Lisa London, Lyndsay Bloom, Susan Kiger
Rated R
USA

"I thought you told me he was killed by the Green Gang?"
"No stupid, by Gangrene."
"Oh. Well, either way, he was an awful shade of green."

The origins of HOTS remain a mystery to me. There is nothing in director Gerald Seth Sindell's slim resume that would suggest he is capable of a teen hornball classic like this, and he quit the biz soon after, probably assuming that he'd already creatively crested with this one. Much of the credit for HOTS' success has to go to the excellent perv-eye view camerawork of Harvey Genkins, the photographic giant who lensed the Garbage Pail Kids Movie (1987), Perhaps the most hallucinatory children's film since Santa Claus Meets the Ice Cream Bunny. Were it not for Genkins' obsessive boob-bobbing camera, perhaps HOTS wouldn't crackle with such boner-popping electricity. HOTS' most notable credits, however, are its writing/producing dream team: Cheri Caffaro and Don Schain. Still husband and wife at the time HOTS was produced, Schain was the mastermind behind the Ginger Trilogy/ Sorta-Quadrilogy, and Cheri its platinum blonde star. Simply speaking, the 70's would not have been half as entertaining as they were without Cheri and the Ginger movies. In these mind-boggling films, Cheri played Ginger Mcallister (in the fourth film, 1977's Too Hot to Handle, she was 'Samantha Fox', but the song essentially remained the same), a kinky, frequently naked super-spy who often found herself in awkward bondage set-ups, or topless Kung Fu fights, or clumsy dance-offs. Politically incorrect in the extreme and gorgeously tacky, the Ginger films were huge drive-in/grindhouse hits, and Cheri was a bonafide B-movie star.

One thing the Ginger movies lacked, however, was a sense of humor. Sure, they were unintentionally funny, but nothing about them suggested that Schain and Cafarro were laff-makers behind the scenes. And yet, our girl Cheri crafted (along with never-heard-from-again co-writer W. Terry Davis) one of the funniest flicks in the 70's T&A teen cycle, and penny-pinching Schain laid out enough production dough to make it look decent. I don't know how any of it happened, I'm just glad it did.

HOTS works so well is because it knows exactly what it is and where it's going. HOTS knows is going to end in a topless football game, so every step along that journey is breathless and giddy, as if the movie itself is psyched to be there and can't wait for the big climactic party. Stylistically, it thumps with the same zippy new-wave energy as 1981's Lunch Wagon, but it actually borrows a lot of its gags - animal antics, impromptu musical numbers, cartoony authority figures - from the 60's Beach Party movies, stuff like Pajama Party. It also features enough casual nudity to rival the early/mid 70's cheerleader movies, which is probably why, confusingly, The Swinging Cheerleaders (1974) and Revenge of the Cheerleaders (1976) were briefly re-released as HOTS II and HOTS III, respectively.

HOTS in an episodic film, more interested in gags than a cohesive plot, but the basic storyline is established succinctly in the opening, pre-credits scene. Said scene also contains our first flash of nudity, which bodes well for the next 90 minutes. In fact, the first tits in H.O.T.S - in a shower scene, no less - occurs 30 seconds into the film. The ripe, well-formed whoppers belong to one Honey Shane (Susan Kiger), a new student at Faireville University (AKA F.U.), who endures ridicule in the locker room by a gang of snotty sorority girls led by Queen Bee Melody Ragmore (Lyndsay Bloom, Six Pack Annie), because she lacks their blue-blood backgrounds. As the uptight hussies storm off, Honey finds herself surrounded by a gang of supportive young ladies who were also rejected by the sorority chicks for various reasons. Honey swears revenge on Melody. One of the girls, southern-belle Terri Lynn (Pamela Jean Bryant, Lunch Wagon) tells her that the 'country way' is to steal her enemy's man. Honey thinks this is a capital idea. In fact, she suggests they steal all the sorority girls' men. And so, the hustle is on.

Honey, Terri Lynn, O'Hara (Lisa London, Private Resort) and Sam (Kimberly Cameron) form a sort of anti-sorority sorority house. They rent a dilapidated old shack and place an ad in the local paper: "Turned down by a sorority? Turned off by their mentality? Then turn on to H.O.T.S.!" A handful of girls respond to the ad, and so they recruit a small crew of wacky pledges - a fat girl, a butch chick, a mousy girl, a slob - and commence to fix up the place, proto-80's montage style.
The new recruits have to wear shirts that have "Warm" emblazoned on their chests, and go through a rigorous exercise regiment and beauty treatments to work towards "HOT" status. Then it's off to the plastic surgeon - the big nosed girl gets rhinoplasty, the flat-chested chick gets a boob job, the fat girl...well, lipo wasn't invented yet, so she's still fat, but they keep her around anyway. Umm, this sorority seems just as shallow and judge-y as the one they're rebelling against, doesn't it? Anyway, after all that, the pledges take their oath to do their best to win every man from the Pi Sorority girls. And then they get their HOTS shirts.

Meanwhile, over at the Pi house, the new pledges are being sworn in to their snooty sorority. It's one of those candle-lighting deals. Melody tells her new sisters that Pi stands for "Perfectly Ideal Girls", but then somebody points out that the acronym spells PIG. Still, despite that hiccup, it's a very nice ceremony.

Back at school, the HOTS girls are promoting their first party. The poster promises a special appearance by Boom Boom Bangs (Angela Aames, Lost Empire). Who the fuck knows who she is, or what she does, but her giant tits are featured prominently on the poster, which pretty much ensures a full house. Melody walks by and snorts. "Hots? Does that mean they're in heat? It must, since they're dogs." That's cold, Melody. Sweetening the deal, campus cool guy Richie Walker (Danny Bonaduce) offers to bring his band to the party to play for free. There's a kissing booth, and a swimming pool, and even a merchandise stand. Bonaduce bashes out a semi-rockin' tune called "How Hot Can You Get", and everybody has an awesome time.

Meanwhile, in a very late 70's plot twist, two aging gangsters, Charlie (Dick Bakalyan) and Bugs (Louis Guss) bust out of jail and go on the lam. Turns out they've had a quarter of a million dollars stashed away in a broken-down old house all these years, and now they can finally go and pick it up. Bugs is a little worried, though.
"What if someone's living in there now?" He asks Charlie.
"Are you kidding me?" Barks Charlie. "Who would live in that dump? Who?"
Well, fucking guess who?

So then a bunch of zany stuff happens:

A couple Pi girls sneak into the party and pour hot sauce in the chili. This seems more helpful than hurtful, but it does cause HOTS official chef Mad Dog (Larry Gilman, The Yum Yum Girls) to jump into the pool.

Charlie and Bugs show up at the party. They buy HOTS t-shirts to try and fit in with the college students. Despite being in their sixties, the plan mostly works. They skulk around the place, intermittently partying with coeds and looking for their hidden dough.

Boom Boom Bangs jumps out of an airplane. On the way down, her top falls off. She's supposed to land in the HOTS party pool, but gets blown off-course, and ends up disrupting the dean's party next door, where Melody happens to be shmoozing with the college bigwigs. She lands right in the dean's pool, which causes a fat opera singer to fall into the water.

Not surprisingly, the girls end up in the dean's (Ken Olfson) office, where he chastises them for their unruly behavior. He also tells them that he knows what HOTS stands for - "Hold On To Sex", and that he finds that unacceptable. Never mind that "Hold On To Sex" doesn't even make any sense, it's not even the truth. Turns out, HOTS actually stands for "Help Out the Seals". Seems they're actually an environmental organization. They even bring in an actual seal to prove it.
The dean is not entirely convinced. Despite HOTS assertion that they are not a sorority, he tells them they have to abide by sorority rules, which means they need to get a house mother and, perhaps more importantly, further 'shenanigans' are strictly forbidden.

The "No shenanigans" thing doesn't last for long. Pissed that the Pi girls over-spiced his chili, Mad Dog rents a hot air balloon and sails over to their house, where they all happen to be sunbathing topless.

In a very Three Stooges sorta move, he bombards them with banana cream pies and seltzer. And then he flies away.

At least they got a house mother. Ezetta (Dorothy Meyer, RIP), is a large black woman who smokes with a cigarette holder and constantly threatens to quit "This crazy house!"

While the girls are out hatching various revenge schemes - Honey makes sweet 70's love to Melody's boyfriend, the HOTS team tapes Melody's right hand-girl Cynthia (KC Winkler) and her boyfriend up in their van and deposits them naked on the front lawn of the school, etc. - Charlie shows up at Ezetta's door pretending to be a representative from the Acme Corporation.
"Ma'am, this is your lucky day," he tells her.
"It's about time," she quips.

She's lucky, he explains, because he's got a space-age housekeeping robot that he's going to let her try out for free. Said robot is actually Bugs in a barrel, but what the hell, free is free. Bugs the Robot starts cleaning while Charlie prowls the joint looking for their money, but things go awry when Bugs blunders into the bathroom, where Boom Boom is taking a bubblebath with Slinky the seal.

She find him adorable, and mooshes her giant soapy jugs against his flimsy trash can shell, causing him to overheat and spew smoke everywhere. This pisses Ezetta off, so she throws them both out.

Meanwhile, more hijinks:

Professor Williams (Scott Ellsworth) is failing several HOTS girls in his class, so they trap him in an elevator and make out with him until he promises them all A's. This pisses Melody off, because she's been trying to crack the prof's nut for ages.

Mad Dog and his buddy kidnap the rival school's mascot, a big black bear named Sugar Bear. Of course, the bear escapes pretty quickly and ends up prowling the neighborhood, taking a dip in someone's pool and climbing in random windows looking for treats.

The Pi's throw a party, but all their boyfriends are busy back at the frat house. The HOTS staged a "jock strap raid", and it was so much fun, they just decided to stay and get loaded. Melody calls the house looking for Doug, and gets Honey instead. She's pretty pissed.

"May I have Douglas, please?" She asks.
"I've already got 'em," Honey laughs. And then she fuckin' hangs up on her.

Eventually, the dean has had about all he can take, so he marches over to the HOTS house to straighten them out. When he gets there, Boom Boom offers him a bloody Mary, and he's so flustered by her cleavage, he ends up spilling tomato juice all over his suit.
The girls offer to clean his clothes, so he ends up in his boxer shorts. He sneaks up to the attic, convinced that the girls have a moonshine still in there, but as always, they're one step ahead of him, and he finds nothing.

Then he goes berserk and starts chasing Terri Lynn around the roof, presumably to have sex with her. He catches her and starts pawing at her, but then Mad Dog sails by in his hot air balloon. He's still looking for the lost bear, and this seemed like a reasonable way to go about it. The balloon freaks the dean out, causing him to try and climb down the side of the house. He gets stuck there, ass-out, on the roof. Mad Dog seizes the opportunity, and snaps a few photos. So, no more problems from that douche.

Then there's a wet t-shirt contest/disco party at "Club Climax". Bonaduce's the DJ/MC. That cat gets around.

The contest ends in a tie between Honey and Melody, but these two arch-rivals cannot accept that decision, so they roll around the dance floor, punching each other in the head. If you're keeping count at home, that's a wet t-shirt/cat fight combo, perhaps the holy grail of teenage masturbation fantasies.

Since a simple girl-fight will not solve their differences, superjock Macho Man proposes a manly sort of solution - a football match. The girls agree, but Honey ups the ante: every time one team scores a touchdown, the other team has to remove a piece of clothing. And so, all-girl strip football is born. Goddamn, this is a good movie.
But first, they have a midnight bonfire at the beach, complete with Terri Lynn strumming a guitar and miming a truly horrible folk number called "Make Me Your Woman." Macho Man was so moved by it he almost professed his love for her right afterward. Instead, he wandered off and ran into Richie, who lied about having sex with Terri. Mad Dog decides he's sick of Richie's bullshit, so the HOTS girls device a whole revenge scheme involving Salt Peter, video cameras, and Slinky the seal. Yeah, great, but c'mon already, we've got a strip football game coming up!

While the HOTS girls are goofing off with Bonaduce's dick, Melody and Stephanie dress up like HOTS and try to sneak into their house to put itching powder in their uniforms. Melody is mistaken for Honey and gets kidnapped by Cynthia and a couple of football players who plan on shaving her head, while Stephanie ends up doused with old soup. So that doesn't go to well.

Finally, it's the day of the big game. The gang all head out together, but super busty O'Hara snaps a bra strap, and has to go back to find something else to wear. While she's getting dressed, she stumble on Charlie and Bugs, who took the opportunity to look for their money again.

She screams and makes a run for it, but gets even more frazzled when Sugar Bear pokes his head in. They all end up trapped in the attic with the bear and are, presumably, eaten by him.

Meanwhile, the game is on. The Pi girls score the first two touchdowns, forcing the HOTS to play in their bra and panties. So that's pretty cool.

The rest? Well man, there's bears and hot air balloons and car chases and cops and seals and fire engines and all sorts of crazy shit. But most importantly, there's a topless huddle. Two of them, in fact. Also, you finally get a gander at Lindsay Bloom's teacup-shaped floppies.

And that, my friends, is how the 70's ended.

I've certainly said it before, but it bears repeating: Cheri Cafarro, I love you. Truly and desperately. HOTS is one of the very few true classics of the teen sex comedy genre, and it has lost none of its luster over the years Highly recommended.




- Ken McIntyre
Play by FoxSaver®
Play by FoxSaver®

Saturday, July 4, 2009

Vampyres (1974)

Directed by Jose Ramon Larraz
Starring Murray Brown, Marianna Morris, Anulka Dziubinska
Rated X (Uncut version)
UK

They shared the pleasures of the flesh, and the horrors of the grave!

Vampyres is one of the finest examples of the early 1970's lesbian vampire cycle. This very welcome exploitation micro-genre is firmly rooted in the mythos suggested by Camilla, an 1872 novella by Joseph Sheridan le Fanu about a female vampire and her powers of same-sex seduction. Sapphic-minded vampiresses were first introduced into the cinema with 1936's Dracula's Daughter, but the lezbo-ball really got rolling in 1960 with Blood and Roses, Roger Vadim's relatively subtle Camilla adaptation. The blood, tits, and girl-on-girl antics that we all know and love, however, is a specifically 70's-centric affair. British horror-gods Hammer produced an amazing, explicit, highly erotic trio of lez-vamp flicks in rapid succession: The Vampire Lovers (1970), starring Ingrid Pitt; Lust for a Vampire (1971), with Zeta One's Yutte Stensgaard, and 1972's groovy Twins of Evil, starring Playboy playmates Madeline and Mary Collinson. Europe was busy churning them out, as well. Daughters of Darkness (1971) was a Belgian lensed retelling of the Countess Bathory tale with bonus girl-girl action. Always one to sniff out a trend, prolific Spanish Z-movie auteur Jess Franco jumped into the fray with the psychedelic Vampyros Lesbos in 1971, and loony Frenchman Jean Rollin spat out an almost endless stream of them: The Naked Vampire (1970), The Shiver of the Vampires (1971), Lips of Blood (1975), etc. There are others, as well, but the first wave of lesbian vampire films capped off with 1983's drowsy The Hunger. They came roaring back in the 90's with a pile of low-budget softcore flicks, most of them starring Misty Mundae, or at least one of Misty's friends, and they show no sign of going away any time soon, as evidenced by 2008's blatantly titled Lesbian Vampire Killers.

Surely, these films have some psychosocial significance, and they've been analyzed to (un)death by post-feminists and cinema-snobs for decades, but let's be honest about it: guys like watching chicks make out with each other. And if you can throw a little blood around while you're at it, well, you've just sold a fuckin' ticket, sir.

Above: Lust for a Vampire

Vampyres arrived around the end of the initial spurt of lez-vamp films, so it contained all the tropes blueprinted by the Hammer films. It also boasted a uniquely continental flavor, since it was shot in England but directed by a Spaniard. A sleaze-beast from the get-go, Jose Ramon Larraz began his directorial career in the UK, but relocated to Spain in the mid-70's. He has a jaw-dropping resume piled high with primo exploitation: The House that Vanished (1973), The Violation of the Bitch (1978), Madame Olga's Pupils (1980), Edge of the Axe (1988), and so on. If you're looking for salacious stories slathered with sex and violence, layered in atmosphere and shot with an eye for the surreal, than the underrated Larraz is your man. Vampyres is easily his most well-known film, and for good reason: its got lots of blood, lots of tits, and lesbians.

Vampyres opens in a very arousing/alarming manner. Two big-breasted Betties lez out in a big fluffy bed, but are rudely interrupted when some maniac with a gun shows up and blows them into splattery smithereens. Cue the acid-rock guitars, garishly colored credits, and wildly flapping bats that denote a proper 70's vampire flick.

Cagey Ted (Murray Brown) checks into an inn for the night. The creaky old bellhop recognizes him from 'years ago', but he denies ever being there before.

Meanwhile, a young couple, John (Brian Deacon) and Harriet (Sally Faulkner), drive down a country road on their way to a campsite. They pass by a beautiful woman in a flowing dress who appears to be hitchhiking. Harriet - who sports a Helen Reddy style bowl cut - swears she saw another woman hiding behind a tree, as well. John shrugs them off, correctly assuming that some other chump will pick up the hot hitchhiker. Sure enough, some mustache guy in a blue Mini-Cooper ambles up and lets the woman in.

Later on, our happy campers find a cozy spot deep in the woods, directly across from an ominous, seemingly abandoned mansion a (Oakley Court, a frequent Hammer house, and, more famously, the house where the Rocky Horror Picture Show was shot). They settle into their camper for an uneasy night of sleep, but Harriet is woken by some strange noises.

She looks out the window and sees some lights on in the supposedly abandoned mansion. Worse still, she is startled when a hand smacks the window of the camper. She demands that John get up to see what the fuck is going on. He dutifully trudges out into the pouring rain with a flashlight, but sees nothing. He comes back in and tries to convince Harrriet that she was just dreaming.

Amazingly, Harriet survives the night. When she wakes up the next morning, she looks out the window to see two young women in black dresses marching through the woods toward the mansion.

Meanwhile, the cops are investigating a deadly crash on the country road. Looks like mustache guy wasn't as lucky as our friends.

Harriet harps on about her morning vision, but John is frankly sick of listening to her. "Since we've arrived at this spot, everything seems strange to you," he pish-poshes. "You see phantoms and ghosts just about everywhere." So that's the end of that discussion. After a healthy breakfast of toast and Sultana Bran (?), Harriet goes outside to paint a landscape while the brooding John fishes and chain smokes down by the riverside.

Meanwhile, Ted is out for drive when he happens upon a busty, doe-eyed hitchhiker (Marianna Morris, The Amorous Milkman). Naturally, he picks her up, and she asks for a ride home, as it's getting dark. He agrees, and off they go. She tells him her name is Fran, but she doesn't tell him much of anything else.

They drive to her home - the spooky mansion, of course - and Ted invites himself in. They wind through the labyrinth of rooms until they finally get to Fran's quarters, which are festooned with weird accents like a zebra skin rug and Hindu statues.
They have a nonsensical discussion about what, exactly, Fran does for a living ("I search for interesting people", she finally tells him), and then they make savage 70's love. Twice.

As you would expect, Ted then falls into a deep slumber. When he wakes, he finds Fran still in the bed beside him, either dead or in some sort of trance. He stumbles around the room, but is too tired to leave, and he falls back to sleep. When he wakes the second time, it's morning, he's got a nasty gash on his arm, there's blood on the sheets, and Fran's gone. Groggy, weak, and soaked with cold sweat, Ted gets dressed, lights a smoke and Scooby Doos around the joint, looking for Fran. But Fran split, man.

Ted leaves, but finds that he's still quite groggy. He visits John and Harriet at their camper and asks for some help. They bandage him up. He thanks them and heads out. As he's leaving, Harriet asks him if anybody lives in the weird old house. "That's a question I've been asking myself since last night," he says, mysteriously. And I still don't know the answer."

Instead of going back to the inn - or home, or anywhere else sensible - Ted just goes back to the mansion and stakes the place out all day. Fran finally arrives at some point that night. She apologizes for leaving so abruptly, but tells him she had to be somewhere at dawn and couldn't make it back until now. He shrugs it all off. The sex must have been phenomenal. She invites him back in, but sheepishly tells him she's got company - blonde beauty Miriam (Playboy's Miss May 1973, Anulka Dziubinska) , and some dude in a tweed jacket named Rupert (frequent Larraz collaborator Karl Lanchbury). "I'm sure you'll like them," she purrs.

The four have a lovely time smoking cigs and gulping down goblets of red wine, but they start to run out, so Miriam and Rupert head down to the wine cellar to fetch some more.
While they're gone, Fran tells Fred that Miriam also live there, that she's her girlfriend. Not her 'girlfriend' girlfriend, just, you know, they like to hang. Rupert, on the other hand, is just some dude who gave them a ride. Ted is slightly alarmed, but mostly aroused, and somewhat drunk.

Meanwhile, in the camper across the way, Harriet is still bitching about their horrible camping spot and its approximation to whatever wickedness is going on in the old dark house. John just wishes she'd shut up about it, already.

Back at maniac mansion, Ted and Fran fuck again, and while he enjoys a post-coital snooze, Fran gingerly laps at his oozing arm wound. Later she steps out into the hall to see a delirious, gore-soaked Miriam. She follows her back to Miriam's room, where a thoroughly mangled Rupert thrashes away in a pool of his own blood.

He struggles to get free, but Frank picks up a dagger and stabs him deep in the guts with it, opening him up so the two vamps can get at the red stuff inside. Satiated, they wrap Rupert up in a sheet and drag him downstairs. Then they take a sensual shower together.

The next morning, Ted wakes up alone again. He has a what-the-fuck moment (finally), when he realizes all the mirrors have been taped over.

His growing unease is exacerbated when he vrooms down the road a bit but is blocked off by police, who are pulling the mangled corpse of Rupert out his twisted mess of a car. Ted heads back to the mansion to get to the bottom of this madness. He heads down the wine cellar, and accidentally locks himself in.

Meanwhile, Harriet's out in the woods, painting another picture. The vamps glide up to her to see what she's up to. Instead of killing her, however, Fran rubs her thumb on Harriet's forehead.
"I always knew we'd find each other," she says. "By this sign, I'll recognize you."
You don't really need any secret sign, Fran. Just look at her. I mean, Harriet's pretty butch.

Fran and Miriam head back to the mansion. When they get there, Ted's still banging away on the locked cellar door, whining for help. Fran lets him out and takes him upstairs. She disrobes, and so does her, ready for another round of vampire pussy, but he passes out from lack of blood.

Miriam comes into the room, and they have a bloody three-way, with Miriam sucking out dribbles of Ted's blood and then furiously making out with Fran, their lips and tongues freely exchanging Ted's vital fluids. It's pretty nuts.

Harriet goes sleuthing, and ends up in the mansion's cellar, where she finds Fran sleeping.

Miriam spots her and slinks into the shadows. And then John shows up and asks her just what the fuck she thinks she's doing. She tries to explain that these undead girls are in there snoozing, but he shoos her out. Ted, meanwhile, is up in the bedroom, gasping for help, but he's too weak to alert the campers, so they split.

Darkness falls, and the girls bring home their next victim an international playboy (Michael Bern) in a shiny sports car. Miriam and tomorrow's lunch warm their bones by the fire while Fran goes upstairs to stifle a raving Ted, who has finally figured out the two women are stone-cold, bloodsucking killers. It's about fucking time, Ted.

The playboy is really digging their wine, and being a connoisseur, tries to guess where it's from. He is stumped, and the girls tell him it's from a remote part of the Carpathian mountains. You know, Transylvania. Apparently this guy's never seen a vampire movie in his life, because he accepts their invitation to go down to the cellar to check out the flasks.

Meanwhile, back at the camper, Harriet takes off her shirt, revealing her soft, feminine curves and ample chest. Who knew? She turns down the lights and slips into bed to make gentle big-boned love to John.

While that's going on outside, the playboy is having the time of his life in the cellar, chugging wine and goofing around with the girls.
"It's almost too good to be true," he says.
"Nothing's too good to be true," says Miriam. "The only problem is that life's too short."
Just what are you driving at, blondie? The wine keeps flowing, everybody starts mashing lips, the tits come out, and it's a full-on threeway, right there in the musty basement. Of course, it ends quite badly for the playboy, but what a way to go, right?

Half-dead Ted manages to stumble out of the house while the girls slurp on the playboy. He even makes it to the camper to ask John and Harriet for help. But will they be any match for two pissed-off lesbian bloodsuckers?

Depends. How long is it until dawn?

Bloody, brutal, frequently scary, and erotically charged, Vampyres is a cult-horror classic. Boners will most certainly be popped - I mean, just look at these two - but be prepared to sleep with the lights on afterward.

Clip: Vampyres trailer!






- Ken McIntyre

LinkWithin

Related Posts with Thumbnails