Too Much Too Often :Trailer (1968)

Too Much, Too Often, is a 1968 sexploitation film writen and directed by Doris Wishman

Take a deep breath, meditate for a few moments to cleanse the mind, make sure there are no sharp objects in the room, strap on a seat belt, and carefully enter the world of Too Much Too Often, yet another slice of unintentional surrealism from The First Lady of Sexploitation, director/producer DORIS WISHMAN (here billed under the name of her then-husband, Louis Silverman). But beware: your mind may never be the same...  When swaggering and conceited teddy boy Mike (played by fleshy-faced BUCK STARR) isn’t combing his wavy hair in a stance reminiscent of The Fonz, he’s latching onto each and every female who crosses his slimy path. The guy is bad news and has everybody fooled, except Mr. Dite (rotund BOB ORAN), an advertising executive and recent recipient of Mike’s services as a whip-wielding sadist. Taking advantage of the weak-willed masochist, Mike blackmails Dite into giving him a cushy job, then takes advantage of his new position by stealing Dite’s clients, seducing Dite’s elegant daughter, Sara (JOANNE CUNNINGHAM), and climbing his way up the social ladder. But Dite’s daughter isn’t enough to fill Mike’s sexual appetite and he makes conquests of a parade of women who find him irresistible. There’s Lynn (SHARON KENT), the lovely college coed; Lita, the hooker with a heart of gold; Ellen, the dockside floozie whose husband neglects her; and Midge, the naive secretary who falls for Mike’s lies and unknowingly gives him the information he needs to screw over Dite. He uses all of these women and discards them like old snot rags. And when Lynn tells him she’s pregnant, he proceeds to beat her up. He also slaps Lita around when she doesn’t make her quota, and promptly dumps Midge after she hands over the files he needs. Meanwhile, Dite desperately tries to bribe Mike into leaving his daughter alone and even tells Sara what a sick perv Mike really is, but Sara ignores him and she and Mike plan to elope. Which is when Sam (New York nudie vet SAM STEWART), a detective with a bad foreign accent, enters the scene. Angry that Mike had once-upon-a-time pulverized him and attacked his wife (DARLENE BENNETT in a rare good-girl role), Sam takes his revenge... Director Doris actually used a few different locations to shoot Too Much Too Often (as opposed to her usual apartment), but her quirky trademarks still remain: the convoluted and typically bizarre plot, the strange post-dubbed dialogue put in mouths mostly off-screen, the oddball cutaways to inanimate objects, sexploitation starlets admiring themselves in the mirror; bras, panties, fishnets and spike heels galore; and very expressive feet which share equal screen time with the actors.

Doris Wishman (June 1, 1912, New York City – August 10, 2002, Miami, Florida) was an American film director, screenwriter and independent film producer.Self-taught as a filmmaker, Wishman was noteworthy for her paracinematic, camp aesthetic and is often referred to as "the female Ed Wood." The majority of her work was designed to be released in the American sexploitation film market of the 1960s and '70s. Wishman is also one of the most prolific women film directors in the history of the cinema and in recent years has become the object of a cult following.

TOO MUCH TOO OFTEN : (TRAILER)
DORIS WISHMAN  (1968)
2:52
USA

Another Day Another Man : Trailer (1966)

Exploitation filmmaker Doris Wishman directed this peculiar black-and-white roughie about the travails of a blushing bride named Meg (Gigi Darlene). After her husband leaves her, she is forced to kill her building's janitor-rapist in self-defense. The panicked Meg flees to New York under an assumed name and picks up a drunken lout who beats her with a belt, then she moves in with a lesbian. As the dragnet tightens, Meg moves to an apartment and is attacked by the landlady's husband and finally ends up working for an elderly woman whose son is the detective assigned to the janitor's murder. Wishman's bizarre film is almost surreal in style, with the requisite circular ending and aimless photography popular in art-house features of the time. Virtually impossible to see for many years, Bad Girls Go to Hell has gained a cult following on videotape for its campy, melodramatic elements and even received some theatrical playdates in the late 1990s. ~ Robert Firsching, All Movie Guide

ANOTHER DAY, ANOTHER MAN is much more dialogue-driven than other roughies Doris Wishman appeared to make around this time. And really, all you have to do is watch the trailer to check out all the sex and violence because there isn't a whole lot that was left out. And as with other early Doris Wishman films, this is another one that was shot without recorded sound so the dubbing afterwards tends to make the movie more funny than what was originally intended. One personally amusing moment for me was in the middle of the movie when Burt suddenly has a dream/flashback and tells the viewers of when and where he first grabbed a certain batch of his call girls. Burt's dubbed voice is hilariously reminiscent of those narrators that you might've heard on Tex Avery's MGM cartoons. Hell, I'd recommend this movie just for that scene alone.

ANOTHER DAY ANOTHER MAN : TRAILER
DORIS WISHMAN
JURL PRODUCTIONS
2:41
USA

The Amazing Transplant : Trailer (1970)

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Bad Girls go to Hell - Trailer (1965)

Bad Girls Go to Hell is an American 1965 sexploitation film, written, produced and directed by Doris Wishman. The film stars Gigi Darlene, George La Rocque, Barnard L. Sackett, Harold Key and Darlene Bennett. This film marked the end of Wishman's lighthearted nudist camp series and "nudie-cutie" comedies (such as Nude on the Moon) and a shift toward serious stories dealing with sex and violence. The new wave of harder-edged sexploitation and violent "roughie" films had already arrived a year earlier with David F. Friedman and Herschell Gordon Lewis' Scum of the Earth! (1963), Russ Meyer's Lorna (1964), Michael Findlay's Body of a Female, and Joseph P. Mawra's Olga's House of Shame and its sequels.

Meg (Darlene) is a housewife in either Boston or Chicago, who, after making love with her husband (Sackett), takes a shower and dresses. When putting out some rubbish, she is assaulted and raped by a janitor (Key). The janitor blackmails Meg into coming into his apartment, wherein he again attempts to rape her. She kills him with a bowl. Fearing discovery, Meg packs her bags and travels to New York by bus. When befriended by a man in Central Park, she changes her name to Ellen Green, and claims she is from Chicago. The man offers her a room in his apartment, but after drinking heavily, he beats Meg/Ellen with a belt. Moving on, she notices a newspaper headline stating: “Police seek blonde suspect in Boston murder!” Ellen rooms with Della (Bennett), a lesbian, and claims she is an acrobatic dancer, standing on her head in her bra and panties to prove it. After sleeping with Della, Ellen moves on again, stating that, because Della loves her, she has to leave. Ellen rents a room for 20 dollars a week at a couple's house, but is attacked and raped by the landlady's husband (La Rocque). She flees that scene and becomes a companion for an elderly woman but then discovers the woman's son is a detective working on the Boston murder case. Just as she is found out, Meg wakes up. It has all been a nightmare. As her husband leaves for work, Meg goes about her daily chores, but yet again she is attacked by the janitor in the stairwell.
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BAD GIRLS GO TO HELL  (TRAILER)
DORIS WISHMAN  (1965)
3MIN
USA

Deadly Weapons - Trailer (1974)

Deadly Weapons is a 1974 American sexploitation film  directed by Doris Wishman, starring striptease performer Chesty Morgan (credited as Zsa Zsa). The film is based on a story conceived by J.J. Kendall (Judith Kushner), Wishman's niece, and features porn star Harry Reems in a non-sexual role. This is the first of two films Wishman made with Chesty Morgan, famous for her 73 inch bust. The second of the two features is Double Agent 73, a spy thriller. This film is seen briefly in John Waters' Serial Mom when Justin Whalin's character Scotty is masturbating.

Zsa Zsa plays Crystal, an advertising executive who tracks down the mobsters who killed her boyfriend (Harry Reemes). One by one, she seduces each man, drugs him, then smothers him to death with her large breasts. At the end, she finds out that it was her own father (Phillip Stahl) who ordered her lover's execution.

About Doris Wishman:
Doris Wishman (June 1, 1912, New York City – August 10, 2002, Miami, Florida) was an American film director, screenwriter and independent film producer. Self-taught as a filmmaker, Wishman is noteworthy for her paracinematic, camp aesthetic and is often referred to as "the female Ed Wood." The majority of her work was designed to be released in the American sexploitation film market of the 1960s and '70s. Wishman is also one of the most prolific women film directors in the history of the cinema and in recent years has become the object of a cult following.






1960-1964 Nudist period
Wishman completed eight nudist features between 1960 and 1964. Blaze Starr Goes Nudist (1962) featured legendary burlesque queen Blaze Starr. Other titles include Hideout in the Sun (1960), Diary of a Nudist (1961), Gentlemen Prefer Nature Girls (1962), Playgirls International (1963), Behind the Nudist Curtain (1963), and The Prince and the Nature Girl (1964). The most bizarre of Wishman's nudist features was 1961 Nude on the Moon, an attempt to combine traditional nudist material with a science fiction plot-line. Wishman abandoned the nudist genre once it had lost its commercial viability.

1965-1970 Sexploitation
During the mid-1960s, Wishman began working within the sexploitation genre. Several of Wishman's films of this period were directed under the pseudonym "Louis Silverman", the name of her second husband (otherwise uninvolved in the films' production). Bad Girls Go to Hell (1965) is one of Wishman's best-known films and includes many elements found commonly in sexploitation movies of the period. The main character is a young woman who runs away to the big city (in this case, after accidentally killing a man who tries to rape her). She soon stumbles into a variety of sexually compromising and abusive situations. Though archetypal in its use of genre situations, Wishman's empathy for her female protagonist in Bad Girls Go to Hell has been interpreted by some observers as proto-feminist. Bad Girls Go to Hell was also one of the earliest collaborations between Wishman and cinematographer C. Davis Smith, who worked closely with Wishman on much of her output during the 1960s and '70s, and who would subsequently serve as director of photography on Wishman's final, posthumously completed feature, Each Time I Kill. Other films from Wishman's sexploitation period include The Sex Perils of Paulette (1965), Another Day, Another Man (1966), My Brother's Wife (1966), A Taste of Her Flesh (1967), Indecent Desires (1967), and Too Much Too Often! (1968). All are shot in black and white. Two subsequent features, Love Toy (1968) and The Amazing Transplant (1970), are shot in color and are closer in substance to the burgeoning soft-core genre.
Wishman is also credited with having dubbed two imported Greek-produced features, The Hot Month of August and Passion Fever, during the late 1960s and is credited with the direction of their American release versions.

1971-1983
During the 1970s, Wishman experimented with a variety of genres and genre mixes. Keyholes Are for Peeping (1972) is a sex comedy featuring comedian Sammy Petrillo. Deadly Weapons (1973) and Double Agent 73 (1974) are thrillers featuring strip-tease performer Chesty Morgan, renowned for her 73-inch bust. Wishman's Chesty Morgan films are among her best known and most popular titles and are celebrated for their camp aesthetic. During the mid-1970s, Wishman also directed at least two explicit hardcore pornographic films. Satan Was a Lady (1975) [remade in 2003; see below] and Come with Me, My Love (1976), both featuring performance artist and porn star Annie Sprinkle. Although initiated in 1971, Wishman's 1978 feature, Let Me Die a Woman (1978) is a semi-documentary about transsexuality. In addition to examining the condition of numerous, actual transgender individuals, the film also features a considerable number of dramatized scenes, including a cameo by future porn legend Harry Reems (as "Tim Long"). Noticing the trend toward slasher movies in the late 1970s, Wishman ventured into the horror genre with a feature entitled A Night to Dismember, completed circa 1983. Noteworthy for its crazy-quilt construction, the film failed commercially, effectively forcing Wishman into retirement.

 Rediscovery/Death
Due in large part to her increasing cult status during the 1990s, Wishman managed to complete three additional features late in life: a sex comedy entitled Dildo Heaven (2002), a neo-sexploitation feature entitled Satan Was a Lady (not to be confused with her 1975 hardcore film of the same title), and Each Time I Kill, a teen horror thriller shot in the Miami area. Wishman completed principal photography on the previous film only six weeks before succumbing to lymphoma in August 2002, aged 90. The film was later completed by the project's executive producer and has screened at various film festivals. In 2000, Wishman was featured alongside exploitation icons Roger Corman and David F. Friedman in the documentary SCHLOCK! The Secret History of American Movies, a film about the rise and fall of the American exploitation cinema. Excerpts from her interview for this film also appear on the 2007 DVD issue of Wishman's first film Hideout in the Sun. During her later years, Wishman was also interviewed on National Public Radio's Fresh Air program, was twice a guest on Late Night with Conan O'Brien, and was the subject of retrospectives at the Harvard Film Archive and the New York Underground Film Festival.
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DEADLY WEAPONS  - TRAILER
DORIS WISHMAN  - (1974)
3MIN
USA