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The Films Of Doris Wishman: The Twilight Years (AGFA/Something Weird Video) Blu-ray Review

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    Ian Jane
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  • The Films Of Doris Wishman: The Twilight Years (AGFA) Blu-ray Review

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    Released by: AGFA/Something Weird Video
    Released on: May 24thh, 2022.
    Director: Doris Wishman
    Cast: Chesty Morgan, Harry Reems, João Fernandes, Linda Southern, Leslie, Cindy Boudreau, Sandra Kay, Michele Marie
    Year: 1974/1974/1970/1977/1975/1971
    Purchase From Amazon

    The Films Of Doris Wishman: The Twilight Years – Movie Review:

    Anyone even remotely familiar with the history of exploitation films knows the name Doris Wishman. Looked upon as sort of a female equivalent of the H. G. Lewis/David Friedman team, she made all manner of violent horror films, sexploitation pictures, and nudist films throughout her long and illustrious career. AGFA and Something Weird Video have teamed up to release the first of three sets collecting her work in properly restored presentations with all new extra features.

    Here’s a look…

    Disc One - Deadly Weapons/Double Agent 73:

    Deadly Weapons stars Chesty Morgan, born in 1937 as Lillian Wilczkowsky, as Crystal, a woman who makes a living as an advertising executive and who is involved with Larry (Richard Towers), a mobster. Things are going fine for the loving couple, despite the fact that he warns her he's nothing but trouble, until Larry proves her right and winds up murdered, just after proposing to Crystal who hears him being killed over the phone. She's perceptive enough to start putting together some details as to who was behind his death, at which point she decides to pose as a stripper and off the guys who killed her man, one at a time (one of whom is Harry Reems) by smothering them with her giant boobs.

    Basically one massive seventy-five minute long explosion of bad taste, Deadly Weapons gets by with only the flimsiest of plot lines and is far more interested in exploiting the freakshow attributes of its (very obviously dubbed) starlet. A rather stern looking women with a bleach blonde shag mullet, Chesty sure is a sight to behold. She's not in the greatest of shape nor is she the most attractive woman to ever walk the Earth but those jugs… they're insane. You can't take your eyes off of them and that's not meant as a compliment - they really are insane and quite believable as the instruments of death which Wishman has portrayed them as in this film.

    As far as the acting goes - oof! Morgan was dubbed likely because of her Polish accent but it doesn't help her performance. She sort of shambles around the various tacky low rent locations used for the shoot will Wishman's camera drifts from those zeppelins to a coffee mug to a phone to whatever random inanimate object she decided needed a close up at any given time. Chesty is definitely game for the material but no, she's not a good actor at all. Reems, on the other hand, is fun in his supporting role and obviously hamming it up in that fairly charming manner of his, while Towers gets offed early enough in the movie to leave little to no lasting impression outside of some awkwardly delivered lines of stilted cliché ridden dialogue.

    The second film on the disc, Double Agent 73, casts Chesty as Jane, also known as Agent 73. When the film begins, she is enjoying a relaxing vacation at a nudist camp (which will come as no surprise to those familiar with Wishman's output). Her vacation doesn't last long though, as she's called by the higher ups to jump back into action and track down a dreaded drug dealer named Ivan Toplar (LuisBurdi) who has managed to more or less corner the market on heroin imports. She's not given much to work with but Agent 99, who worked the case before Jane, did at least report back that Toplar has an identifying scar on his face before being killed in the line of duty.

    Armed with that valuable information, Jane has a camera surgically implanted into one of her breasts that she'll use to take pictures off pretty much everything she comes into contact with in this movie. She takes boob shots of all sorts of stuff and all sorts of people. How the film is taken out and developed is left to the viewer's imagination but at any rate, she heads out into the film to figure all of this out - but there's a catch! There's a bomb in her other boob that will blow up if she doesn't get her boss the info he needs to crack the case in time. And then there's the matter of true love… what's a girl to do?

    If you dug the first movie then it's pretty much a sure thing that you'll dig this quickly made cheap and easy follow up just as much. It doesn't improve on anything, nor does it feature smothering boob deaths (though we do get a fairly awesome poison boob death instead), but it does add the whole bomb twist to the plot and the inclusion of the boob camera needs to be seen to be believed. Every time Chesty needs to take a picture - which is often - she lugs out her massive left funbag and lifts it up, at which point a flash (??) goes off and a camera noise pops up in the sound mix. Science and biology were evidently not strong points in Wishman's filmography. Again, Chesty wanders around with the same sort of stunned look on her face that she exhibited so brazenly in the first film and again, Wishman periodically seems more enamored with inanimate objects than with her star, who is frequently framed as nothing more than a frightening canyon of cleavage. The film also features a lot of zooms that show off Chesty's shoes for some reason.

    After Morgan made these two films for Wishman she would fly to Rome to appear in Fellini's Casanova. Her scenes were cut. She continued to perform on stage until 1991 and retired to Florida (you can and should read a fascinating article on her life here).

    Reportedly the early VHS release and theatrical prints of Double Agent 73 contained a scene where Chesty's friend is murdered that isn't included in the negative and was not on previous DVD and Blu-ray releases from Something Weird. This footage has not been included in this set either, which is a shame, but until recently I didn't even know this was the case so I was still able to enjoy the movie just fine.

    Frank Henenlotter addressed the missing footage from this film and The Amazing Transplant (more on that below) on Facebook with the following information:

    “About the “cut” Doris Wishman films in the AGFA collection... I remember the hysteria by some when Something Weird released a couple of Doris’ films on dvd that were missing footage seen in the old Electric Video VHS tapes. In fact, there was such a stink that SWV immediately scuttled plans for releasing any further Wishman titles on dvd through Image Entertainment. Eventually, we learned that there was only one person involved in the removing of certain scenes from her films and that person was Doris herself. Why? The best guess is that Doris may have cut the films for eventual cable sales, thinking that she was “improving” them, though the choice of what was cut and what wasn't remains baffling — just like 1001 other choices in her films. Whatever her reasoning, no uncut negatives were ever found, nor were the prints used for the Electric Video releases. So, if you want to be a purist about it, the cut negatives are, like it or not, the “Director’s Cut” of these films. Inserting footage from tapes released in 1981 would look awful. Worse, it would not be respecting Doris. If this is how she ultimately wanted these films to be seen, then so be it.”

    Disc Two - The Amazing Transplant/Let Me Die A Woman:

    Directed by Wishman in 1970 based on her own script, The Amazing Transplant checks all the Wishman boxes – weirdly dubbed dialogue, cutaways to inanimate objects (this time around including a giant moose head!), lots of shots of shoes and carpet and a plot that doesn’t wind up making a whole lot of sense. It’s also, like most of her movies, patently ridiculous and a whole lot of fun.

    Clearly inspired by The Hands Of Orlac, the film follows the exploits of a man named Arthur (Juan Fernandez) who leads a fairly tame life and who wishes he was a bigger hit with the ladies than he is. When his pal Felix (Sam Stewart), a ladies man of the highest order, shuffles off this mortal coil, he wills his dong to Arthur who rushes off to a doctor and blackmails him into replacing his member with Felix's.

    What Arthur didn't know was that Felix led a secret life as a rapist and, once Felix's dong is attached to Arthur, the newly acquired member proves that old habits die hard and Arthur soon finds himself with the uncontrollable impulse to rape all manner of poor women. He starts with his ex-girlfriend Mary (Linda Southern), who somehow manages to work Arthur into a super-horny frenzy with her shiny gold earrings. But he doesn't stop there! When Arthur's uncle, Bill (Larry Hunter, who has amazingly expressive eyebrows and is not afraid to use them!), a cop by trade, starts investigating the rash of rapes occurring in the area he starts to close in on his nephew... but will he be able to stop Arthur before he rapes again? Arthur’s mother, Ann (Mary Lamay), is on the phone a lot because she is very concerned.

    Touted as “A Mostest Production” when the movie starts, the opening credits almost spoil the movie as they're full of stills of Arthur raping women. From there, the movie proper opens with Mary completely naked playing a string instrument. Arthur proposes, she accepts, and then he rapes he and kills her. It sets things up fairly effectively, actually, as we know right way that Arthur is damaged even if we don’t know why he does what he does or why golden earrings set him off the way that they do.

    A few random observations about the movie? Almost no one locks their doors in this film. Bill, who runs about questioning women who know Arthur, will knock and is usually just told to come on in. You’d think that these women, having been raped and all, would lock their doors but nope! Wishman ensures that the rape scenes are set to weirdly whimsical music. This is one of many strange choices on her part. Of course, the film has lots of nudity, tacky fashions and décor and Kim Pope shows up, which is kind of neat. The penis replacement surgery scene is tame, there’s no blood or anything, it’s just the doctor in his garb sort of hovering over Arthur and talking to him. The ending doesn’t really properly resolve much, the movie just sort of trails off. The dubbing in this movie is somehow worse than usual for a Wishman film, but that somehow makes the film even more magical than it would have been otherwise.

    It is worth pointing out, however, the nearly seven minutes of footage that was included on the Electric Video VHS release has not been included here. In a perfect world, it would have been offered in the extra features section if film elements weren't available but it hasn't been. Did this personally affect my enjoyment of the movie? No. I haven't seen the alternate VHS version and enjoyed this cut just fine, but as the footage does exist even if only from a tape source at this point, it would have been nice to have it here for the sake of completion/anal retentive movie collecting purposes.

    Overall, The Amazing Transplant is, like most of Wishman’s output, a wonderful mess of a film that’ll absolutely appeal to fans of trashy, low budget, vintage exploitation fare and, as such, is completely worth seeing.

    Despite her prolific work in the nudist ‘documentary’ field, the infamous Let Me Die A Woman (which, in this variation, uses a title card that reads ‘Man Or Woman?’) was the only 'mondo' or 'shockumentary' film to ever bare Wishman’s name in the credits.

    As much a fictionalized account as an actual documentary on the subject, Let Me Die A Woman introduces us to the world of the transgendered - primarily, those who feel they are women trapped inside the body of a man. Explaining the phenomena by way of a medical condition that the good Doctor Leo Wollman (playing himself, he was a real doctor, but dubbed of course) refers to as 'gender dysphoria' the movie purports to explore the real issues that these transgendered subjects have to deal with in their day to day lives. The highlights of the movie, as is the case with any good shockumentary, are the nasty bits which in this case include actual honest to God sex change operation footage and plenty of odd looking people from various walks of life simulating softcore lovin'.

    Most of the movie focuses on the exploits of Leslie, and through some interviews with her we find out how she became a man through a sex change operation. Aside from Leslie's issues, however, we're treated to some re-enactments and a classic bad taste moment in which a man chisels off his own wang. It's about as hard to take seriously as you can imagine, and despite the presence of Dr. Theowall (who sits at his desk and lectures us in between scenes, kind of like the narrator from Blood Freak albeit without the chain smoking and tacky wood paneling that made his moments so divine) to give the movie some sort of credibility as a true documentary, it doesn't work.

    Wishman's film makes no qualms whatsoever about going for the gross out and the exploitation. The interviews and explanations really only exist for one purpose and that's to get to the sex scenes and the operation scenes and let's face it - those are the real reasons anyone would want to watch this movie in the first place. You're not going to sit down with this one and expect a serious examination of transgender issues - this IS a Doris Wishman film after all.

    So, as a documentary, Let Me Die A Woman fails pretty miserably. As an exploitation movie, however, man does it knock the ball out of the park. Aside from the aforementioned chisel to the cock scene (which is admittedly very graphic but about as realistic as the alligator attack scene in the Arthur Davis mondo movie, Brutes And Savages), there's plenty of ugly bumping and grinding between types of people and one scene that falls into this category includes an appearance from a moustache-less Herbert Streicher, better known as the born again real estate peddlin' Harry Reems from the Deep Throat movies (and, of course, the first feature in this collection!) and credited here as Tim Long.

    Look closely at a scene towards the end of the movie and if you're careful you'll notice a very young 'Ms. Clit' herself, Vanessa Del Rio (if you blink, you'll miss her but the star of many a rough 70s New York City porno and plenty of eighties hardcore films as well is definitely in here, those ruby red lips are a dead giveaway!) in action. For fans of smut, this one has some historical value if for no other reasons than two titans of the industry appear here early on in their careers (it's very unlikely that their cameos were shot in 1978, the production year credited on the Hygiene Films title card).

    Even outside of the simulated sex scenes there is still plenty of doctor's office nudity, both male and female and often times of the full frontal variety. The film leaves nothing of the transgendered variety to the viewer’s imagination - it lays it all out in front of you to ogle over with your own eyes. In fact, one of the reasons it can't be taken seriously is it more or less treats its subjects almost like part of a freak show. By modern standards, it comes across as crass in this regard, but it’s very much a product of its time.

    The operation footage is as nasty as you could imagine it to be. Witness the creation of a woman's body out of the remnants of what at one time was the form of a man right before your very eyes! This is one of those rare times where an exploitation movie delivered exactly what it promised. It doesn't examine the issues that would cause one to want this kind of procedure performed upon them but it certainly doesn't shy away from showing the procedure itself or from discussing the after effects of the operation. We also lay witness to a few different subjects in various stages of the transition process, which means we get to see people who once identified as male undergoing hormone therapy and developing breasts.

    Leslie doesn't seem to have a problem talking about how after the first time she let a man penetrate her there was blood and how he assumed she was a virgin because of it. The film also allows one of its post op subjects to demonstrate her new found genitalia's abilities by requesting her to essentially penetrate herself with a metal phallus - of course, it's all for educational purposes and conducted only in the good name of science.

    In the end it's an interesting movie. Whether or not it was made with the best of intentions is definitely debatable as it certainly feels like a cash-in on a lot of the 'educational' sex films that were in vogue in the early part of the decade but what is a definite fact is that it contains lots of gross stuff for you to gawk at. It's a completely inept film that has some truly incredible footage and some equally incredible (in a less than genuine way, that is) inserts to pad it out.

    Don't let the real world Doctor fool you, this is a trash film through and through and it stands as an enigmatic entry in the filmography of a woman who made nothing but enigmatic films. Is it a good movie? Well, it's certainly entertaining and disgustingly fascinating and because of that it's well worth seeking out for fans of mondo style exploitation pictures.

    Disc Three - The Immoral Three/Keyholes Are For Peeping/Love Toy:

    The Immoral Three tells the story of three orphans - Ginny (Cindy Boudreau), Sandy (Sandra Kay) and Nancy (Michele Marie) - who meet at the funeral of a woman that they learn was their mother - a woman referred to only as… Double Agent 73 (seriously - and though she appears in a few scenes, it's obviously not Chesty playing the part) and who we're told was killed on the job. At any rate, surprise! They're all sisters! And in grand Scooby Doo fashion, they stand to inherit a million dollars if they can track down and bring to justice the fiend who murdered the mother that they never knew they had.

    So our trio of hotties who are not orphans at all head out into the wilds of the world to avenge their mother's death and reap the rewards of a substantial inheritance. How are they going to do this? Well, Ginny decides to do it by getting hammered and then doing a strip tease for a guy she picks up - somehow this guy actually has some details for her and he lets her know that the murderer's name was… nope! No dice, Cheech! He gets killed right then and there before he can spill the beans. This turn of events inspires Ginny to bone a guy in an elevator before heading to Las Vegas where she meets a man who tells her that her mom was a whore. We kind of knew that already and it's a bit of a letdown but Ginny gets pissed and takes this sucker down hard. The third time is the charm, right? Sandy's just sort of been hanging out not doing much of anything to help aside from fellating some fruit, but Sandy, well she's on to something - though she might not like what she finds.

    As nutty as anything else Wishman has made, The Immoral Three is pretty great in its own ridiculously terrible way. We get lots of nudity courtesy of the three genuinely attractive leading ladies and we get some decent sporadic violence. It's not shot any better than any of her other films, so it still looks like it was made dirt cheap but that's all part of the charm. Yes, the camera tends to go to strange places for reasons that don't make sense and yes, the audio is periodically out of synch for whatever reason but the plot moves at a good pace and the score is strange enough to stand out. Again, we get lots of shots of feet and a complete disregard for logic of any kind, but if you're a fan of Wishman's output, you don't need to read this review to already know that.

    1972’s Keyholes Are For Peeping (or ‘Keyholes Are For Peeping Or Is There Life After Marriage?’ if you go with the full title on the title card) stars none other than Sammy Petrillo (yes, that same Sammy Petrillo who paled around with Duke Mitchell on Bela Lugosi Meets A Brooklyn Gorilla) as a man named Stanley Bebble. A bit of a loser in life, Stanley, a grown man, still lives at home with his overbearing mother (also Petrillo, dubbed by Wishman, which is kind of amazing!). Wanting to better his lot in life, he completes the necessary course work required to take on a new career as a marriage counsellor and, after getting his diploma in the mail, gets his office ready to go.

    Manuel (Phillip Stahl), the custodian at the office building, is a peeping tom. He gets off on peering through the different keyholes in the building where, through the miracle of movie magic, he's able to spy couples going at it by way of some black and white (or, sometimes, negative!) footage spliced in from earlier Wishman directorial efforts.

    Meanwhile, as Stanley's life starts to improve, his and his girlfriend Myra (Arlana Blue) decide to get married, but things can't go easy for poor Stanley, especially with his meddling mother poking her nose into their business at every opportunity.

    Simultaneously unwatchable and fascinating, Wishman’s one and only attempt at making an intentionally comedic film falls so flat on its face that you can’t help but appreciate it. How and why Sammy Petrillo is in this would probably make for an interesting story but those expecting to see him do the low-rent Jerry Lewis shtick that he’s known for but he does do random impressions here and there to try and keep the bad comedy train rolling. It’s also strange seeming him with a shoulder length shag hair-do hamming it up the way that he does.

    Light on plot but high on recycled insert footage, the movie is, by all accounts, a low point in Wishman’s career but even if it sucks, and it does suck, getting the chance to see Wishman and Petrillo work together really is too weird to pass up, and it’s made all the weird by the fact that Petrillo plays his own mother, dubbed by the film’s quirky director. Not the best film in the set by a long shot, but still an essential addition to any Wishman devotee’s home video library.

    Last but not least is 1971’s Love Toy, another Mostest Productions film. The story revolves around a gambler named Marcus (Larry Hunter) who engages in a game of Gin Rummy with Alex (Bernard Marcel) only to bet it all, and lose it all. Literally. He loses his house, his business and his car. Marcus, however, has one thing that Larry hasn’t taken from him yet and Alex offers to forgive Marcus all of his debt if he’ll handover his shapely teenaged daughter, Chris (Pat Happel), to him for one night.

    Marcus, being a bit of a shit, agrees but before he can change his mind, Alex and his equally sleazy wife Mary (Uta Erickson), tie the poor bastard to a chair. Mary keeps watch while Alex takes Chris off to coerce her into indulging his strange fantasies, first by making her role play as his late, lamented childhood pet, a cat named Samuel, by getting down on all fours naked and licking milk out of a saucer. From there, Chris has to pretend to be Alex’s mother and breast feed him, then play his wife, then his daughter deserving of a spanking. Before it’s all over with, she’ll also have to pretend to be his horse, and then his mistress.

    Mary, however, has got plans of her own for Marcus, Alex and Chris, as her damaged psyche starts flashing back to weird sexual escapades from her own childhood.

    Ending the collection on a high note, Love Toy is top tier Wishman. Yes, it has all the Wishman trademarks that we’ve mentioned a few times in earlier paragraphs and yes, it is once again as preoccupied with furniture as with cast members but the acting in this one is really solid and a mile above most the other acting contained in this set. All five of the actors in this one are, at times, freakishly convincing in their portrayal of the various perverts that populate Wishman’s low budget roughie.

    Set to a weirdly chill score comprised of some occasionally familiar sounding library tracks, the film features great use of color throughout. The fact that the sex scenes are shot as oddly as they are gives the movie an extra layer of sleaze appeal, and there’s plenty of sex, nudity and kink on display throughout the movie. It’s nicely paced and it builds to a seriously excellent conclusion that is somehow both inevitable and genuinely surprising.

    The Films Of Doris Wishman: The Twilight Years – Blu-ray Review:

    Each of the films in this collection has been taken from a new 2k restoration of the original 35mm negative and are spread across three region free 50GB Blu-ray discs and offered up in AVC encoded 1080p high definition.

    Deadly Weapons/Double Agent 73 are both framed at 1.85.1 widescreen, both look quite nice, showing really strong color reproduction and nice depth and detail throughout. There’s a bit of print damage here and there but overall, the transfers are in nice shape. The Amazing Transplant and Let Me Die A Woman are framed at 1.33.1. There are frequently some feint vertical scratches visible on Transplant and there’s a fair bit more print damage on Let Me Die A Woman in addition to some noticeable color flicker and sprocket damage. It seems like maybe the elements for Let Me Die A Woman just weren’t in as nice a shape as the other films. Immoral Three is framed at 1.85.1 looks good, while both Keyholes Are For Peeping and Love Toy are framed at 1.33.1 and are in pretty nice shape, showing very minimal print damage. Keep in mind that Keyholes is essentially a patchwork production and so quality varies a bit from scene to scene but despite that, it’s still a solid upgrade. Each transfer easily rises above previous DVD editions, showing much stronger depth and detail throughout. The transfers always look appropriately film-like, there aren’t any noticeable problems with obvious noise reduction or edge enhancement – these look really solid.

    Each film in the set gets a 24-bit DTS-HD 2.0 Mono track with optional subtitles provided in English only. There’s some minor background hiss noticeable here and there throughout the different movies in the set but overall they sound fine. Limitations in the original recordings are obvious at times, things can sound a little flat in spots, but generally speaking the mixes are pretty clean and always properly balanced.

    Extras are spread across the three discs in the set as follows:

    Disc One - Deadly Weapons/Double Agent 73:

    Extras for Deadly Weapons start off with a commentary from Wishman biographer Michael Bowen, who does a great job of walking us through the film and offering up plenty of information on the cast, crew and history of the film and how it came to be made in the first place. He covers the weird mirror opening of the film and where it came from, how Wishman's fans really came out to support her in the later days of her career, the different copyright info on the different prints and versions of the movie that exist, how Wishman didn't keep records and rarely worked from a completed script but instead used treatments she created with her niece, getting to know Dick Towers and learning the details of his career, important details on Chesty Morgan's life and times, how Wishman connected with Chesty Morgan in the first place and came to work together, how there was supposed to be a third film that never happened after they mutually agreed to go their separate ways after making the second picture, some of the different locations used in the movie, details on Harry Reems' life and career and pretty much everything else you'd want to know about the movie.

    A second commentary features Bleeding Skull’s Annie Choi and Joseph A. Ziemba, both of whom seem extremely and sincerely grateful to be contributing a commentary to this movie and to have been able to work on the Wishman filmography. From there, they go on to talk about what they appreciate the movie and the people who made it, the importance of Something Weird Video getting Wishman's films out to an audience on home video, what makes Wishman's work unique, how the voiceover work adds an element of surrealism to her work, thoughts on Deadly Weapons and how it compares to Double Agent 73, the film's editing and what it must have been like to try and edit a film with Wishman explaining her vision, AGFA's role in this and genre film preservation, what makes Wishman's work important, Wishman's process as far as filmmaking goes and how she worked very hard by getting money from family and friends to make her films, Wishman's career and how it played out towards the end of her life and how Wishman and her films truly defy convention.

    Filmmakers Frank Henenlotter and Anthony Sneed provide a commentary for Double Agent 73. He starts by talking about the gratuitous foot shots in the movie right from the start, encouraging viewers to take a shot every time it happens not just to get drunk, but make sense of the movie. They go over the ridiculousness of the story, offer up some details on the 'visual spectacle' that was Chesty Morgan and her history with Wishman, the editing in the film and how it takes us from Long Island to Florida in the blink of an eye, how each reveal of Chesty's breasts is an event, the Keystone Cops quality of the high speed car chase scene, the influence of Psycho on the shower murder set piece and plenty more.

    Finishing up the extras on the first disc are trailers for both features, menus and chapter selection options.

    Disc Two - The Amazing Transplant/Let Me Die A Woman:

    Let Me Die A Woman gets a commentary from artist and porn performer Carta Monir. A transsexual herself, Monir opens by talking about how the film pretends to be a documentary but is much more of an exploitation movie than anything else, Wishman's work writing the dialogue for the film and the paperback book that she wrote for the film's initial release. Monir also goes over some of the information that Leslie divulges in the Synapse commentary from the 2005 DVD release (sadly not included here), what the movie gets right and not so right about the actual trans experience, thoughts on Dr. Leo Wollman and biographical details on his life and times, the actual care that he gave to the transgendered community in the sixties and seventies (as well as speculation as to why he'd appear in the film in the first place), the dubbing in the film, some of the goofiness of the sex scenes shown in the film, the unintentional humor inherent in much of the movie, some of the other actors that appear in the movie and quite a bit more.

    We also get trailers for both features, menus and chapter selection options.

    Disc Three - The Immoral Three/Keyholes Are For Peeping/Love Toy:

    Film programmer Lars Nilsen and AGFA’s Bret Berg offer up a commentary track over The Immoral Three who talk about how the funeral in the opening if one of the greatest funerals ever, who was probably responsible for the wardrobe in the film, how the film pre-dates Charlies Angels despite some similarities, Wishman's nack for capturing some interesting locations, decor and fashion in her films (there's a lot of emphasis on these aspects of the movie), how Wishman's fan base is indeed very real and probably bigger than a lot of people realize, the pros and cons of making low budget movies in color versus black and white, the act of sitting and watching a movie versus watching a movie specifically for the narrative, the way that specific performers react to the camera in the film and plenty of other topics.

    Finishing up the extras on the third and final disc are trailers for all three features, menus and chapter selection options.

    Booklet with writing from Something Weird’s Lisa Petrucci titled ‘Retirement Isn’t An Option: Doris Wishman’s Twilight Years’ and a vintage Doris Wishman interview by artist Peggy Ahwhesh titled ‘I Was The Boss.’ Both are worth reading, and there’s some nice archival poster art included inside the book as well, which is a nice touch.

    The Films Of Doris Wishman: The Twilight Years - The Final Word:

    AGFA’s Blu-ray release of The Films Of Doris Wishman: The Twilight Years is pretty much essential for fans of vintage American exploitation films. The films are a blast and the presentation here offers up strong upgrades from previous editions. Highly recommended!


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