freakboy on film: SHE MOB (1968)

Screenplay by Diana Paschal / Directed by Maurice Levy & Harry Wuest (according to IMDb) 

Brenda is having a good day.  She is a smart, successful businesswoman.  She has a luxurious home.  She has just been serviced in the bathtub by Tony, her live-in gigolo.  

Brenda pays Tony for the splish-splash

Big Shim is having a good day.  She is a smart, successful criminal.  She is proud to have recently busted a few cohorts out of the slammer.  She has just had a voyeuristic experience with Baby, her girlfriend. 

Big Shim and her cone bra will not be ignored

Tony is having a good day.  He is a handsome, successful sex worker.  He is driving a new car that Brenda bought for him.  He has just been hired on the side to provide service for Big Shim’s three cohorts. 

Sweety East is having a good day.  She is a smart, successful detective.  She is happy with her wildcat roommate.  She has just been hired by Brenda to rescue Tony because the good day has turned bad. 

Sweety East to the rescue

Big Shim has gotten wind of Tony’s lush lifestyle with the rich businesswoman, so she decides to hold him for ransom.  Brenda can’t afford a scandal, so she is willing to pay whatever it takes to get Tony back unharmed.  Sweety East agrees to disguise herself as Brenda for the ransom drop and will name her fee after the job is done.  

That’s the plot of SHE MOB in a nutshell.  I stumbled upon this obscure film while browsing through the Vinegar Syndrome website and I was drawn in for two reasons.  First, the crazy trailer seriously entertained me.  Second, the intriguing description (“Imagine an alt-Earth FASTER, PUSSYCAT! KILL! KILL! as realized by a young JOHN WATERS”) may have peaked my interest, so I ordered a copy.  

Comparing SHE MOB to Russ Meyer’s classic and early John Waters isn’t completely inaccurate.  The plot contains similar elements to FASTER, PUSSYCAT KILL! KILL!  There’s a group of strong women out to score some loot.  There’s sexual tension between two of the women.  Plus, there’s plenty of violence, especially as Big Shim and her cohorts torture Tony.  Then there are a few characters that could’ve escaped from a John Waters film.  I can even imagine some Waters regulars stepping into the roles.  Mink Stole would’ve captured the electric energy of Twig, one of the cohorts, as she is constantly dancing in almost every scene.  Mary Vivian Pearce would’ve nailed the sultry boredom emanating from Sweety East as she investigates in her skin tight detective outfit.  Last, but certainly not least, Divine in the dual roles of Brenda and Big Shim would’ve been…well…divine!  Alas, that version only exists in the faraway alt-Earth.

BigShim loves my casting choices

All that being said, SHE MOB never fully captures neither the frantic pulse of Russ Meyer nor the offbeat drum of John Waters.  It is generally entertaining, but drags a bit.  I blame the off-kilter pacing on the director(s), and some of the actors, more than the screenwriter.  The highlight of the entire film is Marni Castle as Brenda and Big Shim.  Especially Big Shim!  This unapologetically tough as nails lesbian, with her equally tough cone bra, is the MAIN reason to see SHE MOB.  Though Monique Duval as Sweety East has her moments, but I might have gotten more out of this character if I had seen the TV series HONEY WEST (1965-1966).

In conclusion…

I have mixed feelings about SHE MOB.  I was initially disappointed to a certain degree but repeat viewings have made me appreciate it more.  So, while not great, SHE MOB is worth watching.  Plus, it is interesting to note that, according to the back of the blu-ray,  the film was shot in Texas and features “actresses culled from Jack Ruby's infamous Dallas nightclub.”  So, SHE MOB is, like, historically and culturally important or something. 

Thank you for reading or listening to my half-blind words. 

Freak Out, 

JLH 

P.S.  SHE MOB was the fourth place winner in a Twitter poll I conducted to decide which film I should review now that my blog serial is over.  

So, click the pic ⤵️ to check out the first place winner…

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Click the pic ⤵️ to read my blog serial…

freakboy on film: YENTL (1983)

screenplay by Jack Rosenthal & Barbra Streisand / directed byBarbra Streisand  

“What the hell is happening on this blog?  He goes from promoting puppet porn to blogging about…Barbra Streisand?!?  Surely this is a sign of the Apocalypse!” 

That’s probably what you’re saying and I can’t blame you for being confused.  I am so NOT a Streisand fan.  (Papa, can you hear the collective gasp of exaggerated horror from all the bitter old queens in the world?) The only other film I’ve seen her in is MEET THE FOCKERS (2004) and I still loathe myself for sitting through such dreck.  As for her singing career, well…I’d rather listen to my cat puking up a hairball. 

As for YENTL, the plot has been on my radar since I was a kid.  Anything that plays with gender expectations has always interested me.  So, last Sunday evening I plopped down in the recliner, switched on TCM, the same cable channel that introduced me to Andy Milligan, and mentally prepared myself for YENTL.  Though I almost switched it off because the TCM announcer announced it was a musical.  Believe it or not, I had no idea.  I thought it was strictly a period piece drama, which, according to the announcer, is what Streisand originally intended.  A couple of songwriters convinced her otherwise and I convinced myself to watch it anyway…or maybe I was just too lazy to get up from the recliner.  

                                Yentl, probably about to sing

The film revolves around Yentl (Barbra Streisand), a Jewish woman who wants to study her religion like the men folk do.  This is forbidden in 1904 Eastern Europe because God forbid women use their brains to do anything other than make babies and almond cookies.  Well, after her father jump-starts the plot by croaking, Yentl flees her oppressive village disguised as a man.  If the villagers would’ve seen her sneaking off, all the gossipy women would’ve fainted and the men would’ve called her a demon.  Personally, as someone whose mom mainly wore jeans or slacks, I was cheering Yentl on.

                     Yentl as Anshel, also probably about to sing

Anyhoo, Yentl, now going by “Anshel”, is admitted into a religious school and finds herself in a complicated love triangle.  Yentl has developed feelings for Avigdor (Mandy Patinkin), but he sees her as a man.  Besides, Avigdor is betrothed to Hadass (Amy Irving), so he is taken, but not for long.  

                      Hadass is longing for the singing to stop

A family secret is revealed about Avigdor, forcing Hadass’ parents to dissolve their engagement.  Now Avigdor is ready to split town on the next steam engine unless “Anshel” promises to woo and marry Hadass.  This way Avigdor will still be in Hadass’ life in some way.  Yentl agrees to this because she doesn’t want to lose Avigdor, even though he still believes she is a man.  Will this emotionally messy deception to become a throuple work or will lives be destroyed if Yentl decides to throw herself a gender reveal party?  You’ll have to watch to find out. 

               Avigdor tries to stop the singing by getting naked

Mandy Patinkin is electric as Avigdor.  It’s impossible to tear your eyes away from him, especially in the skinny-dipping scene.  Amy Irving as Hadass is sweet and more complex than her initial subservient demeanor would suggest.  Then we have Barbra Streisand as the title character.  From when she is longing for more out of life to maneuvering through a man’s world as a man to the tough decisions she has to make in the name of love, Streisand is believable and sympathetic as Yentl.  Now only if she didn’t sing so bloody much! 

Please pass the earplugs.  There is no stopping the singing!!!! 

Sorry, but my filmic gods help me!  The songs multiply like bloated bunny rabbits that blur together.  I understand the lyrics are supposed to reflect Yentl’s internal thoughts, but this could have been done in speedy, non-musical prayers to God or her dead daddy.  Maybe if Streisand ever directs a reboot, she’ll go with her gut instinct and cut the endless songs.  

(SIDE NOTE: Mandy Patinkin, an established Broadway performer at this point, doesn’t sing a single note) 

I must add that Barbra Streisand does a good job directing the film.  She knows how to frame a scene to best capture the emotions emanating from the script.  It amazes and impresses me that a film dealing with the Jewish faith and gender nonconformity would get made by a major studio in the conservative, moral majority landscape of the 1980’s.  Especially since it was all directed by a woman.  Well done, Streisand & MGM. 

In conclusion… 

YENTL is a good film, but the songs keep it from being a great one.  On one hand, I enjoyed it for the plot and the characters, even though It is disappointing that the story mostly shied away from fully exploring the homosexual overtones.  On the other hand, I found the film excruciatingly painful when the singing would start.  My apologies to any bitter old queens out there, but I haven’t been converted to a rabid Streisand fan who openly weeps at the song The Way We Werewhile obsessively clutching the FUNNY GIRL soundtrack.  I’ll stick with Julie Brown as my diva obsession of choice, thank you very much. 

(SIDE NOTE:  I owe IMDb much gratitude for the spelling of character names) 

Thank you for reading or listening to my half-blind words. 

Freak Out, 

JLH 

P.S.  Don’t have a conniption!  SHE MOB will be ganging up on you sooner or later!  

Until then, click the pic ⤵️ for more fun with shredding gender expectations…

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It’s Pride Month 🏳️‍🌈, so now is a great time to haunt the queer streets of Sturgeons…