freakboy muses music: ABNORMALS ANONYMOUS by Congo Norvell

Every so often I look back at the crazy films and trashy novels I’ve experienced over the last few years and check to see how readily available they are for others to find.  When I recently did a search for the book ABNORMALS ANONYMOUS by Stella Gray, I noticed there were a couple of copies floating around out there.  I also noticed an audio CD with the same provocative title and cover. 

My first thought was, “Is it an audiobook?”  Then I noticed “by Congo Norvell” and knew I was wrong.  So, I investigated and discovered the CD is an album of music released in 1997 through the New York City-based Jetset Records.  Further investigation turned up only a few tracks posted on YouTube.  I listened to “Johnny in the Boudoir” and immediately ordered a copy from eBay.

The music thrusts you into a seedy dive-bar on the outskirts of town, populated by the night people, the kind of folk inhabiting the fringes of so-called acceptable society.  They will lead you through a den of lurid sex and sex-drenched violence, where obsession and lust reign hand-in-hand with loneliness and heartache.  In other words, this is the perfect soundtrack to trashy pulp novels.

The liner notes list a few people as vocals, but this is  Sally Norvell’s show.  Her voice shifts from torch song lounge singer to a sultry, smoky-voiced temptress to an alt-pop diva.  Wherever the music styles take her, Sally is ready to follow.  

My 3 favorite tracks, in no particular order… 

“Candy” 
An experienced woman is looking for young fresh meat to “go under, down in the gutter and taste the seawater.”  I enjoy the uncomfortable desires pulsating underneath, just like the tone of a trashy novel. 

“She’s Like Heroin to Me.” 
There’s a woman at the top of the stairs who gets under your skin and “cannot miss a vein,” no matter your gender.  A slow lusty burn of crippling obsession at its pulpy best!  

“Johnny in the Boudoir” 
The title says it all.  A man named Johnny meets up for an illicit tryst, but his lover has other plans.  “She was only playin' a part. Just a step away from the straightjacket today. Angora sweater, naughty-clean. Felt like killing, felt like sixteen.”  Johnny’s dead and the mention of an Angora sweater must be a knowing wink to Edward D. Wood, Jr.  Was Johnny’s lover a cross-dressing assassin right out of one of Wood’s novels?  It’s up for the listener to decide, but I think so. 

In conclusion… 
Moody, intriguing, and slyly amusing, this album isn’t for everyone, but it is for anyone with an open mind.  I think I would’ve enjoyed the songs if I had experienced them back in 1997, but I probably appreciate them more now.  So, if you like a little tawdry in your tunes, then ABNORMALS ANONYMOUS by Congo Norvell may be the seedy CD for you! 

Freak Out, 
JLH 

P.S.  click the pic for my thoughts on the novel of the same name… 

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My books have been called tawdry…
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booking freakboy: BLOOD SPLATTERS QUICKLY by Edward D. Wood, Jr. (2014)

I am in the third month of a cheap three month trial of Audible.  Of course, I searched for some of my favorite authors, such as Ira Levin and Jacqueline Susann.  Yes, this search also included Ed Wood, the infamous cross-dressing filmmaker.  I truly did not expect to find any audiobooks of his work, but lo and behold, there was one.  

BLOOD SPLATTERS QUICKLY collects a variety of stories from Ed Wood originally published in pulp and nudie magazines in the early 1970’s.  Much like his filmography, the stories cover Ed’s favorite genres.  Horror, crime and sex fill each page, or track, as the case may be.  There is little doubt these stories are from the late, great Wood.  Dialogue is occasionally lifted directly from his films (“Beware. Take care.”) and Angora sweaters are featured more than once. 

Like other short story collections, there are hits and misses.  A few of them really stand out for me.  “Dracula Revisited” felt like a love letter to Bela Lugosi as a man investigates the myth of the legendary vampire.  “The Night the Banshee Cried” is about an undead woman roaming fresh from the grave and it was easy to picture Vampira from PLAN 9 FROM OUTER SPACE.  As for Ed’s penchant for wearing traditionally feminine clothes, he used it to best effect in the title story “Blood Splatters Quickly” as a man seeks revenge for his sister’s death. 

As I’ve said in past reviews, Edward D. Wood, Jr. might have been heterosexual, but he wasn’t straight.  Two stories involving queer men dares to break stereotypes and includes progressive ideas, highlighting Ed as an ally, at least.  “The Autograph” is about a reporter interviewing a Hollywood cowboy who has just come out of the closet.  It’s easy to picture John Wayne as the cowboy, which adds an amusing touch.  “Superfruit” is sadly not about a gay superhero, but is about a queer man seeking business advice from a friend after losing his partner.  It really is more interesting than it sounds

. 
There is one story that made me feel physically nauseous.  “Breasts of the Chicken” is about a man who pays a fortune for a very specific delicacy.  It’s so disturbing and wrong that I almost skipped this story, but the twist ending is so perfectly demented and hilarious that I forgive the unbridled grossness leading up to it. 

A confusing highlight is “Come Inn.”  Within the first paragraph, I realized I knew this story.  Turned out “Come Inn” is sort of a Reader’s Digest Condensed version of Ed’s 1971 adult film NECROMANIA: A TALE OF WEIRD LOVE.  It covers the entire plot of a young couple going to a necromancer for their sexual problems in 20 minutes.  Strangely, Wood also wrote an expanded novelization of NECROMANIA in 1972 called “The Only House.”  Having experienced all three, I’d say the film is best, but the short story is more accessible to less adventurous Ed Wood fans. 

In conclusion… 
Just like the films of Edward D. Wood, Jr, this collection of short stories intrigued me, made me laugh, caused me to raise an eyebrow and occasionally inspired an eye roll.  So, if you’re an Ed Wood fan who hasn’t read his books, BLOOD SPLATTERS QUICKLY is a good introduction to his literary world.  If you already enjoy his longer efforts, then you know exactly what to expect from these short stories. 

Freak Out, 
JLH 

P.S. click a pic ⤵️ for more Wood… 

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Escape reality with my books, some of which are available as Audible audiobooks…
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🎧 

freakboy on film: THE FIREWORKS WOMAN (1975)

Have all of my favorite film directors directed porn?  Ed Wood, Jr. certainly did!  One could argue that Andy Milligan did with the uncut version of FLESHPOT ON 42nd STREET because of at least two very real sex scenes.  Even John Waters admits that one uncomfortably memorable scene in PINK FLAMINGOS is a satirical take on DEEP THROAT.  Oh, and while Roger Ebert made it abundantly clear that Russ Meyer did NOT direct porn, I argue that his manically unhinged UP! (1976) is at least porn-adjacent.  (I really need to review that piece of celluloid craziness.) 

So, I guess it’s not a surprise that before Wes Craven gave us A NIGHTMARE ON ELM STREET, he inverted and exploded the concept of adult cinema with THE FIREWORKS WOMAN (aka The Fireworks Man, which makes more sense as the title.) 

Angela is a complicated woman haunted by the past, by her incestuous feelings for her brother and by The Fireworks Man, a seemingly supernatural entity.  These three influences in her life seem to be entangled as she shows up at the church where her brother Peter is now a priest.  Angela wants to continue their taboo relationship that was consummated before Peter became a man of the cloth.  Peter swears he doesn’t want what Angela wants, but he gets her a job as a maid to one of his parishioners.  The twisted old refined lady and her kinky male cohort start Angela down a path of self-discovery, even though Peter is never far from her thoughts.  

Does THE FIREWORKS WOMAN end with a bang or a fizzle?  It ends just like a Wes Craven film should end, leaving the viewers questioning everything they just experienced.  

SPOILER ALERT

Peter gets advice from the Monseigneur and throws a church banquet.  Angela gets advice from Nicolas Burns (The Fireworks Man) and invites the congregation to an orgy at the same time as the banquet.  Guess which party the so-called faithful attend!  Nicolas then tricks Peter into coming to the orgy, forcing the priest into a decision.  Peter leaves a note for the Monseigneur and then brazenly enters the orgy, scoops up Angela and carries her to a boat.  Then brother and sister sail away, living happily ever after…or do they?  The Monseigneur rushes to the beach to stop the ungodly lovers, but it’s too late.  As he turns away, the disciple of God disappears as Nicolas Burns (the disciple of Satan?) appears, turning towards the faraway boat.  What does this mean for Angela and Peter?  Does it mean the Monseigneur and The Fireworks Man are just flip sides of the same coin?  Unfortunately, Wes Craven never publicly spoke of this film in detail, so, like the end of A NIGHTMARE ON ELM STREET, it’s left to interpretation.  However, according to a blu-ray bonus feature, the original script ends with the boat washing ashore somewhere without Peter and Angela on it.  Even that ending would’ve been enigmatic.  

THE FIREWORKS WOMAN is definitely written and directed by Wes Craven.  His mark is on the haunting visuals, the unsettling/shocking story and he even portrays Nicolas Burns.  The director, who does not appear in the sex scenes, seems very comfortable in front of the camera and appears to be having fun sowing the seeds of chaos as The Fireworks Man.  As for the other actors, they share that natural 1970’s acting vibe.  Jennifer Jordan as Angela and Eric Edwards as Peter are believable as the tormented siblings.  
SIDE NOTE: Eric Edwards is no stranger to this blog.  He appeared as the rich guy with the priceless broach and manipulative aunt in the uproarious BLONDE AMBITION (1981). 

In conclusion… 
When I noticed Melusine was offering this most obscure Wes Craven film, I didn’t think twice about it.  THE FIREWORKS WOMAN is a disturbing study of emotional trauma and forbidden love.  No, it’s not quite on par with Wes Craven’s other films, but it’s an intriguing celluloid stepping stone on his way to creating Freddy Krueger.  So, if you’re a Craven completist or a truly adventurous film freak, THE FIREWORKS WOMAN is the film for you!  Be warned though, there is a very brief scene at the orgy between a fisherman and his catch of the day that you will never unsee! 

Freak Out, 
JLH 
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Dare to enter the fantasies of my deranged mind in 2026… 
🧠 
📚 

freakboy on film: TITANIC (1997)

I have seen TITANIC five times in the theater. 

Sorry. 
I should’ve told you to sit down and swallow whatever you’re eating or drinking, but it’s true.  I saw it three times during its initial release.  Once with a co-worker, once on a date and once with my sister.  Then I saw it with a cousin at a second-run theater, it was only a dollar admission for that one.  Lastly, my sister and I experienced the 2012 3-D re-release.  Tragically, that ticket stub is lost to history.. 

In other words, this Andy Milligan obsessed, Ed Wood watching, John Waters fanboy loves TITANIC!  Why?  Maybe it’s the characters.  Maybe it’s the historic aspect.  Maybe it’s the grandiose spectacle of the whole thing.  Maybe it’s even the romance.  Wait!  What?  Did I just type that?!?!  I did, but only after a recent Sunday afternoon viewing with my sister. 

You surely know the plot.  Upper class Rose (a glowing Kate Winslet) is engaged to the incredibly wealthy and hot Cal (an always memorable Billy Zane) but is unhappy, for good reason.  Rose feels the suffocating walls closing in because her controlling fiancé, her hoity-toity mother (a cold stone Frances Fisher) and 1912 society in general demands her to know her limited place.  Things are about to turn fatalistic until Rose encounters starving artist Jack (Leonardo DiCaprio at his most natural) in a meet-cute suicide attempt.  Now Rose and Jack must love like there’s no tomorrow because they’re passengers on the RMS Titanic!  

Several years had gone by since my sister and I last experienced TITANIC, so this recent viewing felt fresh.  We both agree the 3 hours and 14 minutes zip by because the plot plunges viewers into another time and place and doesn’t let go until the end credits roll under Celine Dion’s My Heart Will Go On.  Composer James Horner assists in this transportation with a hauntingly beautiful score which often evokes an ethereal quality.  It also helps the cast is rounded out by familiar talented faces such as Kathy Bates (feisty as the unsinkable Molly Brown), Gloria Stuart (delightful as old Rose), David Warner (imposing as Cal’s henchman), Victor Garber (calming as ship designer Mr. Andrews) and Bernard Fox (amusing as Col. Archibald Gracie).  I only mention the latter because i knew I knew the actor during my very first two theatrical viewings of TITANIC, but couldn’t place him.  Not knowing was driving me crazy and this was before I could just pop onto IMDb, so I’m sure I made an audible gasp of knowledge when my sister leaned over during my third theatrical viewing and whispered the bewitching words, “Dr. Bombay.”  (IYKYK) 

As for the romance between Rose and Jack, I used to believe this was a tolerable secondary plot to the main event of man made hubris resulting in human tragedy.  Now I feel differently since seeing TITANIC with older and allegedly wiser half-blind eyes.  I believe, and my sister agrees, that the romance was ahead of its time.  First, their romance isn’t one-sided.  They both seem to be learning from each other on an emotional level.  Second, after Cal has Jack arrested for a false crime, it’s Rose who risks her life to save him from the unstoppable flooding below deck.  Rarely has a reversal of the damsel in distress trope been so refreshingly done in such an unobvious way.  Rose’s inner strength surfaces naturally through character development as she dislodges herself from the shackles of societal oppression.  Lastly, in the afterglow of Rose and Jack consummating their love in the back of a fancy-shmancy vehicle in the cargo hold, Jack is the one shivering with emotion.  Then, in a most singular cinematic event, Rose wraps her arms around Jack, providing him with comfort and security.  A big deal is never made of this reversal of traditional emotional gender roles within the film.  The moment just simply happens and it makes sense with the characters. 

I suppose before I conclude this post, I should say a little something about writer/director James Cameron.  I wouldn’t call myself a fan.  I mean, I enjoy THE TERMINATOR, ALIENS and THE ABYSS, but I think TERMINATOR 2 is a bloated mess and I don’t give a crap about AVATAR.  Yet, I must give James Cameron’s swollen ego props for TITANIC.  He created a piece of cinematic art that moves like a juggernaut, explores a wide range of emotions and transports the viewer into a fully realized moment in time.  Oh, and I’m relieved he didn’t go with the extremely painful alternate ending.  Seriously,  don’t seek it out! 

In conclusion…
I unapologetically love TITANIC!  This filmic microcosm of the best and worst of humanity is a beautifully crafted motion picture that is best experienced on the silver screen.  Perhaps there will be a theatrical re-release for its 30th anniversary in 2027, but until then, grab a life-vest and board TITANIC on whatever screen is available! 

FULL DISCLOSURE: I wrote this post under the influence of the soundtrack albums… 💿 

Freak Out, 

JLH

P.S.  Are you shocked by my love of TITANIC?   
Click the pic ⤵️ for another startling freakboy confession… 😱

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In case you need more romance in your life… 

booking freakboy: TO MAKE A HOMO by Edward D. Wood, Jr. (1971)

This is one of the titles I was drawn to when I first discovered Ed Wood wrote novels.  Instead of endlessly waiting for a brave publisher to reprint it, I found a copy on AbeBooks.  All I expected was for Wood to entertain me with his usual craziness and also redeem Vintage Gay Pulp Fiction in my half-blind eyes after a crushingly disappointing  experience with the sub-genre.  (see Abnormals Anonymous)  

1971, Little Library Press

Tommy Grimes is an 18-year-old who always has a plan, including coercing younger fellow classmate Paul Coll into performing a sexual act on Tommy at the church picnic.  When Tommy is done, he doesn’t return the favor, leaving Paul rather frustrated.  Not for long though because fellow schoolmate Mary Kalaski and her reputation suddenly appears.  She seduces Paul into full on intercourse.  At the climax of this twist, they are caught by the minister‘s wife, leaving them both in trouble in more ways than one. 

Parental money is exchanged to terminate the unwanted addition, but that’s not the plot.  It’s revealed that Tommy and Mary are in cahoots and had planned Paul’s religious experience at the church picnic.  Not only that, Paul is beginning to desire his sister’s panties and Angora sweater.  When Paul is dressed up, she is Pauline.  Yes, this is when it fully felt like a Wood novel, but not just because there’s also a Paul/Pauline in DEATH OF A TRANSVESTITE.  I’m not sure if they’re supposed to be the same character or if Wood was just repeating himself. 

Anyhoo, there’s more!  Tommy is not only a sexual bully, but he’s also a drug pusher and a pimp!  After a ménage à trois between Tommy, Mary and Paul, Tommy sends Paul, as Pauline, to a cabin in the woods filled with homosexual clients, some in drag and some not.  Pauline’s job is to pass along some drugs and then to submit to the carnal whims of everyone in the cabin.  The inhabitants of this cabin will also be doing a job for Tommy by getting Paul/Pauline hooked on heroin.  This will allow Tommy to have more control over his newfound prostitute/drug mule!  

Now both Mary, who is still pregnant, and Paul are heroin addicted prostitutes working for Tommy.  After a double duty assignment with a rich old lady client, where Mary nearly suffocated and Pauline had to pull up her skirt and drop panties, they are done with Tommy.  SPOILER ALERT!  Tommy imbibes his one vice, alcohol, and passes out.  Mary and Paul jump at the chance to get their abuser addicted to heroin so they can all be on the same playing field.  That’s how the book ends.  It’s easy to assume nothing good happens to these characters, but who knows?  Maybe they all get clean, forgive each other and live happily ever after as a very modern throuple, assuming Paul/Pauline doesn’t grow up to be a drag assassin. 

Anyhoo, all I kept asking was, “Who the hell was this book’s target audience?”  Before you conjure up an answer, there are a couple more things left to reveal!  I was very surprised to find several photos scattered throughout the pages of very real adults doing very naked activities.  Most of these photos are of a hetero-centric nature, which is odd considering the queer plot.  This makes me assume they were added by the publisher because surely Wood would’ve picked more diverse pics.  Oh, of course, there are the prerequisite straight-porn lesbian shots, but there is only one photo of two men together and it’s the most demure of the lot.  

“There’s a lot of little things you could do for me that might make us real good friends.” Tommy to Paul

Then, as a popped cherry on top of this Wood sundae, there are pages of advertisements at the back of the book.  Loads of plugs for mostly straight adult novels with such classy titles as Oversexed Broads and Hard Doctor.  Though there are a few queer novels, such as I, Homosexual by Adrian James.  As a perfect compliment to the book plugs, there are also some truly inspiring ads for marital aids to make your next key party the social event of the season! 

Reusable means they are environmentally friendly, right?

So, was the target audience for TO MAKE A HOMO the male hetero crowd?  I mean, the photos mostly appear to support this theory.  On the other hand, the story is definitely bent at the sexuality.  Then its title and provocative cover art would’ve surely turned off homophobic jerks in 1971 and today, so I don’t know!  All I can say for certain is this book is now for the extremely open-minded readers who enjoy going with the flow and/or for maladjusted Ed Wood fans like me. 

In conclusion… 
Putting aside the skeevy young ages of the three main characters, TO MAKE A HOMO met my expectations and exceeded them.  I was wildly entertained!  Even the sexual descriptions ranged from clinical to vulgar to hysterical.  (…so it just lay there against his leg looking like a limp, kosher hot dog.)  Paul struggling with and then accepting Pauline as part of his/her self was somehow backwards, yet also way ahead of its time.  So, if you want to take a literary walk on a very wild side, then TO MAKE A HOMO may be the piece of Vintage Gay Pulp Fiction for you!  I am once again eager to explore other titles, including more from the incomparable Edward D. Wood, Jr. 

Freak Out, 
JLH 

P.S. Click a pic to get more Wood… 

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My queer little books are available from an Amazon near you! 

freakboy on film: The Films of Doris Wishman: THE DAYLIGHT YEARS (1960-1964)

Here we end this Doris Wishman retrospective at the beginning.  We leave behind her Grindhouse Twilight Years and her Roughie Moonlight Years to bask in the lush sunlight of her Daylight Years.  These six sun-kissed celluloid creations are nudist camp films.  

Yeah, you read that right!  So, slap on the sunscreen, grab a well-placed towel or beach ball, because full-frontal is forbidden, and prepare to go back to nature by going nudist! 

NUDE ON THE MOON (1961) 

written by Jack Caplan & Doris Wishman/directed by Doris Wishman 

Dr. Jeff Huntley doesn’t want to get married because he’s already married to science.  After a rich relative dies, Jeff and his mentor Professor Nichols can finally build a rocketship to fly to the moon.  Once on the surprisingly lush lunar surface, the two men scientifically explore minerals, plants and the topless inhabitants.  Will these Moon Dolls cause Jeff to change his mind about marriage or will he run out of oxygen during his thorough extraterrestrial exploration?  With the debatable scientific jargon, offkilter dialogue, and weirdly effective low budget special effects, this feels like a nudist camp film directed by Ed Wood.  Throw in a swingin’ theme song and the Moon Queen’s haunting voice and it’s not surprising that even I couldn’t resist its early 60’s innocent kitschy charms.  Added bonus is that a chunk of the film was shot at the famous Coral Castle in Florida. 

BLAZE STARR GOES NUDIST(1962) 

written & directed by Doris Wishman 

Where in the world is superstar actress Blaze Starr?  Tony, her fiancé/agent, wants Blaze to attend press events and cocktail parties.  A film studio bigwig named D.W. wants Blaze to renew her contract.  All Blaze Starr wants is some peace and quiet.  After seeing a nudist camp film while escaping into a theater, Blaze decides to go nudist!  Will this brazen display of breasts while playing chess, picking strawberries and doing laundry end her career and engagement?  A swingin’ theme song, some fun dialogue and relentlessly innocent silliness made me enjoy this film.  Unlike Blaze, I do not feel inspired to spend a weekend at a nudist camp, especially if I am forced to attend a nude accordion concert. 

HIDEOUT IN THE SUN (1960) 

written by Eugene Fernett & Doris Wishman/directed by Larry Wolk & Doris Wishman 

Duke Martin has successfully robbed a bank with his brother Steve, getaway car driver extraordinaire.  Well, almost successfully.  They ditch their vehicle and carjack Dorothy’s sweet convertible ride, but the cops have closed all roads out of town.  Dorothy may hold the key to their escape because she is a member of the Hibiscus Country Club.  They can lay low there while waiting for their getaway boat guy to dock.  Of course the club is actually a nudist camp!  Will the brothers go nudist?  Will Dorothy fall in love with one of them?  Will the boat guy dock in time for nude archery?  This is the most low key crime drama ever.  The suspense is barely palpable but the kitsch has a pulse, especially with yet another swingin’ theme song!  However, HIDEOUT IN THE SUN lacks the overall charm of the first two films in this set. 

GENTLEMEN PREFER NATURE GIRLS (1963) 

written & directed by Doris Wishman 

Anne and Tom are secretly married at the office because their boss doesn’t want married couples working for him.  Mr. Bennett is also against nudists and fires Tom when he finds his nudist membership card on the floor.  What are Anne and Tom going to do?  Will Tom find a job at the nudist camp?  Will Anne attempt to convince Mr. Bennett to hire Tom back?  Will Mr. Bennett learn the joy of healthy living through a nude life?  The kitsch cred is knocked down a notch by a lack of a swingin’ theme song, but the amusing swimming pool music almost makes up for it.  Overall, it’s a harmlessly goofy story with yet another nude accordion concert and the new addition of nude teeter-tottering.  All I kept thinking was how those splinters are gonna hurt! 

DIARY OF A NUDIST (1961) 

written & directed by Doris Wishman 

Arthur, the head of a newspaper, gets lost in the woods and stumbles across a nudist camp.  He decides to have Stacy, his blondest reporter, go undercover and expose the shocking facts about nudism.  When Stacy loses objectivity by becoming a sun lover, Arthur must go undercover and write the articles himself.  Will he write the truth about nudism or go for a more sensationalistic angle?  A swingin’ theme song almost makes up for the thinnest of thin plots.  However, there’s still kitsch to go around, especially with the grandmotherly head of the nudist camp, who was playing herself.  I just don’t understand why she didn’t inform Arthur that walking around in swim trunks is not being a nudist. 

THE PRINCE AND THE NATURE GIRL (1964) 

written by Andrew J. Kuehn/directed by Doris Wishman 

According to the Blu-ray liner notes, the plot of this “comedy of mistaken identity” is as follows, “a wealthy handsome ‘Prince’ catches the eye of identical twins who compete for his heart at the office and a nature camp.”  The reason I have to quote the synopsis is because I wasn’t sure what was going on since the film was not in English and my half-blind eyes couldn’t read the subtitles.  According to IMDb, THE PRINCE AND THE NATURE GIRL was a lost film until a German language print was discovered.  There is supposedly a recreated English dub out there, but not in this box set.  Personally, this is the least effective of these films because more than half of it is comprised of scenes from Wishman’s previous nudist camp flicks.  Though I do appreciate the soap opera plot.

All I kept hearing during this box set was Neely O’Hara in VALLEY OF THE DOLLS saying, “Boobies, boobies, boobies.”  Even though nudist camp films come across as innocent propaganda for the healthy, sun-loving nudist lifestyle, they’re really about boobies.  Oh, there are some shirtless men and bare bums, but cinematic nudist camps are mostly populated by perky young women. 

According to the audio commentaries, Doris Wishman has the distinction of being the most prolific nudist camp filmmaker.  Having not seen other nudist films, I can’t contrast and compare.  I can only imagine Wishman’s take on the genre is something special.  I mean, a sci-fi nudist film and a nudist crime drama seem to be proof that Doris truly did her own thing even at the beginning of her career. 

In conclusion… 

The only reason I purchased this box set was because my filmic OCD forced me to complete my Doris Wishman Something Weird/AGFA collection.  I was expecting to just roll my eyes, but I found THE DAYLIGHT YEARS was more entertaining than THE MOONLIGHT YEARS, which I’m sure just caused longtime Wishman fans to collectively gasp.  Who knows though?  Maybe when I rewatch the three box sets, my opinion will change.  However, no matter what I think, the films of Doris Wishman need to be experienced! 

In case you missed it, go back to the future for Doris Wishman’s Twilight Years! 

Freak Out, 

JLH 

P.S. Is Doris Wishman done with me?  I can only answer the question with a question.  Do you really think I can resist experiencing films with such titles as SATAN WAS A LADY (1975) and DILDO HEAVEN (2002)? 

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Click the pic ⤵️ to read a glowing new review of STURGEONS! 📗