Soft (and later hard) porn purveyor Jerry Denby (Honey), who earlier in his life had been awarded the Purple Heart for injuries suffered in the Korean War, invoked an earlier armed conflict, America's Civil War, for his 1970 non-epic Pleasure Plantation. "Tara" it ain't. The hedonistic Hunt family of Virginia, too busy brawling and balling to turn a profit, are no match for their scheming older sister and her depraved plan to wrest the plantation from their drunken, whore-mongering grasp. The Hunts are portrayed by unknowns except for adult film star Kim Pope (Memories Within Miss Aggie) as the family's mentally challenged younger sister. Also featured are lovable Linda Boyce from Michael Findlay's Mnasidika as a saloon girl and svelte Sheila Britt (Shoot-out at Beaver Falls) as a full-service maid (named "Prissy" in a feeble nod to a certain Victor Young box-office blockbuster). Astute viewers may notice that the titular "plantation" sports a sixties-style mailbox. Pleasure Plantation was profiled in the March 1972 issue of Rascal magazine and was once available on VHS and DVD-R from Something Weird Video.

Resembling nothing so much as a porn version of television's Adam-12, theatre director Carl Monson's sleazy A Scream In The Streets puts two Los Angeles cops (Joshua Bryant from Frank Q. Dobbs' Enter the Devil and the possibly pseudonymous Frank Bannon) on the trail of a cross-dressing rapist/murderer (Con Covert from Repo Man). But most of the running time highlights the heavy-handed duo's "shoot first, ask questions later" philosophy in dealing with numerous degenerate Angelenos, the latter including a massage parlor customer who brutally beats his fluffer. With Linda York (Female Chauvinists), Norma's Mady Maguire, and two Johns: John Keith from The Pig Keeper's Daughter and John Below the Belt Tull. Also with porn stars Colleen Brennan (Russ Meyer's Supervixens), Sandy Sassy Sue Carey, and Sandy Dempsey from Country Hooker. The salacious scenario was cooked up by cowboy movie and television scriptwriter Eric Norden, who also appears. Apparently director Monson needed help from a team that included foulard-wearing producer/distributor Harry H. Novak (Please Don't Eat My Mother) of Boxoffice International renown.

It's "altogether different," alright. Nudie queen Doris Wishman's cut of the 1965 Greek film Pyretos ("Passion") hacked out much of the original film's story line, which mattered little since Wishman had no English translation anyway. (Couldn't Chellee Wilson have helped out her fellow flesh peddler?) What's left of the source feature concerns dissolute playboy Yarkos (Panos Kateris) and his comely conquests, but these scenes are vandalized by Wishman with poorly matched inserts filmed in New York and the usual attempt at synched sound so familiar to her fan base. With Katerina Helmy from 1965's The Red Lanterns and Eleni Anousaki (Diamonds On Her Naked Flesh). Director Stelios Jackson was later responsible for the cross-dressing comedy The Hunk (1968).  Released through Jerald Intrator's Jerand Films (Night of the Bloody Apes).

Decades before the pedophilic proclivities of financier Jeffrey Epstein and his wealthy pals became a ticking time bomb for pervert politicians, Olympic International's Bob Cresse imported Salut les copines, a sick morality tale banned in its native France, about a blackmail ring preying on promiscuous under-age girls. One of the victims is portrayed by a performer named Ghislaine (Paulou, from My Name Is Woman)! As if the proceedings weren't seedy enough, Cresse added mind-numbing narration and a bondage reel featuring pin-up and softcore porn star Michelle Angelo (Blow The Man Down). Also with Dominique Erlanger (The Female Executioner) as the criminally inclined nightclub owner who masterminds the scheme and Hans Meyer from Red Sonja as her conflicted aide-de-camp. Director Jean-Pierre Bastid had assisted Jean Cocteau with The Testament of Orpheus and was previously responsible for Massacre pour une orgie, released in the U.S. by Olympic International as Massacre of Pleasure. He also wrote, with co-author Jean-Patrick Manchette, the crime novel Laissez Bronzer les Cadavres, which served as the basis for Hélène Cattet and Bruno Forzani's eye-popping Let The Corpses Tan (2017).

Lisa Gaye (Ten Thousand Bedrooms) is 16-year-old Dixie Ann Dykes, rejected by her phony Christian foster parents after being raped and abandoned by members of her high school football team, in Richard Galbreath's low-budget Night of Evil, his only feature film. Dixie's fate takes a turn for the worse when she hooks up with a psychopathic criminal (William Campbell from Dementia 13), finds work as a stripper, and is implicated in the robbery of a drug store. Her downward spiral is introduced by gossip columnist Earl Wilson as a cautionary tale "based on a true story." Also with Lynette Bernay from Roger Corman's The Pit and the Pendulum, Don de Leo from Larry Peerce's cynical The Incident, and Joseph Garri (Joe Sarno's Sin in the Suburbs).

"King Leer" Russ Meyer (Mudhoney) hit paydirt with his 1968 Vixen, which starred self-confessed stoner Erica Gavin (real name: Donna Graff) as the sexually voracious title character willing to take on anyone but black men (whom she identifies with a pejorative) and the handicapped (ditto). Her preoccupied pilot hubby Tom (Garth Pillsbury from If You Don't Stop It...You'll Go Blind!!!) is somehow blissfully unaware of Vixen's extramarital mating, even as she attempts to seduce her own brother (Jon Evans from 1970's gay frontier drama Song of the Loon). Along with the carnal couplings, Meyer mixed in racial antagonism, rabid anti-Communism, the conflict in Northern Ireland, and an innovative use for a dead fish. Also with Harrison Bad Ass Page, Vincene Wallace from A Sweet Sickness, Robert Aiken (Love Camp 7), and prolific character actor John Furlong (Meyer's Common Law Cabin). Meyer wrote the script with Anthony-James Ryan (Meyer's Black Snake) and Robert Rudelson (the Jason Robards drama Fools). Despite (or perhaps because of) its X rating, Vixen was an unexpected commercial success, screening in first-run theaters and attracting viewers whose shoes had never trod the sticky floor of a grindhouse.

More "mondo" than travelog, the 1969 Rio Nudo purports to reveal Rio de Janeiro as the "sin capital of South America," though much of the sinning is obviously staged for the camera. The fraudulent fakeouts are edited into stock footage of Rio's beach scene, its infamous red light districts, and rowdy revelers attending the three-day Carnival. Though credited to the otherwise unknown "Sinte S. Albert" (a reference to 1930's Belgian bantam-weight boxer Albert Sinte?), the responsible party is likely New York sexploitation specialist Sam Catah (I Want You!, also from 1969).

"A most bizarre tale about a wild and wicked party girl who marries an old coot and gives him MORE THAN HE BARGAINED FOR!" Apparently the only surviving celluloid from Jacksonville, Texas' Gunter Productions, The Old Man's Bride in its current state is incomplete by an indeterminate amount of missing footage and may have originally been feature-length. Its threadbare script was based on Wilton Beggs' short story by the same name from issue 21 of The Adam Bedside Reader (1966).

Perky Patricia Moore (A Fistful of Rawhide) is the titular big-haired bride. It's the sole credit for the remaining (and likely pseudonymous) cast members with the exception of Ralph Edwards, who appeared in other Gunter Productions films as well as the lost adult western The Devil's Bedroom (1964) from character actor L.Q. Jones (Harlan Ellison's A Boy And His Dog). Director and early cable television pioneer George Gunter cranked out a sequel, The Young Man's Bride (1968), also with Moore and Edwards, but it's as lost as his 1966 roughie The Sadistic Lover. 

Promotional materials indicate that theater owners were encouraged to sell 8mm excerpts from the film to "home movie enthusiasts," an opportunity profiled in the six-minute trailer.

NOT coming soon to home video, the 1961 exploitation shocker Nuremberg ("Gestapo's rape of innocent girls") was the re-edited version of a 1948 documentary bearing the same title, the official U.S. Government record of the first war crimes trial (1945-46) for the Nazi high command. Suppressed in the U.S. by the Department of War, Stuart Schulberg's grim composite was picked up by Henry Sonenshine's low-rent Unitel of California, which added a framing device: the interrogation of a young German fraülein accused of supporting genocide. Not content with the existing atrocity footage found in Germany by Budd and Stuart Schulberg, Unitel added bogus, poorly shot scenes of "Nazi" goons torturing naked women. In an attempt to ride the coattails of a superior production, Unitel issued the film the same year as Stanley Kramer's award-winning Judgement at Nuremberg. The company had attempted a similar feat earlier that year with Boris Petroff's Anatomy of a Psycho, which they hoped would benefit from the title's not-too-subtle references to Hitchcock's Psycho and Otto Preminger's Anatomy of a Murder. Unitel was fined on four separate occasions for noncompliance with tax obligations and finally shuttered in 1964. 

The first feature film from Blood Feast auteur Herschel Gordon Lewis, Living Venus follows publisher Jack Norwall (Lewis regular Bill Kerwin), an arrogant Hugh Hefner clone whose successful girlie magazine ("Pagan") and roving eye ultimately leads to the suicide of his wife (Danica D'Hondt from the Tony Curtis film Wild and Wonderful) and his own descent into loser's hell. Ken Carter, Jack's jealous in-house photographer, is portrayed by none other than Harvey Korman (Blazing Saddles) prior to his steady job with comedian Carol Burnett. The supporting cast includes mucky-mouthed Lewis regular Lawrence J. Aberwood (Scum of the Earth), John Perak from Coffy, and lovely Linné Ahlstrand (Beast From Haunted Cave). Lewis wrote the script with help from Kerwin and producer David F. Friedman (She Freak). The soundtrack features "Living Venus" as sung by Robert Bell along with the rug-cutting Dixieland jazz of Bob Scobey and His Famous Band.