COMMON LAW CABIN (1967)

Outside the lack of a need for an optical house to create the opening titles, as far as one can tell, the major aesthetic difference between Russ Meyer’s gothic period and his soap opera period really comes down to whether he was shooting in color or black and white. On a thematic level, there was […]

MONDO TOPLESS (1966)

If you track a filmmaker’s career, you’re likely to see things like Mondo Topless occur. No, I don’t mean that every auteur is going to crank out a quick-buck skin flick when they hit rough waters but, instead, there is a pattern of running back to material that’s bankable once experimentation bites them in the […]