THE ULTIMATE DEGENERATE (1969)

Making their black and white film cycle a full circle experience, 1969’s The Ultimate Degenerate opens on a scene that hints that the film might be a twist on 1966’s Take Me Naked, Michael and Roberta Findlay’s first collaborative feature that was stacked to the rafters with narration, peeping, and exhibitionism. But instead of a […]

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A THOUSAND PLEASURES (1968)

Released the same year as The Curse of Her Flesh and The Kiss of Her Flesh, 1968’s A Thousand Pleasures opens on yet another scene of domestic tranquillity according to the Family Findlay which is to say that, before the opening credits even begin to roll, Michael Findlay becomes fed up with Roberta’s constant nagging […]

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THE FLESH TRILOGY (1967-1968)

In the annals of sexploitation, Michael and Roberta Findlay’s Flesh Trilogy (made up of 1967’s The Touch of Her Flesh and 1968’s The Curse of Her Flesh and The Kiss of Her Flesh) may very well be the pinnacle of gutter trash that floated its way into a polluted tributary and found itself drifting toward […]

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TAKE ME NAKED (1966)

Michael and Roberta Findlay’s Take Me Naked (1966) opens on the sight of a pair of bare breasts while some dialogue regarding the mysteries of sexual origin is spoken. The moment acts as if it’s going to attempt to solve the infinite mystery of physical pleasure but there is something rather acrid in this thought […]

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SATAN’S BED (1965)

Something slightly magical was lost when we slipped out of that specific era when unfinished or abandoned films could get purchased, infused with new footage that had only the slightest of connective tissue to the main story, and then passed on to unsuspecting customers as a legitimate and brand new product. There is a certain […]

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THE SIN SYNDICATE (1965)

“I learned on my wedding night that love was really a trap that could make you hate. A hate that made you want to kill your husband.” — Actual dialogue from The Sin Syndicate (that was probably jotted down by Michael Findlay while Roberta was talking in her sleep) The cinematic path of Roberta Findlay […]

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