Alvin Purple
The sex comedy that funded the entire boom. Historically important, hard going.
Mid-60s American sexploitation that stopped being fun on purpose.
A short and unpleasant American cycle sitting between the nudie-cutie and the hardcore era.
The nudie-cutie (roughly 1959 to 1963, invented by Russ Meyer's The Immoral Mr. Teas) was harmless: nudity plus comedy, no threat. The roughie kept the nudity, replaced the comedy with violence and coercion, and shot the result in grimy black and white on New York and Los Angeles streets for almost no money.
Michael and Roberta Findlay, Joseph W. Sarno, Doris Wishman.
Very little as entertainment. Something as record: they preserve a lot of mid-60s urban America that no other camera was pointed at.
The cycle ended around 1970, when hardcore became legally viable and there was no longer any reason to imply what could now be shown.
The sex comedy that funded the entire boom. Historically important, hard going.
The definitive Doris Wishman roughie: grimy, deranged, and edited by someone allergic to faces.
Herschell Gordon Lewis invents the roughie the same year he invents gore. Busy man.
Argentine, insane, and re-cut by its US distributor into something stranger.
Historically pivotal, formally inert. Watch ten minutes and read about the rest.
Deodato points Last House at a dinner party. Grubby, mean, effective.
Meyer's biggest hit of the decade, and his cartoon violence at its most cartoonish.
The one that made the money and triggered the obscenity fight.
Meyer and Roger Ebert, at a major studio, on drugs. Somehow released.
Meyer's best. Tura Satana is a genuine screen presence and the dialogue snaps.