Bite Size: The Defilers (1965)

After his wildly successful adventures in gore horror with Herschell Gordon Lewis, producer David F. Friedman saw the writing was also on the wall for the relatively innocent days of the nudie cutie. Sexploitation fans were also ready for something more shocking, box office receipts declining by the minute for playful peeping and nudist frolics.

A very young Lee Frost (still credited under his “respectable” documentarian guise of R.L. Frost) signed on as director. The production’s budget was a minuscule $11,000. Friedman wrote the script himself, and The Defilers was cranked out in just 5 days.

The film starts out pretty firmly in juvenile delinquent territory, with the affluent Carl (Byron Mabe, director of She Freak) picking up his best friend Jameison (Jerome Eden) and a bevy of beauties for a day at the beach. Carl is quickly bored with bikini babes and booze, and soon he’s pontificating in the way only the entitled idle rich can. The only thing that matters in this “crummy, square infested life” is kicks, and he’s not getting any out of this incredibly long game of beach blanket bingo.

Turns out the real hep cats get their kicks out of taking their girlfriends to daddy’s empty warehouses that double as secret sex dungeons, peeping on their best friend’s sexual conquests, or idly burning their beach companions with cigarettes just to watch them flinch. Every woman in the film points out that Carl is a maximum overdrive creeper, but Jameison staunchly defends his best buddy in a way that is either sheer stupidity or a borderline homoerotic infatuation.

Picking up some weed from blowsy madam imported from a different movie connect Mrs. Olson (Mimi Marlowe), they meet her new tenant, the fresh off the farm Jane Collins (Mai Jansson). Trying to cover her drug dealing tracks, Mrs. Olson pretends it’s a social call and volunteers the boys to give Jane a ride out to the valley for her acting lessons. Like every other busty blonde in Hollywood, she left her family and friends back home in Minnesota to try to break down the pearly gates of the movie studios.

Stoned out of his mind and pissed he had to waste gas he probably didn’t even pay for, Carl cooks up a plot to kidnap Jane, and keep her in his dirty mattress rape den as a personal sex slave. Jameison resists for all of 5 minutes, but the risk of being caught and the sheer vileness of the plan are nothing in the face of being called a chicken by Carl. The pair lure poor Jane into their lair with the promise of a party, and a film that had already rounded the corner into bleakness goes pitch black.

While a lot of the New York City shot films of the period are so inept they almost become comical, The Defilers is shot in an effective bargain basement noir style, with a slick jazz soundtrack and some decently accurate hipster slang. Byron Mabe and Jerome Eden are fairly credible in their sociopathy and spinelessness, respectively.

It’s just professional enough to hold your attention as a narrative film, but just grungy enough that you have reason to be suspicious of the fact that the majority of the female cast never made another movie. When a single tear rolls down Jane’s face in close up as she is being assaulted, its disquietingly real looking.

Both David Friedman (Ilsa: She Wolf Of The SS) and Lee Frost (A Climax of Blue Power) moved on to make much bigger, more explicit cinematic provocations. With its depressingly matter of fact treatment of male entitlement and the violence as money shot roughie template it helped originate, The Defilers has a uniquely grimy power entirely its own. There are plenty of films more explicitly violent or sexual, but you’d be hard pressed to find anything much sleazier. The Defilers is just as dark and nasty as the sticky seat adult theaters it played in.

Bite Size: She Freak (1967)

She Freak might be the closest thing to a labor of love in the vast filmography of legendary exploitation producer David Friedman. Combining dirt cheap film making and the grift filled world of the carnival midway is a two for one punch to part fools from their money, the only Golden Rule exploitation cinema ever had.

Jade Cochran (Claire Brennen) is a diner waitress with a terrible Southern accent and an even worse boss. When an advance man for a traveling show stops in for lunch, Jade leaves the greasy spoon behind for an exciting job at the carnival…..as a waitress.

Jade’s wonder at her new home allows director Byron Mabe (The Acid Eaters) PLENTY of time to linger over every detail of the shooting location, and there’s actually a pretty decent industrial/time capsule of carny life in all the meandering. Set up, tear down, hand painted banners, the actual mummified corpse of an Old West outlaw and accurate explanations of the snappy slang of showfolk are all present and accounted for with a 60’s lounge pop soundtrack.

After 20 minutes of grab ass at the greasy spoon, and a solid half hour of Jade’s day at the fair, the film suddenly remembers the framing device at its opening and gets into its actual plot. That plot being a half cooked knock off of Tod Browning’s 1932 classic, Freaks, give or take the actual sideshow performers and a burlesque style stripper.

Jade is our ersatz scheming acrobat, character actor Bill McKinney is the sweet natured sucker, and the firing of a little person ever so cleverly named Shorty (Felix Silla) is the catalyst for the unseen freaks’ revenge. Gorgeously tense avenging angels advancing in the rain, a few extras lit with color gels holding prop knives in their teeth, what’s the difference? You say potato, David Friedman and crew say po-tat-o.

The final transformation of Jade manages to be campy, crepe-y and cleavage-y all at once. Unless you are a sucker for circuses, carnivals and other old fashioned American amusements, its a bit of a slog to get to the reveal the movie sets up for in the opening sequence. If you have particularly fast fingers you can freeze frame the trailer above and catch the monster. Those with poor twitch reflexes can check out the poster art. Either way, you’ll have seen enough of this She Freak to to get your ten cents worth and make haste for the egress.