Dr. Sex, Case Studies in Nude Women

You will feel like a Peeping Tom after seeing this one. Today we have a classic exploitation film from one of the best.  This one, heavy on nudity and exotic dancing, will bring out your prurient side.  Sultry dames dancing nude...keeping house nude...bathing...taking off their undies...posing nude for artists...and men gawking and drooling at the spectacle.  Our feature today is 1964's "Dr. Sex," directed by Ted V. Mikels.

A weird sex-therapist, Dr. Sex (Victor Izay), is writing a text book with the most prurient case studies he can find.  He is assisted by the sultry Dr, Lovejoy (Julia Calda), who wants to party.  The duo is trying to convince the nerdy Dr. Schmutz (Max Joseph) to submit some of his case studies.  The trio tell the stories of their most intriguing and baffling case studies in their careers as sex-therapists. What unfolds is a cacophony of nudity, perversion, and sultry dames frolicking, wriggling, and jiggling.

Stories will be told of a house haunted by sultry dames, all nude, who keep house for the pervert owner.  Then the story of a Peeping Tom who watches a babe return home and gratuitously undress and take a sensual bath.  Then an exhibitionist babe who is having just too much fun posing nude for an artist.  Lovejoy even tells of putting herself in the experimental therapy of her patients which will require her to be nude.

Are you sensing a theme yet?  The cases are unusual, and the women are all sultry.  Dr. Lovejoy is eager to knock off early and party...orgy?  Schmutz is a square but he too has weird cases.  The stories border on the ridiculous and one may wonder if they are mere fantasies of the therapist trio.  This film has no redeeming qualities other than arousing the viewer...and that's okay!  For a dirty, smutty, and fantastic movie watching experience, "Dr. Sex" is the perfect one to view as wokeness is thrown out of the building. 

  

Jennie: Wife/Child, Sultry Blondes Wriggling and Jiggling

There is a whole lot of wriggling and jiggling going on in this film.  May I say...it is a man's film!  Burp, grunt, and scratch yourself...a movie for men who like Pabst Blue Ribbon and Camels.  There are two sultry blondes in this film who were cast for their wriggling and jiggling abilities.  Their plights?  Well, let us just say you men will be pleased.  For some gratuitous exploitation let us look at the rarely seen feature, 1968's "Jennie: Wife/Child," directed by Robert Carl Cohen and James Landis.

Jennie (Beverly Lunsford) is a sultry blonde 20-year-old wife.  She married the much older farmer, Albert (Jack Lester). Albert has a bad heart and Jennie was convinced her wriggling and jiggling could have sent him to the hereafter after some vicious carnal activities.  Oops, Albert hangs on. He is a miser and Jennie wants the finer things.  She wants new sexy dresses, to go dancing, and sex with hunks...Albert is no hunk.  Mario (Jim Reader) is a sweaty hunk and Albert's farmhand. Mario has orders never to go in the farmhouse or speak to Jennie.  Jennie pushes the issue when Albert has his back turned.  She does everything she can to seduce Mario to include gratuitous skinny-dipping.  Mario sweats a lot and tries to avoid the seductress...to no avail.  Mario does like girls, and to Jennie's jealous self, he really likes town floozie Lulu (Virginia Wood).

Lulu, after many drinks and a naked motorcycle ride, seduces Mario and this does not please Jennie. In fact, the slightly older Lulu has more experience seducing and no husband.  Wriggling and jiggling seem to be what floozie Lulu was born for. Albert humiliates Jennie by forcing her to engage in a very rigid type of marital sex.  Jennie finally successfully seduces Mario, and has quite a roll in the hay with him.  Now Jennie plots.  She wants the finer things so bad.  She plots a robbery of Albert, and an escape with Mario.  Uh oh... this doesn't go well and now Mario and Jennie are in mortal danger.  Enter Lulu again.  Thank our lucky stars for Lulu...what she does next will shock and arouse you.  Then the ending!  Wow!  We did not expect this...and us guys will be cheering!  As wokeness is thrown into the ash heap of history, this film takes on great relevance.

Will Lulu and Jennie engage in what seems to be an inevitable catfight?  Will a wriggling and jiggling competition lead to an orgy of all four characters in this film?  Will rolls in the hay and skinny-dipping make comebacks as popular film tropes here in 2025?  Seductive, gratuitous, and all entertainment, see "Jenni: Wife/Child."      

The Pom Pom Girls, Short Skirts, Tight Sweaters, and Cheers

As both Joe Biden and Kamala Harris were annihilated and humiliated during last election season, wokeness is on the run. No more ugly babe-wannabes with tattoos, shaved heads, and weird piercings. Today we look at a film with babes the way we like them...nubile, flirtatious, unmarred, and happy. Cheerleaders will frolic, high-kick, catfight, make passionate love, and roll around in bikinis in the surf.  Oh, yes...roll around in mud pits, too.  Made in 1976, during the end of the horror that was the Gerald Ford Administration, "The Pom Pom Girls" (directed by Joseph Ruben) is a perfect accompaniment to 1974's "The Swinging Cheerleaders."  Incidentally, these films, taken as a pair, are the magnum opus of Rainbeaux Smith.

As the film begins, the cheerleaders, captained by Laurie (Ashley) practice their routines in bikinis at the beach. They'll finish practice and roll around in the surf. Laurie and Sally (Lisa Reeves) will hook up with two jock football players, Jessie (Michael Mullins) and Johnny (Robert Carradine). Laurie is Jessie's girl. Unbeknownst to her, so is fellow cheerleader Sue Ann (Susan Player). Johnny and Sally will also get together.  Pre-marital sex will occur.  Jessie will boink Sue Anne in the back of his van and Laurie in her bed. Cheerleaders frolicking in mud...relevant to the plot?  You decide. Roxanne seems to be along for the ride but does get felt up by football jocks enough.  The high school kids must beware their rival high school who are always out to mess with them.

Cheerleaders frolic in the sand dunes.  Cheerleaders frolic in the surf.  The highlight of this film is when Laurie, Sally, Sue Anne, Roxanne, and all the other Rosedale High cheerleaders have a knock down drag out catfight with the Hardin High cheerleaders during the football game. Cheerleaders chased by the sheriff.  Cheerleaders banged by jocks. Cheerleaders doused with a firehose. We'll get to see the cheerleaders dressing in their outfits before the big game.  We'll see tension between Laurie and Sue Anne as they get dressed.  Yes, I know, this all seems metaphorical of the Gerald Ford presidency.  Let's not get political.  In an age of wokeness, as the wokeness is in the process of being annihilated, we can only hope for more movies like this and less with grouchy actresses who insist on being called actors trying to tout stupid "social causes" in their films.

Some critics see "The Pom Pom Girls" as a metaphor of the Ford Administration, while others see it differently.  They see it, especially as nubile babes are endangered and pawed, as an ominous foreshadowing of the horrors ushered in by the Carter Administration.  America was going through hard times in the 1970s, but thank your lucky stars we had nubile cheerleaders with a proclivity to frolic, love, and bounce up and down in either cheerleader outfits or bikinis.  May the spirit of Rainbeaux Smith return to us in the form of better films and roles for actresses as wokeness is catapulted out the window.  See "The Pom Pom Girls," and if your feeling vigorous, virile, and potent, see it in a double feature with "The Swinging Cheerleaders."      

Outlaw Women, Gunfights and Catfights

Nothing like a film where a sultry dancehall babe in fishnets and heels catfights with a jealous wife clad in a white silk gown. Hair will be pulled.  Faces will be scratched. Garments will be yanked off. Men will eventually have to save the day.  Ah, the Old West!  Where men were men and women were women (unlike modern day America). In the frontier days , a women's path to empowerment was seduction, fishnets, and a hotel room on the floor above the dancehall.  Today's path of empowerment for a women is a worthless university degree...and that empowerment is only an illusion.  Today we look at 1952's "Outlaw Women" (IN COLOR!), directed by Sam Newfield and Ron Ormond.

Everyone is getting out of the soon to be ghost town of Silver Creek.  Good pals, Woody (Richard Rober) and Dr. Bob (Allan Nixon) scheme. Woody is a businessman and Bob is a pure-at-heart. After a lame gunfight, babe cowgirl Beth (Carla Balenda) needs a shard of glass dug out of her shoulder. Bob does this well and now Beth tells him her town desperately needs a doctor. The town? Las Mujeres, a town run by women, more specifically saloon owner Iron Mae McLeod (Marie Windsor). Bob wants no part of a town run by women...smart.  Still, Beth is persuasive and gets him there at gunpoint. Seeing all the sultry dancehall cuties and sexy cowgirls there, Bob reconsiders. Both Beth and her sister, the dancing girl Ellen (Jacqueline Fontaine) become sweet on him.

Uh oh...gunfighter Frank (Richard Avonde) wants Mae to give him operation of the town. Mae refuses, enjoying independence for her and her gals. Uh oh again, her old beau, Sam (Leonard Penn) is out of prison and he wants the operation. Mae resists.  Uh oh...Woody wants the operation. Even though Mae is sweet on him, she does not intend to sell.  Now all three of these men bring in forces consisting of ruthless cowboys. Poor Beth, in leather chaps she will have the snot kicked out of her by these forces.  Her sister, in fishnets, will not fare as well.  War is brewing. Bob calls for cooler heads. Now the future of Las Mujeres looks like it will depend on gunfights and a poker game.

In addition to slapping each other, will the dancehall girls get slapped around by brutish cowboys, too?  Realistically, does Iron Mae need a real man to run things for her town to succeed?  Will Ellen and Beth square off in the mud to see which one gets Dr. Bob?  This film would never make it in the Women's Studies departments at American universities...but for men who love dames in fishnets engaging in catfights, this is the perfect film.  See "Outlaw Women" and harp back to a day when the film industry knew what a man was, what a woman was, and how to make a movie. 

Rowdy Girls, Naked and lathery Cowgirls

Shannon Tweed naked and wet in a bath, or a stream, or in the throes of erotic passion!  Julie Strain naked and wet in a bath, or a stream, or in the throes of passion! Deanna Brooks naked and wet in a bath, or in a stream, or in the throes of passion!  Are you sensing a theme!  Erotic, kinky, and prurient fun, indeed!  Today we have a western.  Gunfights, saloons, and catfights abound.  Sadly our three actresses portray characters that do not get along with one another...but who is gonna complain about hostilities between naked and wet babes.  Our feature today is 2000's "The Rowdy Girls," directed by Steven Nevius.

Velvet (Tweed) is a cathouse whore who wants to get out of the business.  Her gig is dressing up as a nun and satisfying fetishes of pervert cowboys. Probably a women's studies major from Vassar. She'll seduce a dolt cowboy to rob a bank for her, then tie him up with a promise of deviant BDSM sex, and abscond with the loot. Sarah (Brooks) is a babe promised to an old geyser. She escapes and heads to San Francisco on a stagecoach. Mick (Strain) is a sultry gunfighter and the main girl of the much-feared Billy (Daniel Murray). He's a hunk and when we meet this duo they are in the throes of vicious, sweaty, and prurient passion. The scene is a painful one but oh, so good! These peeps will all meet when Billy, Mick and the gang try to rob a stagecoach.  On the stage is Sarah and Velvet.  Velvet is dressed as a nun and carries a bag with the bank's loot.

Velvet murders the sheriff (Todd Eckert) and the stage driver.  Billy takes the money and Sarah.  He likes Sarah and this ticks off Mick. Velvet plots a way to get her money back and flee. The sheriff's brother, Joe (Richie Varga) pursues wanting to avenge his brother's murder. Mick will humiliate Sarah , beat her, and tie her up.  Billy still wants this babe over Mick.  Velvet is rescued by Joe and now the two will engage in steamy, wet passion.  Velvet still wants the loot and Joe wants to murder Velvet.  Thus all these sex-crazed peeps will cross paths.  The gals will face bondage, beatings, and the ire of each of the other babes. Catfights and gunfights will abound as well as steamy sex.  A word of warning.  However playful and frolicky this one is, this film is also brutal and unforgiving.

Will the catfights ever turn into scenes of lipstick lesbianism?  Will any of these three babes make it to the end credits?  Will Joe and Billy smarten up and realize how much trouble these loose minxes are? This is an erotic western and the assets of these three actresses are on display a lot.  For a prurient good time, see "The Rowdy Girls."   

The Big Bust-Out, Sweaty Babes Escape Prison

We have a gratuitous one today. A women in prison classic from Italy. In 1972's "The Big Bust-Out" we have sweaty beauties with big...smiles! They catfight!  They have steamy lesbian sex!  They shoot machineguns, throw grenades, get raped, skinny dip, and get sold to mad Arabs.  It doesn't get better than this. Today we look at this Euro-Trash exploitation film directed by Ernst Ritter von Theumer. 

Seven babes are molested and tortured by butch matrons in a maximum security prison. The babes will be raped and fed to insane inmates. Gail (Margaret Rose Keil), a Scandinavian blonde seems to be the leader of the babes.  Inga (Nuccia Cardinali) is her Swiss compadre. Carmen (Felicita Fanny) is a sweaty and big-smiled redhead who is all attitude. Lolita (Christiane Thorn) is a redhead lesbian who will get plenty of action in this film. Okay, Sister Maria (Monica Teuber), a babe nun, will take mercy on these seven and arrange for work release. The babes will do work around her convent. While at the convent, they will be molested by Arab guards and fight back. The gals will murder the Arabs and abscond with Sister Maria. Quickly they will be captured by Shaw (William Berger) and meet their new buddy Nadia (Vonette McGee). They'll skinny dip with Nadia...except for Sister Maria.

Shaw betrays them and sells them to an Arab, Kadir (Gordon Mitchell).  When they are brought to a ship, the captain, Jeff (Tony Kendall) fights with the Arabs and gets away with the gals. Now Jeff leads the wanted babes into the mountain wilderness chased by psycho Arabs.  He will teach the gals to fight and shoot.  They'll steal machineguns and grenades. Uh oh...Kadir wants his property back.  He will capture the gals again, gang rape them, dress them up in harem intimates, and allow his men to have their way with them.  Now Jeff must save the gals and Sister Maria must keep her purity.

Alas, some of the babes will die horribly.  Inga will develop quite the crush on Jeff.  Sister Maria will endure unmentionable torture.  Will Jeff be able to save his new friends?  Will Sister Maria be able to keep her habit on the entire film? Is this film a metaphorical continuation of the European crusaders war on Arab peoples?  This is a gratuitous, erotic, and bloody one. For a lot of gore, nudity, sweaty lesbian sex, and skinny dipping, see "The Big Bust-Out."  

The Naked Road, White Slavery and Nubile Babes

Back in the 50s dames with spunk were sexy.  We loved them as either femme fatales or women who refused to be victimized.  Today's "women" are hardly feminine, not dames, not even babes, and unlikable.  When a nubile young model is grabbed by evil white slavers, we care.  We don't want to see her corrupted.  Todays "women" have already been corrupted by American media and entertainment, and our colleges and universities. Bring back the babes of the 50s...when a dame knew how to be a babe.  Today we look at 1959's "The Naked Road," directed by William Martin.

19 year old Gay Andrews (Jeanne Rainer) is a sultry model for an advertising firm. Through no fault of her own a corrupt cop and a corrupt judge sell her to a white slavery ring headed by fat and greasy Wayne (Ronald Long). Wayne slips her a sedative as Gay thought he was helping her. Now Gay wakes up in a locked bedroom. Wayne explains that she will become one of his whores and if she cooperates, will earn $50K per year. If she doesn't cooperate, Wayne will have her killed. Mark (Art Koulias) is Wayne's muscle and is sent into the bedroom to intimidate an unwilling Gay. Gay refuses at every turn. Now Wayne figures on starving her and if that does not work will addict her to heroin.

Gay is still being difficult.  Mark is sent in to rape her but Gay will beat him up. Now Wayne seriously considers bringing out the heroin. All looks hopeless for Gay as she has been stripped of her clothes and must lounge around in a nightgown, white in color. Meanwhile we see Wayne's organization murdering the whores that stop putting out.  Mark just pays them visits and murders them.  Gay does not care, she is a spunky dame.  The "women" we have in films over the past 20 years are entitled and believe themselves to be "empowered."  These broads could learn a lot about toughness from Gay Andrews.  How does it end? You'll see, but you can believe our damsel in distress will be put in much peril.

Will Gay end up kicking Mark in the gonads?  Will men be sent into the bedroom to force the issue with a drugged out Gay?  Is Gay's refusal to compromise her morals a total contradiction to today's "empowered women" who have no morals to compromise?  This is a fine exploitation film. Alas, if the United States still had women like Gay Andrews we would not be losing status throughout the world. See "The Naked Road" and see what real dames are like.