Nurse Sherri

Sherri Bobbins

Nurse Sherri
aka Black Voodoo
USA 1978
Directed by Al Adamson
Severin Blu Ray Zone A/B/C

Warning: Bizarre spoilers ensue.

Wow... that Al Adamson guy keeps surprising me. I watched Nurse Sherri on the same day that I watched his bizarre musical sci-fi sex comedy Cinderella 2000 (reviewed here) and, believe me, Nurse Sherri was an even stranger experience, tonally, than the former.

So if you look at the trailers for Nurse Sherri you will be sold a film about the demonic possession of a young nurse in the style of something like The Exorcist and... well, it’s certainly a horror movie of sorts but, for one thing, if you’re looking for a scary movie then this isn’t it. And for another, well, let me describe the first few scenes of the movie for you here.

First up we have another animated title sequence similar to those adorning the openings of a lot of Adamson’s films involving various photos and images moved around. And my first thought as I was watching this is that the score, which continues over various scenes throughout the movie, sounded way too old for a 1970s horror movie. At first I thought it was just library music except I also realised I recognised the tune. A quick trip to the IMDB confirmed my suspicions... the film seems to be needle drop scored with some of Dominic Frontiere’s music to the old sci-fi TV show The Outer Limits.

Anyway, the film starts with some scenes from many reshoots Adamson took part in to expand the character of an old ‘occult specialist’ who dies on an operating table early in the movie. There is a sequence shot in the desert where he and a bunch of ‘faithful’ friends of a dead person attempt to raise the person back from death over the space of a number of days. Alas, instead of raising the recently deceased gentleman, the guy collapses as if possessed. We then get his death scene at hospital as Nurse Sherri, played by Jill Jacobson, watches as her doctor boyfriend Peter, played by Geoffrey Land, fails to save his life. And this is where this horror movie takes a bizarre and strange turn...

Following on from this we have a full on naked sex scene where Sherri and Peter are at it for a considerably longer time than you would expect from a scene in any other horror movie. It’s not shy about what it’s showing either. Okay, I thought, this was a mite unusual but, then... after the two are recovering, Sherri asks the good doctor what his strangest sexual experience was. We then get a long flashback to him in his younger days, as he attempts to give a lecture to a class full of students while one of them is giving him a hidden blow job from under his lectern.Wait, what? After a while we go back to Sherri and Peter on the bed and then it’s his turn to ask Sherri what her strangest sexual encounter was... at which point we flash back again to a poolside scene where Sherri is seduced in a lesbian sex scene. Well, this has got to be one of the most ‘off the point’ horror films I’ve ever seen. This is all compounded by another scene when we get back to the hospital and a man is nervous about having an operation. So one of the nurses removes her clothing and starts sexing him up to relax him. So far, this had not been the spectacle of demonic terror I was expecting, to tell you the truth.

After a while, Sherri’s best friend Nurse Tara, played by the incomparable Adamson regular Marilyn Joi, turns up and goes to look in on an all star American football player who has been blinded. It doesn’t take long, of course, for her to remove her clothes and start boning up on the game with him.

Now, in between these unusual sex scenes, there are actually scenes which carry the demonic plot forward. Later scenes with flashbacks explain that the old man who died on the hospital bed has possessed Sherri, which kind of makes sense since every now and again she’ll accidentally let her demon show by talking in ‘croaky old man’s voice’ courtesy of some dubbing. However, we also see a scene from much later than the hospital scene where some bizarrely animated... I can only call it glowy slime sludgy stuff... crawls onto her body and kind of seeps into her. What this has to do with the old occult geezah I have no idea but pretty soon, presumably as a result of this bizarre phenomenon, Sherri starts turning up in unexpected places and doing strange and ‘plot questionable’ killings.

For instance, she’ll turn up at the mini ranch of a retired ‘cowboy hat wearing’ doctor and, for no reason whatsoever and in a scene which has played out, content wise, in at least two other Adamson movies... she sticks a big pitchfork through his back before driving all the way back to hospital again. And it goes on like this for a while, with little inserts of almost non-sequitur horror scenes, surrounded by scenes where everyone seems to think they are in a softcore, sexy nurse movie.

Luckily, Tara’s blinded football star patient had a voodoo priestess for a grandmother and, when everyone starts talking about how strange Nurse Sherri has been lately... like turning up with blood all over her hands and face and speaking like an old man... he tells them that they have to dig the old man up from his grave and burn his body to release his hold on the titular nurse. Which they do, just about saving Peter who is about to get hacked to death by Sherri, wielding two machete’s after she has just killed her carer. Why Sherri has so many framed photographs of different breeds of dogs in her apartment is never explained to anyone’s satisfaction nor, indeed, even questioned by anyone.

And although things don’t end as happily as they could for Sherri, most people in the movie get a slightly happier ending. It’s a strange film though and I honestly thought that Adamson had done another patchwork job on this one, where he’d maybe started off shooting a sexy nurse film due to Roger Corman’s recent success at kick starting that genre and then decided a third of the way through the shoot that they were going to do a horror movie instead but, no, according to the section of the accompanying booklet in Severin’s amazing Al Adamson - The Masterpiece Collection Blu Ray boxed set, the plan was actually to shoot a horror/sexy nurse hybrid from the start. So colour me baffled. Also, though, the description of the film mentioned in the booklet also mentions some scenes shot in 35mm which are curiously absent from this original 16mm cut of the movie... so I don’t know if those sequences are lost or have turned up elsewhere.

Either way, if you want to see one of the most tonally bizarre movies that Adamson has done (and if you’ve read some of my Adamson reviews lately you’ll know he directed or doctored some curious hybrids in the course of his career), then Nurse Sherri would be my recommendation for that kind of experience. Really pleased I saw this one.

Black Samurai

Dragon His Feet

Black Samurai
USA 1976 Directed by Al Adamson
Severin Blu Ray Zone A

Okay so, out of the many films on Severin’s wonderful Al Adamson - The Masterpiece Collection boxed set, Black Samurai was one of those that I was most looking forward to. It didn’t disappoint too much and, despite the clumsiness of the production and the usual Al Adamson thriftiness showing in some places, there’s more than enough silly, cool stuff happening to distract from many of the film’s faults.

Now I’ve not read any of the pulpy 1970s Black Samurai novels on which this movie was based so I can’t tell you just how close to the first book this movie is but, with credits talking about stuff like ‘additional story ideas by’ and so on, I’m guessing this is at least an ‘augmented’ take on the original Marc Olden novel. That being said the main character, which I suspect is possibly true of the books too, is in no way a ‘samurai’ of any shape or description. He’s just good at martial arts although, I believe in the novels he may be samurai trained? Anyway...

Three years prior to this, lead actor Jim Kelly had a break out supporting role opposite Bruce Lee and John Saxon in Enter The Dragon. In this... in an element which may or may not have been lifted from the books... Robert Sand, alias the Black Samurai, works for top secret government organisation D.R.A.G.O.N, aka Defence Reserve Agency Guardian Of Nations. They spell Defence wrong in the movie but this is an English blog and, you know, we like to get things right over here ;-)... but my point being that this is perhaps another, not too subtle acronym, to remind audiences of Kelly’s prior success.

Anyway, after some dreadful filler shots with pseudo-oriental music of the streets of Hong Kong, the daughter of a Chinese ambassador is kidnapped by three... well lets call all the bad henchmen in these kinds of movies ‘karate thugs’ shall we? She’s kidnapped by three karate thugs who leave her three bodyguards dead. We then get a credits sequence fairly typical of Al Adamson’s work which consists of various shots of Jim Kelly moved around the screen in a half animated fashion and that all works fairly well.

Then, post credits, we have Robert Sand’s tennis match being interrupted by his boss at the agency who needs him to check out and recover the daughter from the evil cult black magic sorcerer Janicot, played by Bill Roy and his ex-prostitute, high priestess gal Synne... played by lovely Adamson regular Marilyn Joi. Sand isn’t really into it but then he finds out it’s the ambassador’s daughter, Toki (played by Chia Essie Lin), who has been kidnapped... who just happens to be his latest girlfriend! This by way of a photo his people have of him and her kissing which, honestly, begs the question of why they would have a file photo obviously culled from a terrible padded flashback sequence of Robert and Toki frolicking from later in the film, in their suitcase... and why he doesn’t go nuts and beat them up for obviously spying on him. But hey, what do I know?

After this, Black Samurai is on the case and it’s a bit James Bond like in many respects. Adamson regular Biff Yeager is playing the 'government man out in the field' to keep an eye on Sand and, he’s set up quite nicely for both the audience and Sand to assume he’s a turncoat traitor, signalling all Black Samurai’s moves to the enemy... when, in fact, he actually does turn out to be one of the good guys at the end, assisting Jim Kelly in his fight scenes in some of the least credible footage in the film, as this pudgy white man bashes about high level karate thugs with just an odd punch or two.

Asides from the odd topless woman thrown into the mix for good measure, there’s also some really silly stuff which makes this worth watching. For instance, the early fight scenes in the picture are actually quite well choreographed and Kelly really shines in these sections (I believe he did a lot of his own choreography on this gig). However, it would also be true to say that the big climactic chase and fight scene at the end of the film is seriously underwhelming when compared to the first half of the movie. But there’s lot to see here. There are also a number of scenes where the karate thugs are also ‘kung fu midgets’ but I don’t know why they keep being brought back because Sand makes short work of them, taking them out with one punch each time. Pretty useless opponents as presented here, if you ask me.

When some karate thugs try to force Sand’s car off the road, he presses a button and a long pipe comes out from behind one of the tires, similar to the Ben Hur inspired tyre slashers from James Bond’s Aston Martin DB5 in Goldfinger (reviewed here). However, it’s not any old pipe, it's a gun barrel and it blows the tires out on the other car and sends it crashing off a cliff somehow (well, yeah, it is an Adamson movie... I’m sure this isn’t the last time I’ll see this particular shot). In another nod to the Bond films, when the Black Samurai takes a boat to try and find Janicot in some jungle, he pulls out a jet pack just like the one seen at the start of Thunderball (reviewed here) and whizzes over the trees. So... yeah... a Jim Kelly kung fu movie where he drives a gadget car and travels around by jet pack. What’s not to like?

There are daring escapes and some not so daring escapes. Or even not so believable escapes when, in a bizarre lapse of credibility, Black Samurai manages to get out of a room full of snakes by just quickly pointing his mini blow torch gadget at the lock on the big iron gate for literally half a second and then just pushing. Hmmm... it really doesn’t ring true here guys and I can’t believe an admittedly lame super villain would furnish his black magic mansion with puny locks that are only as effective as his kung fu midgets but, well... I’m still not complaining. After all, Jim Kelly travels by jet pack.

And that’s me done on Black Samurai. Some of the music is okay but there are no composer credits to speak of so I suspect the mish mash of styles points to a needle dropped music library solution to that side of the equation. It’s not a great film but, as I said, it does have it’s good points (jet pack!). Jim Kelly would work with Adamson again (which will be the subject of the next of my Al Adamson reviews) in a film which would also co-star George Lazenby and Harold ‘Odd Job’ Sakata so, you know, Adamson was definitely keeping an eye on the Bond films, I think. More on that soon.

Uncle Tom’s Cabin

Dirty Cotton
Scoundrels

Uncle Tom’s Cabin
aka Onkel Toms Hütte
USA/West Germany/France/
Italy/Yugoslavia 1977
Directed by Géza von Radványi
and Al Adamson
Severin Blu Ray Zone A

Wow... okay then. First of all, as you’ve probably guessed form the specs up the top, if you didn’t already know, that this movie is one of those bizarre Al Adamson re-purposed films that his company, IIP, used to foist onto the public as new product, following the latest trends and, somehow, managing to be quite successful for the most part. This time it’s the turn of a 1965 West German movie called Onkel Toms Hütte and based, of course, on Harriet Beecher Stowe’s popular and somewhat influential (by the sound of it) novel Uncle Tom’s Cabin.

Now, I don’t really approve of slavery as a thing and I also hate watching a lot of it in movies. I can tolerate stuff like Ben Hur because I know the lead protagonist removes himself from the equation to get his revenge but, as a rule, this trend of slaves working on cotton plantations is not something I can usually stomach and, truth be told, I tend to find these things really boring. Indeed, I only saw Tarantino’s Django Unchained once, when it was released into cinemas, because the whole second half of the movie is just such a tale. Honestly, the first half of that film was electric but when it reached a certain point, my brain kinda switched off. However, this one is part of the massive, 32 movie Al Adamson - The Masterpiece Collection box set from Severin which I’ve slowly been making my way through and, well, I really didn’t want to miss any of the films out.

The re-release of this film in this particular form comes about because of two things... the success of the plantation movie Mandingo, from two years prior and, more importantly, the success earlier in the year of the TV mini series Roots. IIP wanted something to capitalise on the success of that show and so they got hold of this movie but needed to really spice it up for audiences if they were going to make a success out of it.

Now then, the original version of the movie is almost three hours long. Here, Adamson has shot and added in a few scenes which lurk completely on the periphery of the plot in that way only he seems to be able to get away with... containing all the lurid content you will find in this movie totalling for, maybe as much of twenty minutes of it. However, bear in mind that, even with Adamson’s extra sex and torture footage added into the mix, the re-release only plays out for just over an hour and a half. So something in excess of an hour and a half has been excised from the original film’s running time.

Now, the film itself, the original, obviously jumps around a bit now but it basically tells of a nasty cotton farmer/slave trader called Legree (played here by Herbert Lom) and of the slave ‘Uncle’ Tom played by John Kitzmiller who, when he is close to death after one of many horrible crimes upon his people perpetrated by Legree, incites the slaves to run, burn down Legree’s big house and flood the cotton fields as they make their escape. And, from what I can see of it, despite the horrible subject matter, it’s a fairly engaging film and I could take it or leave it. Preferably leave it.

But then there’s Adamson’s scenes including a slave called Napoleon, who ties in with the West German footage only because he has the same name of a barely glimpsed character who jumps off a steamer and is suddenly played by a different actor, Prentiss Mouldon. Adamson regular, the lovely Marilyn Joi, also turns up in a pre-credits rape scene. And there’s some interesting things going on with the film in this version.

For example, sandwiched between the prologue and the opening credits, such as they are, is a load of footage from the film (including, I suspect, some of the excised bits) with screen loads of short, sharp blurb about the importance of Harriet Beecher Stowe’s novel and it kind of makes a bizzare, mini trailer for the film you are about to watch...which I’ve never seen done before.

The other interesting thing about it is just how well Adamson works to blend his footage in with the original film. I mean, don’t get me wrong, once you know it’s extra footage inserted you can tell, for the most part, which are the additional scenes... and I suspect a siege on a monastery near the end of the picture may also be ‘Adamson enhanced’ because, for a minute there, it almost turns into a Western... yarhoooo! However, you can tell that Adamson’s really given it some thought here because he’s obviously studied what Radványi did in his version of the movie. For example, the whole movie, including Adamson’s sections, is based on a very pastel colour scheme which is almost exclusively browns. Everything looks like it’s brown or sepia almost, with no other really strong colours showing up too much. Another thing Adamson does, at least at the start of his scenes, is take a page from Radványi’s book in approaching things from a distance with long shots. Radványi uses a lot of master shots rather than reverting to close ups on his film and, although Adamson doesn’t eschew close ups like the former director, he does give it that kind of look in parts of his scenes to better match up, in visual style at least (certainly not tone), to the original footage. So, yeah, bearing in mind what he did with films like Horror Of The Blood Monsters (reviewed here) and Mean Mother (reviewed here), it’s really a step up for his approach on this one, I think.

All in all, though, I don’t have too much to say about Uncle Tom's Cabin. I’m not even once tempted to try and source the original 170 minute version to watch and I probably won’t ever revisit this version again. It’s not as bad an experience as I thought it would be, for sure but, I didn’t really have a good time with it and wouldn’t recommend it to anyone, in all honesty. Interesting as another experiment in the way you can change films but, ultimately a chore to watch and I’m much more looking forward to the next couple in Severin’s mighty boxed edition. 

The Naughty Stewardesses/Blazing Stewardesses

Bosoms And Boeings

The Naughty Stewardesses
USA 1973 Directed by Al Adamson
IIP/Severin Blu Ray Zone A/B/C

Blazing Stewardesses
USA 1975 Directed by Al Adamson
IIP/Severin Blu Ray Zone A/B/C

Well... okay, so softcore sexploitation pictures aren’t exactly my usual stomping ground (not necessarily by choice) so I thought I’d review the next two films in Severin’s gorgeous Al Adamson - The Masterpiece Collection as a double bill as they comprise The Naughty Stewardesses and its direct sequel, Blazing Stewardesses. Now, as it happens I made the right choice because, although as you’ll see, I grew into the spirit of the first film very quickly... the sequel is a huge mess of a production which I probably wouldn’t have had enough to say about (especially good things) to sustain its own review anyway so... okay, lets start with the first movie.

The Naughty Stewardesses starts off with a nice enough, very 1970s feeling animated title sequence identifying the stars of the film in little photos plus moving handbags and wing insignias. And, then we move into an opening set up of three of the four title stewardesses... including Marilyn Joi as Barbara... on a plane, talking about various sex positions engaged in while flying (and now I’ve got my eye in with Al Adamson’s films, I can tell you one of the passengers in this scene is an uncredited Regina Carrol). I have to mention right here that the interiors of the airplane sets are pretty much as authentic looking as the spaceship interiors on Horror Of The Blood Monsters (reviewed here)... that is to say, not at all. One of the girls incites one of the pilots to demonstrate that ‘it’ can be done standing up. Meanwhile, a woman on her way to her day job in a ‘massage parlour’ picks up a hitchhiker and explains she’ll soon be joining an airline company as a stewardess. Her name is Debbie, as played by Connie Hoffman and... I’ll get back to her in a minute because she’s one of the reasons this film didn’t just fall flat on its face with me.

Okay, so the film goes from bad to worse as we have a birthday party where a guy is wheeled in, covered in icing like a cake, for one of the girls and there's lots of red blooded male sex antics which are pretty much on the level of Porkys (another film I’ve always kinda hated). And at this point I was pretty much telling myself, ‘This is for the blog, I should sit through this’ when... things suddenly take an upward turn and the movie gets really engaging and, also, kind of dark in places. There’s several dollops of nudity and over the top exaggerated sex of course, which are always very welcome but, I believe Adamson couldn’t direct a sex movie if he tried and I know he was very reluctant to do this movie but, yeah, this jettisons the adolescent overtones very quickly and his soft core sequences have all the credibility of a modern Japanese porn film which, if you’ve ever tried to watch a snippet of one, you’ll know is pretty ridiculous.

Debbie, it turns out, even when shedding her clothes for the odd scene, is actually both a tragic and sincere character. She moves in with the other three stewardesses and then meets, on one of her first plane trips, a very rich, old World War Two vet who saves the life of one of the other passengers. His name is Brewster, played by the old Western actor Robert Livingston (who surprisingly, considering his age here, gets the lion's share of the simulated sex scenes too). Anyway Debbie becomes friends with Brewster and, afterwards, accidentally meets an amateur photographer/taxi driver who takes some nice modelling shots of her. However, this is where things all go wrong for Debbie because, photo-boy really isn’t all there. In fact, even as he accompanies Debbie to a party and gets offered a job shooting a porn film, Locked Loins, by a director of such movies, we can see that he might be a bit of a psycho.

And then he also turns out to be a member of a terrorist organisation called the People’s Liberation Army. Along with the porn director, he kidnaps Debbie and two of her fellow stewardesses and takes them to a cabin, to ransom back to Brewster for fifty thousand dollars. Why they would have the rendezvous point so close to where the cabin is would be anybody’s guess but when Debbie escapes and gets involved in a little chase across the snow, I have to say that it looks like the same landscape that Adamson used for the final scenes of Psycho-A-Go-Go (reviewed here). Brewster brings one of his rifles and, accompanied by the fourth of the stewardesses, who he’s also sexing up on the side, he shoots the psycho dead and it all ends in tears.

And it’s a not bad film, in all honesty. Between Adamson’s bleak turn and the performances of Marilyn Joi (billed in this and the sequel as Tracy King) and especially Connie Hoffman as the thoughtful Debbie, I was actually quite taken with this movie once I’d got the first ten minutes out of the way. One of the expectations in this kind of film, I would guess, would be that the girls would all be fairly dumb but the four stewardesses are all quite intelligent, strong female roles who just happen to enjoy sex... which really helps the viewer engage with the various ‘almost but not quite sexy’ elements of the movie. Again, like early Adamson actress Vicki Volante, it’s a shame that Connie Hoffman only made a handful of films because she really has amazing screen presence in this. Possibly her best known role was as a recurring character called Orange in two episodes of Starsky and Hutch.

There are the usual strange choices you seem to find in all of the Adamson films I’ve seen so far, such as the attempted rape of Debbie by the impotent psycho photo boy at the cabin where he’s holding the girls for ransom, being scored with music that sounds like it came straight out of a 1970s funky action movie. And, knowing the director as I do now from this box set, I wouldn’t be surprised if that is exactly where it comes from. I don’t know who came up with the idea of a ‘weird sex device’ handcrafted by Brewster, which is just a basket chair which yo-yos up and down from the ceiling but, as seen in this movie, it’s pretty impractical and not something I can imagine selling very well at a sex shop.  There are also a lot of ‘filler’ montages of the girls wandering around various locations like Las Vegas and so on which are actually quite easy on the eye and... also something I am accustomed to seeing now in this director’s movies. One thing is for sure, though, this is not your atypical ‘sex romp’ and, while the same can also be said for the sequel... um... yeah, lets get to that one now.

Okay, so after the phenomenal success that The Naughty Stewardesses got at the box office, Adamson was asked to helm a sequel... which he did in the form of Blazing Stewardesses, with three main performers coming back in the form of Robert Livingston, Connie Hoffman and Marilyn Joi reprising their characters from the first film. A third stewardess, who doesn’t take her clothes off in this film, is Adamson’s wife Regina Carrol, playing a completely dumb version of a stewardess, complete with comical voice and, frankly, although I’m sure this particular performance has its admirers and certainly had my jaws agape, it’s definitely scoring high on my ‘what were you thinking?’ chart of bizarre acting choices in a movie. It’s like watching a road accident in horror and fascination as it plays out right before your eyes but, to be fair, that’s totally appropriate to this mess of a movie, which does the same thing on all levels.

Although there are two nude scenes near the front end of the film, none of them feature the title characters and that’s pretty much it for any pretence of a) being the sex romp it’s purported to be and b) having anything to do with airplanes either, apart from the first ten minutes. Instead, after Debbie finds her future husband in bed with a another girl, she gets an invite for her and her two stewardess friends to host the opening of a new gambling ranch that her friend Brewster has opened. They accept and arrive at the ranch, along with a load of customers but, complications ensue as a bunch of cloaked and masked marauders have been hijacking Brewster’s employees and also making sure the gambling equipment he buys doesn’t make it to the ranch. If this sounds like an old timey western plot to you, that was definitely Adamson’s intention. The opening titles has cartoon figures of bikini clad stewardesses dancing around in front of shots of cowboys (presumably the title was also trying to cash in on Blazing Saddles). Even the music in the scenes with the ‘bad guys’ plays out like a 1950s Republic western score and, again, knowing Adamson that might be exactly where he purloined the cues.

Behind the plot, unknown to the others, is the madam of the neighbouring whorehouse The Beehive, played by an ageing Yvonne De Carlo, of The Munsters fame. Also on hand are... the two surviving members of The Ritz Brothers, who hadn’t been in a movie since 1943 (The Three Stooges were originally lined up for this and I believe even rehearsed some of their material but were unable to do it due to ill health and ultimately death). Now, I don’t know what The Ritz Brothers’ act was but I get a pretty good idea of it from their antics here and they do a little dance, plays cards badly, get vaguely sex addled by Regina Carrol and share a giant sandwich. I’m not sure now that I would ever watch a Ritz Brothers movie after seeing this but... you never know.

So there’s not too much of the stewardesses in the film at all, just a lot of mostly bad comedy routines and some ‘sped up’ cowboy chase footage. Other things on offer are a dodgy looking arab who we cut back to every now and again, as he tries to find oil on the ranch and, somehow, Adams manages to work in one of those exploding, rolling car shots of footage from one of his earlier movies. If this film actually hit enough right notes it could rightly be called a ‘laugh riot’ but, honestly, there wasn’t any laughing coming from me and, although I found the film interesting (like watching a train wreck happen right next to you), I’d have to say it’s one of the worst films I’ve ever seen from this director. It totally hits the wrong notes throughout its running time which is a shame because, as I said, the first film was actually quite engaging.

So that’s it for me with these two. I’d recommend The Naughty Stewardesses to anyone who knows what they’re getting into and I’ll almost certainly watch it again some day. Blazing Stewardesses is a terrible mess, however... I really would give that one a hard pass. One of the extras in this is a nicely researched mini documentary about the real life phenomenon of the air stewardess and their iconic role in popular culture called Fly Girls - The Stewardess As Lifestyle Icon In The Golden Age Of The Exploitation Film, written and narrated by the living legend film programmer and writer Kier-La Janisse (I reviewed one of her amazing books on film here). It’s an interesting look at the subject matter and, frankly, worth it’s weight in comical gold for the brief shot at the start which shows Ms. Janisse in a stewardess unform herself. Another nice addition from Severin, also included on the disc, is the Adamson directed ‘gluing scenes’ from the unrelated release Bedroom Stewardesses (which I haven’t had time to watch yet but I’ll get to it at some point, I guess). So yeah, one hit, one miss and I’ll get to some more Adamson ‘masterpieces’ soon.