I feel like this is the first time I've been swindled by Vinegar Syndrome. Here's a movie without a direction or an identity, and I watched the re-cut exploitation version, which was originally conceived and shot as an art film (the original edit, The Seventh Dwarf, is included as an extra... and there's no way on the planet I'll be sitting through it).
Take one look at the title, cover, and blurb, and prepare to have your expectations dashed. I would've sworn this movie came out of the 60's, but the year on the box, and a bit part by Thelma Houston say otherwise. I don't know if I've ever been more baffled by a movie outside of an art house flick (Ok, I get it, this IS art house).
Some filthy hippy with a "five year plan"(? Of what? Being an artist, I'm guessing?) leaves his live-in girlfriend, gets his hair cut, heads for Hollywood to a "square" job, where he works on the lowest rung at a PR firm. Now that is some scintillating stuff. They don't even have a title for him, he seems to drive people around, and run errands! The guy above him, showing him the ropes, is "head of signs," or some nonsense. There are four nude scenes, dubiously qualifying this as "exploitation" (watch for the chick credited as... "Chick." In the spirit of (intentional) political incorrectness found in this film, her perfect body gets the extra star in my book).
I found Gameshow Models to be a real cluster-F of ideas. The re-edit could partially be to blame, I suppose. I'll never know. Message: Hollywood Bad? This movie is chock-full of dalliances of subplots, the bulk of which are promptly dropped, ultimately totally trivial to the scope of this meandering mess. And the filmmaker gives me no reason to care about any of it.
So Stuart (our hippy protagonist, gone straight for a corporate gig) randomly encounters his ex, uh, face-painted, dressed, and dancing like a flower child in the streets (checked the dvd box again, yup, 1976), and her current guy, playing piano on the truck bed of his flower power-painted truck. She has lunch with Stuart, alone, OFFSCREEN. Go figure. By the end of this, after these two characters disappear for another 20 minutes, Stuart is asking to move in with the two of them(!) in their decrepit half-built house. THE END. The most boring, aimless so-called exploitation film I've ever seen, in all likelihood.
Take one look at the title, cover, and blurb, and prepare to have your expectations dashed. I would've sworn this movie came out of the 60's, but the year on the box, and a bit part by Thelma Houston say otherwise. I don't know if I've ever been more baffled by a movie outside of an art house flick (Ok, I get it, this IS art house).
Some filthy hippy with a "five year plan"(? Of what? Being an artist, I'm guessing?) leaves his live-in girlfriend, gets his hair cut, heads for Hollywood to a "square" job, where he works on the lowest rung at a PR firm. Now that is some scintillating stuff. They don't even have a title for him, he seems to drive people around, and run errands! The guy above him, showing him the ropes, is "head of signs," or some nonsense. There are four nude scenes, dubiously qualifying this as "exploitation" (watch for the chick credited as... "Chick." In the spirit of (intentional) political incorrectness found in this film, her perfect body gets the extra star in my book).
I found Gameshow Models to be a real cluster-F of ideas. The re-edit could partially be to blame, I suppose. I'll never know. Message: Hollywood Bad? This movie is chock-full of dalliances of subplots, the bulk of which are promptly dropped, ultimately totally trivial to the scope of this meandering mess. And the filmmaker gives me no reason to care about any of it.
So Stuart (our hippy protagonist, gone straight for a corporate gig) randomly encounters his ex, uh, face-painted, dressed, and dancing like a flower child in the streets (checked the dvd box again, yup, 1976), and her current guy, playing piano on the truck bed of his flower power-painted truck. She has lunch with Stuart, alone, OFFSCREEN. Go figure. By the end of this, after these two characters disappear for another 20 minutes, Stuart is asking to move in with the two of them(!) in their decrepit half-built house. THE END. The most boring, aimless so-called exploitation film I've ever seen, in all likelihood.