Quote:
“Welcome to Sparkle’s Tavern, a bizarre little hole-in-the-wall. In the Convenience Parlor in the back of the tavern are four more holes in the `Suck Stalls.’ When the chorus girls and headliner Sparkle aren’t singing and dancing, they’re servicing the leather-cowboy patrons. Buster, the proprietor (and Sparkle’s gay brother) runs around nervous all the time and occasionally helps out at the stalls: `All this [fluid] is going to give me the runs,’ he says at one point. These siblings are terrified that their fragile, obsessive-compulsive mother will one day discover her children’s secrets. When gang leader Jock `rapes’ Sparkle in his apartment already full of `whiskey-laden, naked’ bodies, his jealous, white-trash girlfriend, Brenda (comparable to actress Yvette Mimieux), spills the beans about Beth Sue (Sparkle) and her non-sensual, highly dramatic Mom. This info allows Jock to blackmail Buster and seize control of his tavern. Jock sends an invitation to Mrs. Blake for a free night at the tavern…

`Sparkle’s Tavern’ is a lusty, bizarre, sexually-dripping marvel of the emotional dangers in a dysfunctional family crippled with secrets and lost passions. Marion Eaton as Mrs. Blake is the marvelously pinched backbone of this body of decadence and Dionysian mania. After the `enlightenment,’ Buster is stunned that his kooky, closed mother comes to his tavern. She brings a mysterious guest, Mr. Pupik (`pupik’ is Yiddish for belly button), who sings revealing jingles and eats things like Christmas candy wrapped in slices of olive loaf.”
~Frederic E. Kahler, IMDB

1.07GB | 1h 59m | 512×384 | avi

https://nitro.download/view/03649F82A2FDDC6/Sparkles_Tavern__1985_.avi

Language:English
Subtitles:None

The post Curt McDowell – Sparkle’s Tavern (1985) first appeared on Cinema of the World.

Synopsis
An incredible document of the LGBT film scene in the early 1980s (as well as artist Barbara Hammer’s off-the-charts charisma), AUDIENCE finds Hammer working in a more straightforward documentary mode than usual. Hammer interviews her largely lesbian audiences before and after screenings of her work, capturing their reactions to her radical, erotic, experimental films.

1.24GB | 32m 06s | 1440×1080 | mkv

https://nitro.download/view/0DC5C38B6E4CBEC/Audience.1982.1080p.WEB-DL.AAC.x264-traVis.mkv
or
https://tezfiles.com/file/0c7b2a2008b76/Audience.1982.1080p.WEB-DL.AAC.x264-traVis.mp4

Language(s):English,French
Subtitles:English

The post Barbara Hammer – Audience (1982) first appeared on Cinema of the World.

Quote:
One of Kuchar’s few feature-length works is this ribald pastiche to postwar Hollywood melodrama, that period when the studios were trying very hard to be adult. The intricate, overheated plot involves a nurse trapped in an unhappy marriage who escapes the big city in search of greener pastures in Blessed Prairie, Oklahoma. Swerving from earnest homage to dark satire, Kuchar simultaneously imitates and savages the legacy of Sirk, Preminger and Minnelli that inspired him, gleefully intertwining the suggestive and the scatological, while also pointing towards the later postmodern parodies of Cindy Sherman. The Devil’s Cleavage is also a rich time capsule of 1970s San Francisco, replete with cameos from Curt McDowell and Art Spiegelman.
– The Harvard Film Archive

1.15GB | 02:02:52 | 640×480 | avi

https://nitro.download/view/E102D2527B013DB/The_Devil’s_Cleavage.avi

Language:English
Subtitles:None

The post George Kuchar – The Devil’s Cleavage (1975) first appeared on Cinema of the World.

Quote:
If you’re at all familiar with underground cinema, than you’ve probably heard tales about this flick for years. But actually seeing the damned thing is a different matter entirely. Crass, sick and hilarious, this no-budget b&w feature is filled with the essence of pure, undiluted cinematic derangement. Like the earliest works of John Waters, it revels in taboo-shattering shocks and an undying love for Hollywood kitsch. Glorious overwritten by George Kuchar, and directed by the late Curt McDowell (who was one of Kuchar’s first students), it’s a torrent of comically-lit cliches, heated to the point of lurid parody. The time: A dark and stormy night. The setting: An old, secluded mansion–the home of the terrifically obscene Mrs. Gert Hammond (Marion Eaton), who staggers about the place with heavy, mismatched eyebrows and a vomit-caked wig.
And as the night progresses, more and more visitors arrive at her doorstep, stranded by the inclement weather. One guy has a fear of ladies’ girdles, another is the Christian wife of a country western singer, a few more were in a car wreck, and George Kuchar himself shows up (and steals the show) while transporting circus animals. The characters then proceed to fight, fuck and spout pages and pages of dialogue, while Marion plays voyeur through secret peepholes–watching the males play with vacuum-powered penis enlargers as she masturbates with a huge cucumber. A smorgasbord of 42nd Street goodies are left out for the guests’ disposal (the predictable array of blow-up dolls, jellies, dildos, et cetera), and they’re certainly tested out thoroughly. Everyone has dark, nasty secrets. Everyone has weaknesses which are eventually exposed. And all the men have hairy asses (which we get in WAY-too-loving close-up). Of course, the best is yet to come, when the viewer is introduced to Marion’s dead hubbie, who she had pickled in jars after he was killed by locusts; and her son, who’s kept locked in the basement with Elephantitis of the balls. Plus, since the filmmakers have every other sexual combo on display, why not toss in a horny gorilla with a taste for young men, and Kuchar’s indescribably demented story of having sex with an ape?!…With a running time of over two hours, the film may sound like a task, but it never slows down and NEVER shuts up, not even for the sex scenes. Never one to waste film stock, Kuchar has the characters rambling incessantly, even in the middle of a blow job. This is a full-blown, near-perfect parody which cobbles together a cast of Irwin Allenesque characters, and then steeps them in hardcore sex and disturbing imagery, until it becomes a twisted, OLD DARK HOUSE-style soap opera. The performers are all appropriately hyperactive, with Kuchar bringing power (and flying spittle) to every word. But the flick’s true joy lies in George’s gift for scriptwriting. The movie’s packed with long, lush monologues, wall-to-wall revelations, plus dialogue so dense (and often drowned out by the score) that it’s impossible to ingest in only one sitting. But is it erotic, you wonder? Not to the unimaginative mainstream viewer, but I certainly found something cruelly, crudely seductive in its fondness for fetish and secret pleasures. Without question, THUNDERCRACK! is one of the great underground sleaze epics, and a touchstone for all independent filmmakers to come!

https://nitro.download/view/138E36A8024ED17/Curt_McDowell_-_(1975)_Thundercrack!.mkv

Language(s):English
Subtitles:English

The post Curt McDowell – Thundercrack! (1975) first appeared on Cinema of the World.