Perverse is the word for this
freaky 1972 film, the first by the late Paul Bartel.
Although better known as a supporting player in a
variety of films (including quite a few by fellow Roger Corman alum Joe
Dante), the openly gay Paul Bartel was also a skilled director, having
helmed cult classics like DEATH RACE 2000 (1975), EATING RAOUL (1982)
and SHELF LIFE (1993) before his death in 2000 at age 61.
PRIVATE PARTS was the first feature directed by Bartel,
following the well-received shorts ďThe Secret CinemaĒ (1968) and
ďNaughty NurseĒ (1969). Roger Cormanís producer brother Gene hired
Bartel to direct PRIVATE PARTS based on the promise shown by those
shorts. The film, photographed by future director Andrew Davis (of THE
FINAL TERROR, UNDER SIEGE and THE FUGITIVE), was not a success, but it
did inspire Roger Corman to hire Bartel to helm DEATH RACE 2000 and its
follow-up CANNONBALL (1976).
Cheryl is a young runaway living in Los Angeles.
Following a fight with her roommate Cheryl moves into a downtown hotel
owned by her aunt Martha, a dotty, severely moralistic old bat. But aunt
Martha is just one of many freaks residing in the hotel. Thereís also a
lecherous priest and a photographer named George who resides in the room
next to Cherylís--and spies on her through a hole in the wall. As if all
that werenít enough, thereís also a murderer on the loose, whose victims
include the previous tenant of Cherylís room and her former roommate,
who meets her end while searching for Cheryl in the hotel basement.
Cheryl becomes intrigued with George. She takes to
sneaking around his room, which is decorated with porny photos and
contains a transparent blow-up sex doll George likes to fill with water.
Cheryl takes to following George on nighttime walks through the seedier
parts of LA. George is himself quite besotted with Cheryl: alone in his
room he puts a photo of Cherylís face on the head of his sex doll and
does pervy things to it. He also nearly kills a nice guy whoís been
putting the moves on Cheryl.
Aunt Martha grows fed up with Cherylís rebellious ways
and orders her out. Cheryl agrees to leave the hotel, which freaks out
George and leads to a violent finish in which the identity of the
murderer is revealed, as is a thoroughly twisted secret.
PRIVATE PARTSí script, by Philip Kearney and Les
Rendelstein, is serviceable at best--itís a bit overly derivative of
down to the final transgender twist--and the acting, in common with most
seventies-sploitation films, isnít much. The filmís effectiveness is due
almost entirely to Paul Bartelís spirited direction.
Bartel was never much of a stylist but had a real flair
for the odd and perverse. PRIVATE PARTS is competently made; it may be a
first film, but it never feels the slightest bit disjointed or
amateurish. What really distinguishes it is the overwhelming atmosphere
of seedy horror and dark comedy.
Bartel also pulls off some truly mind-scraping imagery.
The film overall isnít one of my favorites, but Iím certain I wonít be
forgetting the sight of a water-filled transparent sex doll injected
Director: Paul Bartel
Producer: Gene Corman
Screenplay: Philip Kearney, Les Rendelstein
Cinematography: Andrew Davis
Editing: Martin Tubor
Cast: Ayn Ruymen, Lucille Benson, John Ventantonio, Laurie Main, Stanley
Livingston, Charles Woolf, Ann Gibbs, Len Travis, Doroty Neumann, Paul