In anticipation of tomorrow’s SEXCULA screening in Toronto at the Big Picture Cinema – Gerrard on April 6, 2013, we present the full, unedited DVD liner notes written by porn archaeologist Dimitrios Otis for the upcoming home video release. Join Dimitrios and Canuxploitation’s Paul Corupe at the screening, as well as a just-announced special pre-show entertainment provided by The Canadian Romantic!
SEXCULA is not only a legendary and long lost Canadian sex-horror movie — it’s the only hardcore film ever made in Canada during the Golden Age of Adult Film.
Shot in 1973 but never released in any form before now, Sexcula delivers the nudie and sex goods virtually nonstop in a campy satire on classic horror movies (Countess Sexcula teams up with a full-figured Dr. Fellatingstein) that toys with the genre but doesn’t tease the viewer; every strange development has a sex twist. We get a girl-and-gorilla mutual ravishment that combines burlesque with a curious anticipation of the bestiality art movie The Beast (1975), a female sex robot that puts the historic conceit of the plot into time warp, and an extended wedding orgy that takes us behind the scenes of an adult film shoot. Odd only begins to describe this movie.
Of mythical status in Canada despite never being seen — the 1986 movie Overnight blatantly spoofed Sexcula based on notorious production incidents — adult movie fans can finally get a look at a Canuck skin flick (yes, there’s a lumberjack.)
No jaded stag loop actresses or stoned hippies here! This Vancouver–shot porno gives us fresh babes a’plenty — and for those who’ve had expectations frustrated before by a hot female onscreen who remains under wraps: note that every actress who appears in Sexcula gets naked! This includes an enthusiastic Marilyn Chambers lookalike as Countess Sexcula, a buxom cutie who has no qualms about lying nude on a table for the entire movie (with occasional humpings by a hunchback), and a horny bride who can’t wait for the ring. This genuinely aroused actress sure puts the lie to all those fake-orgasmic emoters down south, eh?
Mainstream director Bob Hollowich never helmed another sex movie — too bad, he had the right instinct for it: let the sex scenes rule, don’t make the audience wait too long for the action to start, and above all don’t have a lot of boring filler. Hollowich weaves in just the right amount of setting and plot (and even those are sprinkled with skin) to keep things flowing. The result is a real “Canadian beaver” sex romp that entertains without distracting from the erotic factor — and has alot of fun with uninhibited Canadian gals in the process!
The final year of the tax shelters, 1988 saw the wildest burst of Canadian genre films hit theatres and VHS, an anything-goes last gasp from which all manner of strange and wonderful B-films emerged. For his latest Canuxploitation-exclusive edition of Motion Picture Purgatory, Rick Trembles tackles what may be the weirdest entry of the era, Ed Hunt’s Canuck camp classic THE BRAIN, in which a giant sentient brain eats anyone who’s resistant to his mind-control techniques.
In advance of the Impulse Pictures’ DVD release of the “lost” Canadian XXX horror spoof SEXCULA on April 9, 2013, Canuxploitation and Vancouver adult film archaeologists Return to Porno Chic! are teaming up to present the world premiere of the virtually unseen film in Toronto at the Big Picture Cinema – Gerrard on April 6, 2013 with special pre-show entertainment provided by The Canadian Romantic.
Sealed away in a dingy government basement for 40 years, SEXCULA makes its big screen debut not only as Canada’s only contribution to the porno chic film boom of the 1970s, but also one of earliest monster movies made north of the border (see our review of the film). Return to Porno Chic’s Dimitrios Otis and Canuxploitation.com’s Paul Corupe, who rediscovered and resurrected the film, will also be on hand to conduct a Q&A about the all-Canadian story of the film’s legend and reveal why SEXCULA said to suck more than just your blood.
This is may be your only chance to SEXCULA on a big screen, so get your raincoats on and come on down for what promises to be one of the most unique screening events in all of Canadian film history! But don’t just take our word for it–reviews of the DVD have started to trickle in already:
“CanFilm Five” is the Canuxploitation blog’s ongoing guest column, which brings together prominent filmmakers, bloggers, critics and programmers to discuss their most loved offbeat Canadian films.
Jason Pichonsky has been interested in 3-D images ever since his first ViewMaster, but it wasn’t until his rediscovery of 3-D movies back in 2000 that he became fanatical about the subject. His blog, depthsploitation.com, was set up to share some of his thoughts on 3-D, focusing on films made during it’s most exploitive yet leanest years (1960-1990). He continues to research this era with plans to turn his findings into a book, appropriately entitled Depthsploitation. Jason is also a frequent Rue Morgue magazine contributor and filmmaker based in Toronto. He’s even made a zombie film well before it was fashionable–8 ½ Short Films About Zombies to be precise. Jason sez:
Finding five Canadian films to collect under the banner of “depthsploitation” (3-D exploitation flicks) is no easy task. Prior to the current wave of 3-D, Canada’s contribution to three-dimensional filmmaking is meager, but in no way insignificant. With a little creative license, here are five Canadian “depthsploitation” films that that exploit the gimmick of 3-D and are well worth seeking out. Although this list begins and ends with the National Film Board of Canada, every film here has ties to the NFB.
NOW IS THE TIME (TO PUT ON YOUR GLASSES), 1951
Commissioned by the British Film Institute for The Festival of Britain in 1950, NOW IS THE TIME is the first in a pair of animated short films produced by the NFB, showcasing the animation of Norman McLaren. To achieve the 3-D effect, McLaren abandoned his beloved camera-less animation technique (in which he would draw directly on the 35mm strip) and instead relied on cutout drawings suspended in front of a black background to create planes of depth. Although the clouds in the film’s opening are flat and two-dimensional, they appear to drift out from behind the screen and into the audience. Traditional cell animation, drawn for each eye, added an extra layer to the film. NOW IS THE TIME also employed an experimental stereo music score draw directly onto the celluloid optical soundtrack space to create its sound.
AROUND AND AROUND (1951)
Okay so I’m clearly cheating already. AROUND AND AROUND is the second of the short animations produced by McLaren for the BFI. But, not one to repeat himself, McLaren employed different techniques to achieve his 3-D images. Using an optical printer, McLaren panned flat animated images to create left and right stereo-paired images. He also experimented with oscilloscope patterns, frame staggering the patterns’ horizontal motions in the optical printer to create the 3-D (with this highly technical task he was aided by cameraman Chester Beachell). This time around, the soundtrack featured a more traditional score provided by NFB composer Louis Applebaum.
McLaren’s animated films screened via dual projection (a projector for each eye) in a specially conceived Telecinema, built for the exhibition as an experimental pairing of television broadcasting and cinema. Additionally, three live action films, A SOLID EXPLANATION, ROYAL RIVER and THE BLACK SWAN, were also screened in 3-D. These films were produced by the Brits under the supervision of Raymond Spottiswood who, together with his brother Nigel, quite literally wrote “the book” on 3-D moviemaking. Published in 1953 under the less then sensational title, The Theory of Stereoscopic Transmission and its Application to the Motion Picture, the Spottiswoods dedicated their manuscript to McLaren.
Turn down the lights and open up your window blinds for latest exclusive mini-Motion Picture Purgatory review by Rick Trembles about the most voyeurism-heavy erotic thriller north of the 49th! Director William Fruet made the transition from humble CanCon peddler to Canadian King of the Bs by cranking out enjoyable trash like 1984′s BEDROOM EYES, in which a sex-obsessed peeping tom gets more than he bargained for.