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Elevator Girls in Bondage
USA 1972
produced by Luther Greene, James Paltridge for Buffalo Pictures
directed by Michael Kalmen
starring Darryl Simmonds (= Kreemah Ritz), Toots Sweet, Reid Larrance, Rumi Missabu, Johnny McGowan, Bobby Cameron, Michael Kalmen, Alison Moxley, Paul Mack, Jim Lévesque, Miss Kitty, Kevin Bartelme, Chow Show, Pristine Condition, Miss Vicky, Toby Alan Just, James Paltridge, R. Brent Jensen, Martin Worman, Michael Bendle, Miss Harlow
written by Michael Kalmen, music by James Paltridge, Derek Thunes
review by Mike Haberfelner
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Maxine (Rumi Missabu) is the leader of a group of elevator girls in a
sleazy hotel run by the wannabe-glamourous Sally (Darryl Simmonds).
Inspired by one of the hotel's eccentric guests (Michael Kalmen), Maxine
gets some progressive, and dare we say communist, ideas to improve the
living conditions of the elevator girls, but as of now, Sally is able to
control things, and she even has one of her guests, fallen from grace
Cynthia (Bobby Cameron), who's a hit with the girls anyway, infiltrate the
group. But when lovely Trish (Johnny McGowan) is raped by one of the
guests and Sally refuses to call the authorities, this leads to the
elevator girls revolting - but Sally has power that goes beyond just the
hotel, so she at first sends gunmen over to the girls to "calm them
down", and when that doesn't help, she has Maxine arrested. One of
the girls eventually falls into enough money to be able to buy the hotel,
but that's exactly what Sally needs to have the girls fall back in line
again. In an unexpected plottwist though, a giant lizard suddenly attacks
the city and kills Sally ... Not a good film by any standards -
its story is choppy, the direction not too special, the cast suitably
eccentric but not really good -, Elevator Girls in Bondage is
nevertheless a great timewarp back into the early 1970's, presenting
grossly amusing "counter culture"-cinema somhow in the tradition
of Andy Warhol and John Waters, including plenty of nudity, a waggonload
of transvestites, half-serious and not really thought through political
messages, offensive humour, bargain basement glamour, trash cinema
references (just watch the intentionally unconvincing monster movie
finale) and the like. Sure, Elevator Girls in Bondage is nowhere
near as brilliant as the best work of Warhol, Waters or of course Paul
Morrisey - but it's fun to watch nevertheless!!!
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