Please Don't Touch Me

The first review of this film here accurately relates the juiciness of this freaky film. However, it's so much more. Fans of John Waters will eat this up! From the rockin soundtrack to the bitchy cardboard characters. The 5 minute sidetrek in the early part of the film is this bizarre mondo exploration of the ancient art of hypnotism and firewalking and glass rolling. What this has to do with the film is abstract at best, but it somehow justifies the hypnosis that this poor girl is about to undergo. It's really just an excuse to see some saucy T&A, and some freaky primitive cultures.

One of my favorite characters is Vicky's mother. She is a tight, bun-in-hair pulled back bitch. In a grey suit jacket and skirt, she's manipulative and robotic. She also speaks about herself in the third person "mother think you should get some rest..."

Vicky's hypno sessions are a perfect excuse for some birds-eye overhead shots lingering on her heaving cleavage.

The person who turned me on to Ron and June Ormond films (Monster and the Stripper is another work hunting for), told me they went on to produce televangelist films and videos. Classic.

The more of Ron Ormond's 1960's output I see, the more I'm impressed. This gem comes from 1963, and re-teams Ormond with his longtime partner Lash LaRue, with LaRue playing a psychiatrist who, with the assistance of a hypnotist, helps to cure a young wife of her frigidity, caused by a sexual assault as a teenager. The first scene of the film depicting the attack is accompanied by the guitar music from Ed Wood's JAIL BAIT; after that we get an overly long lecture on psychology; after that we get at least five minutes of mondo footage; and somewhere in the midst of all this we get a cheesy swirling disc, as seen in the pre-feature intros of K. Gordon Murray's "Young America Horror Club." The rest of the film is a bit more restrained, but still outrageous, as La Rue brings in hypnotist Ormond McGill (presumably playing himself), who had previously appeared in Ormond's vaudeville anthology VARIETIES ON PARADE, to put the wife into a trance, get her to remember her attack, and then convince herself that it was just a scene in a movie and that she should forget it! Besides the guitar music lifted from JAIL BAIT (and also used elsewhere), there's a lot of fine harmonica duets (heavily echoed) from Jimmy and Mildred Mulcay, who appeared in the earlier VARIETIES and also in the later GIRL FROM TOBACCO ROW and THE EXOTIC ONES (aka THE MONSTER AND THE STRIPPER). The effect of echoed harmonica music on the dramatic scenes is quite distinctive and gives the film a strange, unnerving feel in spots. If you've enjoyed FRIGID WIFE, TEST TUBE BABIES, or ANY Ron Ormond film, you MUST see this wonderful film, sure to become a cult classic when it gets more circulation. Legit VHS copies are still available at low prices, so grab them while you can.