Come with Me My Love

Doris Wishman, the undisputed queen of sexploitation, adds a horror twist to her signature style in "Come with Me My Love." This 1976 film is a wild ride, blending eroticism and terror in a way that only Wishman can. While it has its moments, the overall execution is messy, with a confusing narrative and some cringe-worthy performances.

The film starts with a bang, dropping us into a steamy affair between a wife and her husband's best friend. The husband, in a fit of rage, murders them both before taking his own life. Fast forward to the swinging '70s, where a free-spirited woman, played by Ursula Austin, moves into the same house, now haunted by the vengeful ghost of the wronged husband. The ghost embarks on a killing spree, targeting anyone who dares to get intimate with the new resident.

Wishman, known for her cult following and distinctive filmmaking choices, delivers her brand of disjointed dubbing and an eclectic mix of music. The result is a bizarre and often unintentionally funny viewing experience. The horror elements are surprisingly effective at times, with the ghostly husband figure creating some genuinely unnerving moments.

However, the film's structure feels disjointed, with the narrative jumping between timelines and characters, leaving viewers confused. The acting is also a mixed bag, with some performances bordering on comical. Austin, as the modern-day protagonist, brings a certain charm and embraces the film's eroticism, but even her performance can't save some of the cringier dialogue exchanges.

Where the film truly shines-or perhaps, indulges-is in its sexploitation roots. There are numerous explicit sex scenes, often featuring Wishman regular Annie Sprinkle. These scenes are shot with a sense of playful abandon, embracing the era's free-love spirit. Wishman herself reportedly left the set during these scenes, adding a layer of intrigue to the already titillating moments.

One of the standout scenes involves a threesome, which takes a dark turn when the vengeful ghost appears, wreaking violent havoc. It's a jarring moment that encapsulates the film's attempt to blend horror and erotica.

"Come with Me My Love" is a must-watch for Wishman fans and those intrigued by the intersection of horror and sexploitation. It's a chaotic, bizarre, and often entertaining mess, but it's held back by its incoherent storytelling. While it has its memorable moments, they are often overshadowed by the overall unevenness of the film.

In conclusion, "Come with Me My Love" is a daring, sexy, and spooky ride that, despite its flaws, offers a unique glimpse into the world of cult filmmaker Doris Wishman.

So, will you dare to enter the haunted world of this erotic thriller?

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Come with My My Love (1976)

** (out of 4)

Strange mixture of horror and pron starts off in the 1920s when a husband catches his best friend banging his wife. The husband kills the two before turning the gun on himself. Flash forward to 1976 and a swinger (Ursula Austin) moves into the same location where she is haunted by the husband's ghost. Soon the ghost is killing anyone who comes into sexual contact with the woman.

Doris Wishman made dozens of sexploitation pictures but only a couple hardcore pictures. If you're looking for high art then you're not going to find it here but overall I thought this was a mildly entertaining film that doesn't hit either genre out of the park but it's still interesting when compared to the other films that Wishman did.

I think the most interesting thing here is a "special effect" where the camera is set on the swinger and the husband messing around on the bed but then the camera turns to the right to a mirror where we don't see his reflection. The camera then pans back to where we once again see them on the bed. You could bash this sequence but I found it rather clever considering the budget I'm sure was extremely low.

COME WITH ME MY LOVE is mainly going to appeal to Wishman fans who want to see the bizarre touches that she put on the film.

The Haunted Pussy, an X rated horror film began life during a cold New York winter of 1976 when it was known as the far less snappy sounding 'Come With Me, My Love'. Opening in black and white the film begins in 'Kenmare City 1925', a couple make love while a sinister figure walks up the stairs to their room. The mystery man is Randolph (Jeffrey Hurst) who is greeted by the sight of his best friend on the job with his wife- observing them for a very long time Randolph pulls a gun from his pocket and shoots them. 'Even in death you are not mine' he whimpers to his wife's bullet ridden corpse then blows his brains out. Fifty one years later the room where the bloodshed took place is now part of a high-rise building and has a new tenant in Abbie (Ursula Austin)- the mirror image of Randolph's wife. Bizarre coincidence or is she a reincarnation of his unfaithful love? the ghost of Randolph doesn't seen to care either way and by night emerges in negative from one of the walls and has his way with the agreeably confused Abbie. Randolph isn't the only one to give Abbie some attention though and soon Abbie is offering bedspace to many of the other tenants as well as several passing oddballs (blasts of dirty wah-wah guitar music strike up the right mood). The ghostly Randolph is having none of it, and whenever anyone made out of flesh and bone gets their mitts on Abbie- the horny ghost murders them forthwith. First to go is the slimy boyfriend of Abbie's neighbour Tess who lures Abbie to bed after finding her creeping around the cellar when the lights go out. Abbie's lothario retreats back to his pad 'that Abbie was some dish' he muses while making idiotic macho poses in the mirror- but no sooner does he get into his bath than the ghost conveniently pushes in a radio after him. Later Abbie goes on a date with Bill (John Livermore) 'what you need is a little loving' he barks and soon is over at her apartment dispensing it. Chubby, bearded and genuinely bewildered looking Bill barely has time to get his shirt back on before the ghost pushes him out of a high rise window. With no one left to turn to Abbie confides in her chirpy neighbour Tess (Annie Sprinkle) but she too follows the tragic path of all the others- bedding Abbie and being slaughtered by the ghost. Tess's demise is particularly noteworthy- setting the table in the nude (!), she encounters a levitating knife and is stabbed in the cleavage. It goes without saying that the New York City captured here was a fairly decadent time and as a base expression of the era The Haunted Pussy is characteristically rude and lewd. Not content with Abbie's encounters with the spirit world- theres also nonsensical cutaways to a swingers party. Although tentatively woven into the narrative the scenario looks suspiciously like the sort of loop well requested on NYC's adult jukeboxes of the time featuring Vanessa Del Rio (as Lola) as well as skinflick actor and erstwhile Italian cannibal movie hero R Bolla (aka Robert Kerman). The verdict? in all the X rated antics give the film an edge although twenty five or so years down the line its absurd premise seems far more anarchic. Parts of the film do however strike up an eerie tone, particularly when Abbie takes a walk around a deserted snow covered central park- theres a overwhelming sense of alienation as if Abbie never has belonged in this time something ironically supported by the climax. Little is really known about The Haunted Pussy's commercial weight, although popular rumour has it that a heavily edited version was prepared for Cable TV, but to the best of anyones knowledge has never been transmitted. Perhaps the most quizzical aspect to the film is the 'did she or didn't she' question mark as to cult favourite Doris Wishman's direction. Although never officially recognised as part of the Wishman back catalogue theres enough here to justify the IMDB identifying The Haunted Pussy as a Wishman feature. Every wonderful Wishmanesque trait is present and correct- whether its obsessive shots of people's feet, inappropriate music or the big tell tale sign of Wishman's trademark post synched dialogue so uniquely off-kilter and otherworldly. That stock shots have been taken from Wishman's feature Double Agent 73 raises an eyebrow as does the lengthy gap in the prolific Doris' career between 1973's The Immoral Three and 1978's Let Me Die A Woman. We'll probably never get a definite answer- but no matter The Haunted Pussy/Come With Me, My Love is either an authentic relic of Doris' years in the wilderness or at the very least the best Doris Wishman movie Doris never made.

A cuckolded husband murders his wife and his best friend who she's been sleeping with,then commits suicide.Fifty years later,his ghost is haunting his old apartment and he has sex with any women that live there and murders their boyfriends."The Haunted Pussy" is a hoot.The music is completely awful as is the dialogue.Still there are a few atmospheric moments and the porno sequences are suitably steamy.The acting is surprisingly decent and there are some pretty bloody murder scenes.The film is not as dirty as "Forced Entry","Waterpower","Femmes de Sade" or similar XXX roughies,but if you are a fan of 70's porn mixed with horror you can't go wrong with it.6 out of 10.

Come with Me My Love is on the 'Something Weird' label, but it would be much more at home on a label calling itself 'Something Crap', because crap is exactly what this film is. You can't really go into a cheap porn film like this expecting brilliance, but I honestly did not think that Come with Me My Love would be as bad as it is. The film looks like it cost just a few pennies to make, and it probably did. There's really not much to it either, and this is made very clear from the outset. There is some plot involving someone that finds his lover in bed with another man, kills them both and then comes back as a ghost, but it's never explained or explored. That being said, there isn't really enough time to explain or explore it as the entire film is made up of sex scene after sex scene. The music that goes with the sex is kind of funky, and it does work fairly well; but when you're sat watching the same thing for seventy minutes, you're bound to soon get tired of it. The women are not nice looking either, which doesn't help. Overall, I have to say that this film bored the pants off me, and I can't see why it would have a different effect on anyone else. No recommendation for this one!