Showing posts with label rip taylor. Show all posts
Showing posts with label rip taylor. Show all posts

Wednesday, June 3, 2015

Chatterbox! (1977)



          Some movie premises are so outrageous that it’s not just remarkable they were made into films—it’s remarkable anyone had the nerve to share the original idea with other people. So it is with Chatterbox!, a lighthearted showbiz comedy about a woman whose talking vagina becomes an international celebrity. Yes, you read that right. Presented in the breezy style of an old “Hey, kids, let’s put on a show!” movie, Chatterbox! Is unquestionably juvenile, raunchy, and vulgar. Yet it’s also endearingly goofy, periodically amusing, and surprisingly sweet, largely because of leading lady Candice Rialson’s sincere performance. To be clear, most sensible viewers will steer clear of the movie simply because of the storyline, and they’ll be right to do so—every frame of Chatterbox! is inherently filthy, even though there’s nothing remotely pornographic about the presentation. Yet for those willing to accept the movie as a bizarre artifact of an adventurous time, Chatterbox! is far more palatable than most American low-budget sex comedies from the ’70s.
          Directed by prolific B-movie helmer Tom DeSimone, who also came up with the story, Chatterbox! introduces viewers to Penelope (Rialson), a nice hair-salon assistant with an average boyfriend—until the night her vagina verbally criticizes the boyfriend’s sexual performance. Convinced she’s going crazy, Penelope visits Dr. Pearl (Larry Gelman), who confirms that she indeed has a talking sex organ. Dr. Pearl presents Penelope and “Virginia the Talking Vagina” to a medical conference, then becomes Penelope’s manager for a lucrative tour of live appearances and TV specials, culminating in a movie deal. All of these appearances showcase Virginia’s lovely singing voice; sometimes Virginia performs light ditties, and sometimes she croons numbers filled with crass innuendoes. (Penelope wears discreet patches over her privates during performances.) By way of explanation, Dr. Pearl suggests that Virginia is a manifestation of Penelope’s repressed sex drive.
          The jokes in Chatterbox! are broad and silly, as exemplified by newspaper headlines about Virginia’s ascent: Variety screams “Virginia Boffo Box” and the Boston Globe reports that “Police Close Virginia’s Opening.” It’s worth noting that the biggest name in the cast is flamboyant comedian Rip Taylor, who plays a hairdresser. Chatterbox! should be unwatchable, and it received brutal reviews during its original release. However, Rialson is as likable as she is lovely, and DeSimone’s chipper storytelling helps ensure that Chatterbox! is 73 minutes of sexualized silliness.

Chatterbox!: FUNKY

Friday, December 3, 2010

The Happy Hooker (1975) & The Happy Hooker Goes to Washington (1977)



          Dutch-born madam Xaviera Hollander became a minor celebrity in 1971, when she published a raunchy memoir titled The Happy Hooker at the apex of the sexual revolution, so a film adaptation was inevitable. And perhaps just as inevitably, the movie version of The Happy Hooker is a slapdash affair stitching together several silly episodes from Hollander’s adventures without any artistry or purpose. Indifferently directed by TV journeyman Nicholas Sgarro, the picture suffers from cheap production values, atrocious music, and a complete absence of sexiness—for a movie with the word happy in the title (not to mention the other word), it’s actually pretty miserable to watch.
          Screenwriter William Richert, who later wrote and directed the wonderfully weird Winter Kills (1979), contributes a few palatable dialogue exchanges, but his efforts can’t elevate the tacky source material or surmount the producers’ low intentions. Lynn Redgrave, a long way from her Oscar-nominated role as an overweight naif in Georgy Girl (1966), tries valiantly to invest her leading performance as Hollander with liberated-woman dignity, but even she can’t do get a rise out of the flaccid script.
          About the only novelty value of this dreary film is the presence of familiar character actors in small roles: Risky Business dad Nicholas Pryor plays Hollander’s first American boyfriend; ghoulish B-movie villain Richard Lynch plays a creepy cop; Smuckers pitchman Mason Adams and future Ghost costar Vincent Schiavelli play johns; and Newhart regular Tom Poston appears in the movie’s only amusing-ish scene, as a corporate exec who gets off watching a half-dressed Hollander deliver a ribald version of the daily stock report.
          Redgrave wisely steered clear of the movie’s two diminishing-returns sequels, the first of which, The Happy Hooker Goes to Washington, features actress/singer Joey Heatherton in the lead role. The story, such as it is, depicts Xaviera getting summoned before a Congressional committee as part of a morals inquiry and then getting recruited to serve as a Mata Hari for the CIA. Heatherton is a knockout, but her idea of sexiness is cooing and pouting, resulting in a flaccid Marilyn Monroe routine, and she’s surrounded by a truly random assortment of supporting players: Billy Barty, George Hamilton, Larry Storch, Ray Walston, and even Harold Sakata, the hulking Hawaiian who played “Odd Job” in Goldfinger.
          The movie is car-crash awful from start to finish, though it’s weirdly arresting to watch flamboyant comic Rip Taylor playing a fashion photographer who complains when he starts to see, horror of all horrors, a female model’s nether regions: “I don’t want to see any privates!” Well, not hers, anyway. Less amusing are embarrassing scenes like the vignette of Walston acting out a sex fantasy by dressing as Superman for a tryst with a bimbo prostitute. FYI, a final picture, The Happy Hooker Goes to Hollywood, with B-movie veteran Martine Beswick as Hollander, was released in 1980 and is therefore (thankfully) outside the purview of this survey.

The Happy Hooker: LAME
The Happy Hooker Goes to Washington: SQUARE