Lists: Those Trash Classics ....

We have been here before - call them what you will: Bad Movies We Love, Guilty Pleasures, Trash or Utter Trash ... those delirious melodramas and just plain bad movies that are so enjoyable - most of the great ladies did some: Lana and Susan and Joan and Bette specialised in them later in their careers, while other great ladies like Olivia and sister Joan dipped their toes in the muddy waters too. 

I have covered them in more detail in my earlier reviews - click on Trash-A label to read on ...http://osullivan60.blogspot.co.uk/2015/05/trash-favourites.html

Right now, I list them:

• PORTRAIT IN BLACK - Lana's crowning epic, from 1960 (whereas IMITATION OF LIFE is a cult classic)
• LOVE HAS MANY FACES - Lana does Acapulco, with Ruth Roman and those beach boy bums in speedos in 1966
• WHERE LOVE HAS GONE - Susan and Bette go head to head in this 1964 stinker 
• I THANK A FOOL - Susan and Finch should have been a great team but not in this weird meller shot in Ireland ...
• ADA - Susan in fighting form
  
• BACK STREET - the best of the Susan's ?, 1961
• STOLEN HOURS - love Susan's British remake of Bette' DARK VICTORY, in 1963
• SERENADE - Fontaine is stupendous in this Mario Lansz sudser, 1956
• ISLAND IN THE SUN - Joan 'romances' Harry Belafonte ... 1957
• LADY IN A CAGE - sister Olivia is trapped
• THE SINGING NUN - Debbie's worst in 1966, a travesty of the real Nun's Story
• A HOUSE IS NOT A HOME - Shelley chomps the scenery. 1964.
• SYLVIA - a Carroll Baker epic, its delirious, its delovely 
• SINCERELY YOURS - Liberace's sickly starrer, with Dot Malone and Joanne Dru competing for him ... a 1956 howler.
• MAMBO - a 1954 discovery, torrid saga with Silvana Mangano and Shelley Winters, in Italy.
• FOUR GIRLS IN TOWN - the perfect 1957 Universal-International meller, as is:
  
• THE FEMALE ANIMAL - thats Hedy Lamarr in 1957 with Jan Sterling, splendid as ever.
• GO NAKED IN THE WORLD - Gina ! 1960.
• THE CHAPMAN REPORT - Shelley, Glynis, Claire, young Jane Fonda ... we love Cukor's starry drama, The Higher Trash.
• THE REVOLT OF MAMIE STOVER - Jane Russell ! with Agnes Moorehead as the madam, 1956.
• A GIRL NAMED TAMIKO - one of Laurence Harvey's worst 
• WALK ON THE WILD SIDE - ditto, but with Stanwyck, Capucine, Fonda, Baxter ...
• THE LOVE MACHINE - a scream with gay David Hemmings and Dyan Cannon both wanting John Philip Law
• THE CROWDED SKY - best of the airline disasters?, 1960
• DORIAN GRAY - Helmut ! in 1970s London 
• GOODBYE GEMINI - one of the terrible British flicks of the era, 1970 - as was:
• MY LOVER, MY SON - why Romy. why did you make this terrible film?
• 10.30 PM SUMMER - fake arty 1966 Eurofare, but it does have Melina, Romy and Peter Finch
  
• POPE JOAN - Liv may have been great in those Bergman films but made some stinkers in English, none worse than this in 1972.
• Glenda made some stinkers too, none worse than THE INCREDIBLE SARAH in 1976, where she flounces around as Bernhardt in a Readers Digest travesty. Its a scream. 
• BLUEBEARD - Edward Dmytryk helmed some Trash Classic favourites like THE CARPETBAGGERS, WALK ON THE WILD SIDE, WHERE LOVE HAS GONE, but came a cropper here, aided by Burton's worst performance, in 1972
• THE SQUEEZE - rather good Brit gangster flick, from 1977, with down on their luck Boyd, Hemmings, Carol White ...  BRANNIGAN (John Wayne) and HENNESSEY (Rod Steiger and wasted Lee Remick) were amusing mid-70s British thrillers too ...

We don't bother with the insultingly bad, like THE OSCAR or HARLOW ..... then there are the Troy Donahue and Ann-Margret clunkers, and you know how we love those Bette and Joans: TORCH SONG, HARRIET CRAIG, FEMALE ON THE BEACH, QUEEN BEE, AUTUMN LEAVES, THE STORY OF ESTHER COSTELLO, THE BEST OF EVERYTHING, BERSERK! or two Bettes in DEAD RINGER.

Bad Movies We Love

Here is a Trash Classic indeed. Rebello and Marguilies' 1995 tome on those bad movies we love, with a foreword by Sharon Stone, who gets a whole chapter to herself. The usual suspects though are here in force: Lana, Susan, Joan (Crawford), Bette and all those delirious movies of theirs.

Browsing it again makes one want to dig out QUEEN BEE (Joan - ["wearing the kind of gown a female impersonator would choose"]: "Any man's my man if I want it that way" or: "You look sweet - even in those tacky old clothes"); or Lana's PORTRAIT IN BLACK or LOVE HAS MANY FACES - perennial favourites of ours. Others like THE CHAPMAN REPORT, THE  BEST OF EVERYTHING, SERENADE, PARRISH and those Troy Donahue spectaculars get their due (I will have to look out for PALM SPRINGS WEEKEND, which sounds a hoot).

Pity they did not include Suzanne Pleshette's opus A RAGE TO LIVE, or THE SUBTERRANEANS or THE SOUND AND THE FURY or Lee Remick's SANCTUARY or Jean Simmons' HILDA CRANE or Jane Russell's THE REVOLT OF MAMIE STOVER or Shelley's A HOUSE IS NOT A HOME or Debbie's THE SINGING NUN.... maybe in a new edition, and with a foreword by Joan Collins please? At least JOHNNY GUITAR gets it due - a delicious piece on its gay subtext, as does TORCH SONG, AUTUMN LEAVES, FEMALE ON THE BEACH, Bette's THE STAR and DEAD RINGER and Lucille's MAME, plus the pure trash of THE OSCAR and THE LOVE MACHINE and ... those 'disasters' get trashed again too: those AIRPORTs, THE CASSANDRA CROSSING, EARTHQUAKE etc. too easy to make fun of those! 

Lets' savour a few comments on the usually-respected THOMAS CROWN AFFAIR (the 1968 one, natch): "Its not the money" business tycoon Steve McQueen drawls soulfully "Its me and the System" - that 60s phrase explains why the ineffably cool McQueen - who plays polo, drives a Rolls, pilots his own glider plane and dune buggy, and lives in a killer Boston mansion - masterminds multi-million dollar bank robberies on the side.... Everything's so terribly, laughably with-it in Norman Jewison's chi-chi epic - that you could bliss out with glee from all the faux hip dialogue, multiple-screen images ... Dunaway, all teeth and legs, and blissfully unaware of how disasterously dated she is going to look in those Theodora Van Runkle costumes, sets a trap to catch a thief, McQueen, whom she just knows is the mastermind".

Lots more here too on bad girls we love like Gina Lollobrigida in GO NAKED IN THE WORLD, Taylor and Burton get roasted for THE SANDPIPER and THE VIPs and Liz' THE DRIVER'S SEAT and X, Y AND ZEE (one I have been meaning to return to...). Carroll Baker gets her due (SYLVIA, THE CARPETBAGGERS, HARLOW) as does Natalie Wood (MARJORIE MORNINGSTAR), Ann-Margret ("THE SWINGER might just be the all-time tackeiest major studio  movie") and so many more .... its well worth seeking out for Trash devotees.   

Above: Bette, Susan and director Edward Dmytryk who after his early successes (THE YOUNG LIONS, RAINTREE COUNTY) hit the Trash trail with a vengance: WHERE LOVE HAS GONE, THE CARPETBAGGERS, BLUEBEARD ...

Roman revels

Two more Ruth Roman movies from that busy year for her, 1951 - when she also played the female lead in Hitchcock's STRANGERS ON A TRAIN, probably her best remembered film. Ruth, as I have mentioned here before - see label - was a tough gal, who did lots of melodramas and routine actioners (ok, B-movies) in the '50s and into the '60s, having began in the '40s - she is in Bette's BEYOND THE FOREST, and thanks to my IMDb pal Jerry for a mid-'40s serial she is in: JUNGLE QUEEN - I am saving that one for "some snowy night in front of the fire" and I am the lookout for her 1955 take on Shakespeare: JOE MACBETH (with her as the mobster's Lady Macbeth), which I remember seeing as a kid.  Ruth should have been as big a name as those other tough gals like Susan Hayward, or Barbara Stanwyck - Ruth could have played a lot of Stanwyck '50s roles like CLASH BY NIGHT or BLOWING WILD (she is the good girl in that, while Barbara is the bad wife, they have a nice scene together), or even some of Joan Crawford's roles, or Lizabeth Scott's or Jan Sterling's, and of course we love her in 1966's LOVE HAS MANY FACES where she gives Lana  Turner a run for her money in that delirious soap/trash classic. Ruth (1922-1999) ended up in shows like MURDER SHE WROTE and KNOTS LANDING. 

TOMORROW IS ANOTHER DAY teams bad boy Steve Cochran with cheap dime-a-dance girl Ruth - looking very glam in a brassy blond wig (like Jane Russell's 'hostess' in wartime Hawaii in Trash Classic THE REVOLT OF MAMIE STOVER, Russell label). 

Here is the blurb:

What kind of future awaits a couple with a past? Ruth Roman and Steve Cochran in a film-noir gem.

A man who spent his formative years in prison for murder is released, and struggles to adjust to the outside world and escape his lurid past. He gets involved with a cheap dancehall girl, and when her protector is accidentally killed, they go on the lam together, getting jobs as farm labourers. 
But some fellow workers get wise to them. Steve Cochran conveys the loneliness of his character, freed for killing his brutal father when he was only 13, and now he's still a tentative, gawky pubescent operating inside a man's hulky frame. Lonesome, he visits a 10-cents-a-dance palace and falls for brassy, grasping Ruth Roman. But the sudden shooting of her police-bigwig boyfriend causes the ill-matched couple to hit the road, ending in a California migrant-worker camp. Directed by one Felix Feist.

This conjures up a world of diners, drab rooming houses, people on the move hitching lifts and riding on trains and cheap motels like the Shady Nook where our couple on the run hole up, before they join that settlement of farm workers and make friends and seem to have a whole new life, leaving their sordid pasts behind them. Ruth even lets her hair go natural to black. But Steve's photo turns up in a magazine and the neighbours have to decide whether to turn him in for the reward .... fate however intervenes, but the ending is uplifing as our newly free couple can start all over again. Though surely a good time girl like Ruth would hardly settle for living in a shack and working in the fields ?

Both Cochran and Roman are ideal, he is in his prime here, as magnetic as Brando's WILD ONE in his tee-shirt and jeans, at least Warners didn't insist he shave his chest, like William Holden had to for PICNIC! - he was also good with Anne Baxter (another dame who could be tough when called for) in CARNIVAL STORY in '54, and of course his best known film, as the lead in Antonioni's IL GRIDO in 1957 (review at Cochran/Antonioni labels), and we reviewed his last film MOZAMBIQUE a while back. (He died aged 48 in 1965 while sailing a yacht in the Pacific, a notorious Hollywood bad boy in the Erroll Flynn tradition...).

LIGHTNING STRIKES TWICE is a more routine meller, directed by the great King Vidor (the '56 WAR AND PEACE, RUBY GENTRY, DUEL IN THE SUN, SOLOMON AND SHEBA etc), with British actor Richard Todd, and sterling support from Mercedes McCambridge firing on all cylinders as usual (as in JOHNNY GUITAR!) and that seedy lothario Zachary Scott (in a similar role here to his in MILDRED PIERCE). This time Ruth is the touring actress recuperating in the desert small town and getting to know Todd who is on reprieve from murdering his wife and facing a re-trial. Mercedes is the possessive woman who was on the jury, so it has all the elements for a romantic murder mystery suspense. 
Is the heroine in danger? - though hard to imagine Ruth not being able to fend for herself. It all plays out nicely, but if only it was as over the top as that other meller set in the desert in lurid colours: 1947's DESERT FURY which had Lizabeth Scott and Mary Astor as well as the young Burt Lancaster and that odd couple of John Hodiak and Wendall Corey, as per my review (Astor label).  

I have now seen a 1987 episode of MURDER SHE WROTE (from Series 4) where Ruth guests as Loretta, the owner of the Beauty Salon (think pink!) in Cabot Cove, where the local ladies - including ageless Julie Adams, Kathryn Grant and Gloria De Haven - get their hair done and gossip.
 Ruth is a joy and obviously in her element presiding over the Salon and dispensing gossip to Jessica .... she did 3 episodes of Lansbury's successful series, I shall now have to see her other two guest spots as well, as Ruth wound up her career here in a good way, in a deliciously entertaining tale. 

Summer movie posters

Some enjoyable summer romps - or Trash Movie Heaven. 
You can find more about these at the labels .....

 

Glynis & Ty in THE CHAPMAN REPORT

Franco in A QUIET PLACE IN THE COUNTRY

Hollywood blonde - Lana and Madame X

Let's have a Lana Turner day: I have just, finally, watched MADAME X - and she is terrific in it. You too will be sobbing by the end as we are manipulated by Ross Hunter. Lana really emotes here. 

I remember Pauline Kael being hilariously mean about it in one of her books, referring to it as a cast of waxworks, particularly 1930's star Constance Bennett (BED OF ROSES, LADIES IN LOVE - 30s label) as John Forsyth's mother. Constance (15 years older than Lana) had a facelift for the role and died before it was released! 

I also liked Lana in THE RAINS OF RACHIPUR, 1955, another seen for the first time this week where she is ideal as the faithless wife finding romance with Richard Burton as an Indian, in a nice selection of turbans and a good tan.
Old hand Jean Negulesco orchestrates this nicely (rather too much of the Fred McMurray subplot though) as the earthquake and rains arrive in the midst of Lana/Edwina's realisation that she is finally in love with the noble Indian doctor - but he has been meant for higher things by the Maharani; Lana/Edwina gets a good pay-off final scene with the Maharani before leaving to resume her playgirl life, but somehow ennobled by her pure love for the doctor.
Husband Michael Rennie (he married her money, she married his title) calls her "greedy, selfish, decadent, and corrupt", and her unsatisfied Edwina is probably the most determined femme fatale she has essayed on the screen. .

Lana also romanced 2 James Bonds: young Roger Moore in DIANE in 1955 - and Sean Connery in ANOTHER TIME ANOTHER PLACE, another terrific WWII sudser from 1958 - shot in black and white and in England (Sid James is her taxi driver) as Lana turns up in picturesque Cornwall to see where her dead lover Connery lived, with his trusting wife Glynis Johns and little boy - Martin Stephens (later with Deborah Kerr in COUNT YOUR BLESSINGS and THE INNOCENTS).  I have not seen DIANE since at a Sunday matinee as a kid, but remember it vividly - I loved those MGM costumers then, Lana here in Diane De Poitiers, mistress of the King of France. Then she was German in that odd THE SEA CHASE, a perfect mid-50s war drama with John Wayne, also German - I can remember my father taking me to that; and I certainly love THE PRODIGAL (below), that other mid-50s MGM biblical with Lana as the pagan high priestess Samara with that daring - for the time - outfit, before she topples into the flames when the mob storm the temple ....
For a '40s star Lana certainly had a good run in the '50s, what with Minnelli's THE BAD AND THE BEAUTIFUL lifting her out of B-films.

Then of course there was that sensational court case when her lover, gangster Johnny Stompanato was stabbled, and Lana was bigger than ever in PEYTON PLACE and in Sirk's classic  IMITATION OF LIFE where she emotes all over the place as actress Lora Meredith. I have already done my reviews on favourites PORTRAIT IN BLACK in 1960, and 1966's delirious LOVE HAS MANY FACES (Lana, Trash labels). There is still 1961's BY LOVE POSSESSED to watch, along with another '58 drama, THE LADY TAKES A FLYER with she is teamed with Jeff Chandler.  She also did the obligatory inconsequential comedies in the early 60s with Bob Hope and Dean Martin. Lana ended up in tv series like FALCON CREST and THE SURVIVORS, there was also a dreadful one THE BIG CUBE ... Lana: 1921-1995.

Back though to MADAME X:  A woman married to a wealthy socialite, is compromised by the accidental death of a man who had been romantically pursuing her, and is forced by her mother-in-law to assume a new identity to save the reputation of her husband and infant son. She wanders the world, trying to forget her heartbreak with the aid of alcohol and unsavory men, eventually returning to the city of her downfall, where she murders a blackmailer who threatens to expose her past. Amazingly, she is represented at her murder trial by her now adult son, who is a public defender. Hoping to continue to protect her son, she refuses to give her real name and is known to the court as the defendant, "Madame X." 

This hoary old melodrama (to think this was 1966, the year of BLOW-UP and the new Hollywood emerging and the height of European arthouse) had been done several times before, and again Ross Hunter decks Lana out in Jean Louis outfits with furs and jewels. Before too long though her Holly is on the downward spiral after being railroaded out of the family by pure evil Constance Bennett ... young Keir Dullea is the son she had to abandon, now defending his mother on a murder charge - he of course does not know that, but Holly soon realises as does the new aged Constance and son Forsyth, in court to see his son's first defence case. She had shot seedy Burgess Meredith who was going to profit by revealing her real identity, in order to protect her son, who of course is now defending her. This builds to a deliciously satisfying climax as Madame X takes the stand and one reaches for the tissues, ably directed by David Lowell Rich. Sorry Pauline, but I simply loved every delicious moment of it.

Stanwyck out west, redux

I love Barbara Stanwyck out west where she excelled at playing strong-willed, independent women, usually a cattle queen or town big wig who gave as good as she got - I grew up on those movies like CATTLE QUEEN OF MONTANA and THE MAVERICK QUEEN and 40 GUNS. See Stanwyck label for comments on these and 1957's very under-rated TROOPER HOOK which I loved as kid where she plays the white woman rescued from the redskins in a very interesting way, quiet and watchful. (The '50s was a good decade for Barbara what with CLASH BY NIGHT, EXECUTIVE SUITE, TITANIC, all these westerns before programmers like ESCAPE TO BURMA or WITNESS TO MURDER, and her other deceitful wife in BLOWING WILD).

A posed shot with scissors for THE FURIES

Now I have discovered two more of her '50s westerns I had not seen before: Anthony Mann's THE FURIES in 1950 and Rudolph Mate's THE VIOLENT MEN in 1955.  THE FURIES (like Wyler's THE BIG COUNTRY) is hardly a western at all but an engrossing drama of a divided family out west.  Walter Huston (his last role) is the powerful rancher who has brought up his daughter Vance to be as tough as himself and and has promised her the ranch The Furies will be hers after his death. But then he brings home his ageing fancy woman Judith Anderson (firing on all cylinders as usual) who wants to be his wife and begins to ease Vance out but goes too far by telling her there will always be a room there for her .... we had earlier seen Barbara playing with that large pair of scissors and it is an electrifying moment when she lets Judith have it in the face, which leads to bitter emnity between father and daugher.

Barbara lets rip with the scissors

Apart from Barbara and Judith we also have Blanche Yurka and Beulah Bondi - what a quartet - the men are Gilbert Roland, Barbara's Mexican pal who gets strung up - but his mother Blanche gets her revenge at the climax - and that oddity Wendall Corey, surely the dullest least attractive leading man ever? (see review of DESERT FURY, westerns label) This is a long western drama as Vance aims to buy out her father's ranch  and has some great black and white photography and as usual with Mann, there are some great compositions.

Barbara has a great line when visiting Corey, his girl tells her she is new here, Barbara retorts "honey, you wouldn't be new any place".

Ford, Keith, Robinson & Stanwyck

THE VIOLENT MEN is a more conventional western with great ourdoors vistas in Scope and colour as another rancher Glenn Ford faces up to crippled Edward G Robinson who wants to own the whole valley, as egged on by his unfaithful lustful wife Barbara (who is carrying on with his brother, the fitter Brian Keith). This gets pretty violent too, there is the sadistic murder of a ranch-hand by evil Richard Jaeckel, and also that great scene as Barbara (a mix of Medusa and Lady Macbeth) throws Edward G's crutches into the fire as their house burns leaving him to perish in the flames... She has a great moment at the climax when she thinks Robinson is dead but he rides back and like Bette at the climax of THE LETTER she too meets her nemesis ....a good afternoon's viewing then.

Joan Crawford was of course just as good out west in JOHNNY GUITAR (westerns label) the first movie I ever saw aged 8, as I often mention. Coming up: more on Joan's 50s classics, and Lana Turner's 50s sudsers, and also that other outdoor gal Susan Hayward who also went west a few times...how I spoil you.

1960 !

A thread on The Internet Movie Database (IMDb) on 1960 unleashed a torrent of memories:

1960 - what a year to have been 14 and "deeper into movies". Looking at it retrospectively now I am firmly in the PSYCHO and L'AVVENTURA camp (though I did not see the latter until years later) as the two most important films of the year, ushering in the new modern world (both of course feature a woman who goes missing and the people searching for her....)



So the major ones that year for me are: The 10 Big Ones:

PSYCHO
L'AVVENTURA
LA DOLCE VITA
ROCCO AND HIS BROTHERS
PLEIN SOLEIL [I was entranced by that cool European style, and Delon and Laforet]
WILD RIVER [ditto Lee Remick]
THE APARTMENT
SPARTACUS
A BOUT DE SOUFFLE (BREATHLESS)
PEEPING TOM.

Lots of solid middlebrow entertainment:

SONS AND LOVERS
TWO WOMEN [Sophia at her peak]
NEVER ON SUNDAY
ELMER GANTRY
LETS MAKE LOVE
THE UNFORGIVEN
EXODUS
NORTH TO ALASKA [a favourite!]
THE MAGNIFICENT SEVEN
WHERE THE BOYS ARE
THE CROWDED SKY
THE TIME MACHINE
SWISS FAMILY ROBINSON [great fun]
POLLYANNA [how we loved that in Ireland!]
BUTTERFIELD 8
THE FALL OF THE HOUSE OF USHER
BRIDES OF DRACULA
SINK THE BISMARCK
THE ENTERTAINER
SATURDAY NIGHT AND SUNDAY MORNING
TUNES OF GLORY
THE LEAGUE OF GENTLEMEN
THE SUNDOWNERS [Mitch and Kerr were so ideally perfect here, again]
THE GRASS IS GREENER
CIMARRON
THE LOST WORLD.

I suppose THE ALAMO should be included too among the year's hits, and I also liked Blake Edwards' HIGH TIME where rich Bing Crosby goes back to college, and rooms with Fabian, Richard Beymer and Tuesday Weld!

It was certainly the year for call girls - apart from Elizabeth and Melina (NEVER ON SUNDAY) there were also

Gina Lollobrigida - GO NAKED IN THE WORLD (high class call girl falls for Tony Franciosa but his powerful father - Ernest Borgnine, an ex-client of hers, has other ideas...)

Nancy Kwan - THE WORLD OF SUZIE WONG

Anne Francis - GIRL OF THE NIGHT (downbeat indie film)

and award-winning Shirley Jones in ELMER GANTRY.

Adultery in suburbia was covered in Quine's STRANGERS WHEN WE MEET, with Kim Novak at her zenith.

It may have been Sophia Loren's best year: apart from the success of TWO WOMEN, she was also in Cukor's charming western HELLER IN PINK TIGHTS, plus THE MILLIONAIRESS with Peter Sellers' Indian doctor, with Gable in his second last film IT STARTED IN NAPLES which is still a charmer, and the under-rated A BREATH OF SCANDAL which I liked a lot.

Brigitte Bardot acted in LA VERITE, and Ingmar Bergman provided the austere THE VIRGIN SPRING, while Stanley Kramer inflicted the ponderous INHERIT THE WIND on us, and John Ford provided a good late western SERGEANT RUTLEDGE.

Donen's ONCE MORE WITH FEELING showcased Kay Kendall in her last role, she had died in 1959.

There were 2 Minnelli's: another hothouse melodrama HOME FROM THE HILL, and the under-rated musical BELLS ARE RINGING, Judy Holliday's last appearance.

Elvis was back from the army in GI BLUES and FLAMING STAR.

For those who like that kind of thing: Jerry Lewis as THE BELLBOY.

Some ghastly musicals were Fox's CAN-CAN and Columbia's all-star PEPE, and the Rat Pack played around in OCEAN'S 11.

One that did not work at all was Lumet's too highbrow THE FUGITIVE KIND, though Brando, Magnani and Woodward should have generated some box office .... despite playing what seemed like caricatures of themselves.

and for Trash you can't beat MGM and Arthur Freed for THE SUBTERRANEANS, their sanitised version of Jack Kerouac and the beat generation as depicted by Leslie Caron, George Peppard and Roddy McDowell - followed by the star quartet of Natalie, RJ Wagner, Susan Kohner and George Hamilton tearing each other apart in ALL THE FINE YOUNG CANNIBALS, plus the afore-mentioned GO NAKED IN THE WORLD. Lurid melodrama doesn't get much better... though there were also two Burton starrers: THE BRAMBLE BUSH and ICE PALACE; while THE DARK AT THE TOP OF THE STAIRS and FROM THE TERRACE were also contenders.

Some other delirious treats - not Trash, but Guilty Pleasures - were two Ross Hunter extravaganzas: Lana, Sandra and Quinn in PORTRAIT IN BLACK and Doris and Rex in MIDNIGHT LACE, and Dirk Bogarde as Lizst in SONG WITHOUT END, plus Fox's biblical: THE STORY OF RUTH, while Gordon Scott was Tarzan and Belinda Lee and Steve Reeves headed the Italian sword-and-sandal movies.

Lots of these are covered at the Trash label.