West Coast Exploitation Noir from director Ken Kennedy. It's a 1966 updated version of what can happen to a "wayward" girl or an independant women. Think of Stella in Fallen Angel (1945). The old double standard morality is quite touching.
Twenty-one years later.
The film opens with a shot of a night time highway. A truck looms up and we get to listen to an inside the cab conversation of the two drivers talking about the charms of a waitess at the truckstop up ahead.
You have your 20 something blond, hash slinger Julie (Jamie Karson), working out of some two lane blacktop roadside beanery. Julie is the star attraction. Truckers head to this lunch counter like ducks to water. Their favorite pastime, a nightly ritual, is feeding Julie change to drop in the juke box for them. When it lights up and plays her selections they all get a free show of Julie's ample assests, her waiterss uniform becomes quite transparent as she wiggles to the beat.
Drivers are not all she attracts.
|Talking' about Julie|
|Julie (Jamie Karson)|
|money for the Juke Box|
|Julie's free show|
Julie is awakened by the ringing of the payphone out in the diner. It's a late night phone call from one of her most ardent admirers Brad Collins (Alan Jeffory) a "model" photographer. We think, man, he must have a serious case of "blue balls," he wants to get married to her in Vegas the very next day.
While all this conversation is going on her boss sneaks into Julie's room and hides in her closet. When she returns he attacks and rapes her.
|I guess it's nothing that a hot bath can't cure|
As if nothing happened, Julie is ready to go the next day as she and Brad drive over to Vegas to get hitched. Brad is also supposed to meet one of his models flying in for a Vegas photo shoot at the Stardust, so he is combining pleasure with a little business. When she doesn't show he tells Julie it's because she's sick.
|Stardust Casino shoot|
Of course, just when you think it can't get any worse for soiled dove Julie, her first trick
at the whorehouse drops dead on top of her. She freaks out predictably, and it all spirals right into a dead end in Noirsville
|The Velvet Trap whorehouse, no expenses spared, cinder blocks and velvet curtain decore|
|Casino audition is a bust|
|the white slaver|
|Julie's first trick|
|the recently bedded|
|dead in the saddle|
|This is probably the most iconic shot in the film..... Bravo!|
Even though Five & Dime pulp fiction book racks of the day were full of this type of sleazier subject matter, studio Hollywood wasn't gonna touch it straight on even with the demise of the code, they always teased their audiences peripherally. It was the Hollywood outsiders who put these films together, occasionally they'd get actually to the A List in later careers, director Kennedy made The Legend of Grizzly Adams (1990) BTW, but most would never get a foot in the door and sink into the obscurity of straight porn production. Cinematography was by Elmer Hohnber, Don McIntosh, and Ray Dennis Steckler (director of The Thrill Killers (1964)). An interesting Noir artifact worth a view, 5-6/10.