Girl In Trouble (1963) New Orleans Tail Fin Sexploitation Noir

"New Orleans Sexploitation Sinema"

TAMMY CLARK is a Girl in Trouble, a Farmer's Daughter from the sticks who runs off to the Big City in search of "glamour, bright lights, pretty clothes, and excitement" but, instead, becomes a maybe-murderess-lingerie-model-turned-stripper named "Jane Smith" in this fun, shot-in-New-Orleans melodrama-with-titty that's sleazy, nasty, and often downright hilarious! (Handsome Harry Archer - Something Weird)

Directed by Brandon Chase (credited as Lee Beale) who is better known as a New-Orleans based producer. Written by Anthony Naylor (screenplay), and Brandon Chase (as Lee Beale). The film boasts some great Cinematography was by Leo J. Hebert but has no Music credit just a sound department.

Judy Collins (Tammy Clarke)

The film stars Tammy Clarke as Judy Collins/Jane Smith, Ray Menard as John Watson, Neiomi Salitech as Mona,  Larry Johnson as Mr. Joe Smith, Martin Smith as Harry Calhoun, Bettina Johnson as Loni, Charles Murphy as the Hotel Clerk, and "The Crescent City."

Once again, out of the lurid pulp fiction paperback kiosks and newsstands, comes a film based on a plethora of "girl in trouble" titles that titillated young male psyches, including mine, in the 50s and 60s.

It's starts like the old public service warning films about marijuana, or other vices. The opening shot is of a letter written to a friend warning of how big city life has caused poor Judy Collins to sin, and how she wishes she could get back home.

This is followed by a nicely filmed sequence of a frenetic ambulance ride shot from the top of the vehicle behind the gumdrop emergency light through the streets of New Orleans. The story is told in flashback.

Judy Collins is a hayseed from hicksville Louisiana. The place is called Springfield. She's just graduated, her boy friend John wants to get married but Judy 's been taking care of her father, cooking, cleaning and washing clothes and she doesn't want to just make a square trade off and start do it all for John. She tells John no and sneaks off at night for New Orleans. She wants adventure and bright lights.

So Judy is walking into town with a suitcase. It's night. She twists her ankle and begins to limp.

Judy with John Watson (Ray Menard)

Up drives a Lincoln Continental with a good Samaritan Joe Smith. He's a traveling salesman. He offers her a lift into town. She accepts. He asks if she's going to the bus station or the train depot. Tammy hasn't thought that far ahead. Joe tells her that she may have a long wait. He then suggests that since he's driving to New Orleans she might as well ride with him it's 2-300 miles he tells her. Tammy is reluctant at first but true to form dumb as a stump. She gets in the Continental.

Joe Smith (Larry Johnson)

Tired, Judy falls asleep. The traveling salesman takes a dirt road detour with some backwoods nookie in mind. He figures a ride for a ride. He drags Judy kicking and screaming out of the car.

He throws her to ground and tries to wet his noodle. Judy wants none of his al dente pasta. In a sort of updated switched gender homage to Detour Judy kisses him in the head with a rock. A blood covered Judy scoots out from under limp Joe.

Judy V.O. narration: I didn't know if he was dead or not! I was past thinking!



Judy jumps in Lincoln and drives herself in a downpour to New Orleans. It's a nicely filmed sequence.

In the "Crescent City" Tammy ditches the car grabs her suitcase and checks into The Lynrose a fleabag hotel tucked in between the New Orleans Vending Company and Julio Lopez's Press Bar and Cocktail Lounge in the Raymond's Beach section of New Orleans.

A leering old geezer desk clerk gives her a card. Thinking she better cover her tracks she signs it Jane Smith. Judy heads up to her room. The desk clerk has sunk up into an adjoining room and is spying on her. Judy strips down to her panties,stockings and garter belt.

She's washing the blood off her dress and bra. When she notices the peeping tom she freaks out grabs her suitcase and handbag and splits. Down it the lobby the clerk tells Judy that she better be nice to him or he'll tell the cops about the bloodstains.

Cut to Judy walking down a tree lined street. She spots a room for rent sign and decides to get it. She makes friends with Mona a hooker who's been around the block quite a few times. Judy goes job hunting getting turned down most places because she has no experience.

Judy and Mona (Neiomi Salitech)

Judy settles for a job as a waitress. When Judy doesn't put out for the owner he fires her. Mona gets Judy a job modeling lingerie. All goes well until a special out of town buyer Mr. Calhoun wants a girl to "model" up in his hotel room. Judy reluctantly agrees to do the job.

It all starts to go really Noirsville when Calhoun jumps her bones raping her in the bedroom.

When Judy gets back to the rooming house she packs up her belongings and is about to leave when she meets Mona who again offers her some comfort and more advise. Mona suggests since she has the body for it she might as well show it off for money.

Mona: What do ya got to loose? Oh I'm sorry kid, what I mean is let 'em look, but make them pay for it.
Judy: I guess you're right, I've got to do something.

Judy now a genuine "soiled dove" goes along with Mona's idea to become a Bourbon Street stripper at her friend Nick's place, the Club Flamingo.

Judy learning how to be a stripper

practicing the unzip

A pro finally

Noirsville

 

Here is another Tail Fin Noir with comparably decent acting that gets unfairly dumped in with all the Sexploitation dregs. The acting is adequate enough for a low budget film and the cinematography and seedy locations intriguing. The archival nature of the New Orleans of 1963 worth the watch alone. Screencaps are from a Something Weird streamer 6.5-7/10.

addendum:
I should have mentioned that this film is quite the contrast to real life Femme Fatale Candy Barr. Though they both made it through alive Candy's arc is quite the demonstration/testament that life is stranger and even more noir than fiction.