Directed by Lee Frost, and David F. Friedman.
Written by David F. Friedman. Cinematography was by Lee Frost and the Music was by William Allen Castleman and Dave Roberts.
The film stars Byron Mabe as Carl Walker Jr., Jerome Eden as Jamieson Marsh, Mai Jansson as Jane Collins, Carol Dark as Ellen, Linda Cochran as Kathy, Kathy Sharpe as Joanna, Sandra Sinclair as Joanna's Friend and Mimi Marlowe as Mrs. Olson.
One of the first of the "Roughies."
"FILM NOIR HAD AN INEVITABLE TRAJECTORY…
THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!" The Last Drive In (thelastdrivein.com)
|Byron Mabe as Carl Walker Jr.|
|Jerome Eden as Jamieson Marsh|
|Mai Jansson as Jane Collins|
Carl Walker Jr, is a bored, stuck up, amoral douche of a rich kid. His bosom pal Jameison Marsh is his disciple. In a weird twist the boys are California Dreamin' up their own personal nightmare. They are looking for chicks and kicks. They are class A misogynist assholes. They like to drink, they like to smoke, and they like to boogie all night long screwing Malibu beach bunnies
We follow the boys and girls doing their same ol' same ol' thang. But the routine is getting too predictable, Carl's not getting enough of rise out of it.
Beach Blanket Boingo
Carl has been cooking up a sex fantasy on the backburner of his twisted mind. His father, Carl Sr., owns disused warehouse, in the warehouse district. In a partial basement, the warehouse has a breakroom where the night watchman had table, a hot plate, a bathroom, and a mattress to lay on between his rounds. They can use it for their own personal sex slave.
Carl tells Jamieson that they will grab a couple of of their gal pals and go on a double date, and do a dry run. Carl and Jamieson pick up Ellen and Kathy their usual bimbos and drive out to the relatively deserted warehouse district. Jamieson makes out in the backseat with Kathy while Carl brings his date Ellen into the warehouse.
The Dry Run
The dry run highlights a flaw in their plan. They can't abduct one of the local bibos they figure because a local gal will be missed. The cops will sniff around and connect her to them. Carl obsessed, goes into overdrive.
The only way their plan will work Carl figures, is if they kidnap a girl with no relatives or connections nearby. She has to be an out-of-stater. What better place to get the ideal candidate than Hollywood. Hollywood attracts a lot of would-be starlets, so our duo do a stakeout at the Hollywood Greyhound station looking for a victim off a transcontinental route. They are finally rewarded with Jane Collins a blonde fresh off the bus from Minnesota.
They tail her around Hollywood following her to a tinseltown motel converted into furnished room flophouse. The boys know the manager Mrs Olson. Mrs Olson introduces the boys to her new retner Jane. The boys get friendly with Jane, then obsessed.
For its budget, its impressive, it also has some archival footage of mid 60s Hollywood that some viewers only interested in whacking off will deem as filler, lol. 6/10
"The Defilers surpasses the competition primarily on the strength of ambitious direction and photography by Lee Frost whose wild exploitation career also includes Mondo Bizarro, Black Gestapo, and The Thing with Two Heads. Equally effective is the cast of amateurs and regional actors including Friedman/Lewis stalwart JEROME EDEN (Two Thousand Maniacs!) as Jameison. Future skin flick director (The Adult Version of Jekyll & Hide) and occasional actor (The Daring Dobermans), BYRON MABE portrays the sadistic Carl with malevolent glee.
A stylish forerunner of subsequent sex films, The Defilers is not only a must-see for fans but an interesting curio from that period in the adult film industry when, by necessity, intensity was substituted for explicitness. The quintessential roughie, Dave Friedman's bleak tale of degradation is ugly... but you can't look away." (Charles Kilgore, ecco)
"The Defilers remains the definitive statement on suh subgenres, with the wicked works of mid-60s Doris Wishman a close second. Like a prototypical profiler for future serial killers, this incredibly twisted take on the bored adolescent ideal takes seediness to a whole new level." (Bill Gibron - Pop Matters)