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Note: Bad Girls Go to Hell has made the “Apocryphally Weird” list. Read the entry here.
To the alternative cineaste, Doris Wishman is somewhat akin to what Mary, the Mother of Christ, is to Catholics. She was a considerable influence on luminaries such as John Waters, Roger Corman, and Quentin Tarantino. Like them, Wishman approached genre films with an idiosyncratic enthusiasm for the art and the business. Her films are sexploitation roughies, nudie-cuties, and precursors to the grindhouse films. Therefore, she also has her detractors, who compare to her to the likes of Ed Wood. Wishman was a true, self-taught outsider artist. And like most outsider artists, being a maverick had its advantages and disadvantages (she never had the budget she needed). Wishman was as tenebrous and quirky as her films. She often told elaborate lies about herself and remained defiant to the end, mocking conventional attitudes. “I’ll continue making films in Hell” she said, terminally ill, only days before her passing at age 90. If that anecdote doesn’t endear her to you, well, you may have come to the wrong film site.
For the Wishman newcomer, Bad Girls Go To Hell (1965) is probably the best entry point. This film, her first real “roughie,” inhabits an expressionist, subconscious world that Luis Buñuel, Franz Kafka, and the aforementioned John Waters might recognize (and yes, I am being serious). Indeed, protagonist Meg (Gigi Darlene) might be soulmate to Kafka’s Josef K, moving numbly through an inverted, anti-fairy tale nightmare told by John Waters at his copping-an-attitude best.
Meg’s husband goes to work, after he has made love to her in their Boston apartment. Meg showers her husband off, slips into a sheer nightie and begins to obsessively clean the house, purifying herself and her surroundings from the taint of sex. Shots focused on Meg’s hands, feet, knees, the shag carpet, and an ominous ashtray compose a queer dreamscape. Meg literally takes out the trash in her life, only to be raped by the apartment janitor. When he comes back for seconds, Meg whacks him to death with the ashtray and in a downright bizarre cut-away composition the ashtray is seen from the dead janitor’s perspective.
Meg is unable to fully comprehend what has occurred, let alone deal with it. She escapes the confines of her apartment, almost sleepwalking through the violent New York City like Minnie the Moocher gliding through an animated apocalypse. She has moments of sexual tranquility, but, alas, they are short-lived. The abuse cycle continues, so does the purging and the incessant shifting. The closest she comes to achieving something is in a short-lived lesbian relationship. Yet, this time, Meg willingly flees potential happiness.
The film becomes circular, as dreams often are, but Bad Girls Go To Hell has its cake and eats it too. There is a comeuppance to such a lifestyle of ill repute, BUT, like Wishman, Meg personifies defiance in the face of recompense. Bad Girls Go to Hell is a serious contender for this site’s coveted List. Doris Wishman has yet to receive her 366 crown, but I will go with my instincts here and leave further discussion of this film to other hands.
In the meantime, we will revisit Doris Wishman in next week’s review of Deadly Weapons (1973) .
Crane cries (embarrassingly) at his psychiatrist office, Crane has a drag persona, Crane likes to watch lesbos get it on, and Crane has an S & M fetish. The film opens with our hero lashing an unattractive model on her buttocks. Cliff Fields’ turn as a queen has to be one of worst drag performances ever burned into celluloid. He sports sunglasses at night, a crumpled raincoat and a lopsided dishwater blond wig (he looks a bit like an uncanny precursor to Michael Caine’s transvestite psycho killer in 1980’s 
Kurt Vonnegut once wrote an amusing observation about Christ and the Lazarus story. In his take on the narrative, Vonnegut imagined that, Lazarus’ resurrection, it was the recent corpse, not Christ, who became the celebrity with the crowd. Leave it for the masses to look at the wrong end of a miracle every time. But, what Vonnegut was expressing was the inevitable chasm between prophet and audience.
Inquisitors, spectral gallows, Tunisian princesses, and Nubian slaves are part of van Worden’s trial as he finds himself, repeatedly, in the paradoxical Magic Flute-like roles of steadfast hero (Tamino) and wayward prodigal (Papageno), which results in a boundlessly expansive pilgrimage. Clues to van Worden’s riddle lie in recurring, treacherous symbols of hanging carcasses and discarded maps. Much like Moses in Arnold Schoenberg’s “Moses und Aron”, van Worden is impotent in expression, requiring his potential, charismatic savior Aron in the form of a second protagonist: Velasquez (Gustaw Holoubek). Velasquez’s grasp of poetry and mathematics far surpasses that of van Worden, and his rescue of van Worden from the Grand Inquisitor is as much a symbol of sight and salvation from van Worden’s blind impotency in all things physical, psychological and spiritual.