Grindhouse Theater: Obscene House (1969)

Meet Fat Mamma, a 400 pound madame in a mini-dress, who opens a brothel, employing four fantastic hookers. Visit their training class, where they’re taught the proper techniques in dressing and having sex. Then, watch as the gals go to town on their johns, frolicking on beds, in bubble baths and more. These insatiable gals make Heidi Fleiss look like Marie Osmond!

This obscure sexploitation flick was directed by Henry Blake and stars a cast of no-name nobodies such as Bonnie Jo, Ann Leigh and Darlen Hart. Popular nude model and star of many 8mm peepshow reels, Lillian Parker, is the only prominent member of the cast, but it is not possible to match her against the on-screen talent credits, which are all pseudonyms.

grind

A grindhouse is an American term for a theater that mainly shows exploitation films. It is named after the defunct burlesque theaters located on 42nd Street in New York City, where 'bump n' grind' dancing and striptease were featured.

In the film Lady of Burlesque (1943) one of the characters refers to the burlesque theatre on 42nd Street, where they are performing stripteases and bump and grind dances, as a "grindhouse".

The introduction of television greatly eroded the audience for local and single screen movie theatres, many of which were built during the cinema boom of the 1930s. In combination with urban decay after white flight out of older city areas in the mid to late 1960s, changing economics forced these theatres to either close or offer something that TV could not. In the 1970s these theatres were put to new use as venues for exploitation films, either adult pornography and sleaze, or slasher and dubbed martial arts films from Hong Kong.

Grindhouse films characteristically contain large amounts of sex, violence or bizarre subject matter. One genre of film featured were "roughies" or sexploitation, a mix of sex, violence and sadism. Quality varied, but low budget production values and poor print quality were common. Critical opinions varied regarding typical grindhouse fare, but many films acquired cult following and critical praise. Double, triple, and "all night" bills on a single admission charge often encouraged patrons to spend long periods of time in the theaters. The milieu was largely and faithfully captured at the time by the magazine Sleazoid Express.

By the 1980s, home video and cable movie channels threatened to render the grindhouse obsolete. By the end of the decade, these theaters had vanished from Los Angeles's Broadway and Hollywood Boulevard, New York City's Times Square and San Francisco's Market Street. By the mid 1990s, these particular theaters had all but disappeared from the US. Very few exist today.