Nutty rich lady Virginia Marcus (a deliciously wicked and vampy performance by Eileen Lord) offers three folks who are all murderers -- sniveling heroin addict Buddy (twitchy Ed Brandt), haughty actor Charles Freeman (a perfectly snooty Frank Grace), and brutish champion wrestler Rocco (essayed with snarly aplomb by legendary real-life boxer Jake LaMotta) -- $100,000 thousand dollars each if they manage to stay alive for twenty-four hours in Manhattan. Naturally, there's a catch: Virginia plans to hunt down and kill each and every one of these guys like a pack of wild animals. One-shot movie director Herb Stanley relates the familiar "The Most Dangerous Game"-style premise with surprising style and panache: he keeps the pace rattling along at a speedy clip, develops a substantial amount of tension, makes inspired use of authentically seedy New York City locations, sprinkles in a generous amount of grisly violence, and stages the rousing hunting sequences with tremendous rip-roaring brio (the big back alley confrontation between Rocco and Virginia is an absolute corker with Virginia dressing up as a matador and taking Rocco on like a ferocious charging bull!). Special kudos are in order for the inventive and impressive black and white cinematography: the overhead camera shots, distorted lens, askew angles, and lively hand-held camera-work ensure that this picture remains quite visually exciting throughout. The swinging groovy jazz score likewise does the trick. The much-criticized tacked-on gratuitous female nude inserts and lurid soft-core sex scenes further enhance this film's trashy appeal. Granted, the acting is decidedly hit or miss, with Lord's gleefully nasty portrayal of the cackling and cunning Virginia rating as a definite stand-out. Moreover, the tight 69 minute running time qualifies as another major asset; this picture never drags and certainly delivers the mean'n'lean lowdown scuzzy goods. Highly recommended for exploitation cinema fans.

This is an interesting late 60's sexploitation film. It's basically a loose remake of "The Most Dangerous Game" except that the person hunting humans is a sexy woman, her victims are criminals who have gotten away with their crimes (usually murder), and her hunting ground, rather than an island, is all of New York City! Of course, there's also plenty of sexploitation filler. One of the victims, for instance, hides out at a friend's apartment where a seemingly non-stop orgy is taking place. There's also a ridiculous scene where a large-breasted (but not particularly attractive) "actress", who probably couldn't deliver a convincing line reading if you put a gun to her head, is sitting topless in a room carrying on a dialogue with a guy who was obviously not even in the same room. This is obviously "padding", but I don't know that it was "inserts" added later by someone else as was the case with movies like "The Curious Dr. Humpp" because, while that film was originally an Argentinean horror movie, this was obviously always intended for the NYC "grindhouse" sexploitation market.Obviously the sex scenes add nothing to the plot, but at least this HAS a plot. These 60's sexploitation movies differ from later porno movies in that they often did have some purpose beyond getting the male audience off. Some of the best ones actually took advantage of their "captive audience", throwing in the obligatory sex scenes, but also attempting to actually make a real movie--and sometimes even getting away with things the mainstream movies couldn't (they were kind of like horror movie in that respect). This isn't as creative as something like "Toys Are Not for Children" or "Swinger's Massacre", but it does have appeal beyond the merely prurient.This could be considered a "roughie", one of the films of this era that combined violence with softcore sex in lieu of hardcore scenes (which were still illegal at the time). These films courted controversy, then and now, because some people believed they were trying to make violence sexy. I like them though, not because the violence is "sexy", but because it tends to make the sex less boring. These movies are generally much less monotonous than the straight sex films that came later. In any event, this is one of your more palatable "roughies" because the violence is aimed almost exclusively at men (which no one can really claim is "sexy") and the victims really deserve it (both for their on screen crimes and the generally inept performances of the actors). This is not great, but it's not a total waste of a time either.

This very-low-budget independent thriller--a gritty NYC Freudian rewrite of The Most Dangerous Game--was a real surprise to me, as its director has no other credits on the IMDB. Psychotic Eileen Lord (whose performance belongs on the same shelf as Jack Nicholson's in THE SHINING or Tab Hunter's in THE AROUSERS)hunts down three men--a junkie, an over-the-hill stage actor, and a professional wrestler down on his luck--and cackles with glee while she's doing it. The crisp B&W New York locations are so real you can taste them, and the small, sparse sets (and some real houses/apartments too, it seems to me) are shot imaginatively. The camera work is unconventional and the editing is tight and gives the film a good pacing. Unfortunately, this film, which probably ran about 55 minutes in its original form, is ruined by about 15 minutes of poorly-shot nudie footage edited in at a later date, or at least shot by someone else who had no style to speak of. These inserts, I suppose, allowed the film to play on the "adult film" circuit, and probably gave it more of an audience than it could have gotten otherwise. However, it really belongs on the same shelf with films such as THE THRILL KILLERS, and its true audience is lovers of 60s sleazy,grim horror-crime films. Nudie fans have hundreds of films to enjoy, but CONFESSIONS OF A PSYCHO CAT is a rare gem that once seen is not soon forgotten. Perhaps the release of this on a snazzy new DVD will cause the makers to come out of the woodwork and talk to some film researchers...maybe someday there will be a DVD with DIFFERENT VERSIONS of the film, including one without the inserts? A must-see for students of 1960s independent cinema.

SPOILERS 'There was a young lady who went on a spree.she carefully planned a game for three' Confessions of a Psycho Cat updates the plot of The Most Dangerous Game to late Sixties New York, with all the exploitation movie sex and violence you'd expect from such a setting, along with gender- reversing the Count Zaroff role to tell the tale of a lethal female.The Psycho Cat of the title is Virginia, a nervous breakdown prone Manhattan socialite who is 'a little out-of-sorts'. Unable to join her brother on safari, Virginia decides to have a little safari of her own-hunting humans. The intended prey are Buddy a junkie drug dealer, Freeman a pompous actor, and Rocco a brutish, has-been, wrestler (played by former middle-weight boxing champion Jake LaMotta)- all three are offered $100,000 if they can survive in New York for 24 hours while Virginia and her mute handyman try to hunt and kill them. Why has Virginia choose these three men in particular? because they've all 'accidentally' killed in the past, Buddy overdosed a girl, the actor ended up slicing a love rival to death with a cut-throat razor, while the wrestler stomped an opponent to a bloody pulp- after some hesitation the men except Virginia's offer.The subsequent hunt scenes have a nightmarish quality that are worth the admission price alone, but Psycho-Cat scores best in the prelude to Virginia's rampage as we delve into the private lives of her prey, three sad and understandably paranoid lowlifes. The junkie lays low at a drug and sex orgy populated by beatniks and women with outrageous wigs, the actor hides in his apartment like a frightened rabbit, and the wrestler spends the night with a $20 hooker, but with sadistic glee Virginia plays on their human failings to lure them into the open. The actor gets a call offering him the lead in a play, and ever the egoistical thespian this is an offer he can't refuse, while Buddy's drug habit dictates he would rather risk death than cold turkey, and the wrestler can't stand the idea of being upstaged by a woman, a situation that winds him up so much the hooker gives him the twenty dollars back and throws him out. In all three cases Virginia gets to dish out her own brand of morality, the actor is run through with a sword; Buddy gets literally shot-up, while the wrester tracks down Virginia only to end up in the middle of a bullfight with him as the bull.As the Psycho-Cat, Eileen Lord who vaguely resembles 60's singer Esther Ofarim isn't the sort of actress you can easily forget. Even from the outset its clear Virginia isn't exactly normal and as Psycho Cat progresses, the filmmakers lap-up Lord's hammy attempts at evoking delirium- with some incredible close-ups of her pulling the sort of gargoyle expressions its hard to believe a human face can make. The casting of Jake LaMotta is an equally inspired touch, it's fascinating to compare the worse-for-wear LaMotta preserved for prosperity in Psycho Cat, to the way DeNiro later portrayed these leaner years in Raging Bull. In scenes where his character sits shirtless screaming down the phone 'I am the champ' its almost as if LaMotta is acting in his own, personal Raging Bull. On a trivia note, LaMotta isn't credited in the cast list, but by the time the film was re-released as '3 Loves of a Psycho-Cat' his name and boxing legacy featured heavily in the advertising. No one has ever uncovered the story behind Psycho Cat's creation, but judging by the end-result it must be a fascinating little tale. The released version is very much a cut and paste job, telling its convoluted tale in flash-backs and flash-forwards that don't quite match with each other, there's also lots of soft-core nudie scenes, very detached from the narrative that were clearly shot to sex-up the film's commercial appeal, while plot-diversions explaining how Buddy, Freeman and Rocco came to be murderers and murdered feel like six separate films unto themselves. The DVD notes speculate Psycho Cat was shot as a plain old horror movie with the soft-core filmed a few years later, although the film could equally have been the work of multiple directors shooting the same film simultaneously, even if they weren't exactly singing from the same song-sheet. That these directors- 'Eve' and 'Herb Stanley' remain mysterious if not pseudonymous figures, only adds to Psycho Cat's appeal and whereas most cut and paste films are only interesting for the glimpses of what they could have been, and the incoherent messes that they usually are, Psycho Cat manages to hold its multilayered plot together surprisingly well. The film also gets top-notch mileage out of its settings, with wonderful shots of LaMotta snorting his way through night-time New York, the junkie prowling the streets looking for a toilet to call home, and most audacious cross-bow carrying Virginia running around Manhattan in fox hunting togs, something that must have earned the filmmakers some odd-looks from passers-by.For a film no-one appears to have heard of till recently Psycho Cat seems to have had quite a longevity on the US sexploitation circuit. It even played in the UK sometime in the early Seventies- too strong for the UK censor showings were restricted to 'membership only' sex cinemas- Psycho Cat played exclusively on the Cinecenta-cinema-chain which fed post-swinging Londoners a diet of more darker US exploitation fare like Bad Girls Go to Hell, The Filthy Five, Sex Killers Incorporated, and the charmingly monickered Sinful Kinfolk which played as a support feature to Psycho Cat. These days you can view Psycho Cat in less clandestine ways (its played on late night UK television and has surfaced on DVD in the US) but the violent, kinky nature that gave the film its initial fascination remains undiminished. A unique, stand-alone piece of work, Psycho Cat deserves its current popularity, as do its makers whoever they were.