The five or so previous reviewers of this film on IMDb have a homework assignment: get the SWV standalone DVD-R and re-watch the entire film. That's your punishment, because THE WALLS HAVE EYES is a full-length, 55-minute feature, not the 28-minute "extra" you've all so knowingly commented upon.Besides fixing the running time for IMDb, I have also submitted the correct release date, 1969 not 1964. The film has plenty of full frontal nude scenes, verboten in '64. Before the plot really takes hold, there is endless lesbian-sex footage, which is probably the most interesting part of the film, de-emphasized in the excerpt. Filmmakers play equal time -first presenting a white lesbian couple and then a black couple. Latterday unintended joke has one of the black lesbians named Grace Jones (!).The musical score was my most pleasant surprise. Over 40 years ago I used to play Jimmy Smith's Verve LP "Monster" quite frequently on my stereo at college, but haven't heard it in ages. Several tracks, including his take on the theme from "The Munsters" (!), are included over the action here, and they dominate the rather listless sex-tease visuals. "Monster" was recorded by Jimmy in 1965, putting to the lie this movie's erroneously assumed 1964 date.Even at twice the length, there's not much meat on its bones, but EYES has an odd quality stemming from its amateurism. You just can't recreate to order the gritty, sometimes ugly in a stag film way, black & white photography here, serving the most basic of porn plots, voyeurism. Exterior "highway driving" scenes are so poorly shot, and the film is so clumsily constructed right down to the lousy sound editing and dubbing (it was definitely an MOS shoot) that it's hard to take seriously.What let me down the most is the constant cheating of the viewer. The premise is simple enough: although we see some set up scenes of various marks heading for the motel to check in, the lion's share of footage is that shot from sleazy hotel manager William Henry's hidden hand-held camera's point-of-view. He later projects the incriminating films to scare and blackmail his victims, leading to a predictable grim conclusion. Needless to say, the violent fight scenes are staged and executed with 100% ineptitude.The cheating comes in when director Steve Hawkes (using the pseudonym Gene Martyn) varies the perspective with reverse shots and different setups that bely Henry's spot for filming, hiding behind a mirror. He even shows us the other half of the conversation when horny heroine Jody Baby calls boy friend (played by Hawkes) to get him to come over to the hot-sheets-motel and service him, pronto. A better film would have almost claustrophobically attempted to confine us to the strictly voyeur point-of-view, but for this team any old slop would do.

This 28-minute "skin noir" masterwork features legendary muscle-head Steve Hawkes in his triumphant feature debut full of chills, thrills, spills, canned music, trend-setting landing strip hair-dos, bad post sync dialogue and continuity errors. Before playing Herschel the pot-addicted turkey monster or 'Zan of the Jungle, Steve played brutish boxer Jack Owens. First seen laying into a punching bag and beating up four punks in an alleyway, Jack is so brutish that even our friendly narrator predicts he'll be the hero about thirty seconds into the film. He's just that kind of guy. Professional stripper Jody Baby also puts in an Oscar-worthy performance as Connie Martin, a wealthy nympho who becomes so distracted shooting up dope and massaging her breasts in front of a two-way mirror she doesn't even notice the pervert motel manager (Bill Henry) standing behind it photographing her! Through a magical technique never before seen on screen, the manager is able to stand in just one location yet get footage both in front of and behind Connie, as well as close-ups and high camera angles looking down upon her as she thrashes around on bed licking her lips. During the heart-stopping climax the ruthless manager lures nubile young Connie back to the hotel to show her his footage of her motel romp. She's aghast when she discovers she was photographed without her knowledge. I mean, the lighting conditions are totally unflattering and it was so dark she had no idea she just screwed the love child of Sylvester Stallone and Elvis Presley. And now the guy wants five thousand dollars? The horror! Can Jack get there in time to beat some sense into the blackmailing creep? I guess you'll just have to watch to find out.

Brawny womanizing boxer Jack Cohen (the muscular Steve Hawke of "Blood Freak" infamy) and his hot to trot junkie gal pal Connie Martin (shapely brunette looker Jody Baby, who was a popular stripper at Miami nightclubs in the 60's) get together to do just what you think at the True Vue Motel. No-count manager Bill Turner (veteran character actor William Henry) films the tryst so he can blackmail Connie. Director Gene Martyn loads this lurid skin noir tale with such sordid antics as heroin drug use, masturbation, and voyeurism. Moreover, we also get a smidgen of sleazy soft-core sex and plenty of tasty gratuitous female nudity courtesy of the lovely Ms. Baby. The seedy tone, Louis Smith, Jr.'s grainy'n'gritty black and white cinematography, the wonky-spacey droning avant garde moody jazz score, the hard-boiled narration, the poorly dubbed in dialogue, the trim 28 minute running time, the grimy locations, and the violent conclusion further add to overall low-grade charm of this pleasingly scroungy short feature.

What the heck was going on in the Miami film world in the 1960s. During this decade some of the worst movies in film history were produced in Miami-Dade County. Of course Frank Sinatra made some outstanding local movies-Tony Rome, Lady in Cement, and A Hole in the Head. But, for the most part they were turkey's like this one. The only reason I can think of to see this really foul-smelling "Z" film, is to see the beautiful and sexy Jody Baby. If my memory serves me correctly, Jody Baby was a local Miami star attraction at the strip-clubs, and Go-Go bars in Miami; the Castaways, Club Pigalle, and Jilly's. I think Jody Baby made a few other movies, but can't recall their names or cast. I may be mistaken, but I believe she knew or was friendly with Frank Sinatra and the Rat Pack.