Widow Blue! (1970) ** 1/2 (out of 4) Ultra bizarre film has lovers Eve (Susan Wescott) and Nick (Alex Elliot) agreeing to kill each other's spouses so that they can run off together. Even forces her brother to seduce Nick's bi-sexual husband and soon enough blood is flowing.Walt Davis' WIDOW BLUE! is without question one of the stranger hardcore films as it mixes in a bunch of sex with some rather gory violence. The film really does come across as your typical sex film but then out of nowhere it likes to throw is some Herschell Gordon Lewis style gore. If you're looking for something a tad bit different then this will be right up your alley but then again, all of Davis' films are rather strange.This one here really benefits from some bizarre scenes of violence. To be fair, there are only two scenes of violence but both of them are very well-done and features some extremely bright red blood that just leaps off the screen at you. There's no question that these scenes appeared to be influenced by the gore films of Lewis but of course you've also got hardcore sex scenes here.I thought Wescott was actually pretty good in her role as she was quite attractive and seductive. The film was obviously shot on a very low budget but if you're a fan of these types of films then it's worth watching.

We begin here with grubby looking video and bongo fueled music to start our show. It only gets better.The story is a bit convoluted (and so am I), so bear with me. A woman plots to kill her cheating husband (who's cheating with her conspiring brother) and gets some help from a man cheating with her on his wife (who's cheating on him). Sound crazy? You betcha. The husband (cheating with the brother) is meat "cleavered" while in bed with him (by the man cheating on his wife, who's cheating on him). Now, the fun begins. The (then) widow has sex with both the man and brother while she's still freshly blood splattered on her face (from her "cleavered" husband) and on top of his death bed and coffin to boot. "The Sorcerer's Apprentice" music (Dukas) plays in the background. With me still? Good. Some guests come by and we proceed to an orgy (after putting the coffin outside that they were curious about). The guests split, but the cheating wife (of the conspirator guy who's cheating on her) comes by to say hello. He decides to get it on with her while his mistress (the recent widow) gets rid of the husband filled coffin. I've given enough away, so I'll let you see the rest (which does amount to a bit more, I promise you).This was really a heck of a fun, early porno. It has quite a bit of gore in a couple of spots and has a plot that mimics film noir from the 40s (and my apologies to Dashiell Hammett here). It was done on the cheap (like every early porno), but was really a fun time all the same. Highly recommended stuff for any early porno/exploit fan.Charlie.

While 'Sex Psycho' has little to no credibility as a serious piece of film-making; when it comes to exploitation cinema, this is exactly what the sort of film that we degenerates look for! Sex Psycho starts off shockingly, and then constantly builds on itself, and it's clear that director Walt Davis made this film with the intention of going a little further every time he decides to break a taboo. The plot centres on theme of an adulterous relationship between two unscrupulous individuals. Jerry and Eva are having an affair, and decide that Eva's husband has to go. Naturally, they decide to take on the services of Eva's brother; and while he and the husband are having sex (...), the boyfriend comes in and graphically inserts a butcher's knife into the husband's throat. From there, we watch as things go from sick to sicker, with the opening homosexual sex scene being topped by a sequence that sees the wife have sex with her lover on the bed that her husband's corpse still lies on, before an incestuous sex scene is followed by a five person orgy.The entire movie is shot in just one apartment, and I doubt the film cost more than a few bucks to make. It's not surprising, then, that the film received just the one release...which didn't take long to go out of print, and now finds itself the target of just about every hardcore porn/exploitation fan around. Naturally, the acting is rubbish and the direction leaves a lot to be desired; but the shameless nudity is a treat, and since it often leads into another graphic sex scene, it's not surprising that this film is widely liked by anyone sick enough to track it down. Naturally, Sex Psycho isn't for everyone; and I'd only really recommend this film to people familiar with hardcore pornography. There's no depth at all to the plot, but unlike a lot of films of this type; this one doesn't become boring because the sick sex scenes are interesting enough, and the way the plot is laid out always manages to provide some surprises. The ending features what is one of the most shocking, yet hilarious, castration sequences ever to be committed to film, and overall; if you like your movies dirty and sleazy, you can't go wrong with Sex Psycho!

Scummy, twisted, degenerate and all the better for it, this long lost X rated wonder from the good ol' year of 1970 was the brainchild of one Walt Davis. At the close of the Sixties Davis had directed several minor softcore movies, however in the early Seventies Davis developed a kink for mixing sordid sexploitation with Herschell Gordon Lewis brand of gore slaughter which manifested itself in two supremely shocking features. The other is the outlandish Evil Come, Evil Go (1972) a gruesome tale of Sister Sarah Jane Butler, who butchers `love generation men' in LA to the theme song of `Sarah Jane, Sarah Jane you're insane'. Whereas Evil Come, Evil Go cleaned up, the earlier Sex Psycho fared less well- it was simply deemed unreleasable, never showing up anywhere either on video or the cinemas. Even the efforts of the producer (Cuban born sex film pioneer Manuel S Conde) and a change of title to the more X friendly Widow Blue, all proved in vain. The Sex Psycho of the title and our hero of the piece, if he could be called that is Nick (Mike Haven- the cat burglar from Al Adamson's Brain of Blood) a pudgy faced average Joe who taunts and ridicules his sloppy wife (Sandy Demsey) over her coke-bottle glasses and natty blonde wig. A marriage made in hell, he's a sexist pig who complains about her burnt cooking, while she threatens to run back to her mothers whenever he says boo. Despite his low opinion of his wife's sex appeal, Nick is convinced that someone out there finds her attractive, especially when he overhears her talking to her lover on the phone. Enraged, Nick promptly goes out and buys a large meat cleaver, then takes to fondling it in his car with a look in his eyes that suggests he has more on his mind than cutting cake with it. Oddly his other half isn't the intended victim, instead Nick speeds over to his mistress Eva Blue, only to find Eva's bi-sexual husband Jerry Blue (played by none other than the director himself) getting under the sheets with Eva's brother Marshall. Egged on by Eva and helped by Marshall, Nick sinks the cleaver deep into Jerry's neck. Things become even more vomitious when the whacked out Eva Blue drags Nick onto the bed for some post-homicide heavy petting despite Jerry's dead body providing interruption `Don't worry about him, he's dead, dead, dead'. Dim Marshall is suitably horrified but agrees to hide the body in a big, black coffin, yet again though libidos provide a distraction. When the three Sex Psychos finally remember they have a corpse to dispose of a pair of Jerry's swinger pals Ron and Sarah show up and (only slightly fazed by the big black coffin in the middle of the room) quickly turn the place into a suburban swingers party!! Well remember this is the Seventies and only then could a scriptwriter get away with the line that comes from the ubiquitous John Holmes `we're all 21 and responsible citizens, so let's just take off our clothes and get it on right here'. Despite Holmes alarming presence, Davis reserves the freakiest moment for the completely basketcase climax that leaves Eva screaming her guts out, Nick bleeding to death holding on to a bloody stump and his wife choking to death. Not without credence is the legend that a single showing in the dawn of the Seventies had potential buyers running from the theatre as if the Blob had invaded. What distinguishes Sex Psycho from typical XXX movie house fare, sealed its commercial fate. If the extreme gore didn't get to them, the scenes with Davis and friend would have had dirty mack dwellers deeply suspicious that they had gone to the wrong theatre. Davis evidently saw allot wrong with the world, Evil Come, Evil Go takes several pot-shots at religious fanaticism while Sex Psycho sees the world behind every picket fence as a cocktail of violence, insanity and false morality. Even so for their grim storylines and messages Davis's features remain cartoonishly over the top and always on the very dark side of black humour. His Sex Psycho script is so mockingly vulgar as to bring laughs to the most morbid melodrama, also hilariously jarring is his taste in music with demented organ music and liberal uses of the theme from The French Connection and Night on Bald Mountain. A personification of the skinny, ear muff sideburned, long haired LA freak that every conservative feared, little is known about writer/ director/ erst-while Mr Jerry Blue and all round enfant terrible Walt Davis- other than the movies. Soon after getting Sex Psycho and Evil Come, Evil Go out of his system Davis wrote his way into obscurity, his last known credit was a script for Deep Jaws a film made in 76 by Manuel Conde. Today Sex Psycho is best viewed as the black sheep never invitied even to the table of the most extreme films from America's most extreme era and most extreme medium. Too much for audiences of the day, its still not for everyone but if you're looking for something unique, especially outrageous and with the explicit sex and death that comes with Seventies excess then Walt Davis is your man.