I'm Mick Garris and this is post-mortem. Let's talk about exploitation film, shall we?

As long as there have been movies, there's been an audience for something outside of the mainstream, a taste for forbidden fruit

that could not be satisfied in the neighborhood movie house.

We're not talking about pornography, though that certainly played a part in celluloid history.

But once there were boundaries placed on movies by the arbiters of taste at the time,

there has been a desire to take a peek under the rock,

to sample the unsavory, to get a taste of something we couldn't get through

the normal channels.

Before the Hayes Code was established by government censor William Hayes in 1930, movies of the day were not afraid to get a little

racy. But this was about more than that. When the drive-in movie was created in

New Jersey in 1933, there was established an intimate private screening room, the family automobile.

Back in the 1930s and 40s, an underground of exploitation films began to be established. Hucksters would take a battered print of a sexual education film,

mom and dad for instance, directed by William Bo Dean

and produced and distributed by King of Sleeze Kroger Bab, and they would set up four wall screenings in rural cinemas.

There would be two shows a night, one just for men, one just for women,

and would be presented by a phony doctor in his white coat

assisted by so-called nurses who sold books and pamphlets on sex ed for some

extra cash. Those movies were the only way you could see actual sexual intercourse on screen,

other than in Smoky secret back rooms in somebody's cousin's friend's house on a rickety 16 millimeter projector.

The social warning films like Reefy a rickety 16 millimeter projector.

The social warning films like Reefer Madness and Lured sex slave documents like Child

Bride and Sex Madness could show you more than you ever expected to see, all in the name of moral goodness

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