Customer Reviews

Private Parts

5 star:		(12)
4 star:		(9)
3 star:		(0)
2 star:		(2)
1 star:		(1)

 

 

Hot (for the 70's) teenage runaway Cheryl splits from Ohio and ends up in Los Angeles staying at an old rundown hotel full of weirdos. The weirdest of all is George and he has a crush on Cheryl.

Not as perverse as I was hoping it would be (then again no film ever is), but I really enjoyed the atmosphere of this movie. The story moved along at a nice pace and even though it never perved out in a big way I still felt satisfied and would watch it again.

The picture on the DVD was great, but I wish there had been a commentary track by somebody. Yea, I know Paul Bartel is dead but somebody must have something interesting to say about this film.

Look for a cameo by director Paul Bartel in the park.

Private Parts tells the story of the runaway teen Cheryl Stratton (Ayn Ruymen) and her stay in her aunt's shady San Francisco hotel. Cheryl's story is not one of those pleasant coming of age films knee deep in moral values or road movies that enlightens the viewer about the importance of the journey. No, director Paul Bartel, in his first feature, has something completely different in mind, as he presents an extraordinarily bizarre tale of voyeurism, sexuality, and passionate murder.

The voyeuristically loaded opening credits apply camera flashes and exposed body parts, which cue the audience in the direction of the story's sexual nature. The subsequent scene presents the sexual nature of the film in a much more tangible manner, as Cheryl sneaks a look at her friend and her boyfriend. However, Cheryl finds herself caught peeping. It places her in an awkward situation, which she avoids by leaving after she has stolen her friend's money. Here Private Parts pays homage to Psycho (1960) with similarities such as having a girl with stolen money seeking room and board at a hotel. Additional parallels to Psycho emerge as the film unfolds; for example, there is an intriguing bathroom scene.

The hotel is far past its glory days, as the wallpaper shows signs of decades of stains while the heavily use of the doors has left them discolored and rickety. It is a perfect environment for the corrupt and sleazy activities that take place behind the paper-thin walls. Nonetheless, the owner, Cheryl's aunt Martha (Lucille Benson), is very particular about who she desires as tenants, which consists of a peculiar bunch of characters. There is the priest with a taste for muscular youthful men and then there is the young photographer that silently stalks the streets and parks for a juicy shot. On top of this, Martha exhibits bizarre traits including preoccupations with funerals and her pet rat. The location for the story plays a significant part to the story, as all characters in the story are somehow connected to the hotel.

Meanwhile, to maintain the audience in suspense, the first kill enters the story shortly after Cheryl's arrival to the hotel, as her old friend's boyfriend discovers the thick blade of a machete across his neck. The murder leaves little doubt that someone is willing to go through extreme measures to keep something a secret while Cheryl curiously learns about the hotel's secrets. Many of these private interactions take place behind the many doors of the hotel, and often imply an obvious sexual undertone. At the same time, the film generates a feeling that Cheryl is never alone and someone is watching her. The impression of the presence of a stalker does not leave until the grand finale, which truly will have many viewers feel an unpleasant tension.

The youthful curiousness of Cheryl combined with her mature behavior delivers a precociously seductiveness that reminds the audience of Lolita (1962), yet it does not reach the heights of Kubrick. Cheryl helps establish a strong psychosexual atmosphere from the beginning of the film, which remains until the very end through many unusual occurrences. The arrangement with the psychosexual theme and the slasher concept ultimately delivers a genuinely out of the ordinary horror film that unsettles the viewer in an extremely profound psychological manner.

Not to be confused with Howard Stern's 1997 film of the same name (which I liked), Private Parts (1972) is an excellent, early effort from writer/actor/director Paul Bartel (Death Race 2000, Eating Raoul), who, sadly, passed away in 2000. Produced by Gene Corman (Night of the Blood Beast, Attack of the Giant Leeches), brother to Roger Corman, the film features Ayn Ruymen ("The McLean Stevenson Show"), John Ventantonio (Alien Lover), and Lucille Benson (Duel, Halloween II). Also appearing is Laurie Main (Time After Time, My Chauffeur), Ann Gibbs (Dear Dead Delilah), Stanley Livingston (Smokey and the Hotwire Gang), Charles Woolf (Elvira, Mistress of the Dark), and Bartel himself, in a humorous cameo as `Man in Park'.

Seems not too long ago Judy (Gibbs) and Cheryl (Ruymen), a pair of midwestern girls, left their humble beginnings behind for the west coast, ending up in a crummy apartment on the beach in LA. The pair eventually have a falling out, partly over the fact Cheryl, who's jailbait through and through, gets her kicks on peeping on Judy and her boyfriend getting their freak on, and Cheryl splits, stealing Judy's wallet in the process. Seems Cheryl has a relative in the area, an Aunt Martha (Benson), who just happens to run a shabby flophouse of sorts, the King Edward Hotel to be exact, in a seedy part of town. Aunt Martha reluctantly agrees to let Cheryl stay, but on one condition, that Cheryl not wander around the hotel alone (a condition she repeatedly violates as the film progresses). This seems like sound advice, given some of the residents like Mr. Lovejoy, the perpetual drunk, Reverend Moon (Main), a phony baloney minister who's got a thing for astrology and brawny, young men, and George (Ventantonio), the creepy photographer who lives on the third floor and has a hobby of snapping photos of couples copulating in the park at night. Anyway, not too long after, Judy's boyfriend comes around to warn Cheryl about an angry Judy (Cheryl stole Judy's money, remember?), followed by Judy herself, both probably wishing they hadn't...Cheryl's room seems comfortable enough, except for the strange noises coming from next door. Aunt Martha assures Cheryl that room is empty, but Cheryl's not convinced, so she steals the master keys and checks it out for herself...turns out it is empty, but notices various peep holes that look into her room along with the bathroom she uses. Also, one of the residents of the hotel has taken a real shine to our little Cheryl, leaving notes and small presents for her in her room. With the stolen master keys, Cheryl begins sneaking into other's rooms, trying to match the handwriting on the notes left for her in her room, and eventually learns a number of things, including information about the mysterious disappearance of a young woman named Alice, who used to live in the hotel...there are many secrets and strange relationships hidden away within the King Edward, the hotel where few check in, and no one checks out...

This was a very odd movie, and I really enjoyed it. The story may not be all that unique, but it's told with flair, originality, and a dark, comic undertone that kept me interested throughout (the seediness and squalor of the characters quickly overshadows that of the hotel and its surroundings). The really interesting aspect for me was how, as the movie started, it just seemed a series of loosely connected events and strange details not really leading anywhere, but later on I began to realize this wasn't the case, as there was a sly subtly in the hinting of the material in terms of the various relationships and past occurrences with the hotel and its residents. I did manage to figure out what was happening before it was actually revealed (although I wasn't 100 percent sure until the story gave up its goodies), but I felt this was partly an intentional choice by Bartel, the director, and not the result of any weaknesses in the story or direction. As far as the characters, there weren't many I liked, but it didn't have an adverse effect on my liking the movie. Cheryl was a petulant, sneaky, ingratiating, thieving little tease who had no problem lying to others, sticking her nose where it didn't belong, and just being a pest in general (she was cute, though)...sounds like a typical teenager to me...and then there's Aunt Martha, who seems kind enough at first (slightly off, perhaps), allowing Cheryl to stay and such, but her quirky ideas and bizarre beliefs begin to illustrate the nature of her reality (or unreality), and how different it is from what many of us would probably consider normal. At first her concern for Cheryl's welfare seems genuine, but then later it seems it wasn't so much concern for Cheryl, but the effect of Cheryl's presence on some of the other residents of the hotel. And finally there's George, who has a strange, exotic air about him, one that quickly turns ominous, as his peculiar predilections (inflatable love dolls, huge hypodermic needles, etc.) become known. Turns out he and Cheryl have something in common, that of peeping, and from this develops a relationship as she feels he's the only one who sees her as something than what is really is (jailbait), but his desires soon escalate far beyond that of what Cheryl could have ever imagined. My favorite part of the film is the last ten minutes, as the humor comes fast and furious as the father of a missing, local teen shows up with the police in tow, looking for his son. As the group begins to uncover certain peccadilloes, their quips and comments are a riot, especially given how naturally they throw them about. Also, the sequence with Aunt Martha's pet rat Whitey and the electrified key ring is a real hoot. Bartel made a number of films, some of them not so great, but when he's working with material that suits him, as is the case here, wonderfully tacky things ensue.

The picture, presented in ananmorphic widescreen (1.85:1), looks very good, and the Dolby Digital mono audio comes through cleanly. There's little in the way of extras except for an original, theatrical trailer.

Cookieman108

By the way, the title for my review comes from a line near the end, spoken by an elderly female resident of the hotel, as the police are looking to question some of the hotel residents. There's nothing more appealing than hearing an 80 something year old woman talking about `jerking off'.

This curio was released during the last days of the original MGM empire (1972) and it's good to see Warner Bros. release the more obscure titles they acquired via Ted Turner's ill-fated attempt to buy the studio in the mid-80's (he got the rights to the library in order to have programming for TNT/TCM/TBS).

As for the movie itself, I saw it in Los Angeles in the mid-80's at a screening where the director (the now-deceased Paul Bartel) was present to talk about his experience. He was amazed he was able to make a movie with a bizarre storyline.

Most of the reviews thus far are of a far more inferior and rediculous film. This movie is best described by the first reviewer. It had a very strange feel to it, but was remarkably done. There are some very funny, and strange, moments in this film. You must have an open mind to enjoy this one.

Cheryl is a pretty teenage runaway who is tired of being treated like a kid. When her former friend throws Cheryl out of their apartment for peeping on her sex romps one too many times, she finds herself alone in L.A. and in need of a place to stay. Luckily, her Aunt Martha is the proprietor of the King Edward Hotel, so Cheryl looks her up. A bit reluctantly, repressed Aunt Martha takes Cheryl in with a half friendly, half disapproving tone. To Cheryl's fascination, the King Edward is full of weirdos, but one in particular catches her eye, and vice versa. As the film rolls along, we get caught up in the mutual obsession between Cheryl and a sexually-confused/disturbed young photographer, and also the series of grizzly murders taking place in the hotel to keep some untold secret. Everything comes together in the end, naturally, and it's quite a tale!

Not to be confused with the 1997 Howard Stern bio-pic of the same name, 1972's "Private Parts" is pure grindhouse slashsploitation fare conjured with oddball characters, nudity and perversion, graphic violence, and goofy humor. The performances are all over the map, but you'll see some familiar faces too, including "My Three Sons'" own Chip Douglas, Stanley Livingston, as the nice guy who's the closest this film gets to having a hero. Ayn Ruymen plays Cheryl wonderfully and even looks pretty good in the two or three scenes where she doesn't look overly thin. God bless cute, implant-free, pink puffies! If you like '70's horror flicks and would rather have a bit more plot development and suspense than sheer, mindless body-count, you should find this one to be a winner. "Private Parts" is entertainingly messed up, but it's a good movie too. Not as campy as some may describe it. The DVD is nothing special: widescreen presentation and the theatrical trailer that reveals too much (but is still awesome, because those grindhouse-type trailers just are). It's the bare minimum for an acceptable DVD, but I'm glad to have it. I recommend it if it's up your alley, and you ought to know if it is.

Favorite film of all time. Yep. It is. I can't say enough about it. I first saw it a few years back as a result of me buying it because it looked interesting and weird. After the first time I saw it, I knew that was it. This is truly an awesome film.
Seedy, not sure if you should laugh or be scared or be disturbed or all of the above, very unnerving at times, very interesting at times, very artsy at times, very "real?" at times, sensual, psycho, violent, sexy, mysterious, 42nd street seedy, hotel, very bizarre characters, SHOCKING ending, amazing score.
I am in the process currently of making a documentary on this film and am trying to get into touch with the cast (that's still alive!). If you look them up, you'll see that most of them haven't been acting in a long time. So much mystery surrounds this film. Even the writers haven't written anything since it. And Paul Bartel (director) is now dead.
HERE'S A SECRET ABOUT GETTING THE SCORE: look under Hugo Friedhoffer and it will be a double movie score cd. or you can get it on vinyl used. look for it on amazon too. amazing.
If any of you have any other information on this film, please let me know asap.
I even rented out a theater to screen it a couple months ago!

bye

Sex with blow up dolls filled with water(that lead to murder) Fantastico! Young girl lost in life looking for her place leads her to a hotel filled with weirdos,just genius.

Plot: Teenage runaway Cheryl moves out of her best friends place after being caught 'spying' on her friend and boyfriend. She heads for Downtown La to her Aunt Marthas Old Hotel. After talking to her a little she says she can stay but she has to not get too involved with the guests in the hotel. On the way up to her room some good looking guy is standing there who happens to be 'George', for the time being the viewer and Cheryl just know hes a photographer, just one of the tenants yet identity is still kind of unknown,. Soon someone starts leaving weird notes and stories in her room, lingerie, etc .. she goes investigating and from there it just gets weirder and weirder.. it involves a disapearance of a model named 'Alice', George, a blow up doll and blood in a needle 'really odd' part and then the outrageous ending..It could have been somewhat better but overall it was a pretty good movie. The only part i was a little confused and disapointed on was the ending.

This is one of those movies where you wont forget it. The weirdness and the odd imagery is something that will stick in your head. It feels dirty, bleak and just morbid. George's room is something else. The way he tries to interact with women and the way he lets it out is so bizarre youre almost like what the hell was that? I have to say the 'suprise ending' was really a suprise considering the way George looked. Ive never seen something so bizarre. Psycho with a twist. Id give this 3.5-4 stars.

Young runaway, Cheryl seeks refuge in her prudish aunt's highly peculiar San Francisco hotel, and in spite of her aunt's warnings, she soon finds herself swept up in the perversions of it's sorted clientèle.

Though a tad more conventional (and polished), Bartel's work usually fits in comfortably with that of Paul Morrissey and John Water's. I found the quirky nature of Private Parts pretty captivating, and Bartel manages to portray some fairly off-color goings on, which in more mean spirited, or less skilled hands would have been hard to sit through.

You have to hand it to Warner for putting the late Paul Bartel's Private Parts out on DVD (and a nice looking DVD at that). It's by no means a "big" cult favorite, but a pleasantly surprising little cult favorite that might of easily have languished in vault. I don't know what made them choose it, but I'm glad they did.