Ross Hagen and his boys thought they were stars of the movie, only to be pushed into the background of ANGELS' WILD WOMEN.


it hit movie screens. With the success of SATAN’S SADISTS filling their coffers, Sherman and Adamson decided to make an­ other biker film and, in 1971, they completed SCREAMING ANGELS. However, when the pic­ ture was previewed for exhibitors, there was little interest as the biker movie craze had largely run its course. Noting the success Roger Corman was enjoying with THE BIG DOLL HOUSE (1971), Sherman decided to undertake re-shoots and change the focus of the picture, hoping to cash in on this burgeoning “ tough women” genre. After one of her girls is raped by a couple of redneck toughs, bullwhip-wield- ing mama Margo (Regina Carrol) gets revenge. While their male co u n te rp a r ts , Speed (Ross Hagen) and his gang (including Albert Cole and John Bloom, the


52


two halves of THE INCREDIBLE 2-HEADED TRANSPLANT), drink, brawl, and ride around the coun­ tryside, Margo and company have a run-in with the law and end up at Spahn Movie Ranch. There, they find King (SATAN’S SADISTS' William Bonner), a Mansonesque guru, whose mes­ sage of love and happiness is a front for his dope-dealing ring. Margo discovers King’s true nature when he lets one of her f r ie n d s (HORROR OF THE BLOOD MONSTERS’ Vicki Vo­lante) die from a drug overdose and uses another for a human sacrifice. Speed and company lay siege to the ranch in retribution, leading to a ridiculous climax. After the nastiness of SATAN’S


SADISTS, Adamson went in the opposite direction here, toning down the exploitation elements and dispensing even with the


minimal revenge scenario fram­ ing the action in the first film. Rambling and aimless, ANGELS’ WILD WOMEN generally fails to deliver the expected elements from either of the genres it in­ corporates, and it is definitely the least interesting of the five pic­ tures Troma has issued, lacking even a Bob LeBar animated title sequence to provide some visual interest at the outset. Kent Tay­ lor and Gary Kent (the cleancut hero of SADISTS, playing a rap­ ist here) also appear and Adam­son has a cameo in the opening reel (following a bit of Nazi camp battle footage originally lensed for THE FAKERS and presented here as a movie within-the-movie). Nicely shot on 35mm by


Louis Horvath (who, like, Vilmos Zsigmond and Laszlo Kovacs, worked on American exploitation

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