getting scared off by the sounds of her German Shepherd barking because her dad is on his way home.
As one can imagine, things play out slightly
different in POOR WHITE TRASH. There’s the same lovely shot of dusk but with an added close-up of faux Ulysses (a Carey stand-in) dropping a bottle of cognac around the 14:47 mark—Courvoisier to be exact, which is funny since that is a more high-end brand of hooch, and Ulysses doesn’t re- ally strike one as a cognac drinker. He’s more likely to be chugging Old Crow, as Michael Findlay does in TOUCH OF HER FLESH.
His initial interactions with Marie are the same, other than an additional close-up of the (unim- pressive) necklace at 16:15. As Ulysses gets more rough, there’s an additional shot of what are sup- posed to be Marie’s hands scratching blood on a man’s exposed, hairy chest. At 17:31, new foot- age commences and holds for the next couple of minutes. Carey’s and Milan’s doubles go running through the woods, with the faux Marie’s clothes getting caught on some branches that rip them right off. There’s a close up of her legs running through the mud as she ends up stumbling upon a construction site, with the faux Ulysses not too far behind. He almost gets her and ends up rip- ping off her panties before she gets away again, with more running.
In between the shots of her running are tight close-ups of her panting, glossy mouth and big doe eyes, a sharp contrast to the real Marie’s small but equally lovely features. All the while you hear her voice painfully uttering “Hail Mary!” This all culminates with faux Marie falling in the mud, now naked while a ragged audio edit from earlier in the film appears again with Carey’s voice uttering “It’s only me, Ulysses!” as the non-Carey’s legs enter the frame. Bloody screams emerge as the mud rape begins and the picture fades. This somewhat tame Southern drama has just turned into a swamp-fried version of the THE DEFILERS. Amaz- ingly, this is still years before the roughie sub genre really took off, with the infamous Lee Frost/David Friedman film not surfacing till 1965. Faux Marie then goes to a very ornate and quiet Catholic Church. There’s the feeling that not only is she there to seek cleansing from the sin forced upon her, but that the filmmakers are of- fering moral absolution to the audience for enjoy- ing the dirty breads and circuses of the hunt and the kill. There’s some really lovely superimposition shots here of the curtains of the rectory gliding over various shots of the saints and the church itself. Then after all of this, a rough cut to the car- nival, complete with loud, jarring music. We’re back in BAYOU land, ladies and gents, after approximately 7m of new footage.
Marie rejects Ulysses’ overbearing affections.
What did we miss during this time in the original source material? After Ulysses roughs-up Marie, he gets fright- ened and runs off as dear old drunken Dad comes back home, merry with a belly full of the red stuff. She hugs him tightly out of relief and re- leased fear, making him gather what went down. It is here revealed that Marie wants to leave the bayou, which is a pretty important character goal. (All of this goes down around the 26:30 mark in BAYOU.)
Either way, it’s carni-
val time, complete with winning-a-steak games, fortune tellers and pirogue races. Martin is hanging out at the local bar.
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