As a hurricane looms and the townsfolk watch, Martin does his best to emerge from Ulysses’ axe attack alive.
51:00 mark, the faux Emil voice returns, with Fowley’s own voice resuming six minutes later. In what is alternately one of the greatest and most perplexing sequences in the whole film(s), the entire village shows up outside the cabin of the earlier mentioned May-December (looks like a kidnapping) marriage, demanding to see the new teenage bride and watch them kiss. The hell? Then the old groom shares his massive amount of wine and food. A band breaks out and the couple dance. Then a bunch of people start calling for Marie to dance, which she does happily. And then ap- proaching the stage like a hep cat Zeus meets Godzilla, is Ulysses, his arms up in the air looking like a resplendent rock and roll vision in a generic zydeco world.
He then quickly grabs Marie by her long hair and starts swinging her around, while Martin stands by a tree smoking. In an amazing move of deftness, Ulysses manages to unbutton his shirt while swinging around the unhappy-look- ing Marie, even switching arms. She manages to finally get free, leaving him to fully unleash the epic “Cajun dance” that entails a lot of manic hip thrusts, self-caressing and knee-knocking wildness.
The cuts of this sequence differ in both ver- sions, for better and worse. In BAYOU, after Marie gets free, she runs over to check on Emil, then
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Martin (1:07:17). Carey’s dance is also (sadly) shorter. In POOR WHITE TRASH, the whole scene with Emil is cut out, making it look like Marie im- mediately checks on Martin after getting free from the the Southern Psychotic Reaction Elvis. Also in PWT, they have looped some of the Cajun dance sequence, making it seem longer than it really was. This is not a bad thing, since I could watch an eight-hour cut of Carey frugging away. Regardless, the end of the dance has the same result with Ulysses confronting Martin, call- ing him “Yankee” and “Chicken.” Martin basi- cally proves him right by walking away and the big black wind finally starts to hit, as a hurri- cane quickly looms over the village. During this sequence, both versions introduce stock storm footage, but the PWT cut omits Emil running around in the torrential rain rambling, chopping wood and generally flipping out.
Marie and Martin end up at the now-boarded- up house. After hearing the romantic sounds of a bull alligator, they end up kissing passionately to woozy brass music that sounds suspiciously like Herb Alpert on acid. BAYOU follows this with stock footage of all the wreckage. Naturally, in the great hallowed lands of exploitation, a kiss has to be more than a kiss with a big, sensual close-up of faux Marie’s wet, waiting mouth in- serted at 1:12:04. Then the faux Martin and
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