WHATEVER HAPPENED TO POOR PRETTY EDDIE? 

"Poor Pretty Eddie" (1975)

Directed by Richard Robinson

   Sometimes I'm in the mood for old Drive-In Exploitation films that are so wild that I actually feel uncomfortable sitting through them, even if alone. I marvel how some films that are over the top, fail to become cult classics, while other cult films that are less crazy, become so popular that they spawn t-shirts and action figures. "Poor Pretty Eddie" is such an incredible Hicksploitation experience, that I scratch my head wondering how fans of cult cinema don't sing it's praises constantly. I'm going to shine a spotlight on this under-loved Southern Gothic Thriller and hopefully, someone seeks it out to discover the insanity that this film is.

   Here's the plot: Liz Wetherly is a famous young black singer that has two weeks to kill, before her next concert so she decides to go on vacation. She drives with no place in mind, but unfortunately her car breaks down in a forgotten, remote southern town. She walks to a lodge called, "Bertha's Oasis" and is told by lodge employee, Eddie Collins that she can stay there while they have someone fix her car. While she's there she becomes the object of affection of this would be country singer, who's already romantically attached to the very jealous, aging and overweight ex-burlesque star and lodge proprietor, Bertha (played by Shelley Winters).

   Eddie sees Liz as an opportunity to take his Elvis-like country act to the big time through her connections, while also being attracted to the pretty young star, who is the opposite of Bertha in looks, intelligence, fashion and grace. After Liz turns Eddie down for his romantic advances, he rapes her. When she reveals to Bertha and then later to the police, that she was raped, she truly discovers the Hell that she's in, as no one cares. Not only is she humiliated in a public trial for Eddie's rape by the town, but later she's
forced to marry him. This all leads to a violent showdown at the wedding that spirals into a bloody wedding massacre. 

   This film is uncomfortable for most audiences and I would be careful who I would choose to show it to or encourage to check it out. The rape scenes, racism and violence makes for a rough watch. If you are into intense stories like these, this is something you need to see and here's why:

   It's clear that this film was meant to be a Drive-In/Grindhouse/Exploitation film, but watching it today it's easy to see that the director makes choices with his narrative, cinematography, editing and music cues that transform this story into an art film. It's still trashy-exploitation, but trashy-exploitation art, like "The Texas Chain Saw Massacre" (1974).

   Like that film, this is a "stranger in a strange land" story. It's terrifying to be stuck in a place, where not only do you not know anyone who can help you, but everyone who occupies this area is dangerous. No one can be trusted. You don't have the choice to leave a place like this. You must endure it and escape by any means necessary.

   Terrifying scenario and beautiful film making aside, this story is carried by it's cast. Everyone in this movie, feels like they're not acting, but are living the part. Shelly Winters in particular is perfect in her role. It's not just that she looks the part, but as controlling as her character is, Shelley Winters is at her best in this film, in quiet moments where she's alone and you see how she's truly miserable and sad.

   The first words, her character says in this film, while looking at herself in the mirror are, "You are an ugly bitch". This line is spoken in a room filled with old pictures of her younger self, revealing how pretty she once was. In some ways, this film feels like a redneck version of "Sunset Boulevard" (1950).

   Capturing the sadness of ageing, while feeling unwanted, is not always something I would expect in a film, that borders on being a horror
movie, but this is achieved in "Poor Pretty Eddie" and it feels appropriate within this story.

   One of my favorite things about this movie is how it's told in an unusual artsy way. For instance, there's a rape scene that's inter cut with two dogs breeding. I'm not even sure what they were going for with that trick, but it sure is memorable. Strangely, it makes the rape scene easier to sit through, even though I don't want to watch two dogs screwing, either.
   In another scene, Liz is photographing Eddie as a favor, and while he's posing with his guitar, she envisions his death. Every time, her finger clicks the shutter-release button on her camera, you hear a gunshot and then you see Eddie being shot
in Liz's fantasy.

   Scenes like these make this dark film, a visual experience that entertains while it repulses.

   It feels like after 40 years, if a movie still hasn't reached cult status, it never will. Within more advanced Cult Film Circles, this movie is known. I'm hoping that over time, it becomes more seen to people outside of those circles as well. It still has an audience to impress and if you think you're the audience for it, seek it out. It's not hard to find. Eddie Collins may not have become that famous country singer that he wanted to be, but the film that's named after him still has some people to thrill
.