Constance Money aka Misty Beethoven

Desperately Seeking Susan- Constance Found

Constance Money, aka Susan Jensen. The Opening of Misty Beethoven, directed by Radley Metzger.

Constance Money, aka Susan Jensen. The Opening of Misty Beethoven, directed by Radley Metzger.

Unforgettable in her starring role in the classic 1975 erotic film ‘The Opening of Misty Beethoven,’ Constance Money is an iconic figure of adult film’s golden age who continues to fascinate all those who see her films.

Piastro Cruiso, writer of one of her later films, “Anna Obsessed,” said of Constance: “She was different from anyone else in the business: innocent, distracted, unaffected, friendly, a natural beauty—many of us fell in love with her (or at least felt protective of her), and she made us all think we had a chance.”

If Money’s performance in a handful of golden-age classics made her famous, her subsequent disappearance made her a legend.

From 1985 on, she appeared in no films, gave no press appearances or interviews, attended no more parties at the Playboy Mansion. Like Bambi Woods and Nancy Suiter before her, it was as if Constance Money had simply ceased to exist.

So who was Constance Money? How did she come to be an icon of the Porno Chic movement? And why did she leave it all behind?

Thankfully, over the past few years I have been staying in touch with Susan.  While I wanted to have her involved in our actual re-release of The Opening of Misty Beethoven, she was just not ready. But we stayed in touch and thankfully we finally got to meet up last summer in Seattle, where we were able to sit down for a heartfelt interview(location courtesy of SWV). We will post some snippets from the B roll camera and the full interview will be released in the near future.

Special Thanks to Susan Jensen, Plausible Films, Something Weird Video

X-Rated: The Greatest Adult Films of All Time

Some of the greatest adult legends of all time and some of the best X rated films of all time!!

Playing on Showtime :


Is it the best documentary ever made on the topic, NO.

Is it a great documentary, NO.

Are these really the best adult films of all time, NO.

BUT, it is a good documentary. And yes, some of these films are very famous. For those of us who are not die hard fans or do not work in and around the adult biz, this is sometimes the closest that many people will ever come to being exposed to a world that so many of us love and find to be normal. It is generally a good thing, when a taboo oriented topic can be so easily accessible with a cable service. Whenever networks like HBO and SHOWTIME are able to obtain  sex oriented programming something magical happens, for when the logos of these big networks show up at the bottom of  an episode it is magical, as if the footage is now safe and cool to view by millions and they get great ratings. Sex sells, it always will sell, and these networks know it, and at the same time, they can’t become the next playboy channel, or they would lose all their subscriptions, and have picket lines outside their headquarters.LOL!

I am happy to have been a part of this doc and it was an honor to work on it.  Congrats to Showtime on the success and Plausible Films, the show’s producer for being able to create this on such a short time frame and budget. As for the actual show, I am much more partial to the first 25 minutes, as the classic stuff is what interests me most. Four films from the Distribpix Archive were featured, The Opening of Misty Beethoven, Barbara Broadcast, Roommates and Blonde Ambition. To be able to see some of these films and figures get the broad exposure that they so deserve, is amazing.

Blogs, Forums, and Social Networks are a great way to keep the genre alive. But to bring these niche into millions of viewers living rooms via cable network is bigger than big, it is HUGE. Along with footage I licensed for the show, I produced 2 interviews as well. One was with Gloria Leonard( her last video interview) and one with Constance Money(her first video interview), with special thanks to Lisa Petrucci and Something Weird Video, who were the most gracious hosts. I must say the best thing is the exposure, as since the show aired, sales of the featured titles are off the charts. I just goes to show what I already knew, this is the kind of exposure this niche needs!

Both of these interviews will be available as extras on upcoming Distribpix releases and via the web as special video features. I look forward to working with Showtime and Plausible Films again in the near future.



Constance Money ( Susan Jensen). Interview July 1,2014. On Location in Seattle Washington. Her first ever recorded interview.

Constance Money ( Susan Jensen). Interview July 1,2014. On Location in Seattle Washington. Her first ever recorded interview.

Gloria Leonard Interview. On Location, Kona Hawaii, 2012.

Gloria Leonard Interview. On Location, Kona Hawaii, 2012.



Falstaff, Chimes At Midnight



by Steven Morowitz and Joel Bender

(Part 1 by Steven Morowitz)

Distribpix Inc. discovers a hidden cinema treasure……

New York/Los Angeles for immediate release/Feb. 9,2015

Film enthusiast and archivist, Steven Morowitz, and veteran film director Joel Bender, unearth a rare and almost pristine 35mm print of Falstaff, Chimes at Midnight. This is one of the most important discoveries for us to date, at least regarding a mainstream film and one of such historical importance. Not that the film does not exist, and not that there are many experts already on the case, but from the bootleg versions and web clips available that we have seen over the years, it seems that the source material that people have been using is in very poor shape, and or put together from various prints. Maybe not doing proper film restorations or not having proper film elements has been the biggest obstacle for most, as we know that people have film elements. One thing is for sure and that is that the world wants a gorgeous and definitive release of Falstaff.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.


I was very happy to see that there are literally hundreds of thousands of film fans, fans of Orson Welles, fans of Shakespeare, history buffs, literary buffs, institutions, etc. that have been waiting decades for a proper release(restoration/preservation) of this film. There are people already dedicated to finding the best elements and assembling the best prints, there are dozens of articles on the film and it’s short theatrical life in the United States. You don’t need to go far, just google Falstaff, and see for yourself.

And most recently, the Film Forum in NYC had hosted a Welles retrospective, where it seems that a DCP of Falstaff was presented and with Beatrice Welles , as a guest for the Q/A. Of course, we are anxious to find out more about the event, as we were unable to make the event, due to the inclement weather.

The print we obtain is complete, and totally uncut, and takes up a full 7 reels. How do I know? That is a great question, with a complete and definitive answer. Literally within just a few weeks of Joel and I agreeing that we would pursue this discovery, he had begun to hound me with a daily barrage of phone calls, begging me to take the film to a lab in order to confirm its authenticity. We needed to know if the films was original and uncut, and in what condition. It was imperative, and something that needed to be done. I needed to perform at least a preliminary film transfer, but of course this is something that needs to be done in a professional film lab, and one that is capable of handling archival film.

With a mix of caution, care, anxiety and reluctance I took the complete print, housed in the original two cans(2), a total of seven(7) reels to be transferred. I drove them approximately one hour and arrived around 11 am. I brought the films in for initial inspection and the owner of the lab and his technician were both in awe of the condition in which the film has been preserved. I was not totally surprised, as I knew it was in great shape, but I needed to see the condition…..the color, and damage, etc.

Lipsner-Smith Ultrasonic Film Cleaner, a key piece of equipment. Note: This is not Falstaff on the cleaner, but a 16 mm reel of a random film that was being cleaned.

Lipsner-Smith Ultrasonic Film Cleaner, a key piece of equipment. Note: This is not Falstaff on the cleaner, but a 16 mm reel of a random film that was being cleaned.

We had decided that the best and most cost effective process for this short term goal, was to perform a one-light transfer on an HD Spirit Datacine. We proceeded to bring each reel into this amazing Lipsner-Smith film cleaner, where it would undergo a soothing ultrasonic film bath. As each film came off the cleaner we proceeded to bring it directly to the Datacine and would find a good balance of light levels, commit to a setting and run each reel in an open matt -HD transfer( full 1920×1080). Because the Datacine produces a video file, I was able to capture the film transfer in real time and actually leave with the film reels, captured on a hard drive that very same day.

HD Spirit Datacine, actual 35mm print of Falstaff, being transferred.

HD Spirit Datacine, actual 35mm print of Falstaff, being transferred.

Check out some Full Frame -Raw HD Screengrabs imported out of Final Cut:

Falstaff_Finished Movie

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.


Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.


Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Keep in mind, there was no restoration done and no timing work, this transfer was done to confirm that this find is real. I am happy to reveal that it is the real deal. I proceed to make a quick DVD sample in Final cut of the transfer and sent it to Joel on the west coast and 2 days later, I flew out there and we had out first meeting together in person. He had so much to share with me and was more than excited. He was able to briefly share the results with a few people as well.

The results of the initial transfer were so much greater than we could have imagined. It has now given us the confirmation that this now exists and should be the subject of a major preservation and restoration. It is just coincidence that this happens to be a print that was played a few times before it was pulled and returned to the lab, and left to stay in almost perfect condition. The 35mm print is in such great condition that it is begging for a full 4k scan restoration, along with scene by scene timing and a hard level 3 digital scratch removal (meaning hundreds of hours of frame by frame dirt and damage removal). This would at least guarantee a viable digital archive and one that can stand for future generations of cinema lovers. And on the higher end of the film preservation, it might even be able to be used to strike new elements.

Complete 35mm print of Falstaff, on 7 full reels. Actual Print.

Complete 35mm print of Falstaff, on 7 full reels. Actual Print.

But these seven(7) 35mm reels stand for more than just a print of Falstaff, for it is symbolic on a few levels. First, the discovery of this almost MINT print had prompted us to do some major research into the exact elements and with almost forensic precision, we have traced this films life and the results are note worthy. Secondly, the story of how we actually discovered the print and the characters involved in this saga, is possibly equally as exciting as the print discovery itself, and there has even been talk of a short, independent film, based on this real story.

For those of you who have no clue about this film, here is the basic layout. = ( Chimes at Midnight) was shot in 1967 and directed by Orson Welles. The film’s plot revolves around many parts taken from Shakespeare’s various works, so it is like a grand compilation. The film was produced by Harry Saltzman, shot in Spain, starred Orson Welles and other famous actors and players, like assistant director Jess Franco, to name just one. This info was easily found on the internet. And since the dawn of the internet, articles began to circulate about this mysterious film……..Who owns the rights? Why has there been no definitive film restoration? Who has the original negative? Why was it pulled after a few play dates in New York City. The questions go on and on, visit a few web forums and see for yourself.

This discovery in itself is very significant. The films holds a great deal of history and all that is connected, and most people who have spent significant time researching this film over the years, are more than curious, how we came across this print.

Where did you find this 35mm print of Falstaff, Chimes at Midnight……..

I own a semi-large collection of film elements. Many of these films elements have been on the West Coast of the United States and I am located on the East Coast. There are also elements scattered from NYC, to Long Island, LA, Seattle and more. Part of my job over the past 5 or 6 years, has been to clean up loose ends in the collection of the films that I own, fill gaps in the archive, consolidate random elements, take proper inventory, try and find more elements, etc. In this process I have personally moved tens of thousands of pounds of film elements, truckloads, and sometimes, trunk-loads.

strip_LABMy films come from many places, like most collections. It’s make up is a mix of abandoned archives/labs, like Movie Lab, Bonded,  or the purchase of the Sam Lake Enterprise archive. There are also many original Distribpix film elements, some private film collections, a very kool collection of 35mm cartoons, television shows, and lots of others. There are so many odds and ends and some great titles in the mix. Many of these titles became the property of Distribpix in the early part of the 1990’s, when a few major labs in the New York area went out of business and many film elements that were left behind needed a home. Distribpix Inc, became that home. While there are some elements that we can’t account for, we are doing our best to make sure everything from this point on is saved.

35mm Technicolor Cartoon Prints.--Looney Tunes! I love these and the color never fades. I have approximately 60 different episodes.

35mm Technicolor Cartoon Prints–Looney Tunes. These originated partially from the Same Lake Collection, and the forensic trail of the elements leads us all the way back to the Viet Nam War era. These are the actual prints that were sent to troops for entertainment at outposts and bases. Pretty kool!I love these and the color never fades. I have approximately 60 different episodes.

With so much in any collection, it can be very difficult to identify every single film element. And the only way to do it correctly, is to open up each and every can, to see what is inside, its condition, and where it belongs. With thousands of random cans and reels in this collection, it is not that uncommon to occasionally come across some really interesting film finds, some are very newsworthy.

About 2 years ago, I became aware of several pallets of miscellaneous 35mm film elements that were in NYC. I knew they were there and on a few occasions, I sort of dipped into them to take a look. They were situated across from a spot, that I have adopted as my makeshift NYC shooting studio. So each time I would conduct an interview or commentary in NYC, I would find myself staring at these elements. Some 35mm adult features, and many more mainstream titles. Cans from Paramount can be easily identified, as well as other major studios and labs. There are some unique film prints, mainly misc American Cinema, and some kool titles, like Naked Prey, No Way Out, Lord of the Flies and many more.  But no find is more kool than, Falstaff.

Actual 35mm Print of Falstaff, notice the Grove Press labeling on both cans.

Actual 35mm Print of Falstaff, notice the Grove Press labeling on both cans.

Falstaff print can, notice the Peppercorn-Wermser label. This is the key to identifying  where this print originated from and where it was screened.

Falstaff print can, notice the Peppercorn-Wermser label. This is the key to identifying where this print originated from and where it was screened.

After originally re-discovering these, I was able to confirm that they had been in this spot for approximately the past 20 plus years. I had opened them up at one point and the film not only seemed to be complete upon visual inspection of the reels, but it seemed to be in impeccably amazing condition, no vinegar smell and that good ‘film’ smell. I thought to myself there must be a mistake. They were labeled correctly and rewinding a bit revealed a pristine picture. A film friend of mine, even told me to just sell it on the internet for a $1000, etc. I just felt it was worth more than that and all I knew was that it had to do with Orson Welles. Because things can be so hectic in life, I just left the cans where they were, knowing they would be safe. Another 2 years had gone by and this past summer, the reality of what was actually in my possession had hit home!!

It was in late August of 2014 and as I prepared to do an interview with Joel Bender, director of a feature film in my archive called Joy. I flew him into NYC from LA, where he was the guest for a 35mm screening of his film Joy at Anthology Film Archives, followed by Q/A, along with several of the cast and crew. He did not shoot that film under his real name, but used the name Harley Mansfield.

You may also know of some of his other mainstream films, like Gas Pump Girls in the late 70’s and in the early 2000’s, he directed Karla, a masterfully done film, based on the true story of a pair of Canadian serial killers. The bottom line is that I had 2 directors chairs for the interview and as Joel prepared to take the seat, he noticed the cans labeled Falstaff and what came next leads us up to this moment. I want you to get his perspective on this brand new discovery and the best way to do this was to have Joel summarize his experience:

Joel Bender, 1977( aka Harley Mansfield).

Joel Bender, 1977( aka Harley Mansfield).

Falstaff Chimes at Midnight – a brief history and love for a lost classic…….


(Part 2 by Joel Bender)

For me, Falstaff takes second place only to Citizen Kane in Welles body of work, or maybe its equal. The richness of style, the extraordinary photography and editing – the grandness of its execution and imagination on a paper-thin budget – this is a rich emotional story that hits on all cylinders and an astounding creative use of Shakespeare’s plays. It is actually a new Shakespearean play created by Welles.

It is a delight for me and my partner, Steven,  to attempt to bring this film back out and into the light of day for all to see. The film speaks volumes on the question of what happened to Orson Welles? His final feature speaks of his vision that belongs near the top of a list of best films of all time. For this film to finally find an audience that will grow as more people see this masterpiece of visionary talent. The question will be answer whatever happened to Orson Welles? He made magic out of thin air.

I first saw FALSTAFF/CHIMES AT MIDNIGHT at its first official screening in 1966 at a theatre on 57th Street in New York . I was still in film school at the time (School of the Visual Arts). I was a fan of all of Welles’ previous films especially The Trial, and of course Citizen Kane and Touch of Evil. As I sat in the audience I felt I was in for something special. The film on the screen was dazzling, funny, sad, beautifully photographed and performed and Shakespearean prose was spoken in a way that conveyed the real emotion of the situation. As in everyday speech. I felt that I was transported back in time. It was real entertainment with the most unique battle sequence or the Battle of Shrewsberry. I recognized this as a work of genius that could stand up to his Citizen Kane and rest of his best films.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

After the screening I wandered out of the theater reliving all the great images, feats of acting and scenes that I had just seen. There I bumped into the head of the film department at my school. He looked at me, shook his head from left-to-right and said “That’s the best filmed Shakespeare of all time. What a great movie.” I agreed.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

But a dark cloud would come. Although the film was hailed in Europe it was not that in America. Falstaff got some disheartening reviews from the New York press and pulled by distribution after a disastrous review by New York Times film critic Bosley Crowther, who even mad e a mockery of Wells’ performance calling his Falstaff “a bumbling street corner Santa Claus”. And the film a “mish mash of unrelated scenes”. Also, that “Welles was the first actor to be too fat for the role”. This was a crime. Amid some minor technical inadequacies because of the small budget, one cannot disregard the beauty of its images the fine-tuned story telling, the great originality of its conception and the use of several plays to make one play. Crowther’s review caused the distributor Peppercorn- Wormser, to withdraw his backing and to pull the film from exhibition and distribution in the United States even as the awards were piling up in Europe.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

The film FALSTAFF/CHIMES AT MIDNIGHT is based on the character of Sir John Falstaff. Orson Welles thought this was Shakespear’s greatest creation. Sections of several Shakespearean plays were used to create a new story. Welles said the core of the film was the betrayal of friendship. Sir John Falstaff is a running character in Shakespear’s plays.

Here, from a script that focuses on several sections from Shakespeare’s plays, Henry the 4th – Parts I and II, Richard the II, Henry the 4th. The central issue it dramatizes is the choice offered to Prince Hal between the values embodied by Falstaff which include gentleness and friendship, as well as bawdiness and deception – and self-denial and submission to higher interests of the Kingdom demanded by the exercise of power after his father’s death. There is a father/son relationship between Hal and Falstaff.

Over the years I tried to find a really good copy of Falstaff. I bought several imports but nothing came close to looking like the presentation I saw in 1966.

In August 2014 I went to New York to attend a film festival at the Anthology Film Archives where one of my early films was screening. After the festival was over I was taken to a warehouse/studio in midtown, by my very good friend, Steven Morowitz, who was going to do a filmed interview with me. As I sat down, I noticed a huge pile of loose film cans and carrying cases. I scanned the pile and I couldn’t believe what I saw. One of the cans at the bottom on the pile said “Falstaff”. The camera was just getting to roll on the interview when I got up and walked across the floor. Indeed, it said “Falstaff” with the  distributor’s name “Grove Press”. I knew that name from the first day I saw the film, 49 years ago. Low and behold, I turned to Steven and said “That must be the Orson Welles’ film.” It was – perfectly preserved. A great find for any film preservationist.


Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.


Always a Welles’ fan, I went with my wife to a screening of Chuck Workman’s new documentary “Magician” about the life of Orson Welles presented at the AFI film festival, at the Egyptian Theatre in Hollywood. After the screening, when the lights went up and applause subsided I headed over to speak to Peter Bogdonvich who was seated across the aisle. I said “My name is Joel Bender. I am a director. Just a few weeks ago I discovered with an associate of mine a pristine print of Chimes/Falstaff under a pile of film cans at this fellow’s warehouse. My associate didn’t know the value of what he had. We both descended on the cases of film, opened it up to find seven reels with the beautiful smell of film.” Peter was listening intently. I continued “We unrolled a little and knew we found something precious.” Peter called over entrepreneur Charles Cohen from the Cohen Group and pointed at me. Peter said “This guys says he has a great print of Chimes at Midnight.” When Mr. Cohen express interest, we exchanged business cards. I also spoke to Chuck Workman about it and we agreed to stay in touch about the film. When I got back to Peter I told him that the print I had was probably the same print I had seen in New York City in 1966.

SPECIAL THANKS: to Harrison Engle of Signal Hill Entertainment, Chuck Workman and Joseph McBride, Welles biographer.


In conclusion, we are both very proud of this discovery and all of the work we have put into this venture. We are pleased and yet cautious. Being aware of all of the rights’ issues and other obstacles, this is not an easy undertaking. We both feel that it is way too important of a cinematic discovery to simply ignore. With some hesitation Joel has shown one of the major releasing studios the sample DVD that we have.  This new discovery, can easily provide me and anyone involved with an unforgettable and epic film restoration project.

I hope you have enjoyed our article and the details within. There really are many angles to this and many roads in which we can travel. So far we have been contacted by a few theaters, looking to screen the print, but there is still some work needed to be done, clearing rights, etc. The element is simply too rare and has not yet been digitally archived properly, and without that, we can’t risk sending the print out to any theaters that still project 35mm. It would be great to be able to make this the subject of a crowd sourced, film restoration campaign. It would allow the community to speak and tell us what they want, and also support the project. With a film like Falstaff and a platform like Kickstarter, the possibilities can be endless. It would be amazing to be able to have the financing to do such a high level restoration, and film release. DCP’s can be provided to theaters and educational outlets. Who knows? But for now, please send us any feedback and advice that you may have. If you are a film or Orson Welles enthusiast, reach out to us and feel free to educate us and give us direction. This is news worthy, a major discovery!

Steven Morowitz and Joel Bender, August 2014.

Steven Morowitz and Joel Bender, August 2014.

About Steven and Joel:

Joel Bender is a director and a writer/editor who has a long history of making movies for more than 30 years.  He’s made movies for Cannon Films and independent films like Rich Girl (1000 Domestic Theaters) and Karla (National theatrical release in Canada and the United States).  He has a a strong directing and editing career and has done just about every genre in movies and TV. His love of film goes back to his pre-teen years. He’s just a simple boy from Brooklyn.
Steven Morowitz, owns and operates Distribpix Inc. which is an east coast film archive that specializes in preservation, restoration and releasing films in various niches, but one area of specialty is American sexploitation. His company was established in 1965, and has deep roots in the film business. Steven’s current responsibilities are hefty by any standards, as he single handedly runs his archive and media releasing company. He lives in New Jersey with his wife and three children.


We hope you enjoyed our article, and please feel free to contact us with any questions or comments: OR you can respond to the post directly on the blog!!


The Naughty Nurses Double Feature

The Naughty Nurses Double Feature

The incredibly long wait is soon over, as dozens and dozens of the original Distribpix Inc. productions and releases will be hitting home video on DVD and choice VOD platforms. These lost sexploitation gems will be packaged as double features with a common theme, by director, actor, genre, etc. Each film is transferred in High Definition and each original trailer is also included, as well as other extras, depending on each release. The films are being revived and released for the first time ever on home video, under the umbrella of the Distribpix Archive Collection (DAC).

The Distribpix films themselves are incredibly important to sex film history, as they fueled the grind-houses as Americans were thirsting for more filth. These sex exploitation films bridged the gap and filled that temporary void, between the pre-white coaters and all out X rated fare! Although one can argue that these films in our collection are hokey and downright bad, all I can say is that they would be dam right!!!! Well, not really. They might be some of the most entertaining, and in some ways groundbreaking erotic films of the modern day. I was really alluding to the fact that many of these are at the very low end of the spectrum as far as production value is concerned, even though they were shot in 35mm, they are bad in almost every way. Fingers seen in the frame, poor lighting, and even worse acting are a few of the dead giveaways. But keep in mind, that even with that said, many of these are still among the best sexploitation films ever made, like ones produced by the late and great Joe Sarno, as well as the Amero Brothers, the Findlays, Ron Sullivan,  and so many more.  The collection as a whole is invaluable and stands for a vital part of American sexploitation history and over the next few years, we hope to be able to bring all of these into your living rooms, as gorgeous, remastered films in HD, 2k, or even 4k.


Ladies and Gentlemen, the first installment of the Distribpix Archive Collection!! Enjoy.

The Naughty Nurses Double Feature- Distribpix Archive Collection.

The Naughty Nurses Double Feature- Distribpix Archive Collection.

Head Nurse, 1972 Kirt Films International

In Head Nurse, director Tim Davies takes us on a tour of NYC’s most bizarre hospital. While there are similarities to a “white coater”, it is clear that producer Jones Gregor, had other ideas…gorgeous nurses, crazed doctors, test tubes and corpses! Not too mention, one of the most unforgettable scenes involving a human skull, ever captured on film. Starring a moustache-free Harry Reems, a young Marc Stevens, and rare sex appearance by disco superstar, Andrea True. With original music by the Bushels.

Marc Stevens, Head Nurse, 1972.

Marc Stevens, Head Nurse, 1972.

Andrea True, Head Nurse, 1972.

Andrea True, Head Nurse, 1972.

Head Nurse, 1972.

Head Nurse, 1972.

Harry Reems, Head Nurse, 1972.

Harry Reems, Head Nurse, 1972.


Nurse-Made, 1971 Mansfield Ltd.

Some early sex-exploitation films have a cheap and amateurish look. Low quality audio dubbing, sloppy edits and poor lighting are just a few of the signs. Nurse-Made is the epitome of a NYC sexploitation film. Written, directed and produced by Robert B. Mansfield, this film explores a unique relationship between an ailing patient and his young nurse. Starring Jean Ashley, Lee Tucker, Dick Baker. Original music by Bob Mann. Assistant director, Gary Kahn.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

The Legends come out for Serena’s Book Signing in Hollywood!

The Legends come out for Serena’s Book Signing in Hollywood!

Bright Lights, Lonely Nights: The Memories of Serena, Porn Star Pioneer of the 1970’s.

Bill Margold and legendary adult actress, Serena.

Bill Margold and legendary adult actress, Serena.

Legendary adult actress, Serena, signed her brand new book at Larry Edmunds bookstore on Hollywood Boulevard on Saturday night Dec 8. I was in Los Angeles and would not miss an event like this, being just a few miles away. I was fortunate enough to spend time with another ‘larger than life’ character a few hours before this signing, a man by the name of Bill Margold, who is essentially the grandfather or great uncle of this adult industry. A guy who was there since the early days, he lived it. He has a very special place for Serena in his heart, and she always refers to him as, “Brother Bill”! I was honored to accompany Bill to this signing event, and before hand enjoyed some wonderful Tai cuisine as he reminisced about Serena and how emotional of a night it was going to be for him. Bill is a very serious guy when it comes to this type of milestone, he is a man who has deep roots with much of the talent of the adult biz, from the 70’s to today.

Bill Margold, and Actress Serena.

Bill Margold, and Actress Serena.

We headed to the bookstore on Hollywood Blvd. and Serena, who looked absolutely breathtaking. Even from a distance away, she had an aura of peace about her. I mean she was strikingly beautiful, absolutely striking. I never spoke with her before in person and it was sort of exciting to just be there. It is a small space, and hard not to be somewhat intimate, when it comes to conversing and reuniting of sorts. And a few others were in a small group, chatting and smiling. I recognized a few of the faces, Karen Summer was there, I saw her and knew right away as she has that same look and smile! Anyway, Bill headed right over to the the group and the hugs began flying.

Re-unitng, with Karen Summer and Richard Pacheco, both adult industry legends.

Re-unitng, with Karen Summer and Richard Pacheco, both adult industry legends.

I backed away for a bit, before making my introduction with Serena, as the legends were throughly engulfed with each other, and I did not want to break that up. I hung out in the store, chatted up lots of people, some close friends, other new friends. Of course I hung with my gal, Kelly Nichols, who I always love to see, and she looks better each time I see her.  I saw my old pal Roy Karch, he was very chatty and I loved it.  And then, another highlight was getting to rub elbows with Howie Gordon (Richard Pacheco), even if for a short time, as well as Karen Summer. Howie is another legend of the golden age of erotic film-making and also shares the promo circuit with his cohort Serena, where they both promote their recently published books. I even spent some time waiting out front for my guest to arrive, another legend  named Ron Jeremy. Waiting out in front of the store was a bit surreal and strange. I got to share some some great laughs with Cass Paley, another old school director and documentary filmmaker.

Legendary actress, Kelly Nichols.

Legendary actress, Kelly Nichols.

The place got packed with faces from yesteryear, and Bill Margold began his introduction. He was strong but eventually wept as he knew he would. He was overcome with emotion, as Serena sat beside him. Serena spoke about writing her book, and even mentioned her next book, now in the works, which is more of an art book. Her voice was very soft and at some points you could barely hear her. She was beyond soft spoken, like a talking whisper. We had to remind her to speak up a bit. I enjoyed listening to her speak and I appreciated hearing about some of her past experiences and interests. I had no idea that she was such a talented artist. She had a a very “peace and love” vibe to hear, like a love child from the Bay Area. She answered some questions from the crowd and afterwards in Larry Edmunds style, there was a mass photo shoot and book singing, meet and greet.

Bottom: Christy Cnayon and Ron Jeremy. Top: Howie Gordon(Richard Pacheco) Karen Summer, Kelly Nichols.

Bottom: Christy Cnayon and Ron Jeremy. Top: Howie Gordon(Richard Pacheco) Karen Summer, Kelly Nichols.


I got to my chance to meet Serena,face to face. Of course, she had no idea who I was, but I knew who she was. I told her it was great to meet her and that she looked amazing, and she smiled and thanked me. I really enjoyed just sort of sitting back and taking in all the reuniting and hugging and love. I mentioned working with her on some future projects and she seemed very excited. She left me with a major sense of wanting to know more and learn more about her, which I really think is ideal. Thank you for letting me share in on the celebration.


The plan that was after the signing, we were all going to go across the street to Musso and Frank. And let me tell you, the table of characters at that meal was one for the record books, a great group of people doing what they do. And yes, this is another story in itself. I think we had a table of  12 or 14 of the most unique characters, I guess I am one of them too? We were all hungry, tired and wanted to eat, but for some reason it took Ron Jeremy 2 hours to make his way across the street…LOL, I am kidding, just one hour! Oh, and in typical Ron fashion, I can almost swear he picked up an old friend on the street and she ended up at the table, where she scarfed down a short rib special,  with veg and potatoes and then took off like the wind. God, I love any meal I have with Ron Jeremy, I really do.

It was a great night and one that I will always remember. Thanks so much. Best of luck to Serena and all the other legends who are penning their stories/memoirs.



Here is a link to purchase Serena’s new book Bright Lights, Lonely Nights:The Memories of Serena, Porn Star Pioneer of the 1970’s,directly from the publisher BearManor:

Bright Lights-230x305


Wanda Whips Wall Street- Coming Soon

Move over Leonardo DeCaprio, Wanda Brandt is here!


Before the Wolf of Wall Street, there was Wanda Whips Wall Street…….

Larry Revene, one of the best adult film cinematographers of all time, took to the director’s chair for this wild and wonderful tale of sexual intrigue and economic espionage. Legendary superstar Veronica Hart gives one of her funniest and hottest performances as the scheming small town financial wizard who treks to New York to work her magic at one of the top investment firms in the city. Teaming with her girl Friday Janie (Tish Ambrose), Wanda sleeps her way through the company’s stock holders, using blackmail to absorb their shares. Corporate investigator Lou Perrini (Jamie Gillis) and his assistant Ed (Ron Jeremy) set out to uncover the culprits behind this corporate crime spree. Featuring appearances by adult film legends Samantha Fox, George Payne, Sharon Mitchell, Ron Hudd, and cult favorite Sondra Hillman, this is sophisticated sex comedy as its finest.

Wanda Whips Wall Street was scanned in 2k resolution and encoded for DVD. The source material was a 35mm theatrical print. Although many hours of color correction and digital scratch removal have been performed, there are still instances of scratches/splices, etc. The film is now presented in it’s original theatrical aspect ratio of 1.85:1 for the first time on home video.

HD Screen Grab from Wanda Whips Wall Street. (L to R) Tish Ambrose, Samantha Fox and Veronica Hart.

HD Screen Grab from Wanda Whips Wall Street. (L to R) Tish Ambrose, Samantha Fox and Veronica Hart.

Wand Whips Wall Street, Original Theatrical Poster. ©Distribpix Inc.

Wand Whips Wall Street, Original Theatrical Poster. ©Distribpix Inc.


DVD Features:

2k scan of Wanda Whips Wall Street (1982)

Feature Length Audio Commentary with Director, Larry Revene and Lead Actress, Veronica Hart

Video Interview with Larry Revene and Veronica Hart

Restoration Featurette

Slideshow and Ephemera Gallery

Technical Specs: 

AR = 1.85:1/Color/82 minutes/Stereo Sound

Packaged in a clear DVD case, with Reversible Box Art




The Henry Paris Collection- new singles out on DVD and MORE!!

The Films of Henry Paris: Update Fall 2014


Since 2010, Distribpix Inc. has been working very hard to restore the films of the legendary filmmaker Radley Metzger. More specifically, the 5 X-rated films that he created using the alias Henry Paris. These 5 films, which were all created in a span of about 2 years, and released from 1974-1979, had helped to further bolster the modern porn movement.His films along with others, like Gerard Damiano, Chuck Vincent and the Amero Brothers, all began to take on artistic merit, with larger budgets, real scripts, sets,talented actors, locations, etc. They were produced during the climax of the porn-chic period, right in the heart of NYC.  It was kool to go and see a porno, it was hip, it was the thing to do!! It was a time that can never be replicated, and it did not last very long. But, after 30 plus years, these films have not only stood the test of time, but continue to be sought after by legions of film fans, in both the mainstream and alternative cinema circles.


The goal was to be able to start from scratch and remake all of the DVD versions, beginning with the release of deluxe versions and possible Blu Ray’s, in order to really try and get the attention of more mainstream fans, who took this stuff seriously. It worked. The long and hard efforts paid off. I learned so much in one year. Starting with the original negatives and doing proper film restorations on each one was the basic starting point. As well as a burning determination to uncover as much as we could on each film, to properly set the historical context. We began to complete each film one by one, in the same order in which Metzger had released them theatrically, beginning with The Private Afternoons of Pamela Mann(1974). It was an exciting time for me and one in which I will never forget.


Like Pamela Mann and all the other Henry Paris films, I have refused to cut or censor any of them, like many of the previous distributors before me. I knew this from the beginning, as it was a practice I had already adopted and clearly the only person in the classic adult genre, who was not afraid to do this, I did not veer away, but at the same time, I would have to accept the consequences. If the film had fisting, I wanted it kept intact. Urination, no problem……some bloody sex, Oh well! Insinuated rape, big deal……. If it was in the original negative, I want it to be in the final version. I did not make these films, but as a secondary producer, I believe in proper film restoration, especially for these archival motion picture film elements. Film restoration is a bit complex, it can be simple to explain, but the process itself has so many variables, some include the age of the film, the film stock itself, conditions in which they were stored, and how the negatives or prints were actually handled, by projectionists, colorists or even the director themselves. The more you work with film collections and elements, the more you learn, just like anything. The bottom line is that unless it is absolutely necessary, I would never want to play censor on a film that was made 35 plus years ago and one that I did not create. As we all know, once we start to censor, we get into dangerous territory. And I have spoken with several directors from the golden age of erotica, who whole heartedly agree, that once these films are cut up and butchered, they are no longer the original creation, and in many ways, the message or soul of the film is missing.

Films were cut for many reasons, sometimes it was an issue of playing time, other times it was a concern of potential legal issues, and other times, it was done to be able to distribute the film on home video. But I truly feel like these films all lose their true essence, their ultimate meaning, if they are edited, censored or cut up. Especially, when in most cases, it is the most climactic, or unparalleled scene, from the film. For example, when the staged abduction takes place in Pamela Mann, it is such a vital scene, it is obvious that the revolutionaries(Jamie Gillis and Darby Lloyd Rains) are not only having fun with their captor, Barbara Bourbon, but it may be the highlight of the film. It further sets the tone and helps illustrate just how incredibly silly, eccentric and over the top, these character’s lifestyles are.

pam_gargae5Without that scene, the film is not complete. So leaving that scene intact, was really refreshing and I think many realized that I had a different approach to restoring these films. And keeping the film’s original run time and scene order is vital. Proper restoration is first, and if money is going to come from the release, it comes second. It is nice to know that several other film restoration companies share the same opinions that I do about quality.



Naked Came The Stranger (1975) was next and a great experience, maybe one of the most unique for me. I learned a lot on this project and really fell in love with the music on this one. I realized what true genius George Craig(director of music)really is. The film has become one of my all time favorites, I love the music and story, and the day we shot the bonus features for the DVD all around NYC and Long Island, was amazing.


Then it was on to the big one, The Opening of Misty Beethoven(1976). We needed to go Blu, that was the way to go about introducing classic erotica in 1080P HD. A no brainer. It was a hard 7 months of my life, producing both the 2 DVD collector’s edition, the 50GB Blu Ray, the CD Soundtrack with over 13 licensed songs, not too mention the Kickstarter(KS) campaign, in which we were kicked off, about a 10 days into our campaign, while we almost raised our goal or 10k!!! Thank you so much Kickstarter.

It was the best thing to ever happen, talk about great and free press, and publicity! It was everywhere.

We generated a good amount of income with our own independent fundraiser through Project Misty,which was well over the 10 grand goal. This, in turn showed me that there was enough interest in moving on the blu ray, the fund helped out in a huge way, but was just a fraction of what was needed to get this produced. So many came out of the woodwork to show their disgust at KS, especially university professor-Laura Helen Marks, film archivist-Joe Rubin and of course, my sidekick, Ian Culmell . They all took the time out of their schedules,and really put things into perspective for me. They began sending messages and emails to Kickstarter. Eventually, many others followed they even shut down the KS site for a short time, they were caught off guard, and I loved it. No matter what anyone says, Kickstarter dropped the ball on this one, they were caught in their own bullshit and did not care to step up.  I will never forget that and still have all of that correspondence, between us. It was amazing to see how many people from around the world, stepped and supported us.

It also gave me a very unique experience when it comes to social network funding. I mean, I did it right, IMO. We had a kick-ass campaign video with a great message, very professional rewards, and a reasonable goal. And we had our campaign approved as well. I simply wanted to raise money  and awareness to restore one of the greatest erotic films of all time(won 4 awards in 1976, including BEST PICTURE, BEST ACTOR, BEST DIRECTOR). All of you who stepped up to support me, thank you so much, you are great. We all still made it happen.

Screen shot 2012-06-04 at 11.26.46 PM


A huge year and learning experience and to this day, I am still amazed at the whole thing. Right before the release, we got hit by Hurricane Sandy and it took even longer to get the packages out. Most of the general public, don’t have a clue of all the work involved in a release of this magnitude, not a clue about the amount of research, travel and dedication, not too mention the costs involved. People think it was just a matter of authoring a few DVD’s, and that is so far from what we created, which was basically an entire make over of this cult classic! Myself and small team, took on that project and kicked its ass!! Great job guys.

The Misty Beethoven Blu Ray has sold very well, although it is essentially-almost of of stock, as the 2 DVD Collector’s editions have been out of stock for several months. These were both aggressive packages and the 60 page liner note books that came with both, are no longer available. Looking back, I may have spent a bit too much on the packaging on all fronts, but that is why I said that they may be limited in some aspects.

Leaving the social fundraising behind, I jumped right into the next films, Barbara Broadcast and essentially treated it the same way as Misty, but had more fun with it. It is a much more dialogue light film, but the sex is key and the steamy eroticism and comedic one liners, really move this one along. Both the 2 DVD set and Blu Ray plus 2 DVD combo pack are decent sellers, they are great packages with lots of value and there are plenty still in stock. The Barbara Blu Ray has not sold nearly as well as the Misty, which has been a great eye opener, considering that dozens of fans are requesting the remaining Henry Paris films to be made available on Blu Ray.RMF_banner_BB

That brings us back to Maraschino Cherry(1979), which has been recently scanned in 2k, b0th the hard and soft versions, and now completes all 5 of the Henry Paris films being scanned and restored. Before we commit, to another deluxe DVD version of Maraschino Cherry, or even the Blu Ray, we want to be able to get a bit more feedback on the best way to approach this. For example, do we do a Blu Ray 3 Pack, of the remaining titles(Pam, Naked, Cherry)??? As well as  a standalone Maraschino Cherry Deluxe dvd set??? AND, do we keep all the extras, or trim these Blu Rays down to the bare minimums, like the hard versions and maybe the trailers? A bit more to decide.


So, now as I look back, while trying to move forward, I am in the process of making some very important creative and business decisions in order to be able to get these great deluxe packages back out. We are exploring ways to make the packages more cost efficient, while still being able to keep the high quality of both the content and the package as a whole. Many of the original deluxe versions are at very low stock levels, it is important for me to be able to get these back on the market with some new features as well as other surprises.

One negative aspect of the higher end, deluxe packages, is that many of the adult retail outlets have not been able to carry them, due to higher than usual wholesale pricing, or simply that they did not have the clientele, who would purchase the higher end collectibles. Pricing is very important in every part of the market, but collector’s are, in my opinion, a better customer for my product, as they understand the value and work involved, they appreciate the hard good and want to see it thrive. They also enjoy standing behind independent labels and support much of the work involved. While,the typical adult buyer, really just wants to see the film and in many cases, they don’t want extras and don’t even care about the quality of the film, which I can’t understand, at least not with todays technology, so easily accessible, to film studios and reasonably priced.

With all this said, I have some very good news to announce, that I think will appease a large part of the adult market, particularly-retail stores and their distributors. And anyone else who wants to get in on the action.

All 5 of the Henry Paris films are now all available in single DVD versions. Each DVD contains the full- uncut feature, the film’s theatrical trailer and a slideshow/ephemera gallery of images. Each film has been scanned in 2k resolution from the original negatives. These will all be very reasonable priced and are a fair balance between efficient DVD features and also, clean looking, yet affordable packages. Each DVD comes in a clear case, with reversible box art. Below is a sample of the front and reverse sides for the Barbara Broadcast Single DVD (2014).


Barbara Broadcast Single DVD version Box art- Front Side

Barbara Broadcast Single DVD version Box art- Front Side


Barbara Broadcast Single DVD Version 2014- Reverse Side

As a special bonus for the fans that want too buy all 5 of the DVD’s at once, we are now offering a very awesome looking and totally limited 5 Pack Collector’s Box Set, with a hand numbered case and 500 custom postcard magnets(4×6). There are only 500 numbered box sets and they are a great gift for the hard good DVD collector. A very attractive set indeed.

*Please understand, these are the single DVD versions of the Henry Paris films, if you already invested in the deluxe versions, you do not need to purchase these. These Single DVD editions, will allow many people to purchase and experience the films. in an efficient manner. And the Box Set will get them all 5- in a great package without going overboard. If your a die hard collector and love the hard good, than you may want to buy one anyway, for your shelf. These will make great gifts as well.


The dvd’s from the Henry Paris collection are now all available for sale as standalone versions OR as the complete 5 pack collector’s set.

The 5 Pack Collector’s Box Set set is exclusively available from