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Really Surprised!

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

One of the best movies of the year! Incredible from the beginning to the end.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

I would have liked to check into this creepy hotel (which seems a lot like the Chelsea Hotel in NYC - but West Coast version and somewhat cleaner), but not with he total innocence of Cheryl (Ann Ruymen). She is a perfect "Candy" trying to find her identity and discover her sexual longings, which were thwarted by her evil sister hogging all boys to herself and excluding Cheryl.Paul Bartel is a gentleman's John Waters and he deals with his own California assortment of oddballs as did Waters on the East Coast.Ruymen is perfect as the girl seeking a sexual connection and someone finally treating her as a "woman". She seeks and flirts with he oddest of characters and is really, really convincing and is perfect for the part. She befriends the weird George, the "priest", the handyman and an assortment of oddballs that are much more friendly than her narcissist sister.I can't believe it is Paul's first film, as it is really well paced, with stylized music, great characters, even direction, a nice discovery for me in the 2 for $1 rental store. I will buy a copy if I ever find one. I really enjoyed this film and I hope you enjoy it also.Easting Raul is a classic and was shown on college campuses as a cult favorite.

If you are looking for something off-the-wall, quite different, and positively perverse, look no further than Paul Bartel's Private Parts, a film which certainly looks at identity in a wholly unique way. A curious teenage girl, fascinated with sex, having run away from a bad home with a drunken father, winds up at the hotel King Edward with strange tenants and an odd proprietor, her Aunt Martha. Martha doesn't like girls much, considering them filthy trash(..the way they paint their faces and dress like ho's), and she has a peculiar renter named George who seems to be a photographer. Cheryl hears noises coming from a storage closet right next to her room and soon discovers, after heisting away Martha's keys, that some peeper has drilled holes to see into her room and the bathroom on the other side. She herself is a voyeur who likes to snoop and sneak, entering rooms uninvited, discovering secrets of some of the folks who live on her third floor, such as the loony "reverend", Moon, who has this giant statue of Jesus erected right next to a curtained area whose wall is covered by photos of buff weightlifters! George has one of those strange art deco type rooms with art strewn throughout featuring enlarged photos of women in various states of dress(..check out the television set whose screen is in the center of a woman's mouth!). George has a dark secret, and his relationship with Martha is quite a revelation, revealed at the end as Cheryl attempts to share one last night with the mysterious photographer before having to board a bus home at Auntie's request(..no, demand). A couple Cheryl was staying with(..right from the beginning Bartel shows her peeping on them having sex behind a curtain!)come looking for her..Cheryl had swiped this girl's wallet wanting the money with her obviously wanting it back. Of major importance to the plot is the inclusion of a model named Alice who stayed in the downtrodden hotel, having disappeared, a young woman whose presence was of importance to the characters who lived in the King Edward. Bartel was a filmmaker more than willing to push the envelope, and take his viewer into a world of sexual confusion, with "Private Parts" we are introduced to "eccentrics" with ways most peculiar, vividly brought to our attention only after Cheryl naughtily intrudes into the guarded lives of people, snickering as she pokes her nose in other's personal belongings. We are ourselves willing participants as well, following her lead into these rooms, and Bartel gleefully presents us "prying eyes" with all manner of psychological torment, sexual and otherwise. Seeing water fill up a sex doll for George who cuts out large photo of Cheryl's face, injecting blood inside it, with us realizing that this poor fellow is in dire need of serious counseling, later understanding why this person is in such an anguished state. Aunt Martha likes to attend funerals in order to potentially capture the spirits of the dead leaving their bodies, believing that this is a beautiful situation(..she's one of those disgusted with the lust of the flesh and how it supposedly corrupts women)..so we can see right here that she's not exactly playing with a full deck. The level of strange ambiance is palpable, and the atmosphere of the King Edward hotel is in the Bates Motel tradition.Ayn Ruymen is playful and promiscuous as Cheryl, rather unpredictable as teen girls can often be in their decision making when away from parental guidance. Lucille Benson achieves the right amount of benevolence and contempt as Aunt Martha. John Ventantonio is especially good as a damaged George, traumatized from a horrible upbringing. Laurie Main is a hoot as Reverend Moon, an obviously gay tenant who swoons when other men come in close contact that he likes.

They don't make 'em like this anymore.Private Parts was the first feature film for Paul (Eating Raoul) Bartel, and it is an odd little film combining elements of 70's exploitation, Bartel's usual luridness and dark humor, and some genuinely creepy situations.Acting slightly more naive than she actually is, Cheryl has become a resident of her aunt Martha's seedy and eccentric filled Los Angeles hotel. While most of the folk Cheryl meets seem harmless enough, someone is going around hacking up nosy visitors. The plot may be a familiar one, but this movie will take you places you could never imagine, mostly due to the strange relationship that emerges between Cheryl and George, a neighbor who is an avid photographer.For a 70's cheapie, the film looks great, and it completely captures the grimy feel of its hotel setting. As Cheryl playfully makes her way through the locked doors of her neighbors, it's easy to become anxious wondering what she may encounter. The cast on a whole is also exceptional with Lucille Benson as Aunt Martha a particular stand out. Lucille Benson's portrayal is an expert mix of sweetness and an unsettling sternness.Saying much more would give away too much. Suffice to say, this is a fun and unusual little 70's thriller. Anyone who enjoyed "Eating Raoul" or "Death Race 2000" would probably get a big kick out of this one too.

In the 1970s there was a genre I like to refer to as the "70s doom" film. I'm not sure if "Private Parts" qualifies, as it's much wilder than most of the ones I hold most dear (like "The Pyx" and "Don't Look In The Basement"). But it's definitely got the aesthetics down pat, and if it seems a little too deliberate or *too* well made to be authentic, it's at least an unforgettable experience.Groovy 70s chick Cheryl (pronounced "CHAIR-ul") is on the run with her friend Judy, who freaks out on her when Cheryl spies on her having sex with a groovy L.A. hunk. Cheryl packs her suitcase and takes off, along with Judy's wallet, and heads out into the sleaziest part of L.A. looking for her long-lost Aunt Martha's hotel. Unfortunately for Cheryl, she finds it, and Aunt Martha takes her in.Aunt Martha is a stout, homely woman with no tolerance for worldly ways. She insists that Cheryl wash "that paint" off before joining her for dinner, and lectures her on the evils of sex. Cheryl plays along for a place to stay, but she soon finds out that the hotel is full of loonies of all types. There's a gay priest who has a thing for male bodybuilders, a drunk guy who doesn't do anything except pass out in his room, and an old lady who wanders around looking for a girl named "Alice". Oh, and don't forget the reclusive photographer, George, who shows his affection for Cheryl by spying on her through cracks in the wall, leaving her pornographic reading material in her room, and offering her fetish gear to wear for his amusement. Cheryl craves the attention, but she's not aware that people are being murdered in the hotel, or that someone may cut her head off with a machete one of these days. Is that what really happened to "Alice", anyway?Not all aspects of the movie work. I wasn't a big fan of the music, although others have raved about it and found it reminiscent of Bernard Hermann (!). It seemed too grandiose for this film, and I longed for the cheesy thriller cues from "Don't Look In The Basement". I also found the movie overall to be a little too polished. Paul Bartel has a great eye for detail here, many of which don't really mean much except to add an otherworldly quality to the movie, but it's almost too calculated. It also comes apart too soon at the conclusion, when outside authority figures come to the hotel and reveal themselves to be as weird as the residents there. It detracts from the notion of the hotel as being a microcosm of insanity.But there is a lot to love about it. Some of the strongest images in the film come as a shock to the first-time viewer, so make sure you don't watch the trailer included on the DVD (it's one of those that reveal all the twists in the film, including who lives, who dies, and who's doing all the machete chopping), but this movie will not make anybody jump out of their seat. Instead, it gets under your skin, particularly a see-through vinyl blow-up sex doll that George likes to dress as Cheryl, complete with an enlarged photograph of her face attached to it. George fills it with water, and never has vinyl looked so disturbing and bizarre as it does here while the doll slowly unravels, snake-like, taking human form gradually while still looking completely alien. It's a low-key chill, but something that I've never seen in a film before this one. What a shock some of this must have been back in 1972.Even today it's still bizarre. It's the kind of movie that infuriates some people for being too vague and meandering (and thus boring), while other people will read into it and find it fascinating. I'm one of the latter.