Come with Me My Love is on the 'Something Weird' label, but it would be much more at home on a label calling itself 'Something Crap', because crap is exactly what this film is. You can't really go into a cheap porn film like this expecting brilliance, but I honestly did not think that Come with Me My Love would be as bad as it is. The film looks like it cost just a few pennies to make, and it probably did. There's really not much to it either, and this is made very clear from the outset. There is some plot involving someone that finds his lover in bed with another man, kills them both and then comes back as a ghost, but it's never explained or explored. That being said, there isn't really enough time to explain or explore it as the entire film is made up of sex scene after sex scene. The music that goes with the sex is kind of funky, and it does work fairly well; but when you're sat watching the same thing for seventy minutes, you're bound to soon get tired of it. The women are not nice looking either, which doesn't help. Overall, I have to say that this film bored the pants off me, and I can't see why it would have a different effect on anyone else. No recommendation for this one!
7 Reviews
A scorned ghost kills a young woman's lovers in a silly porn feature.
capkronos24 April 2008
Warning: Spoilers
In Kenmare City circa 1925, Randolph (Jeffrey Hurst) catches his wife and his best friend in the act. After standing there watching them go at it until they finish, he shoots his friend dead. When his wife takes off her ring and throws it at him, he shoots her, too. Then he points the gun to his own head and pulls the trigger. After that black-and-white opening sequence the film jumps ahead to 1976 and it's now in color. A young woman named Abby (Ursula Austin) moves into the same apartment where the 50-year-old antique bed the couple was killed in during the first scene still sits. She meets her very, uh, friendly neighbor Tess Albertino (Annie Sprinkles) and then strange things begin happening. She hears heavy breathing, wind starts blowing her hair around, the lights go out, a bottle of sleeping pills appears out of nowhere (which she feels compelled to keep eating) and next think she knows she's being visited by the horny ghost of the scorned, love-hungry dead husband. He seems to want a mate to share eternity with in the afterlife and gets mighty jealous when he sees Abby fooling around with anyone else. Her first lover is electrocuted after a ghost hand pushes a radio into the bathtub. When Abby's date Bill comes over to "comfort" her, he's pushed out the window. A ghost hand reaches out and stabs Abby's third (female) lover. A wedding band appears on Abby's finger and she can't get it off. Can the ghost persuade Abby to keep eating the pills until she passes on or will it continue killing everyone Abby screws (i.e. basically anyone who enters her apartment). On two different occasions, the film drifts away from the main storyline to show pouty-lipped Vanessa Del Rio, her blonde roommate and several guys going at it.
Directed and produced by exploitation queen Doris Wishman under the alias "Luigi Manicottale," this is basically a typical 70s porn with some light horror content. Sadly, it is lacking Doris' trademark weird camera-work where she pivots the camera around in weird directions and films potted plants and stuff. The only two touches really indicative of her usual style is a close-up of feet walking up stairs and someone walking around in a park. The ghost effect used is the negative image overlapping you often see in cheaper ghost movies from this time. As to be expected, the acting is dreadful and good for a laugh or two. So is some of the dialogue (including some silly voice-overs). Then again, it's just a porn so there's no need to be too critical. It's mainly about sex. There's plenty of that, but it's pretty standard/dull stuff and this is a forgettable effort from the popular cult director.
Directed and produced by exploitation queen Doris Wishman under the alias "Luigi Manicottale," this is basically a typical 70s porn with some light horror content. Sadly, it is lacking Doris' trademark weird camera-work where she pivots the camera around in weird directions and films potted plants and stuff. The only two touches really indicative of her usual style is a close-up of feet walking up stairs and someone walking around in a park. The ghost effect used is the negative image overlapping you often see in cheaper ghost movies from this time. As to be expected, the acting is dreadful and good for a laugh or two. So is some of the dialogue (including some silly voice-overs). Then again, it's just a porn so there's no need to be too critical. It's mainly about sex. There's plenty of that, but it's pretty standard/dull stuff and this is a forgettable effort from the popular cult director.
Doris Wishman!
BandSAboutMovies21 December 2023
Warning: Spoilers
In 1926, Randolph (Jeffrey Hurst) catches his wife (Ursula Austin) making love to his best friend (Terry Austin). He kills them, then himself, and remains trapped in the apartment, his spirit unable to move on.
Fifty years later, Abby (also Ursula Austin) moves into the apartment, a place where sex is always happening, mostly between her neighbors Patrick (Robert Kerman, who would go to Italy and make Cannibal Holocaust), his unnamed blonde lover (Nancy Dare) and Lola (Vanessa Del Rio), who is the one who told Abby to move here. There's also Tess Albertino (Annie Sprinkle).
Abby can't sleep and magically, sleeping pills show up. She takes them and we see the sky, the wind picks up and Randolph emerges from the wallpaper to make love to her, which we see as Abby being thrown around the bed with no one else there. The problem, well besides the lack of consent in this scene, is that every man who has sex with Abby gets killed from here on our. There's even a radio thrown into a bathtub which I love to no end. Anny deals with this by wandering through a blizzard before coming home to discover that she has a wedding ring stuck on her hand.
The credits say that this was directed by Luigi Manicottale - when has an American taken on an Italian name, that's the exact reverse of how this works - but that's really Doris Wishman. The ghost effects of this movie, the strange snowy park walking scene, the murder after murder without stopping the nonstop lovemaking - this is one strange movie. I have no idea who would be turned on by it and I don't think Doris cared at all.
Annie Sprinkle recently posted about this movie on Instagram, saying "I was just interviewed for a documentary film about cult filmmaker, Doris Wishman. Amazingly I was in two of her movies almost 50 years ago. Satan Was A Lady and Come With My Love. I had not had a single acting lesson. (Still haven't. ) I didn't like acting. I liked the sekx scenes. When I thought about it, Doris was the first woman director I worked with. She was in her 60s and when we shot the dirty bits she would leave the room! The films are partly on YouTube. I was 20 years young and had very bad hair! Most everyone else in the film is dead now. I'm still here! Dori's would be amazed I'm now still making films and am a Guggenheim Fellow even. Doris is gone but not forgotten."
The effect of the man emerging from the wallpaper scares me.
Fifty years later, Abby (also Ursula Austin) moves into the apartment, a place where sex is always happening, mostly between her neighbors Patrick (Robert Kerman, who would go to Italy and make Cannibal Holocaust), his unnamed blonde lover (Nancy Dare) and Lola (Vanessa Del Rio), who is the one who told Abby to move here. There's also Tess Albertino (Annie Sprinkle).
Abby can't sleep and magically, sleeping pills show up. She takes them and we see the sky, the wind picks up and Randolph emerges from the wallpaper to make love to her, which we see as Abby being thrown around the bed with no one else there. The problem, well besides the lack of consent in this scene, is that every man who has sex with Abby gets killed from here on our. There's even a radio thrown into a bathtub which I love to no end. Anny deals with this by wandering through a blizzard before coming home to discover that she has a wedding ring stuck on her hand.
The credits say that this was directed by Luigi Manicottale - when has an American taken on an Italian name, that's the exact reverse of how this works - but that's really Doris Wishman. The ghost effects of this movie, the strange snowy park walking scene, the murder after murder without stopping the nonstop lovemaking - this is one strange movie. I have no idea who would be turned on by it and I don't think Doris cared at all.
Annie Sprinkle recently posted about this movie on Instagram, saying "I was just interviewed for a documentary film about cult filmmaker, Doris Wishman. Amazingly I was in two of her movies almost 50 years ago. Satan Was A Lady and Come With My Love. I had not had a single acting lesson. (Still haven't. ) I didn't like acting. I liked the sekx scenes. When I thought about it, Doris was the first woman director I worked with. She was in her 60s and when we shot the dirty bits she would leave the room! The films are partly on YouTube. I was 20 years young and had very bad hair! Most everyone else in the film is dead now. I'm still here! Dori's would be amazed I'm now still making films and am a Guggenheim Fellow even. Doris is gone but not forgotten."
The effect of the man emerging from the wallpaper scares me.
Wishman Goes Hardcore
Michael_Elliott11 July 2015
Come with My My Love (1976)
** (out of 4)
Strange mixture of horror and pron starts off in the 1920s when a husband catches his best friend banging his wife. The husband kills the two before turning the gun on himself. Flash forward to 1976 and a swinger (Ursula Austin) moves into the same location where she is haunted by the husband's ghost. Soon the ghost is killing anyone who comes into sexual contact with the woman.
Doris Wishman made dozens of sexploitation pictures but only a couple hardcore pictures. If you're looking for high art then you're not going to find it here but overall I thought this was a mildly entertaining film that doesn't hit either genre out of the park but it's still interesting when compared to the other films that Wishman did.
I think the most interesting thing here is a "special effect" where the camera is set on the swinger and the husband messing around on the bed but then the camera turns to the right to a mirror where we don't see his reflection. The camera then pans back to where we once again see them on the bed. You could bash this sequence but I found it rather clever considering the budget I'm sure was extremely low.
COME WITH ME MY LOVE is mainly going to appeal to Wishman fans who want to see the bizarre touches that she put on the film.
** (out of 4)
Strange mixture of horror and pron starts off in the 1920s when a husband catches his best friend banging his wife. The husband kills the two before turning the gun on himself. Flash forward to 1976 and a swinger (Ursula Austin) moves into the same location where she is haunted by the husband's ghost. Soon the ghost is killing anyone who comes into sexual contact with the woman.
Doris Wishman made dozens of sexploitation pictures but only a couple hardcore pictures. If you're looking for high art then you're not going to find it here but overall I thought this was a mildly entertaining film that doesn't hit either genre out of the park but it's still interesting when compared to the other films that Wishman did.
I think the most interesting thing here is a "special effect" where the camera is set on the swinger and the husband messing around on the bed but then the camera turns to the right to a mirror where we don't see his reflection. The camera then pans back to where we once again see them on the bed. You could bash this sequence but I found it rather clever considering the budget I'm sure was extremely low.
COME WITH ME MY LOVE is mainly going to appeal to Wishman fans who want to see the bizarre touches that she put on the film.
Okay porno sleaze horror.
HumanoidOfFlesh11 May 2007
A cuckolded husband murders his wife and his best friend who she's been sleeping with,then commits suicide.Fifty years later,his ghost is haunting his old apartment and he has sex with any women that live there and murders their boyfriends."The Haunted Pussy" is a hoot.The music is completely awful as is the dialogue.Still there are a few atmospheric moments and the porno sequences are suitably steamy.The acting is surprisingly decent and there are some pretty bloody murder scenes.The film is not as dirty as "Forced Entry","Waterpower","Femmes de Sade" or similar XXX roughies,but if you are a fan of 70's porn mixed with horror you can't go wrong with it.6 out of 10.
A hilariously lousy horror porn schlocker
Woodyanders24 November 2009
Warning: Spoilers
1925, Kenmore City. Rudolph (the hopelessly wooden Jeffrey Hurst) catches his wife cheating on him with his best friend. He commits suicide after killing them. Flash forward to 1976. Sexy swinging chick Abby (pretty brunette Ursula Austin) moves into Rudolph's house and is haunted by his pesky and lecherous ghost. When Rudolph isn't doing just what you think with Abby (naturally he doesn't cast a reflection in the mirror, so we get several gut-busting shots of Abby making love to the air!), he's bumping off everyone who gets it on with her (a bath tub electrocution set piece in particular is positively sidesplitting). Boy, does this baby possess all the right wrong stuff to qualify as a truly choice Grade Z clunker: plodding (mis)direction by the legendary Doris Wishman, cruddy post-sync dialogue (not to mention assorted badly dubbed in groaning and moaning), rough'n'grainy cinematography by C. Davis Smith that boasts a fair share of clunky pans and clumsy tracking shots, the inevitable get-down groovy and grinding disco music complete with an incessant thumping beat and wickedly wailin' wah-wah guitar, incredibly stiff (non)acting, a gloriously ludicrous premise, and chintzy (far from) special effects. Naturally, there's plentiful raw and raunchy hardcore copulation that includes fellatio, cunnilingus, lesbian coupling, and some nice group session stuff. Me Decade porn favorites Annie Sprinkle, Vanessa Del Rio, and Robert Kerman all get down and dirty with pleasing lascivious aplomb. A total tacky riot.
Ursula Austin Verses The Over Amorous Entity
gavcrimson3 February 2001
The Haunted Pussy, an X rated horror film began life during a cold New York winter of 1976 when it was known as the far less snappy sounding 'Come With Me, My Love'. Opening in black and white the film begins in 'Kenmare City 1925', a couple make love while a sinister figure walks up the stairs to their room. The mystery man is Randolph (Jeffrey Hurst) who is greeted by the sight of his best friend on the job with his wife- observing them for a very long time Randolph pulls a gun from his pocket and shoots them. 'Even in death you are not mine' he whimpers to his wife's bullet ridden corpse then blows his brains out. Fifty one years later the room where the bloodshed took place is now part of a high-rise building and has a new tenant in Abbie (Ursula Austin)- the mirror image of Randolph's wife. Bizarre coincidence or is she a reincarnation of his unfaithful love? the ghost of Randolph doesn't seen to care either way and by night emerges in negative from one of the walls and has his way with the agreeably confused Abbie. Randolph isn't the only one to give Abbie some attention though and soon Abbie is offering bedspace to many of the other tenants as well as several passing oddballs (blasts of dirty wah-wah guitar music strike up the right mood). The ghostly Randolph is having none of it, and whenever anyone made out of flesh and bone gets their mitts on Abbie- the horny ghost murders them forthwith. First to go is the slimy boyfriend of Abbie's neighbour Tess who lures Abbie to bed after finding her creeping around the cellar when the lights go out. Abbie's lothario retreats back to his pad 'that Abbie was some dish' he muses while making idiotic macho poses in the mirror- but no sooner does he get into his bath than the ghost conveniently pushes in a radio after him. Later Abbie goes on a date with Bill (John Livermore) 'what you need is a little loving' he barks and soon is over at her apartment dispensing it. Chubby, bearded and genuinely bewildered looking Bill barely has time to get his shirt back on before the ghost pushes him out of a high rise window. With no one left to turn to Abbie confides in her chirpy neighbour Tess (Annie Sprinkle) but she too follows the tragic path of all the others- bedding Abbie and being slaughtered by the ghost. Tess's demise is particularly noteworthy- setting the table in the nude (!), she encounters a levitating knife and is stabbed in the cleavage. It goes without saying that the New York City captured here was a fairly decadent time and as a base expression of the era The Haunted Pussy is characteristically rude and lewd. Not content with Abbie's encounters with the spirit world- theres also nonsensical cutaways to a swingers party. Although tentatively woven into the narrative the scenario looks suspiciously like the sort of loop well requested on NYC's adult jukeboxes of the time featuring Vanessa Del Rio (as Lola) as well as skinflick actor and erstwhile Italian cannibal movie hero R Bolla (aka Robert Kerman). The verdict? in all the X rated antics give the film an edge although twenty five or so years down the line its absurd premise seems far more anarchic. Parts of the film do however strike up an eerie tone, particularly when Abbie takes a walk around a deserted snow covered central park- theres a overwhelming sense of alienation as if Abbie never has belonged in this time something ironically supported by the climax. Little is really known about The Haunted Pussy's commercial weight, although popular rumour has it that a heavily edited version was prepared for Cable TV, but to the best of anyones knowledge has never been transmitted. Perhaps the most quizzical aspect to the film is the 'did she or didn't she' question mark as to cult favourite Doris Wishman's direction. Although never officially recognised as part of the Wishman back catalogue theres enough here to justify the IMDB identifying The Haunted Pussy as a Wishman feature. Every wonderful Wishmanesque trait is present and correct- whether its obsessive shots of people's feet, inappropriate music or the big tell tale sign of Wishman's trademark post synched dialogue so uniquely off-kilter and otherworldly. That stock shots have been taken from Wishman's feature Double Agent 73 raises an eyebrow as does the lengthy gap in the prolific Doris' career between 1973's The Immoral Three and 1978's Let Me Die A Woman. We'll probably never get a definite answer- but no matter The Haunted Pussy/Come With Me, My Love is either an authentic relic of Doris' years in the wilderness or at the very least the best Doris Wishman movie Doris never made.
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