Thursday, June 30, 2016
THE STUDENT NURSES (1970)
I've always felt that there was a kinship between the film noir of the 40s and 50s and the exploitation movies of the 60s and 70s. This is not to say that noir gave birth to exploitation--there were already exploitation movies in the 30s, 40s, and 50s, usually of the "hygiene movie" or "vice film" variety--that were the direct precursors of the 70s skin flicks. Still, in a lot of ways the low budget B-movie noir has a similar ethos to the exploitation movies that followed it. Both usually centered on crime, both trafficked in open appeals to sex and violence, and both were innately subversive.
The other night I got to see one of the real gems of 70s exploitation when the indispensable Chicago Film Society showed a rare print of Stephanie Rothman's THE STUDENT NURSES in their summer series. Produced by Roger Corman, the film follows four student nurses as they attempt to navigate various personal and professional crises on their way to graduation day. The film is famous today because of its unmistakable feminist and radical storylines. Here's a cheap would-be "sexy nurse" movie in which one of the heroines gets a still-illegal-at-the-time onscreen abortion while another gets involved with Mexican urban guerrillas. This is not just another skin flick.
I have to admit that I straight-up loved this movie. It's a wonderfully weird hybrid of subversive art and cheapie exploitation. Rothman was required to meet certain quotas of nudity and violence, but she does this paying-the-bills grunt work in interesting ways. The violence (all viscerally well done) mostly revolves around the urban guerrillas and is portrayed from their point of view, a stark contrast to mainstream cinema of the time, which largely used urban guerrillas as clay pigeons in cop movies. Here, when one of our heroines decides to use her medical knowledge to help her revolutionary friends, the choice is presented as being as legitimate as any other choice.
The director's handling of nudity is equally interesting. First, she includes as many naked male bodies as female bodies, which negates the typical imbalance in virtually all cinema in which men retain power positions as clothed (and hence in control) while women are naked (and hence exposed and vulnerable). This also means that everyone in the film is sexualized, not just the women. Secondly, Rothman finds interesting ways to incorporate the nudity into the story, including a LSD drug trip that is both a turning point in the plot and an important piece of character development. Another subplot in the story involves the relationship between one of the nurses and a patient. Given the fetish fixations of the sexy nurse subgenre of exploitation and porn, one would predict that this relationship will end in the nurse taking off her clothes, which, indeed, she does, but Rothman plays the scene for pathos rather than titillation. We know the patient is dying, and the scene is less about sex (they don't have sex, actually) and more about human connection.
I also should say a word about the abortion subplot, which is the element that makes the film the most transgressive to this day. Most films dealing with "unwed" mothers--including the crisis pregnancy noirs I wrote about in my piece "Women In Trouble" for Noir City--resulted in the death of the young woman, a de facto way of punishing her for her transgression. (The unwed fathers in these cases, it almost goes without saying, rarely died.) Not only does the young woman here live, but chooses to have an illegal abortion (after first being unable to secure a legal procedure). The abortion is shown here (not graphically), at a time when even mentioning abortion was extremely rare onscreen. Thus, this goofy exploitation movie is one of the first films to deal with abortion from a feminist perspective in a way that doesn't punish the young woman.
I won't make the claim that THE STUDENT NURSES is great art. It's got its share of wooden performances and budgetary shortcuts, clunky lines and awkward staging. What I will say, however, is that it's far closer to great art than it is to a real bottom-barrel tits-and-ass exploitation movie like 1969's THE BABYSITTER. It's an inventive, fun, subversive time capsule from a director who was given the materials to make a film with themes that were important to her, exploring perspectives never would have been allowed in the mainstream, perspectives that still rarely make it to the screen today.