From what I looked up, Sins of the Night was made for the Showtime network and featured future film director (and son of John) Nick Cassavetes as the male lead. It was released on VHS by Academy Entertainment but is now out-of-print.
From what I looked up, Sins of the Night was made for the Showtime network and featured future film director (and son of John) Nick Cassavetes as the male lead. It was released on VHS by Academy Entertainment but is now out-of-print.
SINS OF THE NIGHT was directed by Gregory Dark, going by his given name of Gregory Hippolyte for this film. It's one of about 50 sexploitation films that he directed between 1984 and 2009. Douglas Pratt's review of the laserdisc states that "The softcore sex film uses a narrative to bridge what are seemingly endless erotic sequences. The acting is awful and the emotional situations are arch, but at least the plot has a semblance of coherent drama, about an insurance investigator, played by Nick Casavettes who becomes involved in a plot to do away with a powerful mobster, only to find out that his boss has the same idea. The mobster's wife, played by Deborah Shelton, is manipulating both of them."
Miles O'Keefe, who made his screen debut in the Bo Derek version of TARZAN (1981), and Richard Roundtree, star of 1971's SHAFT, co-starred in the film. 45-year-old Deborah Shelton, Miss USA of 1970, figures in most of the sex sequences. Shelton had a major role on "Dallas" for 4 years, and was in the film BODY DOUBLE. Today, at age 64, she is still acting.
Reportedly, at 89 minutes, the laserdisc version of the film runs 4 minutes longer than the broadcast version.
P.S. I just purchased the laserdisc of SINS OF THE NIGHT on ebay a couple of days ago. I LUV Deborah Shelton (for obvious reasons), and I couldn't resist that great noirish cover art. I miss these B-movie sexploitation "erotic thrillers" from the 80's and early 90's. At least they never had to rely on CGI to make an entertaining little film. Most of them had decent scores, too.
I only have one problem. I don't have a laserdisc player, so I can't watch it. I'm hoping I'll run across someone who could transfer it for me to dvd-r.
The first thought that came to mind when I saw the cover art was: "WOW! Another cool BODY HEAT knock-off...and with Debbie Shelton!!! I gotta have it!"
When they decided to make 1972’s THE HITCHHIKERS, husband-and-wife filmmakers Ferd and Beverly Sebastian already had several adult pictures under their belts, including a semi-documentary (RED, WHITE, and BLUE) that was based upon the 1969 Report of the President’s Commission on Obscenity and Pornography. THE HITCHHIKERS, though, is a fictional film that involves a pregnant young woman who hitchhikes away from home and runs into trouble at the hands of various criminals and degenerates along the road. The film marked the motion picture debut of most of the cast members, many of whom never made another film. But lead actress Misty Rowe, a Southern California beauty queen who had been "Miss Wahini Bikini" and "Miss Radiant Radish," went on to act in numerous films and television shows into the 1990s, most notably on the television series “Hee Haw” and “When Things Were Rotten.” She also played Marilyn Monroe in the feature film GOODBYE, NORMA JEAN (1976).
In addition to producing, directing, writing, and photographing THE HITCHHIKERS, Ferd and Beverly Sebastian also appeared in small roles in the film, as did Ferd Sebastian's father, the couple's two children, and the family dog, "Rebel." The film’s music was by Danny Cohen, his only known score. Cohen wrote and performed two songs in the film: "You Can't Get There from Here" and "Have a Good Day."
Although it was originally announced that the film would be released in the summer of 1971, it was not until 31 May 1972 that Entertainment Ventures, Inc. opened the film in Los Angeles. The few critics who saw the film emphasized that, although the film resembled an X-rated picture, the story's sexual escapades were implied rather than explicitly shown, thus earning an R rating. Overall, the reviews were surprisingly positive. Variety’s “Whit” noted that “There are numerous scenes of nudity and scant attire as the gals romp their way through stickups and such. It’s all a big romp. Particularly outstanding is Ferd Sebastian’s color photography, both in his interesting angles and ability to tell his story partially through his lens. There is an overage of music by Danny Cohen, songs popping up needlessly at every turn.” And Kevin Thomas of the Los Angeles Times called the film “a lively, raunchy exploitationer.” “The point of this well-made release is simply to provide ribald, lightweight entertainment, not too heavy on either sex or violence, and it succeeds admirably. . . . In short, producers-writers-directors Ferd and Beverly Sebastian are able, imaginative film-makers who may have what it takes to go on to bigger things. So do several young people in their cast . . . especially Misty Rowe, a pert and capable blonde.”
Unlike Misty Rowe, who would go on to have a fairly successful conventional acting career, the Sebastians would be stuck in exploitation films, with the most well-known of their remaining eight films being 1974’s ‘GATOR BAIT, which starred another up-and-coming young actress, former Playboy centerfold Claudia Jennings. Sadly, Jennings’ career was cut short when she died in a car accident in 1979. And after suffering life-threatening heart problems, Ferd Sebastian became a born-again Christian, and is now an ordained minister.
Although THE HITCHHIKERS was not copyrighted at the time of its release, Sebastian Films Limited, Inc. registered a videocassette version of the film on 11 January 1983, under number PA-243-829. There is no evidence of any official cassette or other video release of THE HITCHHIKERS, although it may be available from some “gray market” retailers. The film is not available on YouTube, and the American Film Institute could not locate any print of the film to view for its cataloging project.
I do remember back in 1984, renting out the movie on VHS, but i can't now remember the label. THE HITCHIKERS-71- has also been obscure on cable and free TV over the decades as well.
In the 70's alot of romantic films were following a trend, the first film in a small series were big hits, the sequel flop out for the most part and became pretty obscure over the decades. Some examples were, SUMMER OF 42- CLASS OF 44-LOVE STORY-70- OLIVER'S STORY-78-OTHER SIDE OF THE MOUNTAIN-75- OTHER SIDE OF THE MOUNTAIN NO 2-76-ETC ETC,What is more common though is when a remake of a film becomes an obscurity after the first film was a timeless hit such is the case with SPLENDER IN THE GRASS-61-NATALIE WOOD.Now what happened to it's remake made for TV in 81 with a JOHN MORRIS score?
HIS WIFE’S HABIT was a 1970 drama/thriller written and directed by Joy N. Houck, Jr. (For background information on Houck, see the write-up above on Houck’s prior film NIGHT OF BLOODY HORROR.) HIS WIFE’S HABIT was produced by Albert Salzer, who was one of the executive producers for the earlier Houck film. The film involves a restless housewife, who has affairs with a number of men, including a motel bellboy, a parking lot attendant, and her daughter’s boyfriend. Trouble comes when one of the men turns to violence in his infatuation of the woman.
The film starred Georgine Darcy, Marcus J. Grapes, and Christa Hart. And returning from NIGHT OF BLOODY HORROR was its star, Gerald McRaney, this time appearing in a supporting role. Georgine Darcy had begun acting in 1954, when at 23 she was cast by Alfred Hitchcock in REAR WINDOW. Darcy played the sexy “Miss Torso,” one of the denizens of the apartment building that James Stewart spies upon during the film. Darcy then spent 8 years in television before appearing in 1962’s DON’T KNOCK THE TWIST. She then left acting, returning for a small role in 1970’s THE DELTA FACTOR before getting the lead in HIS WIFE’S HABIT. Marcus J. Grapes was making his screen acting debut in HIS WIFE’S HABIT. Christina Hart had had only a single prior acting role, but it was as the lead in the notorious 1969 X-rated 3-D sexploitation film THE STEWARDESSES.
Writing the score for HIS WIFE’S HABIT was Jim Helms, his first film score. Helms also co-wrote several songs for the film along with Gary LeMel and Norma Green. These were "Lady in the Early Morning," sung by LeMel, and "Come On In" and "Mr. Funky," sung by Sonny Geraci (of the Outsiders and Climax). A soundtrack album for the film was released on Capitol Records, but it has never been issued on CD.
HIS WIFE’S HABIT was filmed in New Orleans. The 97-minute R-rated film was released by Howco International, and opened in New Orleans in May 1970.
No contemporary reviews of the film could be found. Modern reviews are decidedly negative. The Motion Picture Guide in a zero-star review calls the film “A wretched piece” that “flushes morality right down the toilet, where the film itself should be tossed.” And The Psychotronic Encyclopedia of Film merely terms it “off-color.”
As a violent melodrama, HIS WIFE’S HABIT did only middling business at the boxoffice. So in 1972, Howco International re-titled the film WOMEN AND BLOODY TERROR, refocused its advertising campaign to position the film as a horror film, and teamed it on a double bill with Joy Houck, Jr.’s previous film NIGHT OF BLOODY HORROR.
Here’s a trailer promoting the duo:
And here is a radio ad for the double bill:
HIS WIFE’S HABIT / WOMEN AND BLOODY TERROR has not been issued on any home video format. The film may be available from some “gray market” DVD or download sources, but even this is unclear.
Georgine Darcy would make just one more screen appearance, in a 1971 episode of “Mannix,” before leaving acting forever. She died in 2004 at age 73. Marcus J. Grapes would make appearances in a few television movies in the late 1970s, including “The Night That Panicked America” and “Scott Joplin.” His last appearance was on a 1978 episode of “M*A*S*H.” Christina Hart would next appear in the 1971 Richard Thomas film RED SKY AT MORNING, then in 1973’s CHARLEY VARRICK (1973) with Walter Matthau She also began a television acting career that would last until 1989, appearing in “Hawaii Five-0,” “Barnaby Jones,” and “Three’s Company” among dozens of others.
Composer Jim Helms would score 1970’s THE PSYCHO LOVER, and Joy Houck Jr.’s next film, 1972’s THE NIGHT OF THE STRANGLER, before beginning three years of scoring for the television series “Kung Fu.” His last score was for 1978’s NIGHT CREATURE. Helms would die in 1991 at age 57.
Listening to that radio ad, makes one realize how corny things were years ago. You couldn't get a 96 year old man with heart trouble to die watching those movies, i still can smell the old theatres and the old seats in grind houses that show such movies.The prints on the screen all look grainy, the sound system was bad, there was one theatre on 42nd street in New York called THE ANCO theatre which had such a bad sound system 90% of the words spoken in the film could not be understood. They would have just as well be speaking in a foreign language. The theatre manager instead of investing money and fixing up the sound system had a better idea, he decided to just book karate films from Hong kong and porn films in the theatre, two genres where what someone says means very little, why did he care, found his body in some garbage dump in New Jersey with a bullet in his head, YEAH the bad old days.
Like many other filmmakers working for MGM under the James Aubrey regime in the early 1970s, producer Bruce Geller (the writer and creator of the “Mission: Impossible” television series) repudiated the final release print of his movie CORKY, claiming “It’s not my picture anymore.” Geller had started out to produce a film about a man obsessed with racing stock cars, and how this affects his life and his family. Robert Blake played “Corky Curtiss,” Charlotte Rampling played his wife, Patrick O’Neal owned a garage where Corky worked, and Roddy McDowall was a harassed salesman. The supporting cast included Ben Johnson, Laurence Luckinbill, and the feature film debuts of both Christopher Connelly and Pamela Payton-Wright. Connelly had played Norman Harrington in the television soap “Peyton Place.” Coincidentally, in the short-lived 1974 series “Paper Moon” he would play Moses Pray, the role originally played in the 1973 film by his co-star in “Peyton Place,” Ryan O’Neal. Connelly would die in 1988 at the young age of 47. Pamela Payton-Wright would appear in 1990’s THE FRESHMAN with Marlon Brando, and have a recurring role on the soap “One Life To Life” from 2008-2012. Also in the film were professional stock car and NASCAR racers Bobby Allison, Donnie Allison, Buddy Baker, Richard Petty, Cale Yarborough and Glen Wood, who appeared in bit parts as themselves.
Directing the film for Geller was Leonard Horn, helming only his second feature. Horn had been a television director for 10 years doing shows such as “Voyage To the Bottom of the Sea,” and he had directed ten episodes of “Mission: Impossible’ for Geller. (Horn, too, would die young, in 1975 at age 48.) The screenplay was by Eugene Price, a screenwriter of low-budget films who would turn to television writing almost exclusively after this film. Although Geller made numerous changes to the script, a Writers Guild of America arbitration committee awarded Price sole screenplay credit. Filming on what was then titled “Going All Out” began on 2 September 1970 in Dallas, TX. After completion of principal photography in Atlanta, GA, at the Peachbowl Raceway on 16 November 1970, the film was re-titled “Lookin’ Good,” that being a phrase that “Corky Curtiss” uses repeatedly in the film. The film cost about $1.5 million to produce.
After assembling a rough cut of the picture, in early 1971, Geller—realizing that studio head James Aubrey disliked the film—flew to New York and screened his cut (without the final sound track) for several Manhattan critics, nearly all of whom indicated that they would give the film extremely favorable reviews upon its release. Reporting on that screening in a 6 March 1971 article, Newsday’s Joseph Gelmis said that “’Lookin’ Good’ is an important and provocative American movie that should be seen by the widest possible audience.” Nevertheless, Aubrey completely re-cut and re-scored the film (both Jerry Styner and John Parker receive scoring credit). Among the alterations were the elimination of Roddy McDowall’s scenes, the removal of a murder sequence, and the insertion of a less downbeat ending.
In response, Geller requested to have his name removed from the film, and the onscreen credits do not include his name. Geller also wrote a letter to several prominent reviewers, indicating that MGM had made numerous cuts in the film, resulting in “a totally different and inferior picture.” The film’s original running time before the studio cuts was 97 minutes—afterwards it was 88 minutes. When MGM finally gave the film, now entitled CORKY, a subdued, limited release in March 1972, the film was poorly reviewed. Variety’s “Murf” called it “a fumbling melodrama” that was “directed routinely.” And while “Murf” liked that “Robert Blake comes across very effectively in a challenging role,” he felt that “what seems to be lacking is something strong against which Blake could play.” In June 1973, CORKY played in the Los Angeles area as part of a city-wide double bill. After first remarking that “The print at the theater looks as if it had been run through a meat-grinder,” the Los Angeles Times’ Kevin Thomas praised the film, saying that “Writer Eugene Price has provided Blake plenty to work with and director Leonard Horn has brought out the best in him (and a fine supporting cast).” “Blake,” said Thomas, “puts this film in a class all by itself.”
When CORKY was finally given a one-week booking in Manhattan at the First Avenue Screening Room (a showcase for neglected films), none of the major New York critics bothered to review the film. Although the film was broadcast on CBS in 1975, CORKY has never been issued on any home video format. It will, however, have a rare showing on Turner Classic Movies, on Wednesday, November 7, at 6:30 PM ET. [EDIT: This showing was subsequently canceled.]
THE NIGHT OF THE STRANGLER was the third film directed by Joy N. Houck, Jr. (For background information on Houck, see the write-up above on Houck’s first film NIGHT OF BLOODY HORROR.) THE NIGHT OF THE STRANGLER was produced by Albert Salzer, who had produced Houck’s second film HIS WIFE’S HABIT (aka WOMEN AND BLOODY TERROR). The screenplay was by J.J. Milane, Robert A. Weaver, and Jeffrey Newton. Milane and Weaver had worked on earlier Houck films, but for Newton, this was his only screenwriting credit. Jim Helms contributed the film’s score, as he had for HIS WIFE’S HABIT. Screen credits list Norman Green as lyricist, and Gary LeMel as vocalist, but no songs are heard in existing prints of the film, and no information about possible song titles has been located.
Starring in THE NIGHT OF THE STRANGLER were Mickey Dolenz, James Ralston, and Michael Anthony. Dolenz had been a child actor in the 1956-57 TV series “Circus Boy,” was a member of the pop group The Monkees, and had starred in the group’s 1966-68 television series, as well as Bob Rafelson’s 1968 theatrical film featuring the group--HEAD. THE NIGHT OF THE STRANGLER was Dolenz’ first lead role in a feature film. James Ralston was making his acting debut in THE NIGHT OF THE STRANGLER. Britisher Michael Anthony had been acting since 1933, and had appeared mainly on British television, with uncredited roles in such major productions as BECKET and KHARTOUM. In addition to those three stars, television actor Harold Sylvester (probably most familiar as Al Bundy's co-worker in “Married...with Children”) makes his screen debut as one of the detectives investigating the murders. Chuck Patterson also made his screen acting debut in the picture.
THE NIGHT OF THE STRANGLER is basically a murder mystery, in which a killer is loose in the city. Eventually, it is discovered that the violence was instigated by the passionate affair between a wealthy white girl and a black man. Like Houck’s prior films, the picture was shot in New Orleans, and was completed in late March of 1972, under the working title THE ACE OF SPADES. A 29 May 1972 trade ad shows the film being marketed to exhibitors under that title:
Information on the exhibition of the 90-minute Howco International film is spotty. Boxoffice magazine lists the release date of the picture as June 1972, but no other source confirms that date. The IMDB claims that the film premiered on October 1, 1972, but the picture didn’t receive an MPAA rating until 1973. The first confirmed theatrical showing was in 1973 under the new title DIRTY DAN’S WOMEN. In a pre-release review of the film under that title on 9 October 1972, Boxoffice magazine thought that the film was “another in the current crop made for the black audience.” Terming the film “more a whodunit than an exploitation feature,” Boxoffice felt that “the film is mildly disappointing in all but story development,” and “despite the provocative title, the story is what viewers will pay to see and what they will enjoy and remember.” Although the reviewer faulted “the generally weak performances,” he noted that “somehow the mystery of this drama compensates for the average portrayals. And, in the action and black market for which this release is apparently aimed, what counts, of course, is the picture’s outcome. With a proper advertising campaign which is not restricted to capturing strictly black interest, this action movie could be sold.”
Apparently however, the title of DIRTY DAN’S WOMEN did not sufficiently appeal to the film’s intended black/action audience. The film was then re-titled IS THE FATHER BLACK ENOUGH?, a title that was probably thought to better evoke an aura of blacksploitation around the film. On the film’s posters, black actor Chuck Patterson was billed above Mickey Dolenz.
But it seems like the film did no better under this title, so it was re-titled yet again to THE NIGHT OF THE STRANGLER, a title designed to somewhat reposition the film as a horror outing. This is the title under which the film is best known and the one on all existing prints. And as with Joy N. Houck’s other films, the title THE NIGHT OF THE STRANGLER is a cheat, since there is no strangling in the film. There's a shooting, a drowning, slitting of wrists, snakebite, stabbing, another two shootings, an arrow through the back, another stabbing and another shooting, and then the final real stabbing to finish the job. But there is no strangling. Notice that Mickey Dolenz is now returned to the top spot on the poster’s billing, while for some reason Chuck Patterson disappears totally.
No contemporary press reviews of the film could be found. As for modern reviewers, The Motion Picture Guide calls it “a forgettable murder mystery” which is only useful “to watch former sensation Dolenz sink to a new depth.” John Stanley’s Creature Feature Movie Guide simply calls it “gore-erotica,” and Videohound’s Golden Movie Retriever gives it 2 stars without further comment.
THE NIGHT OF THE STRANGLER was released on an authorized videocassette by Paragon. Although onscreen credits include a 1972 copyright statement for Joy-Oke Productions, Inc., the film was not originally registered for copyright. The film’s most recent copyright seems to lie with the Weintraub Entertainment Group, but that company went bankrupt in 1990. The film is currently being treated as if it is in the public domain, with DVDs from Synergy and Desert Island Films, as well as gray market sellers. It is also available for purchase or rental as a download from Amazon, and is available for free on YouTube.
Mickey Dolenz would continue acting in American television during the 1970s, with a 10-year hiatus from 1977 to 1987, during which he resided in England, and worked as a producer-director for the BBC and London Weekend Television. Upon his return to the U.S., he began working in musical theater, while still taking the occasional screen acting role. James Ralston left acting, and did not return until 1984 when he had a bit part in THE TERMINATOR. He has had only a handful of small roles since. Michael Anthony would appear in only one more theatrical film, the 1974 comedy S*P*Y*S. He continued working in British television until he retired in 1985. Anthony died in 1998 at the age of 86.
LIMBO was one of the first major studio films to deal with the effects of the Vietnam War on the home front. The film focused on three women living at a Florida Air Force base whose husbands have been designated either Missing in Action or Prisoner of War. The screenplay was written by Joan Micklin Silver and James Bridges. LIMBO was Silver’s first screenplay. James Bridges had written three screenplays before LIMBO, one of which was his first directorial project (THE BABY MAKER, 1970). Directing LIMBO was veteran Mark Robson, who had been directing since 1943. His films had included CHAMPION (1949), PEYTON PLACE (1957), and VALLEY OF THE DOLLS (1967). LIMBO was produced by the Filmakers Group, a company jointly owned by Mark Robson and Robert Wise.
Starring as the three Air Force wives were Kate Jackson, Katherine Justice, and Kathleen Nolan. LIMBO marked the feature film debut of Kate Jackson, who at that time was known primarily for her work in the TV series “Dark Shadows.” Katherine Justice had done guest star work in television since the mid-1960s. About half of her parts were in western series, as were her only two prior appearances in features—THE WAY WEST (1967) and 5 CARD STUD (1968). Kathleen Nolan was most famous for her role in the TV series “The Real McCoys,” She had appeared in only one prior feature, 1956’s THE DESPERADOES ARE IN TOWN.
LIMBO began filming in late February 1972 in locations around Florida and at Ivan Tors Studios in Miami. Filming concluded in late April 1972. The film was scored by singer-songwriter Anita Kerr, her only film score. Andrew Sarris of the Village Voice said that “Anita Kerr’s background music is so furiously fortyish as to come out the other side into self-parody.”
LIMBO was put into limited distribution by Universal Pictures in November 1972, but did not open in New York and receive wide distribution until January 1973. This proved to be unfortunate timing, as the Paris Peace Accord cease-fire was just being implemented between North and South Vietnam, thus ending American involvement in the Vietnam War. According to the agreement, American troops and prisoners-of-war would be returning home within sixty-five days.
Here’s the film’s trailer:
Like the Vietnam War itself, LIMBO heatedly polarized the critics. For the affirmative, Variety’s “Murf” claimed that this “excellent topical drama” carried a “heartbreaking emotional impact” guaranteed to “evoke tears among audiences of all ages and philosophies.” But the picture evoked outright hostility from the San Francisco Chronicle’s Anitra Earle, who summed up her contempt for the “dreary, tasteless, unintentionally ludicrous sudser” in one word—“rotten.” “Rotten” was also the opinion of Pauline Kael, who blasted the film as “lugubrious trash” mired in the “banality” “of daytime television.” But while Cue’s Donald J, Mayerson also categorized the film as “soap opera,” he appreciated that its story was “edged in reality” and found it so “well done” that he commended it to his readers as "a poignant and appealing old-fashioned movie.”
The critics also disagreed on the film’s point of view on the war. Whereas Mayerson detected an “anti-Vietnam war bias,” Time’s Jay Cocks derided the movie’s “refusal to take any kind of stand at all, other than a rather strong suggestion that war plays hob with hearth and home.” The only thing that the critics agreed upon was that “Kathleen Nolan performs marvelously” (Mayerson). The Los Angeles Times’ Charles Champlin added that “she is the real McCoy, strong, credible, likeable, extremely affecting.” But Champlin also spoke for the majority that disliked the film as a whole and found LIMBO “an oddly contradictory movie” that “finds its own limbo somewhere between escapism and involvement, and is not very satisfactory as either.”
When LIMBO did not do well in its initial bookings, it was re-titled “Women in Limbo” and soon thereafter was sold to NBC-TV, where it aired in 1974. The film has never appeared on any home video format, and when the American Film Institute sought a print to view for its cataloging project, none could be located.
James Bridges would go on to write and direct such films as THE PAPER CHASE (1973), THE CHINA SYNDROME (1978), and URBAN COWBOY (1980). He died in 1993 at the age of 57. Joan Micklin Silver would also begin directing with her next screenplay, the immigrant drama HESTER STREET (1975). Before turning primarily to television directing in the 1990s, Silver would direct CHILLY SCENES OF WINTER (1979) and CROSSING DELANCEY (1988). Mark Robson would direct only two more films: EARTHQUAKE (1974) and AVALANCHE EXPRESS (1979), which was released more than a year after his death in 1978 at age 64.
Kate Jackson would spend most of her career in television, starring first in “The Rookies (1972-76), then in “Charlie’s Angels” (1976-79), then in “Scarecrow and Mrs. King” (1983-87), plus several dozen TV movies. She had few feature film roles after LIMBO, the most notable one probably being 1982’s MAKING LOVE with her “Rookies” costar Michael Ontkean. Her most recent appearance onscreen was in 2009. Katherine Justice also spent the bulk of her career in television, leaving acting in 1993. Kathleen Nolan would work in television until 2008, but would appear in only one more feature, the 1981 family drama AMY.
That Sinking Feeling was the first feature by Bill Forsyth, who went on to make some great films in the 1980s, including Gregory's Girl, Comfort and Joy, Housekeeping and especially Local Hero. It's a typically low-key comedy about a group of Scottish youth who hatch a plan to make money by stealing sinks from a local warehouse and reselling them. Why sinks? Well, because it's a Forsyth film. I saw it years ago when it was re-released after the success of Local Hero and enjoyed it. As I recall there is a scene with a couple of the guys having a conversation in a car that turns out to not be going anywhere, which sort of sums up the whole idea of the movie. Definitely worth a look if you like deadpan (and maybe in this case bedpan) U.K. style humor.
