This trio of pivotal moments comes from Rent-A-Girl (1965), one of the more accomplished low-budget New York “roughies” of the 1960s. Directed by William L. Rose, who also served as cinematographer for The Defilers (1965), a classic Hollywood roughie produced by David F. Friedman and directed by Lee Frost—this film stands out for its clever integration of exploitation tropes into a coherent narrative.

Rent-A-Girl follows the sordid operations of a New York modeling agency that rents out women to clients with unconventional desires. The film features eccentric fetishes, including an artist who paints directly on nude models and a water enthusiast who enjoys drenching bound women with a garden hose. The agency’s owner, Mrs. Grant, hosts wild “swingers only” parties with twisted games for her depraved clientele.
Unlike most grindhouse films—typically shot in five to seven days for around $10,000—Rent-A-Girl elevates itself with a script that weaves nudity, decadence, and kinky fetishes into meaningful plot developments.

Scene 1: A decadent party where Darlene Bennett (a veteran of exploitation cinema) and two other women—one of them Black—engage in strip billiards. Notably, Black actresses, often overlooked by Hollywood in the 1960s, frequently appeared in independent features like this.

Scene 2: For the entertainment of party guests, Darlene and another woman wrestle on the floor, wearing masks and spanking each other with rolled newspapers.

Scene 3: In a classic “turnabout” twist, Mrs. Grant’s employees blackmail her, reversing their roles. The once-dominant Mrs. Grant is forced to endure a humiliating paddle spanking and a brutal flogging. This scene not only advances the plot with ironic justice but also incorporates fetish elements in a purposeful way—rare for the genre._{View on Archive.org}