MONDO FREUDO and MONDO BIZARRO are what defines Olympic International's image as an Exploitation legend complete with made up scenes created at Dave Friedman's studios and "scratches" on the film over the eyes and some "Naughty Bits", although they were still releasing European Sinfestslike Max Pecas' HEAT OF MIDNIGHT (Dec. 8, 1966), THE SLAVE (A Kinky Kidnap tale-Apr. 7, 1967), and TORMENT (Blackmail Drama-Oct. 5, 1967; Gilbert Wolmark's LITTLE GIRLS which was seen as a Euro-FASTER PUSSYCAT (1966); Jean Loup Grasdard's narcotics and sadism tale MASSACRE OF PLEASURE (1966); and Claude Lerouche' s NIGHT WOMEN (Feb. 16, 1967-Banned in France for a while I think!). Together with the joint production with the just as perverted people at American Film Distributing called FORBIDDEN (1966) that was a "Women Around the World" type expose that had a touch of ReichFetish and Karate lessons for women , this duo of madness was as legendary as their Japanese Kink-Fests that were said to be seen by very few, but still had their following anyways. FREUDO (Apr. 24, 1966) had an array of scenes ranging from a Japanese S/M club (At some kind of restarant in LA), a Satanic Ritual in the Times Square area (my best guess here that it's more like Jerry Denby's studio, or even Dave Friedman's in LA),a "Slave Auction" filmed with a 1700 mm lens camera, female mud wrestleing (Shot possibly as Dave Friedman's studio), Cresse asking a masochist to let him whip her, and cruses down Hollywood, all possibly inspired by the success of ECCO. BIZARRO (Aug. 25, 1966), made after winning a case in court for FREUDO ("Best veiwed by wearing black robes "-Frank Henenlotter) has "Claude Emmand" (Possibly R. Lee Frost) talking about what is happening on the screen which ranges from Nassau voodoo rituals (on some beach near the Olympic offices), war protests and some counterpoint marches ("We Bathe!" reads one of the cards), more Reichsploitation theatre madness (Predating LOVE CAMP 7 possibly at Friedman's studios), more made-up "Slave Market" scenes with their "Hidden Camera" which was actually Cresse, Frost, and crew in Bronson Canyon filming not-too-convincingly along with commentary by possibly Cresse in a not to convincing British accent, and more Japanese Kink. When it was all played out by the Summer of 1966, Cresse concentrated more on his pick-ups including a costume period Nudie called THE GIRLS ON F STREET (F for FETISH) based in the Prohibition era, and not as innocent as Friedman's hit Costume Cutie, THE NOTORIOUS DAUGHTER OF FANNY HILL, which leads up to the next chapter of the story sparked by Mabe's hits with Friedman's empire and Olympic's desire to compete with FPS (Later EVI) and to out-shock the public as well, including the one film several parts of the MONDO legacy hinted at (LOVE CAMP 7) and the now-legendary Crime Nudie Noir called THE PICK UP, both with Friedman.
