Some vintage smut peddling from prolific T&A king Barry Mahon. One of many, assembly line productions Mahon made around Times Square in the 1960s. The Sex Killer arguably paved the way for much NYC sleaze to come, be it Headless Eyes, Forced Entry, Sex Wish or Maniac, with this tale of Tony (Bob Meyer) a maladjusted loner who works in a mannequin factory and soon graduates from peeking at girls through binoculars to becoming smitten with a mannequin's head to strangulation and (offscreen) necrophilia. "He balls her after she'd dead...at least she's still warm" quips one of Tony's callous workmates. Mahon's notourous indifference towards filmmaking is all present and correct, so what if dem broads can't act...if the camera jitters wildly during the scene set on a NYC subway train or whether machinery drowns out dialogue at the mannequin factory ...as long as there was film in the camera Mahon didn't seem to care less. If you wanted to get all chin strokery about The Sex Killer, it could be argued that setting the film at a mannequin factory- with Tony's chauvinistic workmates lumbering around the factory floor all day with female torsos -was some kind of commentary on the commercialisation of women's bodies...then again maybe it was just cheap for Mahon to film in there. Mahon was at least savvy enough to realise that the real star of his film was Dirty o'l New York itself, and The Sex Killer doubles as a travelogue of the mean streets that Mahon knew well...on rare occasions he even manages to film them in focus too.
