Doris Wishman
Director

Doris Wishman Net Worth

Doris Wishman was a prolific director, producer, and writer born in New York City on June 1, 1912. She was best known for her films Satan Was a Lady (2001), Diary of a Nudist (1961), and Nude on the Moon (1961). She was married to Lou and Jack Abrahms and passed away in Miami, Florida on August 10, 2002.
Doris Wishman is a member of Director

Age, Biography and Wiki

Who is it? Director, Producer, Writer
Birth Day June 01, 1912
Birth Place  New York City, New York, United States
Age 108 YEARS OLD
Died On August 10, 2002(2002-08-10) (aged 90)\nMiami, Florida, U.S.
Birth Sign Cancer
Occupation Director, producer, writer
Years active 1959–2002

💰 Net worth

Doris Wishman, a renowned director, producer, and writer in the United States, is projected to have a net worth between $100,000 and $1 million in the year 2024. Throughout her illustrious career, Doris has left an indelible mark on the film industry with her distinct style and creativity. Known for her unconventional and often provocative works, she has brought unique stories to the forefront, challenging societal norms and pushing artistic boundaries. With her exceptional talent and contributions to the film world, it is no surprise that her net worth continues to flourish.

Biography/Timeline

1912

Doris Wishman was born on June 1, 1912, in New York City. Her father was a hay and grain salesman; her mother died when she was still a child. After graduating from high school, she claimed to take acting lessons at the Alviene School of Dramatics in New York City in the early 1930s. She later worked as a film booker for her cousin Max Rosenberg, an independent film distributor who handled both art films and exploitation film fare during the late 1940s and early 1950s. During this same period she was married to a man named Jack Abrams and lived for a period of time in Miami, Florida. By her own account, Wishman began her film production career after Abrams' untimely death in 1958.

1957

In 1957, a New York Appeals court ruling allowed films depicting nudism to be exhibited in movie theaters in New York State. Inspired by this development, Wishman claimed in several interviews to have borrowed $10,000 from her sister to produce her first film, Hideout in the Sun, a nudist film, shot in late 1958 and released in early 1960. Her next film, Nude on the Moon, released in 1961, was a science fiction nudie. The film was banned in New York State after the New York State Censorship Board ruled that films featuring nudity in a nudist colony were legally permissible but nudity in a fantasy film set in a "nudist colony on the Moon" was not. Her fourth nudist film, Blaze Starr Goes Nudist (1962), starred legendary burlesque performer Blaze Starr. Wishman produced eight nudist films in total between 1958 and 1964. After the popularity of the genre began to wane, she decided to abandon nudist exploitation films and transition into the new sexploitation genre.

1964

Wishman began to produce and direct sex-exploitation or sexploitation features in 1964. Her second release in this genre was Bad Girls Go to Hell (1965), her first collaboration with her long-time Cinematographer C. Davis Smith. During this period she frequently worked under the pseudonym "Louis Silverman," the name of her second husband. All of her sexploitation work was shot in black and white until the release of her first soft-core color feature, Love Toy (c. 1970). Shortly thereafter she produced a sex comedy entitled Keyholes Are for Peeping (1972) starring Comedian Sammy Petrillo, and in the mid-1970s, she directed a pair of low-budget thrillers featuring burlesque performer Chesty Morgan: Deadly Weapons and Double Agent 73, the former of which was distributed internationally by Hallmark Releasing Corporation.

1970

In the mid-1970s, Wishman directed two hardcore pornographic features entitled Satan Was a Lady (1975) and Come With Me, My Love (1976), both of which featured Annie Sprinkle. Wishman was not fond of working on pornographic films and later in her life denied having directed them. Additionally, in 1978 she released a semidocumentary feature entitled Let Me Die a Woman, which she had originally begun shooting in 1971. The film featured interviews with several transgender individuals, one of whom was Deborah Hartin, and included dramatic reconstructions of scenes from their lives. One such dramatization featured porn star Harry Reems before he became internationally renowned for his role in Deep Throat (1972). The film also featured Dr. Leo Wollman. In light of the expanding slasher film craze that began with Halloween in 1978, Wishman's final feature was a horror film entitled A Night to Dismember. Begun in the late 1970s, it went through various manifestations and was finally completed in 1983. The film stars pornographic Actress Samantha Fox. It was never theatrically released.

2002

After the failure of A Night to Dismember, Wishman moved to Coral Gables, Florida, in the mid-1980s, where she found work in an adult novelty store. Interest in her work began to slowly increase due to the home video release of many of her films through Something Weird Video. A cult following started to form and Wishman was honored at the New York Underground Film Festival in 1998 and appeared twice on Late Night with Conan O'Brien. Filmmaker John Waters featured a clip from Deadly Weapons in his film Serial Mom. Film critic Joe Bob Briggs described Wishman as "The greatest female exploitation film Director in history." She was one of the most active women Directors in the world during the 1960s and '70s. Doris Wishman died on August 10, 2002, in Miami, Florida, shortly after being treated for lymphoma.

Some Doris Wishman images

About the author

Lisa Scholfield

As a Senior Writer at Famous Net Worth, I spearhead an exceptional team dedicated to uncovering and sharing the stories of pioneering individuals. My passion for unearthing untold narratives drives me to delve deep into the essence of each subject, bringing forth a unique blend of factual accuracy and narrative allure. In orchestrating the editorial workflow, I am deeply involved in every step—from initial research to the final touches of publishing, ensuring each biography not only informs but also engages and inspires our readership.