MEYER MONTH – ‘Erotica’ (1961)

15 Mar

Thanks to the Russ Meyer Trust another one of the infamous sexploitation directors early films has finally seen the light of day after being out of circulation since its original theatrical release. The 1961 picture Erotica sits alongside a few of Meyer’s other early films in the Vintage Bodies Set which came out towards the end of last year. Shot after Meyer’s second feature Eve and the Handyman, Erotica consists of six small nudie cutie segments, another of Meyer’s films that plays out as a cinematic pin-up photography pictorial.

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Meyer and his producer Pete DeCenzie fell out making Eve and the Handyman when he bailed out on the picture just before production had started. However, DeCenzie returned for Erotica, and later again on its follow-up Wild Gals of the Naked West, which was shot on a four grand budget. Also returning on the production was editor Charles G. Schelling who had helped Russ shoot French Peep Show (and would later go on to become sound recordist on the movies made during Meyer’s gothic period) and then-wife Eve with the role of financial co-ordination (something she ended up doing a lot of during her husbands career). Long-time friend and general all-rounder Anthony James Ryan also briefly cameos in the last vignette as the Handyman, his lead role in the directors previous picture, alongside another gentleman dressed in Mr. Teas’ lurid orange jumpsuit (never one to miss out on self promotion, Meyer had two one-sheets for both The Immoral Mr. Teas and Eve and the Handyman on prominent display at one point). This was a, as the films narration points out, ‘film made by adults for adults… It is truly Erotica!’.

In reality it is what it is, which for me is sadly one of the weaker entries in Meyer’s filmography and is, at times, really rather boring. Whilst it has two Meyer film staples, pretty topless women and bizarre indifferent narration, you can’t help but feel that other similar pictures like Europe In The Raw  and Eve and the Handyman did it better and got away with a little more charm. The are some cute moments; the opening in particular is quite sweet, showing a very basic but behind the scenes look none the less at the process a film goes through with symbolic images to represent each part (someone cigarette smoking is the actor, a huge money bag the producer, disembodied hands cutting film being the editor, director chair for the director etc). Segment two ‘Beauties, Bubbles and H20’, an ode to the traditions and history of bathing (aka a trio of topless beauties washing themselves with very bubbly soap) also has some nice cinematography and photographic set ups, one can imagine that if the director had actually shot stills for this segment alone, they would have probably been quite stunning. The shots of one girl having a bubble bath in a kiddies blow up pool are particular favourites. This second vignette also featured popular model Althea Currier who already had an ucredited role in The Immoral Mr. Teas and would go on to appear in Heavenly Bodies and Lorna.

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The rest of the picture feels very much the same with so much narration it makes you lose interest in anything the film has to offer (there’s even a soundtrack reel gag in one of the segments where off-screen voices argue that the narrator is reading the wrong ‘informative’ script, how very meta). Segment one, ‘Naked Innocence’, is essentially a re-tread of Meyer’s 1959 short This Is My Body starring Diane Webber, only This Is My Body is a lot better. Middle pieces ‘Nudists on the High Seas’ and ‘The Nymphs’ suffer from far too much narration and not enough going on visually to really make an impact whilst the last chapter, ‘The Bikini Busters’, is a bloated, unrealised comedic take on the history of the bikini; ‘and so it went, down through the years with more and more clothes being added, until the women got so much to looking like the men that the men stopped looking’.

The only other highlight in the feature is the short segment ‘The Bare and The Bear’ in which Meyer shoots an impressively endowed woman rolling around on a Malibu beach wearing only a bear skin to accompany narration that informs how durable and soft bear fur really is. This lucky lady was Sherri Knight, a model with a fifty-five inch bust that Meyer had shot for skin magazines before in the past. According to Jimmy McDonough’s biography, producer DeCenzie saw pictures of Knight and insisted that Meyer include her in the film. They shot  for one day, wrapped and Meyer never saw her again. Not that it matters. Once you see her wearing the fur stole, you’ll never forget her.

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