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‘Sir Knight’ 1959 Annual Bonus Issue

14 Mar

Here are some pictures from Sir Knight’s 1959 Annual Bonus Issue which featured a written and pictorial piece on The Immoral Mr. Teas as a preview before its theatrical release. It features some photography by Russ Meyer himself, mainly promotional shots that would become iconic of the publicity materials, but most of the pictorial is shot by Ken Parker, Meyer’s friend and stills photographer on set (Parker would also appear in Eve and The Handyman, Heavenly Bodies and Lorna, as well as be an assistant to Meyer on set). It’s a standard feature on the film mentioning those involved and the plot of the film, whilst reviewing it and also taking about the emergence and growth of sexploitation films.

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‘Master Photography’ No. 1 Summer 1957 Issue

4 Feb

Here are some photographs by Russ Meyer from Master Photography Issue 1 which was released in the Summer of 1957. As far as I am aware I have captured all images inside the magazine that were taken by him and I don’t believe he shot the front cover, I have just included it for visual reference in case anyone would like to seek this item out themselves. Sorry that the quality of the images isn’t perfect, but thought it would be nice to start archiving Meyer’s photography as and when I came across it when buying memorabilia. I love the third image, it feels very natural and playful, and captures the model’s body beautifully. The only model I believe I can identify is the blonde Pin-Up who I think was called Sabrina. If you can pass on any more information, please let me know!

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‘Tura! The Tura Satana Documentary’ Kickstarter Campaign

31 Mar

The Kickstarter campaign for the long-awaited documentary on Russ Meyer star and B-Movie legend Tura Satana is finally underway! The film, the release of which was Satana’s deathbed wish, is being produced by longtime manager and friend Siouxzan Perry and produced and directed by Cody Jarrett, with support from the YOMYOMF Foundation. With eleven days to go, the duo still need to raise roughly over $30,000, but there are some fantastic rewards up for grabs if you choose to back! Plus the end result of the documentary itself!!

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I, for one, am very excited for this project! Tura stunned audiences when Meyer’s cult film Faster, Pussycat! Kill! Kill! was released in the 1960s and became a firm fan-favourite when the film became a midnight movie darling and cult favourite on the drive-in circuit. She left a lasting impression in cinema and pop culture with her dynamic depiction of Varla, the dominant, fast-driving, karate-chopping lesbian leader of a small girl gang, but unknown to some fans, also had a dynamic and turbulent life, including a childhood spent in a WWII Japanese relocation camp and a racially motivated rape that she would later avenge. It goes without saying that Tura was one hell of a woman, and her story deserves to be told.

There is some great involvement so far in this project, with contributions from Dita Von Teese, Ted V Mikels (who directed Tura in Astro Zombies and The Doll Squad), Margaret Cho (who will be providing the documentary’s narration), Shannon Lee, fellow Pussycat actors Lori Williams and Dennis Busch, and, of course, director John Waters, whose early championing of ‘Faster, Pussycat!’ in the 1970s helped elevate its cult status. As he so eloquently puts it; ‘Faster, Pussycat! Kill! Kill! is beyond a doubt the best movie ever made. It is possibly better than any film that will be made in the future’. 

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Covering Satana’s personal life, career and the impact she left on the worlds of film, art, fashion, music and pop culture, Tura! looks set to be a rollercoaster of fun, and an eye-opening look into one of cinema’s unforgettable women of power.

Please, please donate where you can and help support this project to get off the ground. Tura had and continues to have so many fans, and if we all chipped in $5 each we could get this made and her story out there. I know personally how hard Siouxzan and Cody (and Helen!) have worked to get to this point, and all the work they have done to date to keep Tura’s memory alive and maintain and restore her estate. This has been a long time coming, and I have absolutely no doubts that it’s going to be great. This project could not be in the hands of more capable people, and I really wish them all the best with this.

You can contribute to the Kickstarter campaign here, and keep up to date with news on the project by following Tura Satana Productions on Twitter and Facebook!

Ann Peters, a Tease for Mr. Teas

28 Mar

The other week I re-watched Russ Meyer’s The Immoral Mr. Teas and whilst watching I suddenly realised that, out of all the female Meyer alumni, it’s this early part of his career in which the ladies he used I know very little about. So, I’m going to set about undoing this and start doing blog entries over time in which I try to find out as much as I can on those ladies that sometimes get forgotten about over the likes of Tura Satana, Erica Gavin and Kitten Natividad. First up, Ann Peters.

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Peters is one of the models used in Meyer’s aforementioned first feature from 1959. Whilst initially struggling to find models for his film, Peters was bought to the attention of Russ by fellow Hollywood/Glamour photographer Earl Leaf, who regularly used her as a subject. According to Jimmy McDonough in Big Bosoms and Square Jaws, Peters was working as a Vegas showgirl at the time but I can’t find anything online about this. In Teas Ann plays the coffee shop waitress, clad in a low plunging black dress, and pops up again later on in the film as one of the bathing beauties Mr Teas encounters down by the lake. Needless to say she’s absolutely gorgeous, and was apparently Russ’s favourite from the shoot (the dreamy shot of her swaying in a hammock, natural light pouring down on her, is one of my favourite in Meyer’s career). Sadly the two didn’t work together again afterwards.

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A simple internet search will reveal quite a few pin-up shots of Ann, of which I’ve found a fair amount. Alongside Leaf, she was also shot by Guy Tyler of Hollywood, as well as others, no doubt, that I can’t find information on. Some of her magazine credits include Stare (1958), Fling (1958), Men In Danger! (1964), QT (1960s), Modern Man Annual (1963), Tab (1965) and Sable (1959). Below are photographs from my favourite shoot of hers.







Next to her appearance in Teas, IMDB lists Ann with a few other film credits, including The Fourth Wish (1976), Pink Nights (1985), Erotic Dreams (1988) and Desperate Measures (2011). I can find little else on her life or career but believe she now resides in Adelaide, Australia and runs her own casting company. I’ve tried to get in touch to no avail but I’d love to find out more about her and her experiences so please get in touch if you know anything! Or get in touch yourself Ann!

To finish I’ve included a link to an 8mm stag film that I found of Peters. There’s no title or date but I know that it is one of a few that she did. Another that she starred in, Salvador Dolly, I can’t find online but know that it is included in this DVD compilation. Again Peters looks gorgeous and this loop is a delightful mixture of demure innocence with a dash of knowing playfulness. I love it, and I know that a lot of other people will too.



Russ Meyer Front Cover – ‘Sensation’ August 1954

17 Mar


‘Feminism and Male Inadequacy in the Films of Russ Meyer’ by Syvology

10 Nov

A belated post but as part of this years MEYER MONTH I was forwarded this nice little article via twitter. The original post can be found here but I’ve included it below, and you can also follow its author Syvology on twitter here!


A dual biopic exploring the friendship between Roger Ebert and Russ Meyer is apparently in the works. Simpsons/SNL writer Christopher Cluess penned the script, which focuses on Meyer and Ebert’s formative collaboration on Fox’s big-budget fiasco Beyond the Valley of the Dolls (1970). Though it will be fun to see young Ebert in his humble side-burned glory, the most interesting character in this story is Russ Meyer.

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An ongoing fascination of mine, Russ Meyer is one of the most misunderstood figures in film history. To fans of sleaze and camp, he’s a deity. He invented the sexploitation genre as we know it with The Immoral Mr. Teas (1959), a hallucinatory exploration of compulsive voyeurism. According to John Waters, the iconic Faster, Pussycat! Kill! Kill! (1965) is “beyond a doubt, the best movie ever made. It is possibly better than any film that will be made in the future.” To other, more genteel audiences however, Meyer is often thought of as a seedy proto-pornographer whose films trade in adolescent prurience, irredeemable violence, and general bad taste. Meyer himself subscribed to the latter characterization, rejecting intellectual interpretations of his work and insisting that he only made movies for two reasons: “lust and profit.” But as any true student of his films can attest, Meyer’s bizarre career encompassed much more than that. To appreciate the thought-provoking complexities inherent in Meyer’s work, one must first confront its most frustrating contradiction: that his films are simultaneously misogynist and feminist.

Meyer’s career unfolded concomitantly with second-wave feminism, but it’s primarily third-wave (or so-called “sex-positive”) feminists that appreciate his aesthetic. B. Ruby Rich famously labeled Meyer “the first feminist American director”, praising his progressive sense of female empowerment in Faster, Pussycat! and his bold rejection of hetero-normativity in Vixen! (1968). Similarly, quasi-feminist cultural critic Camille Paglia laments, “his women had an exuberance and vitality you rarely see in film anymore.” Roger Ebert has always been Meyer’s most high-profile apologist on this point, encouraging critics to appreciate “the quintessential Russ Meyer image: a towering woman with enormous breasts, who dominates all the men around her, demands sexual satisfaction, and casts off men in the same way that, in mainstream sexual fantasies, men cast aside women.” Indeed, Meyer himself credited much of his success to the fact that many women enjoyed his movies just as much as men. But things get tricky once you contrast these progressive interpretations with some of the director’s own words. He described his ideal target audience as “some guy…in the theater with semen seeping out of his dick.” When asked whether his films exploit women, Meyer responded plainly, “I’m prone to say, yes, I do exploit women. I exploit them with zeal and gusto.” On feminist thought itself, Meyer was pretty vile: “I don’t care to comment about what might be inside a lady’s head. Hopefully it’s my dick.” There’s really no question that Meyer was at all times primarily concerned with delivering male sexual gratification, not promoting feminist ideology. But he was the first American filmmaker to consistently depict and celebrate women who were in charge of their own sexuality. So what, then, was the connection?

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Whatever is incidentally pro-feminist in Meyer’s work was likely an accidental, albeit fascinating, side effect of his idiosyncratic sexual appetite. The theoretical disconnect in his treatment of gender may be explained by the extent to which Meyer’s films are exceedingly personal, one might say solipsistic, expressive vehicles for exploring his own masturbatory fantasies. Describing his creative process, he once said, “each film must begin with me. I am the idea. I’ve got to have the hard-on.” The relationship between his sexual personality and the feminist overtones of his work gets clearer once one acknowledges that Meyer’s obsession with female dominance was always complemented by another, perhaps even more continual thematic hallmark of his narratives: male inadequacy. Themes of sexual impotence permeate his entire career. In Lorna (1964), the title character’s husband is a sexually inept wimp that bores her into infidelity and recklessness. In Common Law Cabin (1967), a female character cuckolds and basically murders her husband as ostensible punishment for being, essentially, a pussy. Meyer’s failed attempt at First Amendment proselytizing, The Seven Minutes (1971), features a rape defendant vindicated at trial by the stunning revelation that the crime was physically impossible for him to commit. Charles Napier’s utterly despicable villain in Supervixens (1975) brutally murders a woman after she taunts his inability to perform. Beneath the Valley of the Ultra-Vixens (1979) is a preposterous and anarchic profile of a hopeless idiot who can’t bring himself to have anything but anal sex.

What’s more is that his focus on male inadequacy was no doubt a highly personal topic. In addition to his reputation for being decidedly wham-bam-thank-you-ma’am in the sack (corroborated by multiple former lovers), one particular episode of performance anxiety is instructive. Just as his filmmaking career was getting started, Meyer’s obsession with busty burlesque icon Tempest Storm caused him to abandon his first wife and nearly ruin his own life. But when it came time to go to bed with Ms. Storm, Meyer’s manhood was nowhere to be found. He described it thus: “When I first met Tempest Storm I was so in awe of her great big cans that thoughts like performing badly or ejaculating prematurely ran through my mind –all connected to the dick bone. So when I made my move to hump the buxotic after the last show in her Figueroa Street scatter, I felt inadequate, plain and simple. Fuck, what can I say?”.

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Tempest Storm happens to be the star of Meyer’s first short film (now lost), The French Peep Show (1954), and her breasts make a cameo in his first feature-length film, The Immoral Mr. Teas (1959) (As far as I’m aware, this isn’t actually true. It was June Wilkinson’s breasts that had an uncredited cameo, Storm was not involved in the film at all – Lydia). To a significant extent, she was the sex symbol that launched his whole career. So quite literally, feelings of sexual inadequacy were at the very root of his development as an artist.

Meyer’s brand of transgressive femininity may be thought of as the natural result of his own self-loathing, which subliminally translated into deep skepticism for contemporary masculinity at large. It’s likely he viewed female sexuality as something hopelessly out of his personal control, and ultimately out of society’s control as well. That’s why his work exhibits what UC Irvine film professor Kristen Hatch called “an ambivalence toward the traditional authority figures that classical Hollywood had helped to reinforce, showing masculine social authority to be in a state of disarray.” Characters like Varla and Vixen don’t just transgress rules associated with physical gender norms like strength and sex drive; they represent the rejection of all rules that paternalistic society is stupid enough to rely on. At its best, Meyer’s work subverts traditional sexual power dynamics and celebrates the disorienting sexual chaos that results. Female liberation in Meyer’s universe is not the product of paternalistic sympathy or cliché moral epiphany. Rather, he depicts female sexuality as being by its very nature violently irrepressible and self-actualizing. Socio-masculine anxiety about this threat to male sexual hegemony is the principal component of Meyer’s continuing subversive appeal. But as Ebert once put it, that’s only apparent to viewers “if they can see past the heaving bosoms.” Not likely.

MEYER MONTH – Advert Pictorial

9 Nov