Tag Archives: Pin up

‘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.

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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.

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Russ Meyer Front Cover – ‘Sensation’ August 1954

17 Mar

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MEYER MONTH – Babette Bardot Pictorial

30 May

This was a post that narrowly missed this year’s MEYER MONTH that I did back in March. A couple of months late but  better late than never! Enjoy…

In searching for a little more information on Mondo Topless star Babette Bardot, I came across a lot of pin-up pictures of her during her modelling career that I hadn’t seen before. It seemed only right that as part of this year’s MEYER MONTH I include a pictorial of her alongside the one I’ve done on fellow Meyer girl Eve Meyer and the upcoming ones I have for the rest of this month.  As far as I know, Russ didn’t shoot any pictures of Babette as part of his photographic career and only worked with her in relation to the films Mondo Topless and Common Law Cabin. Bardot knew how to pose for a great picture so one can only imagine the results if she had teamed up with Meyer for a series of pictures…

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MEYER MONTH – ‘Heavenly Bodies’ (1963)

26 Mar

2012 saw another of Russ Meyer’s early films finally get a home viewing release for the first time, 1963’s Heavenly Bodies. This was one of the directors early films, alongside This Is My Body and Erotica, that had been out of circulation since its original 60s theatrical run. Like Meyer’s other early films, Heavenly Bodies is essentially a moving image pictorial, a brief glimpse at the life of a glamour photographer and the pin-up model at work. Opening with up close shots depicting the contours of the female body, or as Meyer has it in his narration ‘the component parts of a woman’, the picture eventually shows us the printing process of the glamour magazine before moving on to show different segments of various known photographers (Ken Parker, Fred Owens, Charles Schelling) conducting their own photo shoots. Shot over a long weekend to make Meyer some cash after having some time off for being in hospital, one gets the feeling that those involved didn’t really have to do an awful lot to make the whole picture come together.

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There isn’t a lot going on in the picture and it serves more as a nostalgic treat into how things were done in the past. With each segment, the narrator goes through the exact specifics of what camera and what lenses each photographer is using and what they change to during their session if light or their subject focus changes. As interesting as it is, it probably won’t mean anything to those watching who know little about photography, cinematography and cameras themselves. The way shoots are conducted however is quite interesting (the financial, mental and physical benefits of using two models at the same time for instance). For a film that sells itself as an expose on glamour photography there are, of course, some beautiful shots, namely the shoot with the two models at the start of the film which takes place in and around a home swimming pool. Another fun little segment shows how pin-up photography has changed over the years, with film stock turning black and white to play out a cute little scene in the days when models wore a lot more clothing and photographs took longer to capture (it stars the wonderful Princess Livingston in her first Meyer film cameo, which I had wrongly attributed to Wild Gals of the Naked West).

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Part of the charm of Heavenly Bodies is seeing the camaraderie of director Meyer and his war buddies who he frequently enlisted to help him over the years with his various film projects. There is one scene in particular where Russ takes his fellow 166th Signal Corps photographers on a photo field trip to the woods to shoot two buxom models (Althea Currier and Monica Liljistrand) amidst the lush scenery. Whilst the models are putting on their make-up and doing their hair, all of the director’s buddies are setting up and cleaning their cameras and lenses. Eventually they find a nice spot to shoot pictures of the two girls, all whilst fighting each other over taking turns and getting the best angles. It’s quite sweet to see them almost worshipping the pretty models knowing that they must have come across some really challenging stuff between them when working out in the field during World War II.

It’s not going to be to all Meyer fans taste, no doubt a large number of people will find it very boring, but for Meyer completists and photographers Heavenly Bodies is an interesting little snapshot into two different but very similar work practices that took over Russ Meyers life. If you’re going to bother watching his early films, you best include this in your viewing as its one of the more significant in the batch that have finally been released.

MEYER MONTH – Tempest Storm Pictorial

26 Mar

Burlesque star Tempest Storm was right there in 1952 when Russ Meyer’s cinematic career first began. Storm was a regular performer at the El Ray Burlesk Theater in Oakland, California and Meyer had begun taking pin-up photographs of the dancers there which he then advertised and sold as sets or singles through glamour magazines. His pictorial of Tempest is an early example of the types of angles and shots he would use in his later filmography and the photographs are nothing short of stunning. Storm’s assets are shown off to their full potential, her curves and presence made all the more Amazonian by Meyer shooting her from below. Always one at photographing women well, Meyer makes Storm more than desirable in his pictures which at the time were rather risqué. Below is nearly the entire shoot, minus one or two pictures of which I couldn’t find online. Enjoy!

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MEYER MONTH – Diane Webber Pictorial

18 Mar

Next to his second wife Eve Meyer, my second favourite model of Russ Meyer’s is Diane Webber. Another natural beauty, Webber was more than photogenic with a multitude of photographs showing her instinctive ease at which to pose her body and smile towards the camera. Webber was Playboy‘s Playmate of the Month in May 1955 and February 1956 (under the name Marguerite Empey) with the later pictorial being one of the three centrefolds that Meyer shot for the magazine. According to the photographer, the secret to Webber’s voluptuous beauty at the time was the fact that she was secretly a few months pregnant, making everything just that little bit bigger.

There’s no denying that Meyer’s photographs of Webber are among some of the best in his early, if not entire, photographic career. Just as with Eve, Russ struck lucky with the model (also an avid nudist) and developed a good short partnership that delivered the goods. Aside from stills photography, Webber also featured in one of Meyer’s shorts, This Is My Body, which was shot in 1959. This proved to be the last time that Webber and Meyer worked together (he blamed pregnancy for changing her body). The following pictures are some that I’ve managed to attribute as being taken by Meyer himself (although I can be proven wrong, it’s very difficult to establish as online and some published information either incorrectly credit Meyer as photographer or not credit him at all) but I’m sure that among the plethora of images that come up when searching for Webber a few more are his.

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