Tag Archives: Pin up

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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MEYER MONTH – The Bodacious Babette Bardot

12 Mar

Once viewed, Babette Bardot is never forgotten. Tall, curvaceous, well stacked, a perfect red pout and inches of voluminous platinum blonde hair. Think of your typical hourglass-figured caricature and you’ve got Bardot, thick fluttering black eyelashes and all. She only starred in two of Russ Meyers films, Mondo Topless and Common Law Cabin, but she made one hell of an impression. And yet, I know very little about her, so tried to piece together as much as I could find to create some sort of rounded profile on the girl.

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Swedish-French Babette Bardot was born in Goteborg, Sweden in 1940. She’s quoted by Meyer biographer Jimmy McDonough in his book Big Bosoms and Square Jaws as being  ‘the fourth cousin of Brigette Bardot‘ although there seems to be some contention online as to whether or not this is actually true. Another fact up for questioning is whether or not she really did model for artist Pablo Picasso in her teens which she exclaims she did. At some point in the early 1960s she became a cheesecake model and was a regular in glamour and pin-up magazines, appearing in Fling, Adam and Escapade to name a few. Judging from earlier pictures of her she has at some point had a fair amount of cosmetic surgery. I didn’t know whether her breasts were real or not, and had yet to read anything that said either way, until it was confirmed for me by Diana Hart in her book Under The Mat that she’d had a boob job. Looking at early pictures and comparing them to her later look in Russ Meyers films, it’s also clear that she had some sort of nose surgery and maybe even lip fillers. You wonder whether her caricature look was one that she had intended to construct for a long time.

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In the early 1960s she apparently worked on two Swedish films but I have found nothing to establish whether or not this is actually true or, if it is, what the titles were. Sexploitation director extroadinaire Russ Meyer found Bardot at the infamous Pink Pussycat on Santa Monica Boulevard, Hollywood, where she at one point had a headlining strip show (she previously used to dance before the legendary Tura Satana did her routine). Meyer asked her to appear in his mockumentary Mondo Topless and Bardot agreed, bringing some of her fellow co-workers along with her. There is no denying that Babette steals the show in Mondo, with Meyer even giving her assets pompous exaggeration; ‘French and Swedish, fifty-fifty where it counts!’. Once you see the images of her driving around San Francisco, topless, bouncing at every turn and bump, you’ll never be able to erase it from your memory. Even more so when you see her dancing and stripping off next to a train track, an oncoming locomotive in the distance and then roaring past. Only statuesque Babette would be discussing the intricacy of portraying a sexually mature woman with childlike innocence in her routines. Except that she manages to do it pretty easily, peeling off her stockings whilst sucking her thumb. My personal highlight is spotting the bruises up her thighs. Sign of a true pro, Bardot wasn’t once the highest paid stripper in the entire US for any old reason, reportedly earning a regular $2,500 a week.

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The following year in 1967 Bardot returned to play a character named after herself in Meyer’s Common Law Cabin. It’s here where Babette really shines, albeit in a glow of european campness. Every line is drooled in her thick French-Swedish accent making some words have an unintentional hilarious different meaning when in conversational context (‘rich’ ends up sounding more like ‘retch’). Having said that she does have some great scenes. I am a big fan of Common Law Cabin but if you’re not convinced, give it a watch just to see her in a tiny, push up bikini chopping fire wood with a machete. Then there’s her exotic fire dance atop a mountain, complete with wailing screams… Bardot plays off against her fellow leading lady Alaina Capri really well creating a memorable performance that stands out amongst those of other Meyer leading ladies. Capri herself said working with Bardot was ‘kind of wild’ which is hardly unsurprising. Accounts give the impression that this woman had a lot of energy, which director Russ would know all about. He claimed to have enjoyed a dalliance with Babette on set, with her frequently staying in his on-set accommodation. In true Meyer fashion, he blamed the films lack of success on the fact that there was too much extra-curricular action on set…

In 1967 she also appeared in I, Marquis de Sade in a minor role as one of de Sade’s girls. I can find very little about her brief role in this but it would again appear that she was hired based on her background of stripping and dancing. This and the two films she did with Russ Meyer appear to be her only film credits.

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On the back of her appearances in Meyer’s films and under the guidance of her husband Bob Baker (her manager and leader of the small band that accompanied her act), she toured the US as a burlesque dancer in 1968,  having shows at the Gayety Theatre in New York City, the Town Theatre in Chicago (of which I managed to find a photo essay of one of her routines in which she looks gorgeous) and the Colony Club in Dallas. Bardot toured the burlesque circuit internationally until she set up a residence at the Majestic Inn in Calgary, Alberta. The liberal laws in Alberta allowed her to strip completely nude, although she would maintain her thong during performances. She performed there nightly for six months before heading to Las Vegas where she not only danced but also sung. She also managed time to fit in another night with Meyer… and none other than Uschi Digard. One can only imagine the amount of breast on show that night (Tura Satana once said she was knocked out when she bumped into Bardot in Vegas in the 70s having not seen her since her early Pink Pussycat days, her words ‘silicone does wonders’ pretty much sums up the interaction).

Whilst in Calgary she became friends with the legendary wrestling family The Harts through wrestler Andre The Giant, a regular at her shows. In the early 1970s Bardot and her family, which by this point included two children Bobby and Bianca, would travel to Calgary yearly to perform at the Majestic Inn where she would perform a lunchtime show and an evening show. During this month they would stay with the Hart’s in the big family home. In 1973 Stu Hart billed her as Miss Stampede Wrestling (the wrestling promotion he ran) after spotting her popularity with other wrestlers he worked with (she was also friends with Terry Funk and Dan Kroffat) but it was always Andre at every one of her shows sitting in the front show. Apparently he was reluctant to miss any of her performances and would sometimes turn up late to bookings that Stu had arranged for him because he’d been to see her. Word on the street was that he secretly held more than a flame for her. Bardot appeared at many of the Stampede parades, regularly riding with the wrestling clan on their float. One summer, the horse she was riding on buckled after the float in front of it stopped and Babette was thrown into the road. Apparently in tears in a heap on the floor, she still managed to let her bulging cleavage show to the crowds supposedly embarrassing a young Owen Hart. As Miss Stampede Wrestling Babette also had frequent appearances on the Stampede Wrestling TV show, handing out awards, title belts at wins and greeting big name stars to the ring.

The last known appearance I can find that she did was in 1981, where she headlined the Babette Bardot Review at the Kings Inn Motel in Daytona Beach. It would appear that she passed away at some point in the early 00s. Tura Satana herself suggests on one online forum that Bardot remarried at some point but that her new surname wasn’t known to many people, including her, which renders much information seeking redundant. It’s a real shame because I would have loved to know where this enigmatic woman found herself after 1981 and what she was up to at the time. By all reports she was a lovely lady and left an impression on all those she met, as well as all of us Russ Meyer fans.

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