#1950s sexploitation

[atomic-chronoscaph]

Betrayed (1955)

[weirdlookindog]

Broadway Burlesque (1951)

[theartisticendeavor]

Vintage Paperback - Burial Of The Fruit by David Dortort

Avon (1951)

[monicareconstructed]

Pat Barrington.

Pat screamed feminine sex appeal, like 'I AM WOMAN!!' at top decibels.

Not such a happy childhood, and lived the life of a stripper with a few forays into film. But her looks and body - oh, my! I would have loved to have her body in her prime!!

Her web bio:

Pat Barrington was an extremely buxom, curvy, and drop-dead gorgeous blonde topless dancer who popped up in a handful of enjoyably trashy softcore sexploitation features throughout the 1960's, often for producer Harry H. Novak's Boxoffice International Pictures and directed by William Rotsler.

Barrington was born Patricia Annette Bray on October 16, 1939 in Charlotte, North Carolina. Her mother Willie Jo Bray had a fling with a local man named Claude Weidenhause and became pregnant at age sixteen. Weidenhause had already left by the time Barrington was born. Pat moved with her mother Willie Jo to Richmond, Virginia when she was only two years old. Willie Jo married another man, Eugene Lee Barringer. But the marriage was short-lived and Pat found herself moving once again with her mother to Hyattsville, Maryland. Willie Jo subsequently married a former Marine suffering from post-traumatic stress disorder. Upset with the unstable situation at home, Barrington left her mother and went out to fend for herself after her sophomore year in high school.

Pat relocated to Baltimore, Maryland, where she hooked up with an Italian-American mobster named Bob. Barrington got married for the first time in the late 1950's. But Pat soon left her first husband after the relationship became abusive. Bob helped Barrington get back on her feet by securing her a job as an exotic dancer. Pat then made a name for herself in Washington, D.C. dancing under the name of Vivian Storm. Barrington caught the eye of local jazz musician Melvin Rees and moved into Rees's abode in Hyattsville, Maryland in 1959. Pat moved down south with Rees in 1960. Alas, Rees was found guilty of murdering a Virginia family and was sentenced to life in prison.

Barrington moved to Los Angeles, California in 1962 and promptly got a job dancing at the prestigious nightclub The Classic Cat. Pat then decided to pursue a modeling career and subsequently started posing in spreads for various men's magazines as well as numerous commercial layouts. After an ill-advised foray into dancing in Las Vegas, Barrington returned to Los Angeles and resumed her career as a model while still dancing on the side. Pat eventually began auditioning for film work in the mid-1960's. Barrington achieved her greatest cult cinema fame as the female lead in Stephen C. Apostolof's unintentionally hilarious horror camp hoot Orgy of the Dead (1965), in which she also performs one of her patented steamy nude dances as the painted Gold Girl. Barrington had another rare substantial starring part as a bored housewife who works as a high-priced call girl in the seamy Agony of Love (1966). More often, though, the stunning and spectacularly alluring Pat was relegated to secondary roles as a go-go dancer in such delightfully down'n'dirty low-grade fare as Lila (1968), The Girl with the Hungry Eyes (1967) and Sisters in Leather (1969). She appeared as herself in both the lurid mondo item Hedonistic Pleasures (1969) and Russ Meyer's blithely silly documentary Mondo Topless (1966). During this time Barrington was briefly married to cinematographer Robert Caramico.

After calling it quits as an actress, Pat left Los Angeles and moved to New Jersey with a singer named Romeo. Barrington soon found gainful employment dancing in clubs up and down the East Coast under the pseudonym of Princess Jajah. In the mid-1970's Pat branched out into topless dancing. She settled down in Cliffside Park, New Jersey in 1980. Barrington eventually dumped Romeo and became involved with a much younger man named Robert. Pat moved with Robert to Fort Lauderdale, Florida in 1984. Pat worked as a stripper using the name Yvette at assorted seedy clubs throughout Florida. After retiring from dancing in the early 1990's, Barrington went on to work as a telemarketer. In her later years Pat also helped local animal rescue groups (she was a lifelong lover of animals). Barrington died from lung cancer at age 74 on September 1, 2014.

[cleoenfaserum]

JOSEPH W. SARNO, THE HISTORICAL FILM FIGURE OF SEXPLOITATION OF THE 60's & 70's

Joseph W. Sarno was an American film director and screenwriter. born on March 15, 1921. He grew up in Amityville on Long Island and died of natural causes on April 26, 2010 at the age of 89 in his native New York City. Sarno married Peggy Steffans, who was younger than he and was a non-sex performing actress and costumer in some of his films, and they had a son.

Sarno emerged from the semi-pornographic sexploitation film genre of the 1950s & 1960s; he had written and directed approximately 75 theatrically released feature films in the sexploitation, softcore and hardcore genres as well as a number of shot-on-video features for the 1980s hardcore video market.

Sarno, was considerad a pioneer in the genre of sexploitation film.

A Life in Dirty Movies is a 2013 Swedish documentary about Sarno and his wife, and their attempt to make one last film.

940-1 LINK https://ok.ru/video/1115493894694

SEXPLOITATION FILM

What is it?

A sexploitation film (or sex-exploitation film) is a class of independently produced, low-budget feature film that is generally associated with the 1960s and early 1970s, and that serves largely as a vehicle for the exhibition of non-explicit sexual situations and gratuitous nudity. The genre is a subgenre of exploitation films. The term "sexploitation" has been used since the 1940s.

Moonlighting Wives (1966).

940-2 LINK: https://ok.ru/video/4932160785094

In USA, exploitation films were generally exhibited in urban grindhouse theatres, which were the precursors to the adult movie theaters of the 1970s and 1980s that featured hardcore pornography content. In Latin America (most notably in Argentina), exploitation and sexploitation films had meandering and complex relations with both moviegoers and government institutions: they were sometimes censored by democratic (but socially conservative) administrations and/or authoritarian dictatorships (especially during the 1970s and 80s), and at other times they enjoyed an important success at the box office.

Among his best-known films in the genre is Sin in the Suburbs (1964), which is about wife swapping, ...

940-3 LINK: https://ok.ru/video/4506488277662

The term soft-core is often used to designate non-explicit sexploitation films after the general legalisation of hardcore content. Nudist films are often considered to be subgenres of the sex-exploitation genre as well. "Nudie" films and "Nudie-cuties" are associated genres.

Beginning in 1968, Sarno's work became somewhat more explicit, predicting the emergence of soft-core. His breakthrough feature Inga (1968) ...

940-4 LINK: https://ok.ru/video/2527643372093

... was one of the first X-rated films released in the United States. Other noteworthy soft-core features include All the Sins of Sodom (1968), 

940-5 LINK https://ok.ru/video/4642191968926

Critical reputation

Singled out for praise by critic Andrew Sarris during the 1970s, Sarno's work has been acknowledged in recent years by tributes at the New York Underground Film Festival, the Torino Film Festival in Turin, Italy, the Cinémathèque Française in Paris, and The Andy Warhol Museum.

Sarno has had a tribute at the British Film Institute in London and has given an honorary lecture at Lund University in Sweden.

His career is being researched for a comprehensive biography by film historian Michael J. Bowen.

Virgile Iscan interviewed Joe Sarno and his wife shortly before Sarno's death in 2010. The interviews appear in Iscan's documentary The Divine Joe Sarno.

Filmography

Deep Inside (1968)

940-6 link https://ok.ru/video/6550569880222

Joseph W. Sarno - Wikipedia

[zaius-theforbiddenzone]

Hell Is a Place Called Hollywood (1950)

These Girls Are Fools (aka. Hell Is a Place Called Hollywood) (1950) Short, Drama, Exploitation

A beauty queen called Sheila Anderson wins a part in a Hollywood motion picture. The film turns out to be a cheap nudie film, she is then shunned by the theatrical community and ends up working as a nude model. Soon she is old news and struggles to get work, resulting in abject poverty.

"exploitation", "fetish film", "stag film", "sexploitation"

[mehlsbells]

I went in kind of expecting a 'gay sexploitation' and sure that SOUNDS fun but with its reputation and the 1950s of it all I was worried it'd be not just lurid-in-a-bad-way but quite a preachy, snide piece of work.

But there's so much great stuff here! The lighting alone is worth the price of admission.

[kalessinsdaughter]

I think the context was a combination of two things:

Swedish politics in the 1970s were radically progressive (this was the heyday of social democratic and feminist reform in Sweden, when our welfare state expanded massively), which seriously spooked more conservative societies.

A slew of Swedish erotic and sexploitation movies, beginning in the 1950s and continuing well into the 70s.

It goes without saying that you'll often encounter prejudices that wouldn't fly today when you take in older media, but sometimes you also encounter prejudices which simply have no contemporary analogue. I've been taking in a lot of American media from the 1970s lately, for example, and there seems to be this whole thing about the moral degeneracy of the Swedish going on – and while I know there's probably a fascinating cultural context to that, it never stops feeling vaguely like I'm somehow being pranked.

[schlock-luster-video]

On July 13, 1995 Glen or Glenda premiered on German television.

[atomic-chronoscaph]

Girls Incorporated (1959)

[weirdlookindog]

The Desperate Women (1954)

[pixiedeadbeat]

1954, starring Joanne Arnold, PMOM May 1954

[everything-anything3345]

From 1962. "Satan In High Heels ". Starring Meg Myles & Grayson Hall. Released Date: March 23,1962. American Sexploitation Film. Promotional Stills. The blonde below is another pinup movie starlet blonde known as Sabrina. Look her up. Identified: Born Norma Ann Sykes she was better known as Sabrina or Sabby. Was a 1950's English Glamor model who progressed to a minor film career.

[ozzyozploitation]

Introduction to Australian Cinema and Ozploitation

Australia was the county that kickstarted the film industry we know today over a century ago in 1906, with the feature film The Story of the Kelly Gang, directed by Charles Tait, but with the rapid rise of American cinema in the 1910s and 1920s, Australian film saw a huge decline in their success and production of films. With this decline came desperation, and with the Australian film industry losing money, they turned to the United States, seeking products that were now way too expensive to make in their own country for their films, as it was much cheaper to get their products imported than making them themselves. As a result of the decline of the Australian film industry, by 1923 American films basically took over the Australian market, with an astounding 94% of all of their films coming from the United States.

In the 1930s, Australia began to make steps in righting the ship in regards to their film industry with the creation of Cinesound Productions in 1931. This Australian film production company was one of Australia’s first major feature-film producers, but despite its praise, it didn’t last. Cinesound Productions was financially successful even though they only produced only 17 feature-films, but due to WWII, they stopped their filmmaking in 1939.

Australian film was finally going in the right direction in the 1940s and 1950s. Kokoda Front Line! (1942), directed by Ken G. Hall was a very successful Australian film, winning Australia's first Oscar. Other Australian hit films in the 1940s included those with the brilliant Australian actor Chips Rafferty. He was known for acting like a typical Australian in his acting roles, which gained the attention of many Australians. Films like Forty Thousand Horsemen (1940), The Rats of Tobruk (1944), The Overlanders (1946) and Eureka Stockade (1949) starring Rafferty did surprisingly well, and received much praise. The 1950s were also successful for Australian films. In 1958 the Australian Film Institute was formed, and in the same year began awarding the Australian Film Institute Awards.

As for the 1960s, this is when Australian film became another decline. With only a couple notable films released in this decade, drastic changes were going to be needed in order for the industry to stay afloat. What needed to happen? Well, there was one film in particular in the 1960s that did pave the way for a new era in Australian film. Starring Chips Rafferty and Walter Chiari, the comedy They're a Weird Mob (1966) directed by Michael Powell, sparked an idea that was needed for Australian film to shine, which led into the “Australian New Wave,” and the idea was to exploit Australian culture. With this era in Australian film emerged the Ozploitation style.

With the introduction of the R rating in 1968, The Ozploitation style took genres like horror, comedy, sexploitation and action films to heart, presenting the wild side of Australia in the process. The 1970s and 1980s were known as the "golden age" of Australian cinema, with tons of hit films like Picnic at Hanging Rock (1975), Sunday Too Far Away (1975), Mad Max (1979), and Crocodile Dundee (Peter Faiman, 1986). The Ozploitation style also introduced a major theme in Australian cinema, surviving in the outback. Films like Wake in Fright, Walkabout, The Cars That Ate Paris and Picnic at Hanging Rock, Razorback, Long Weekend and Shame are the perfect examples of incorporating this "outback gothic" style. All of these films and many more in this era could be described using a variety of words, but one of the best words to describe this era is exactly that, variety, at a low cost. These films are ruthless, surprising, hysterical, rebellious, sexy, and violent. These are just some of the words to describe these amazing Australian films, and the list of words could take up an entire page. The variety of genres within Ozploitation is truly astounding. It is very difficult to compete with the American film industry, but Ozploitation saved the Australian film industry from being wiped from the map and is what launched the industry to what it is today.

Sources:

ACMI. (2020, October 15). What is ozploitation? - youtube. YouTube. Retrieved March 3, 2022, from https://www.youtube.com/watch?v=GVCwnED09UU

ACMI Writers. (2020, October 22). What is ozploitation? ACMI. Retrieved March 3, 2022, from https://www.acmi.net.au/stories-and-ideas/what-is-ozploitation/

Gilbey, R. (2009). Australia’s underbelly. New Statesman, 138(4940), 51.

Lane, A. (2009). Lightened Loads. New Yorker, 85(24), 86–87.

Wiki Writers. (2022, January 23). Cinema of Australia. Wikipedia. Retrieved March 4, 2022, from https://en.wikipedia.org/wiki/Cinema_of_Australia

[bitter69uk]

Satan in High Heels (1962). Tagline: “They all went where the heat was hottest!” I’m using this period of enforced social isolation to explore the weirder corners of YouTube for long forgotten and obscure movies. (My boyfriend Pal is accompanying me only semi-willingly). Hard-boiled and stylish, Satan in High Heels represents the acme of early sixties sexploitation not made by Russ Meyer. Characterized by exceptionally good acting, noir-ish and atmospheric black-and-white cinematography and an urgent jazz soundtrack, Satan was filmed in just 21 days with an estimated budget of less than $100,000 – and is a taut 89-minute journey into deep sleaze. 

The plot offers the same essential premise as an earlier b-movie I recently raved about, Wicked Woman (1953) starring Beverly Michaels: a disreputable trampy woman washes-up in a new town and proceeds to stir-up trouble. In this case, it’s scheming, manipulative and utterly amoral fairground burlesque dancer Stacey Kane (played by 1950s chanteuse and pin-up queen Meg Myles). Weary of her hard-scrabble two-bit existence bumping-and-grinding in the carnival, Stacey robs her useless heroin addict husband of $900 and flees to New York to re-invent herself as a singer. Cynically using sex and a smile, the redheaded vixen inveigles her way into a gig crooning at the upscale Greenwich Village nightclub managed by fiercely chic and jaded lesbian proprietress Pepe (the reliably-intense Grayson Hall, in a role anticipating Elaine Stritch in Who Killed Teddy Bear? (1965)). Stacey promptly becomes the mistress of wealthy married businessman Arnold Kenyon, but – to considerably complicate things – she also pursues Kenyon’s feckless beatnik son Laurence. (Within the context of the film, we’re presumably meant to think young Laurence is the “appropriate” love interest, but the actor who plays Arnold is significantly more appealing – he’s a suave silver-haired DILF in the tradition of Roger Sterling in Mad Men). 

Aside from some fleeting glimpses of side boob in a gratuitous skinny-dipping scene, no actual nudity is on display. But Satan’s producer Leonard Burtman’s background was in the realm of fetish porn magazines (his specialist titles included Bizarre Life, Exotique and High Heels), and that sensibility is amply reflected onscreen in the emphasis on Stacey’s spike-heeled Spring-o-Lator mules (her footwear is by Sydney’s of Hollywood) and especially the kinky black leather dominatrix ensemble she wears (complete with jodhpurs and riding crop) growling the climactic musical number “The Female of the Species” (sample lyric: "I'm the kind of woman/ Not hard to understand / I'm the kind that cracks the whip /And takes the upper hand". At points you can audibly hear the leather creaking as Stacy moves).  Everyone snarls their tough-as-nails dialogue, chain-smokes and knocks-back hard liquor. (You could play a fun drinking game taking a sip every time a character onscreen does, but it would risk projectile vomiting). 

Sporting an impressive lacquered beehive, Meg Myles is wholly commanding as bitch goddess extraordinaire Stacey. She radiates bad girl anti-charm, and she’s got a sultry way of delivering a jazz ballad, too. Satan is at its most campily enjoyable in the scenes of Stacey and stern task mistress Pepe sparring (the club’s handsome gay pianist Paul – played by Del Tenney – sometimes joins in). “I’m not upset. I’m tired,” Stacy complains at one point. “T-I-R-E-D!” "You'll EAT and DRINK what I SAY until you lose five pounds IN THE PLACES WHERE!" Pepe fires back. “I don’t care if you can breathe or not – you’ll wear a girdle and smile!” With her butch tailored suits and long cigarette holder, Grayson Hall is a consummate scene stealer and a great LGBTQ role model! (Inexplicably, Hall hated this film and used to deny appearing in it). Watch also for simpering ultra-kitsch sex bomb Sabrina (the British Jayne Mansfield) as Stacey’s bitter rival. She’s gloriously awful! Link to watch film. 

Let’s face it: the puritanical, hypocritical and homophobic hellsite Tumblr has become a dying platform since it banned adult content in December 2018. I post here less and less. Follow me instead on Instagram, Twitter, Facebook or on my blog. Fuck Tumblr!

[bitter69uk]

Died on this day: Britain's Jayne Mansfield, TV personality, b-movie starlet, pin-up, Stockport’s finest export and all-round glamour girl (when that was still a legit job title) – the fabulously ridiculous Sabrina (née Norma Ann Sykes, 19 May 1936 - 24 November 2016)! In her 1950s and 60s heyday, the sex kitten’s sensational 42½ inch bust and a 19-inch waist earned her lecherous publicity titles like “Britain's finest hourglass”, “Queen of the Big Top" and "The Juliet with the Built-in Balcony.” Sabrina also had great taste in men: she enjoyed a tempestuous fling with film noir tough guy Steve Cochran in the fifties. I treasure Sabrina’s gloriously awful performance in 1962 American sexploitation masterpiece Satan in High Heels. But I also clearly need to seek out The Ice House (1969) (aka Love in Cold Blood and The Passion Pit) in which Sabrina plays Venus De Marco, a role originally intended for Jayne Mansfield before her death. (The part was also offered to Mamie Van Doren, Diana Dors and Joi Lansing).

Norma Sykes (Sabrina) in front of a mirror in Las Vegas, Nevada; 1962