#Meg Myles

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Meg Myles

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Meg Myles

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Meg Myles

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Join us at Fontaine’s bar on 18 July when the FREE Lobotomy Room cinema club presents Satan in High Heels (1962)! (Rescheduled from June!).  

Hard-boiled and stylish, Satan in High Heels represents the acme of early sixties sexploitation cinema NOT made by Russ Meyer. Characterized by exceptionally good acting, atmospheric film noir 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!

Weary of her hard-scrabble two-bit existence bumping-and-grinding in the carnival, scheming, manipulative and utterly amoral fairground burlesque dancer Stacey Kane (Meg Myles) ditches her useless junkie husband and flees to New York to re-invent herself as a singer. Cynically employing 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). 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! As the poster’s tagline leers “The father … the son … the husband … the lover … they all had her … but she had them – right where the heat was hottest!”

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 and that sensibility is amply reflected onscreen in the emphasis on Stacey’s spike-heeled Spring-o-Lator mules and the kinky black leather dominatrix ensemble she wears (complete 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"). 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!). Reserve your seat NOW via bookings@fontaines.bar. Full deets here.

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Meg Myles (Seattle, Washington, 14/11/1934-12/11/2019).

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Satan in High Heels

The second film in my stalker trilogy doesn’t introduce the stalker until late, but he plays a key role in the denouement. And though all three films are about subjecting the female body to the male gaze, Jerald Intrator’s SATAN IN HIGH HEELS (1962, YouTube) is the only one that’s an out-and-out sexploitation film. It’s rather mild by exploitation standards, even if the plot is all about a woman’s using her body to get ahead. There’s only one brief glimpse of nudity from a supporting actress. But it plays with gender a lot and features one good leading performance and one absolutely terrific one.

Sideshow dancer Stacy (Meg Myles) robs her drug addict husband so she can move to New York. On the plane, she seduces a hotel owner who introducers her to Pepe (Grayson Hall), the manager of an erotic nightclub, and the club’s owner (Mike Keene). After a fling with Hall, whom she can’t manipulate, she sets her sights on Keene’s son (Robert Yuro) but also seduces Keene to secure a luxury townhouse. On the night she’s to introduce her act at Pepe’s club (alongside British exotic performer Sabrina, who is to be seen to be believed), her husband shows up.

Myles is good as the avaricious Stacey (except when she goes flat at the end of her big number). Stacy’s utterly unscrupulous in using people until she gets what she wants and then dumping anybody she no longer thinks she needs. When Hall starts molding her image, bringing out what she sees beneath’ Myles beautiful surface, she dresses her in leathers, culminating in an hilarious S&M number at the club. She’s a dangerous, threatening object of desire, a metaphor for how the film sees Stacey that points to the ultimate, rather atavistic message that women are meant to be used, not to use. By contrast, the lesbian Pepe knows when to exercise her power but also when to pull back, and she’s positively motherly in her dealings with Yuro. She’s allowed to exist and “mentor” available talent because, like Gypsy Rose Lee in SCREAMING MIMI (1958), her life is devoted to holding other women up to the male gaze.

Although she often denied having made this film (reportedly Myles and Grayson did not realize it was sexploitation until halfway through production, when nude behind-the-scenes shots of Myles started appearing in girlie magazines), Grayson creates a compelling, totally connected character out of Pepe. She endows innocent lines with suggestions of forbidden passions like a butch Mae West. Intrator isn’t much of a director. Except for a few minutes of montage establishing the sideshow setting at the start, his main accomplishment is keeping Hall on camera whenever possible. And she steals every shot she’s in. It’s not just that she’s constantly sucking on a cigarette holder (in her hands it’s a deadly artistic weapon). She’s intently, actively focused on everything around her, because Pepe has to be to succeed and survive. Not that the rest of the cast, except Myles, gives her much competition. But it’s hard to take your eyes off her. Those who only know Hall from DARK SHADOWS or her work on THE NIGHT OF THE IGUANA (1964) should look up her stage credits. She was an accomplished actress who may have turned to the soaps for bread and butter but also scored triumphs in plays by Pirandello, Brecht and Genet.

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Meg Myles

[bitter69uk]

Coming to the Lobotomy Room cinema club presentation of tawdry exploitation b-movie Satan in High Heels (1962) at Fontaine’s on 20 June? Of course you are! An added incentive is catching simpering ultra-kitsch sex bomb Sabrina (nee Norma Ann Sykes, the British Jayne Mansfield) playing herself as anti-heroine Stacey Kane’s bitter burlesque rival. Her performance is gloriously awful! “Angel!” she exclaims, bursting into the club accompanied by a giant poodle after returning from a tour where she’s been the toast of Europe. “You look wonderful,” Pepe (the chic lesbian nightclub proprietress played by Grayson Hall) enthuses. “It’s clean living, darling!” Sabrina explains, then immediately asks for a cigarette. Reserve your seat NOW via bookings@fontaines.bar. Details here.

Satan in High Heels (Jerald Intrator, 1962)

[bitter69uk]

Heartfelt gratitude to everyone who attended the Lobotomy Room cinema club’s presentation of 1962 sexploitation masterpiece Satan in High Heels on Thursday 18 July! Damn – this particular club felt jinxed! If it feels like I’ve been banging on about Satan in High Heels for an eternity, the film was meant to be our featured title in June, and we had to cancel at the very last minute due to a crisis at the venue and reschedule it for July. I’ve got to admit the sparse attendance on Thursday night felt like a dagger through my heart. Reservations-wise, we had a full house in June and then an even fuller house for July (we deliberately overbook knowing there will always be flaky people who don’t turn up). Where was everyone? But the hip attendees who WERE there totally engaged with Satan’s sleazy urgency! I’ve seen Satan MANY times at this point and am still discovering and appreciating something new (like how it begins and concludes with perfect circularity, with the exact same snatch of circus calliope music). With its emphasis on high-heeled mules and leather, Satan is a fetishist’s delight! I’m the first to admit I know virtually nothing about its director Jerald Intrator (1920 - 1988), who was clearly no hack and a filmmaker of real verve and attack. Should I investigate his other titles like The Orgy at Lil’s Place (1963) and Caught in the Act (1966)? Leading lady Meg Myles is riveting as bitch goddess anti-heroine Stacey, and I maintain that (with her ginger beehive and tight pencil skirts ) if you squint your eyes, she anticipates Christina Hendricks in Mad Men. Myles should have been a much bigger star! Finally, if you liked Mundell Lowe’s urgent finger-snappin’ jazz soundtrack, it’s on Spotify! Listen to it and feel like you’re living in your own personal b-movie! I’ll announce the August film club title soon.

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Meg Myles

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Grayson Hall-Meg Myles "Satan in high heels" 1962, de Jerald Intrator.

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Another pin-up model of the 1950s era, Meg Myles taking a refreshing break while on a hike. #pinup #pinupphotography

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#meg myles

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