Comments and collages by Mister Grundy
Glamorpusses of Yesteryear!
ANOUK AIMÉE — You might have asked “Who’s That Girl?” as I did when I first
caught Fellini’s “8 ½”; Madonna was nowhere in sight, but this woman had the
most exquisite face. That part of her is what’s studied in this collage, mainly
because she offered little else. The film is from 1969’s fairly obscure “THE
APPOINTMENT,” where Sidney Lumet went “Euro” in directorial style, and Omar
Sharif developed an obsession over his tres joli co-star.
ANOUK AIMÉE — At least the classy mademoiselle bares a bit of 37-year-old flesh
in the little-known MODEL SHOP (1969), without offering the juicier goods. She
works as a photographer’s model, where shutterbugs from off the street can come
in for an allotted time to snap away. Gary Lockwood, cool and distant as ever,
somehow manages to “aime” Anouk.
BARBARA SHELLEY — A pretty heroine from primarily horror films of the 1950s and
‘60s, but woefully not represented in the Scoopy archives, likely because she
had the bad manners to remain fully clothed. She repeats her ill consideration
here, in 1958’s “BLOOD OF THE VAMPIRE,” but at least we can get an idea of how
deserving she was of awakening men’s baser instincts. In this film, she
certainly catches the “eye” of the hunchbacked assistant.
STEFANIE POWERS — She might have whupped men twice her size as “The Girl from
U.N.C.L.E.” from around the same time period, but the rickety Tallulah Bankhead
easily pushes the 23-year-old around in this 1965 psychological thriller from
Hammer Film Studios – how can it miss? The film is “DIE! DIE! MY DARLING!”
(a.k.a. “Fanatic”); no nudity, but there’s a “genuine” catfight with the maid,
and Stefanie is at her most alluring.
SHARON TATE — What gets lost in the tragic way she is mainly remembered today is
that she was a genuine “sex goddess.” Perhaps she has never looked lovelier than
as an athletic beach bunny (named “Malibu”) in the lighthearted Tony Curtis
romp, “DON’T MAKE WAVES” (1967). There is conjecture that a stunt double might
have been used in the scene where Tate takes to the trampoline, and if so, in
comparison to views where we know it’s her, it probably doesn’t matter very
EVA MARIE SAINT — Tony Franciosa, playing her smitten brother-in-law, referred
to her as “Miss Sunshine” in “A HATFUL OF RAIN,” giving an idea of the “saintly”
characters she would often play, even with suaver roles, as in NORTH BY
NORTHWEST. So that makes it all the more delightful to discover she has exposed
some skin, in yet another goody-two-shoes role, as George Segal’s understanding
wife in 1970’s “LOVING.” Granted, in order to catch this intimate part while she
was 45 or 46, you’ve got to look fast, in a quick frame grab; and in silhouette,
NANCIE PHILLIPS — “LOVING” (1970) offered Nancie her only role of substance, but
at least she did not leave the cinematic scene without preserving her bare wares
on celluloid; here, she takes a cue from Charlie’s Angels, and ignores David
Doyle, who plays her husband; she lavishes her attention on George Segal,
SHERRY LANSING — Most are aware that the tall beauty broke the mold and became a
studio executive, but how many have caught a glimpse of her in her actorly
element? Aside from a few television appearances, her role in “LOVING” (1970),
as a big shot’s babe, was only one of two feature film stints. She kept her
UNKNOWN — Playing a nude model in George Segal’s art studio in 1970’s “LOVING.”
Her character’s name is “Ann,” and she even has a line, but older films had the
bad habit of being very selective with their credits.
MAI ZETTERLING — At one time a sex symbol, but there appears to be no photos of
her in the Scoopy archives. A one-time squeeze of Director Ingmar Bergman, the
Swedish actress ultimately left acting to pursue a career in film directing. Yet
at age 36 or 37, she graced us with a long shot view of her ample rear end,
playing a comedic role, as a woman who distracts Peter Sellers from his wife, in
1962’s “ONLY TWO CAN PLAY.”
HONOR BLACKMAN — Smart, stylish and sexy, she made her mark playing roles in
“The Avengers,” and as Pussy Galore in “GOLDFINGER.” In fact, catching her in
the 2002 documentary “BOND GIRLS ARE FOREVER” made me want to honor Honor, as
it’s not often an older lady could look as stunning as she did in that show.
There’s no nudity here, just a study of her from the western, SHALAKO (where she
reunited with Sean Connery, in 1968), and a quick peek of Ms. Blackman in granny
mode, from 2000’s “THE SIGHT” – when she curiously showed her age a lot more
than in the documentary that made me perk up.
SUSANNAH YORK — At the time she started going for older roles, as when she
played Superman’s Kryptonian mom, she still demonstrated that when you bite into
York’s Peppermint Patty, you’d get a sensation – especially as Alan Bates’
39-year-old sex slave, in “THE SHOUT,” from 1978. The British blonde was
thankfully not coy about shedding her outerwear, and she does not disappoint
SHIRLEY JONES — Usually sweetness and light, Ms. Jones went a little against
type in 1960’s “ELMER GANTRY,” playing a vengeance-seeking sweet and light
prostitute in an Oscar-winning role. No nudity, but a taste of Shirley, at 25 or
26, in rare “sexy” mode.
SHIRLEY JONES — Playing a widow with three sons who makes naval commander Gig
Young want to get all hands on deck, in 1963’s “A TICKLISH AFFAIR.” Carolyn
Jones must not have been happy about playing second banana to Shirley’s glamor
girl, who looks pretty nifty in her very short shorts.
INGER STEVENS — Three years before her untimely death from what appears to be
suicide, this beauty born in Sweden, in the role of a missionary, was brutally
ravaged by a not-entirely-convincing George Hamilton in 1967’s Civil War
potboiler, “A TIME FOR KILLING”; she was 32 or 33, and offered a teasing look at
what lay within.
SOPHIA LOREN — In her role as a fast-talking thief who confounds an appealing
Marcello Mastroianni, the curvy cut-up lets the bombshells explode in 1954’s
Italian comedy, “TOO BAD SHE’S BAD” (“Peccato che sia una canaglia”); Sophia was
only 20, at her seductive prime, and we get to see her in a cumbersome bathing
suit. The bouncy tune she sings, “Binga Banga Benga,” dangerously implants
itself in the brain.
VERONICA CARLSON — For an actress whose claim to fame was unabashed sexpot,
primarily in Hammer horror films, there’s hardly a sign of her in the archives…
probably because she insisted on modesty, mainly trading off on her cleavage. In
1975’s “THE GHOUL,” one of her last films when she was 31, Veronica plays an
assertive partygoer who winds up in a spooky mansion, in line to meet Peter
Cushing’s cannibal son. No nudity.
DEBORAH KERR — This classily beautiful Brit often played prim-and-proper roles,
so it may be a kick to catch her in what may pass as wilder moments. In 1959’s
“BELOVED INFIDEL,” where she played F. Scott Fitzgerald’s lover, Kerr affords a
look at her swimwear-clad body (surprising some with her curvaceousness, at age
38), and even gets a spank from leading man Gregory Peck.
JANICE RULE — Once promoted as a sex symbol, she’s barely known today; she
couldn’t help but gain attention as the erotic and flirtatious party girl wife
of Robert Duvall, in “THE CHASE” (1966), when she was about 35. Here, she nicely
cuts loose in a form-fitting dress. Around the same time, the striking actress
also shined as Dean Martin’s heroine in the Matt Helm film, “THE AMBUSHERS.”