A sultry petite raven-haired Texas beauty with a lilting Southern accent, Ann Morell decorated a number of sixties movies including two with Elvis Presley but never made it to the big time due to missed opportunities and her strict moral convictions.

Ann Morell’s screen debut was in the sci-fi film Beyond the Time Barrier (1960), which was filmed in her native Texas, followed by a bit role in the forgettable talking duck comedy Everything’s Ducky (1961). For the next couple of years, Morell worked steadily alternating between decorative roles and ethnic parts due to her dark exotic looks while posing for pin-up and cheesecake photos like every good starlet and contract player did during the sixties.  In the Robert Goulet comedy Honeymoon Hotel (1964) she was a newlywed, in John Goldfarb, Please Come Home (1965) she was one of the many starlets draped in veils as a harem girl, and in Red Line 7000 (1965), directed by Howard Hawks, she was the “Girl in the Café” jilted by two potential suitors after sultry French babe Marianna Hill saunters by. In between movies, Morell also kept busy on television in shows such as Burke’s Law and Branded opposite Burt Reynolds. Back on the big screen, Morell snuggled up to Elvis Presley playing one of the many sexy denizens at a dude ranch for models in Tickle Me (1965) and as a curvaceous brunette itching to work as Elvis’ secretary for his helicopter tour business in Paradise, Hawaiian Style (1966). British blonde beauty Suzanna Leigh got the job in the movie while in real life she was nominated for “Star of Tomorrow” at the Hollywood Deb Star Ball in 1967 but lost out to Sivi Aberg.  On TV, Ann’s varied roles ranged from a sexy barber on It Takes a Thief and a Latin American revolutionary on Mission: Impossible, to appearing as herself on Rowan & Martin’s Laugh-In and The Dating Game.

After being cast as a sexy Italian belly dancer in the long forgotten spy spoof The Phynx (1970), Ann Morell finally landed a co-starring movie role albeit in the Grade-Z production Dracula vs. Frankenstein (1971) directed by Al Adamson.  Sporting some of the shortest mini-skirts ever worn on screen, she played a former biker chick turned hippie who aides buxom Vegas lounge singer Regina Carroll search for her missing sister at a carnival freak show.  Ann’s last movie before retiring was as a prostitute during the Depression who befriends Barbara Hershey as Boxcar Bertha (1972) produced by Roger Corman and directed by Martin Scorsese. Unfortunately, most of her scenes were cut and the film did not generate any more roles for her as her life took a new direction as wife and mother.

Read my interview with Ann Morell in my book Glamour Girls of Sixties Hollywood!

Blonde bombshell Bobbi Shaw was known for her trademark saying, “Yah! Yah!” clad in her trademark fur bikini in a series of American International Pictures beach party movies beginning with Pajama Party (1964) where she was the sexy foil to comedian Buster Keaton. She made such a huge impression and became an instant fan favorite that AIP paired her again with Keaton in Beach Blanket Bingo (1965) and How to Stuff a Wild Bikini (1965). The studio let her stretch her acting chops to great amusement in bigger roles in Ski Party (1965) as an amorous Swedish ski instructor and The Ghost in the Invisible Bikini (1966) as a conniving carnival worker. Once the tide rolled out for the beach movies, Shaw began doing improvisation and then teaching.

More on Bobbi Shaw with my interview with her in my upcoming BearManor Media book Talking Sixties Drive-in Movies.

https://youtu.be/jZmsiLU5YOw

Beyond the Valley of the Dolls was the story of All-American girl rock trio who travel across country to Hollywood where they are re-named the Carrie Nations by music industry impresario Ronnie ‘Z-Man’ Barzell (John Lazar) and experience fame, fortune, and heartache. Keeping with his casting of big bosomed actresses in lead roles such as Lorna Maitland in Mudhoney, Tura Satana in Faster, Pussycat! Kill! Kill!, and Erica Gavin in Vixen, it is not surprising that Meyer cast these two former Playboy Playmates as the girl rockers. British Dolly Read, Miss May 1966, played Kelly MacNamara the lead singer and long-lost niece of her dead mother’s sister Susan Lake (Phyllis Davis). Success goes straight to Kelly’s pretty head as she dumps naive Harris Alsworth (David Gurian) her loyal high school sweetheart and the band’s unofficial manager, falls in with the pot-smoking Hollywood in-crowd, and begins a romance with actor/gigolo Lance Rocke (Michael Blodgett) who cajoles her to go after a bigger share of her grandfather’s inheritance held by rich Aunt Susan. Kewpie-face Read projected a sincere naivety with her performance as she spirals down into the valley of the dolls but comes to her senses, ditches the drugs, drops the suit, and reunites with a now paralyzed Harris who accidentally fell from a catwalk during one of her concerts. Read also convincingly lip-synched all her songs including “Come with the Gentle People,” which were actually sung by Lynn Carey and bared her breasts a number of times.

Cynthia Myers, Playboy’s Miss December 1968, clinched the role of Casey the guitar-playing lost soul of the group due to her 39DD cup, which bosom master Russ Meyer flipped over. A powerful senator’s daughter who has been used and abused by men, Casey falls in love with Lesbian clothes designer Roxanne (Erica Gavin). However, when her jealous lover learns that she is pregnant by Harris after a drunken one night stand, she demands that Casey have an abortion. She goes through with it, but pays for her wanton ways when at the film’s climax she and Roxanne have their pretty little heads blown off by the crazed Z-Man who reveals a set of knockers to rival any Playboy Playmate. He goes off the deep end as Super Woman also beheading a bound Lance clad only in leopard bikini briefs.

Russ Meyer aimed Beyond the Valley of the Dolls to be “the first rock, horror, exploitation film musical.” And he succeeded spectacularly!

Read more about Dolly Read and Cynthia Myers in mu bool Glamour Girls of Sixtues Hollywood.

One of my favorite film genres is the alienated youth films from the late sixties. I am  a sucker for those movies featuring aimless young shaggy haired guys who reject conventionalism while trying to find themselves during such a turbulent period. For me, one of the best of this ilk is Model Shop, director Jacques Demy’s homage to the city of Los Angeles and the youth culture of the time. Not to everyone’s taste, it is very laid back as the cameras follow Gary Lockwood (fresh off 2001: A Space Odyssey) during the course of a day where he encounters practically every type of young person who populated LA ca. 1969 from grasping starlets to pot smoking hippies to long-haired musicians to radicals who want to change the world.

A laconic Gary Lockwood, at his sexiest wearing tight blue jeans and a T-shirt, plays George Matthews an alienated twenty-six year old unemployed architect who quit his job because his creativity was being stifled by “the man.” He now has the draft hanging over his head and needs $100 to prevent his roadster from being repossessed. He lives with his vapid, self-absorbed blonde starlet girlfriend Gloria (lovely Alexandra Hay, the poor man’s Sue Lyon, who should have turned down the whininess a notch or two) who has given up on him because he won’t marry her or give her a baby.

The movie then follows George during the course of a twenty-four hour period as he drives around LA to get the cash. While trying unsuccessfully to borrow money from his friend who works as a parking lot attendant, George  spots a beautiful French woman (a touching Anouk Aimée) clad in a white form fitting dress with matching head scarf picking up her white Mercury convertible. On an impulse, George follows her out of the parking lot and into the Hollywood Hills where she enters a mansion with beautiful views of the LA basin. George drives off and picks up a hitchhiking hippie who needs a lift to the Sunset Strip. She chatters while rolling a joint, which she gives to him as payment for the ride before she hops out of his car.

George returns to his task of getting the dough to save his automobile and visits his friend the lead singer of Spirit. George hits pay dirt as the group’s first album is hot off the presses so they have money to spare. George takes it and stops at a burger joint to eat where he spots the French woman walking down the street. He follows her to the Model Shop where perverts can rent cameras at fifteen minute increments to take photos of their “models.” George chooses his mystery woman of course and learns her name is Lola. He barely says a word as he snaps away. The rest of the movie has George obsessed with Lola. While visiting some friends who publish an underground radical newspaper, we learn George is really a lost soul. They talk of the Vietnam War and George confesses his fear of death. He then recounts his feelings about LA when seeing that view from the Hollywood Hills and how he wants to design a building for the city he loves but doesn’t know how to begin. He then calls his parents in San Francisco and shockingly learns he is to report for military service the next day. Dumbstruck, he opts to spend time with Lola who he thinks he has fallen in love with (and eventually learns is an unhappy divorcee trying to earn money to return to France to see her 14 year old son) rather than with Gloria who is only interested in landing a TV commercial set up by a male friend. By fade-out George has lost most everything.

Both Hilarie Thompson and Anne Randall have small roles in Model Shop. Thompson is the pot smoking dark-haired hippie and Randall is the model/receptionist painting her toe nails at the Model Shop when George comes to see Lola the second time. Both actresses had scenes only with Gary Lockwood and both only had fleeting memories of him. Thompson said, “All that I remember about Gary is that he took me out on a date and tried to seduce me—unsuccessfully I might add.” Blonde Anne Randall must not have been Lockwood’s type as she remarked, “I found him to be very professional. By that, I mean, he didn’t ‘hit on’ me. I didn’t get to know him and I really can’t remember any kind of exchange with him.”

Despite their small parts, both actresses consider Model Shop one of the highlights of their careers due to director/writer Jacques Demy. Anne raved, “Jacques was a very nice man and so easy to work with. He was wonderful and [doing this film] is one of my favorite memories!” Thompson mused, “I hardly remember the picture itself but as I was playing this role I felt more like myself. I usually felt like a cartoon caricature of a hippie in most of the hippie roles that I played but not here. It’s hard to talk seriously about “hippies” these days because it is conceived as a silly, youthful fad. But I was a hippie. Having survived a harrowing, bohemian childhood, to finally be able to be the neurotic, war protesting, free loving and thinking person I was “raised” to be was quite liberating. The late 60’s liberated me from that 50’s and early 60’s bourgeois life style of the normal and functioning which my family was not.” Kudos must go to Jacques Demy for making such an exceptional film of this genre.

You can read my interview with Hilarie Thompson in my book Drive-in Dream Girls and my interview with Anne Randall in my book Glamour Girls of Sixties Hollywood.