Rockin’ in the Film World #12: The Monkees in HEAD (Columbia 1968)

The Monkees (Davy Jones, Mickey Dolenz, Peter Tork, and Mike Nesmith) brought rock’n’roll to TV with their mega-successful 1966-68 musical sitcom. Inspired by The Beatles’ onscreen antics in A HARD DAY’S NIGHT and HELP!, producers Bob Rafelson and Bert Schneider cast four fresh-faced youths (Jones was a Tony nominee for OLIVER!, Dolenz had starred in TV’s CIRCUS BOY, Tork and Nesmith were vets of the folk-rock scene), hired some of the era’s top songwriters (Gerry Goffin & Carole King, Tommy Boyce & Bobby Hart, Neil Diamond, Harry Nilsson) and session musicians (Hal Blaine, James Burton, Glen Campbell  , Carol Kaye), and Monkeemania became a full-fledged teenybop pop phenomenon.

Detractors (and there were many) in the music biz called them ‘The Pre-Fab Four’, looking down their noses at The Monkees while looking up as hits like “I’m a Believer”, “Daydream Believer”, and “Pleasant Valley Sunday” climbed to the top of the charts. But like all fads, Monkeemania quickly died out, and NBC cancelled the show in 1968. Rafelson, Schneider, and the group (who by this time were writing and playing their own music) decided an image makeover was needed, and together with co-screenwriter Jack Nicholson (yes, THAT Jack Nicholson) concocted the psychedelic, surrealistic feature film HEAD.

The movie is a completely plotless, colorful swirl of imagery, blackout skits, and satire focusing on The Monkees’ attempt to be taken seriously. To try and describe this mélange of trippy 60’s bizarreness would be pointless, which features everything from clips of film classics (Bela Lugosi in THE BLACK CAT, Rita Hayworth in GILDA ), footage of Monkee concerts and the Vietnam War, spoofs of movie genres (westerns, boxing epics, war films, musicals, science fiction, AIP/Poe horrors), guest stars ( Victor Mature , Annette Funicello , Sonny Liston, Frank Zappa, Tor Johnson , and a totally insane Timothy Carey !), and songs. Yet somehow, it all works as an entertaining piece of LSD-inspired lunacy that may be jarring to some but is never boring!

Despite this stab at something different, HEAD totally tanked at the box office. The Monkees’ teenybopper fan base didn’t know what to make of it, and the older hippies wouldn’t give them the time of day. As for the adults… fuggetaboutit!! The Monkees gradually disbanded, only to reunite decades later after the ironic crowd rediscovered them via reruns on Nickelodeon and MTV (which Nesmith had a hand in creating). Davy Jones died in 2012 and Nesmith’s now too rich to care, but Dolenz and Tork still carry the Monkee torch, touring as recently as 2016 for the group’s 50th anniversary.

As for the producers, each went on to success. Schneider won an Oscar for the 1974 documentary HEARTS AND MINDS, while Rafelson directed films like FIVE EASY PIECES (1970), STAY HUNGRY (1976), THE POSTMAN ALWAYS RINGS TWICE (1981), BLACK WIDOW (1987), and BLOOD AND WINE (1996). That guy Nicholson did okay for himself, too! HEAD is truly too unconventional for words, but I don’t think you’ll be disappointed by it, especially if you’re a classic film fan. Just turn off your mind, relax, and float downstream… oops, sorry, wrong band!

More “Rockin’ in the Film World”:

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Rockin’ in the Film World #11: HAVING A WILD WEEKEND (Warner Brothers 1965)

For those of you who weren’t around during the heyday of the 60’s British Invasion, The Dave Clark Five were second only to The Beatles in popularity. The group came hot on the heels of The Fab Four, appearing on Ed Sullivan for two straight weeks, and had a solid string of hits from 1964 to 1967: “Glad All Over”, “Bits & Pieces”, “Because”, “Any Way You Want It”, “Over & Over”. Yes, they were BIG, folks!  Propelled by Clark’s up-front drumming and lead singer Mike Smith’s growling vocals, The Dave Clark Five had the teenyboppers screaming in the aisles, and since A HARD DAY’S NIGHT was a smashing success, a movie starring the boys was the next logical step.

Director John Boorman

HAVING A WILD WEEKEND begins like it’s going to be a clone of that film, then turns into something completely different thanks to first-time director John Boorman, who would later give us POINT BLANK , DELIVERANCE, EXCALIBUR, and HOPE AND GLORY. Boorman sets the conventional 60’s rock film on its ear with his skewering of social conventions, sexual mores, the advertising world and the price of celebrity. Boorman’s debut is a lot bolder than something like HOLD ON (Herman’s Hermits), or even A HARD DAY’S NIGHT, and though The DC5 have long left the scene, this is a movie that can be enjoyed on its own merit.

The band play a group of “stuntboys” doing commercial work with the face of the day, model Dinah (Barbara Ferris of CHILDREN OF THE DAMNED). She’s the spokesmodel for the meat industry, with her face plastered all over England in a “Meat for Go!” ad campaign. Stuntboy Steve (Clark, a former stuntboy himself) is bored with the whole thing, and he and Dinah take off in a spiffy Jag, heading for the coast of Devon where she’s planning to buy her own personal island to get away from it all, pursued by ad exec Leon’s minions.

Their adventure takes the couple to a deserted village where they meet up with a scraggly bunch of proto-hippies who ask if they’ve got any “spliffs” or “horse”. The village is being used for maneuvers by the British Army, who start bombing the hell out of the place, forcing Steve and Dinah to split the scene on foot. They thumb a ride from a pair of upper-class dilettantes (Yootha Joyce, Robin Bailey), who try separately to seduce the youngsters, than take them to a costume party with a classic film theme, with the attendees dressed as Groucho Marx, Jean Harlow, Frankenstein’s Monster, Charlie Chaplin, and Laurel & Hardy, among others!

Steve and Dinah finally make it to her island paradise, only to discover it no longer remains an island when the tide goes out. Leon is there waiting for them, along with the press, having planted a story of Dinah being kidnapped. Soon she’s swept up in all the publicity and hoopla, and Steve, realizing the journey always far outweighs the destination, takes off with his stuntboy brethren for sunny Spain.

The DC5’s hit “Catch Us If You Can” serves as the theme song, and was the movie’s UK title. Other songs interspersed into the movie are “Having a Wild Weekend”, “Sweet Memories”, “Time”, “On the Move”, “When”, “Ol’ Sol”, “I Can’t Stand It”, and “Move On”. The Dave Clark Five didn’t have the personalities of The Beatles or The Stones, nor did they move forward musically as the decade progressed, but for a three-year span they were on top of the pop world, and HAVING A WILD WEEKEND is a true 60’s time capsule of Swingin’ London. Even if you’re not familiar with them, the film’s worth watching for Boorman’s neo-realistic take on pop culture. They were inducted into the Rock and Roll Hall of Fame in 2008, and rightly so. I’ll leave you with one of my favorite DC5 songs, “Because”, from a 1964 Ed Sullivan appearance:

Rockin’ in the Film World #10: THE GIRL CAN’T HELP IT (20th Century Fox 1956)

Frank Tashlin  combines two of 50’s America’s favorite obsessions, sex & rock’n’roll, in THE GIRL CAN’T HELP IT, Jayne Mansfield’s first headlight headlining role. When Jayne sashays across the screen, turning heads, melting ice, boiling milk, and cracking eyeglasses a star is born, in CinemaScope and gorgeous DeLuxe color. But the film is stacked with more than just Jayne’s Twin Peaks; it features performances from rock royalty like Little Richard, Fats Domino, Eddie Cochran, Gene Vincent, The Platters, and a host of others.

The plot is very simple (and very familiar): a goony gangster (broadly played by a hilarious Edmond O’Brien ) hires a down-on-his-luck agent (Tom Ewell of THE SEVEN YEAR ITCH) to make a singing star out of his honey (our girl Jayne). Only problem is, Jayne can’t carry a tune in a bucket, shattering lightbulbs whenever she starts to warble. Seems she doesn’t want to be a star anyway, just to settle down and be domestic. Tom and Jayne quietly fall in love, the gangster gets jealous, and you just know that by film’s end everything will turn out for the best.

Interspersed in all this are the cream of classic 50’s rockers belting out their big ti.. er, hits! Little Richard does the title tune, “Ready Teddy”, and “She’s Got It”. The Three Chuckles (whose lead singer Teddy Randazzo costarred with Tuesday Weld in ROCK ROCK ROCK  ) perform “Cinnamon Sinner”. Fats Domino lends his New Orleans-flavored R&B to “Blue Monday”. Gene Vincent blasts his mega-hit “Be-Bop-A-Lula”. Eddie Cochran belts out “Twenty Flight Rock”. Abby Lincoln does a Gospel-tinged “Spread the Word”. The Platters doo-wop to “You’ll Never, Never Know”, and Nino Tempo, Johnny Olenn, Eddie Fontaine, The Treniers, and Freddy Bell & The Bell-Boys also appear.

Tashlin’s trademark cartoony gags bounce playfully throughout the film, beginning right off the bat with the pre-credits introduction by Ewell. It’s packed with double entendres by the truckload, most of them involving Jayne’s ample endowments. There’s a funny fantasy scene where Ewell, still carrying the torch for ex-client Julie London, sees her everywhere singing her own big hit, “Cry Me A River” (and by the way, the future Nurse Dixie McCall of TV’s EMERGENCY was pretty darn hot herself!). Surpassing that is the sight of O’Brien gyrating wildly and croaking out the song “Rock Around the Rock Pile”, a precursor of sorts to Elvis Presley’s showstopping number in JAILHOUSE ROCK .

Despite the classic rockers, Tashlin’s Looney Tunes humor, and a beautiful pastel color scheme, all eyes will be on Jayne Mansfield. She’s really good in this, giving a sweet-natured performance as the girl who just can’t help it. Jayne was red-hot at the time due to her Broadway smash WILL SUCCESS SPOIL ROCK HUNTER? (later filmed by Tashlin), and 20th Century Fox signed her as a rival to Marilyn Monroe. She was a good actress, though now best remembered for her sexpot image, and it’s a shame her career took such a downward trajectory so fast. With the right material, we’d probably be looking at Jayne Mansfield today for more than her obvious assets.

Legend has it when THE GIRL CAN’T HELP IT was released in England, a 16-year-old kid in Liverpool saw his rock idols perform for the first time. The lad’s name was John Lennon, and soon he met 15-year-old Paul McCartney, who auditioned for Lennon’s teenage band by doing an imitation of Eddie Cochran’s “Twenty Flight Rock” from the film. McCartney got the gig, and within a few years The Beatles  were the biggest rock’n’roll band in the world. That’s how influential THE GIRL CAN’T HELP IT was in the history of rock’n’roll, and any fan of rock music, Jayne Mansfield, or Frank Tashlin needs to put it on their must-see list.



 

Rockin’ in the Film World #9: JIMI HENDRIX: ELECTRIC CHURCH (2015)

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Back in March, I attended the “Experience Hendrix” live show, featuring guitar gods Kenny Wayne Sheppard, Buddy Guy, Zakk Wylde, Dweezil Zappa, Jonny Lang, and others jamming to the music of Jimi Hendrix. But as they say “Ain’t nothin’ like the real thing, baby”, and the documentary JIMI HENDRIX: ELECTRIC CHURCH is a full-on aural assault chronicling Hendrix’ 1970 performance at the Atlanta Pop Festival.

Director John McDermott begins the film with some famous talking heads (Paul McCartney, Steve Winwood, Susan Teschi, Metallica’s Kirk Hammett, Rolling Stone writer Anthony DeCurtis), as well as residents of the tiny town of Byron, where the festival was actually held (and they seem to be having a ball reminiscing!). There are clips of Hendrix on THE DICK CAVETT SHOW and of segregationist Georgia Gov. Lester Maddox (who hates them damn hippies!).

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Then it’s showtime, as Jimi and his band dive into classics like “Fire”. “All Along the Watchtower”, “Foxy Lady”, “Purple Haze”, “Hey Joe” , ‘Voodoo Child”, and “Stone Free”, which segues straight into “The Star Spangled Banner” and “‘Straight Ahead”. Jimi’s at the peak of his powers, using every trick in his repertoire, playing with his teeth, bending over backwards, working that whammy bar to bend those beautiful notes. It’s easy to forget what a powerhouse drummer Mitch Mitchell was in light of Jimi’s brilliance, but damn if he doesn’t approach Keith Moon territory with his furious playing. Billy Cox keeps a steady bass beat while Hendrix and Mitchell bounce off each other into the stratosphere.

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The performance was filmed on July 4, 1970, and less than three months later Jimi Hendrix was dead at age 27 of a barbiturate overdose. The footage for this film sat in filmmaker Steve Rash’s barn for over thirty years before being made into this documentary and released on the Showtime network. It’s been a long time coming, but now fans can enjoy this seminal piece of rock’n’roll history. It’s on DVD and Blu-Ray, and would make a fine Christmas gift for the classic rocker in your life.

Rockin’ in the Film World #8: BEYOND THE VALLEY OF THE DOLLS (20th Century Fox 1970)

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Sex and drugs and rock and roll!! That about sums up BEYOND THE VALLEY OF THE DOLLS, a lightning-fast paced Russ Meyer extravaganza covering the end of the decadent 60’s with a BANG… literally! The movie was originally intended to be a sequel to 1967’s soapy and sappy VALLEY OF THE DOLLS, but Meyer and screenwriter Roger Ebert (yes, THAT Roger Ebert!) changed course and concocted this satirical, surrealistic saga that skewers Hollywood, rock music, the sexual revolution, and anything else that got in its way.

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Like the original, the story concerns three nubile young ladies trying to make it out in La-La Land (that’s Los Angeles, folks), only this time they’re a Midwestern rock power trio named The Kelly Affair. Kelly (Dolly Read, former Playmate and soon-to-be wife of comedian Dick Martin), Pet (model/actress Marcia McBroom), and Casey (Playmate Cynthia Meyers), along with Kelly’s boyfriend and band manager Harris (David Gurian), hit the big city, where Kelly’s sexy Aunt Susan (Phyllis Davis of VEGA$ fame) bequeaths a third of her fortune to her only living relative, much to the displeasure of slimy lawyer Porter Hall (Duncan McLeod).

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The trio attend a hipster party thrown by record producer and scenemaker Ronnie “Z-Man” Barzell (a completely over-the-top John LaZar). The promoter digs their sound and look, rechristens them The Carrie Nations, and they zoom to the top of the pop charts. Kelly’s ego gets the best of her, and soon she demands half of Susan’s dough, thanks in part to hustler Lance Rocke (Peter Fonda lookalike Michael Blodgett), who worms his way into her, uh, good graces, leaving Harris out in the cold. Porn star Ashely St. Ives (the immortal Edy Williams!), who gets horny when the wind blows, then sets her sights on Harris’s fresh meat, and what Ashley wants, Ashley gets!

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Drummer Pet (and why is the drummer always black in rock films?) hooks up with earnest law student Emerson (Harrison Page, later of TV’s SLEDGE HAMMER!), but strays with World Heavyweight Champion Randy Black (Blaxploitation/Exploitation fixture James Iglehart). Bassist Casey quickly gets hooked on booze and downers, ends up pregnant by Harris, has a (then) illegal abortion, and falls into the arms of designer Roxanne (Meyer vet Erica Gavin). All these shenanigans wind up in a private party at Z-Man’s, where the peyote-laced wine takes things from love-in to freak-out as Z goes psycho and starts a bloody killing spree…

This delightfully demented cautionary tale moves at breakneck speed, and there’s never a dull moment as we follow the band on their sordid rise to the top. It’s funny right up until things take a dark turn as Z-Man reveals his true nature and, his mind blown from all the drugs, starts chopping off heads and blowing people’s brains out! Ebert’s script is a psychedelic trip through the sleazy side of Hollywood, filled with in-jokes (Porter Hall was a 30’s-40’s character actor specializing in weasels), thinly disguised characters (Z-Man= Phil Spector, Randy Black = Muhammed Ali), and nods to classic film genres. Rated X when first unleashed, BEYOND THE VALLEY OF THE DOLLS contains plenty of nudity but no explicit sex scenes. The rating was bestowed more for the bombastic, gore-filled ending, coming so soon after the Tate-LaBianca Manson murders that scandalized the country.

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The Carrie Nations aren’t the only rock band featured here. The psychedelic sounds of Strawberry Alarm Clock can be heard playing at the party, including their #1 smash “Incense and Peppermints”. The band had also appeared in AIP’s hippie drama PSYCH-OUT, a Dick Clark Production, making them the only rock band in history to hold the distinction of working for both Clark and Russ Meyer! Folky singers The Sandpipers (of “Gunatanamera” and “Come Saturday Morning” fame) warble the title song, while blues rocker Lynn Carey (daughter of actor Macdonald Carey) dubs Kelly’s vocals. Composer Stu Phillips (known for his TV scores on THE MONKEES, GET CHRISTIE LOVE!, and BATTLESTAR GALACTICA, among others) fills the film with groovy period music, and The Carrie Nations’ songs were written by Bob Stone (Cher’s “Gypsies, Tramps, & Thieves). I really dug the hard rocking “Sweet Talkin’ Candy Man”!

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BEYOND THE VALLEY OF THE DOLLS probably isn’t for everybody, but it’s a delicious treat for many, especially Grindhouse fans. It’s a wild ride to Hollywood’s dark side, filled with sex, drugs, and rock’n’roll, and for my money you can’t beat that!

BONUS! Here’s Strawberry Alarm Clock doing their hit, “Incense and Peppermints”!

Rockin’ in the Film World #7: The Beatles in A HARD DAY’S NIGHT (United Artists 1964)

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(It’s a Sunday night, February 9, 1964. Everybody’s watching THE ED SULLIVAN SHOW to get a peek at this new phenomenon called Beatlemania. The adults in the room are disgusted, saying things like “They look like a bunch of girls!”, “They must be sissies!”, and “Yeah yeah yeah? What the hell kind of song is that??” They just don’t get it.  But the six-year-old kid watching along does, and a lifelong obsession with rock’n’roll is born…)

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From the opening shot of the Fab 4 being chased down the street by screaming teenyboppers to the final clanging guitar notes of the title tune, A HARD DAY’S NIGHT makes a joyful noise introducing The Beatles to the silver screen. John, Paul, George, and Ringo come off as a mod version of the Marx Brothers with their anarchic antics, guided by the deft hand of director Richard Lester. Shot in cinema verite style, this zany, practically plotless romp follows the boys as they head to London for a live television performance.

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Accompanying the Beatles is Paul’s grandfather, an old codger who’s “nursing a broken heart”. But don’t let Foxy Grampa fool you, for as Paul says “He’s a mixer”, a troublemaking curmudgeon who’s always stirring the pot. Grandfather’s a bit of a lecher too, and is constantly getting in trouble. He’s played by Irish actor Wilfrid Brambell, known to audiences across the pond as the incorrigible old junkman on the popular sitcom STEPTOE AND SON. References throughout the film to Grandfather as being “very clean” are in contrast to his “dirty old man” sitcom character. The series was later Americanized as SANFORD AND SON, starring another “dirty old man”, Redd Foxx.

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There are plenty of gags and bits of business as the group’s manager Norm (Norman Rossington, who also worked with Elvis in DOUBLE TROUBLE) and his assistant Shake (comic actor John Jukin) attempt to keep the boys and Grandfather out of trouble long enough to make it to the TV show. And let’s not forget Victor Spinetti as the neurotic TV director! Pop culture keeps popping up, as Shake reads a MAD paperback, and a bellman carries a copy of an Elvis magazine. One throwaway bit is the first “drug reference” in Beatles history, as John snorts Coke!:

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Lennon’s a natural comic who probably could’ve had a film career if he wanted to. Ringo later did do movies on his own (THE MAGIC CHRISTIAN, CAVEMAN), and his hangdog look made him perfect for pathos. His solo excursion in the film, wandering the streets of London, is a highlight. Another highlight is the brief press conference, with questions and answers like these:

  • Q: How did you find America?  John: Turned left at Greenland.
  • Q: Are you a Mod or a Rocker?  Ringo: Neither, I’m a Mocker.
  • Q: What would you call that hairstyle you’re wearing?  George: Arthur.

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But it’s the music Beatles fans will treasure, as they perform twelve of their hits, beginning with “A Hard Day’s Night”, then “I Should Have Known Better”, “I Wanna Be Your Man”, “Don’t Bother Me”, “All My Loving”, “If I Fell”, “Can’t Buy Me Love”, “And I Love Her”, “I’m Happy Just to Dance With You”, “Tell Me Why”, and “She Loves You”. An instrumental version of “This Boy (Ringo’s Theme)” is heard during Ringo’s trek through London, with all incidental music by Beatles producer George Martin.

American ex-pat Richard Lester directed the controlled chaos so perfectly he was assigned the Beatles second film, HELP! Lester’s madcap style served him well in mod 60’s films like HOW I WON THE WAR (starring Lennon), A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, and PETULIA, and into the 70’s with THE THREE MUSKETEERS and its sequel, and 1980’s SUPERMAN II. John Jympson’s frenetic editing contributes to the freewheeling pace, and Alun Owen’s screenplay provides a good framework for the lunacy that ensues. One of the all-time great rock films, A HARD DAY’S NIGHT is a rollicking romp through early Beatlemania, and if you’re too young to remember what the fuss was all about, see this movie!

Rockin’ in the Film World #6: IT’S A BIKINI WORLD (Trans-American 1967)

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IT’S A BIKINI WORLD is one of the lowest of the low-budget “Beach Party” ripoffs you’ll ever see. Yet it has a certain charm to it, a likeable little “battle of the sexes” soufflé featuring some great 60’s rock acts and the undeniable appeal of beach bunny Deborah Walley.

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Beach stud Mike Samson goes gaga for knockout new redhead Delilah Dawes (Samson and Delilah, get it?). She thinks he’s an egotistical jerk and gives him the big freeze-out, telling him she prefers the “serious type”, so Mike dons a pair of thick glasses and some nerdy duds, passing himself off as intellectual brother “Herbert”. Herbert takes her to museums and zoos, while Mike competes with her in skateboarding and boat races run by local customizer Daddy, owner of hangout The Dungeon. Delilah discovers Mike’s scam, and they compete in a final Cross Country Race that consists of car racing, motorcycles, swimming, and even riding camels! Mike throws the race, and the two finally get together, as if there were ever any doubt.

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The extremely loose plot is just an excuse to have a bunch of classic Sixties rocker lipsynch some of their hits. Pat and Lolly Vegas, the Native American brothers who wrote P.J. Proby’s hit “Niki Hoky” and later formed the band Redbone, sing “Walk On”. R&B girl group The Toys perform their minor hit “Attack!”. Memphis garage rockers The Gentrys, featuring future WWF manager Jimmy “Mouth of the South” Hart as lead singer, do the frat rocker “Spread It On Thick”. Minnesota’s The Castaways jam out to their smash hit “Liar Liar”. And finally, British Invasion blues rock stars The Animals, with a bored looking Eric Burdon, do the Barry Mann/Cynthia Weil classic “We Gotta Get Out of This Place”, which is what Burdon looks like he wishes he were doing!

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Can I get a shout out for the ever-delectable All-American girl Deborah Walley! The cute, perky Miss Walley made her film debut as every surfer’s dream in 1961’s GIDGET GOES HAWAIIAN, and quickly became a teen flick favorite. Deborah appeared in several AIP “Beach” movies (BEACH BLANKET BINGO, SKI PARTY, GHOST IN THE INVISIBLE BIKINI) and was married for a spell to “Beach” regular John Ashley. She was a drummer in Elvis Presley’s band in SPINOUT, and co-starred for two seasons as Eve Arden’s daughter on the sitcom THE MOTHERS-IN-LAW. Deborah’s costar here is Tommy Kirk, former Disney star (OLD YELLER, THE SHAGGY DOG, SON OF FLUBBER) who was fired when Disney was informed Kirk was gay. Moving over to AIP, Tommy did PAJAMA PARTY and GHOST IN THE INVISIBLE BIKINI (with Walley). After getting busted for marijuana, Kirk’s career and life slid downhill. He made MARS NEEDS WOMEN for Larry Buchanan and  BLOOD OF GHASTLY HORROR for Al Adamson, and developed a vicious drug habit that rendered him unemployable. After getting clean and sober, Tommy Kirk left show business, running a successful carper cleaning business. He returned “home” in 2006 when he was named a ‘Disney Legend’ by the company, and does the occasional fan convention.

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Kirk’s pal is played by Bobby ‘Boris’ Pickett, who would’ve been better used lipsynching his hit “Monster Mash “, because he sure can’t act! Daddy is played with gusto by the great Sid Haig , hamming it up and peppering his speech with phrases like “It’s a gas” and “Groovy, man”. Director Stephanie Rothman was a Roger Corman protégé and one of the only women working in the exploitation field besides Doris Wishman. Corman financed IT’S A BIKINI WORLD, and clips of his ATTACK OF THE CRAB MONSTERS are shown when the gang goes to the movies! Rothman and husband Charles Schwartz (who produced and cowrote the screenplay) later left Corman and formed Dimension Films, where she became noted for THE VELVET VAMPIRE and TERMINAL ISLAND. Rothman’s decidedly feminist point of view is evident in this one, pitting Walley against Kirk in physical sporting competitions, something you didn’t see in AIP’s Frankie and Annette features.

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Let me be honest though: IT’S A BIKINI WORLD is cheap, low budget nonsense geared for the teenage drive-in crowd, made to separate kids from their allowances on the weekend. It’s full of corny jokes and dumb slapstick gags, and most of the money spent on it probably went to get the rock’n’rollers to appear. That being said, it’s hard not to like this little time capsule of the Swinging Sixties. It does what it’s supposed to; it keeps you entertained for an hour and a half. Plus, it’s got those classic rock acts in it, and Deborah Walley to look at. Sounds like a win-win to me!!