Grande Dame/Guignol Cinema: Robert Aldrich’s Hag Cinema Part V: Hush…Hush, Sweet Charlotte 1964 “You’re my favorite living mystery” “Have you ever solved me?”

Miriam is back on screen she’s looking around as if searching for something. The tinkling flutters of incorporeal music still tipping back and forth. We are suspended in some kind of time frame ourselves. Captive. Again as in Baby Jane we as spectators are being held within the constructs of the visual narrative as much as the characters themselves. Aldrich uses his shadows to constrict our visual movement. So much of the plot is drenched in the mysterious cloaking of shadow that it obliterates our senses. The shadows formulate the environment to feel obstructive.

Once again the blackest bar of shadow cuts across Miriam’s figure, casting an ominous 2nd Miriam luring behind herself. Throughout Charlotte, the camera/shadows have aggressively dissected the woman’s bodies in various parts. In advertising, there has been criticism aimed at Ads depicting women’s body parts being cut off as if to dehumanize them. I don’t think Aldrich’s intention was to dehumanize these female characters, but rather to show the fracturing of their ambivalent personalities.

The Manifest meaning behind the shadows could be as simple as framing these female characters in mystery, the ultimate question is one of the Latent meanings, in which we might as spectators come to understand the characters’ principal personalities and the underlying motivating forces that drive them.

And I’d like to think that the camera lens didn’t develop a bit of Acrotomophilia, the amputee fetish that sadly some people suffer from. Still, I found that it is something of worthy note to observe how these shadows frame the female body in both films.

Even the plant seems to cut across Miriam’s torso

Miriam knocks on Charlotte’s door. There is a quick jump cut, Charlotte is on the other side of the door. Miriam knocks once more and then walks away. She shuts the lights out and throws us into yet even more darkness than before. She walks over to the silky lace-covered windows. The dog is still barking outside near the graveyard.

A flute flutters the scales in an almost Middle Eastern mixed Phrygian mode, an exotic mysterious motif, as Miriam peers through the curtains yet look back behind her. She turns away and walks back into the room.

We hear a creaking door. It’s the large Armour as the door swings open to show that Miriam’s sequined dress has been slashed. With the use of an inner monologue we hear Miriam say, “My dress, somebody’s slashed my dress.” She stares at it. Again we see her in profile. the little pipe flutterings play again as she walks toward the shredded dress. Slowly ever so slowly build the tension.

The fluttering is now almost childlike. Is this to represent that a regressive childish acting out is responsible for this destructive behavior? Miriam’s head is in complete shadow surrounded by the shiny sequins, dangling like torn fish gills and silk. She begins to handle the ruined fabric, the music still with us. The strings come in strident. Finally, we see Miriam in full face. She looks contained but shocked at the same time. Continue reading “Grande Dame/Guignol Cinema: Robert Aldrich’s Hag Cinema Part V: Hush…Hush, Sweet Charlotte 1964 “You’re my favorite living mystery” “Have you ever solved me?””

Grande Dame/Guignol Cinema: Aldrich’s Hag Cinema: Hush…Hush, Sweet Charlotte 1964 Part IV “Murder starts in the heart and it’s first weapon is a vicious tongue”

HUSH…HUSH, SWEET CHARLOTTE (1964) – Continued

Charlotte is sipping her coffee and hears a car pull up. She’s holding her shotgun. She sets the china cup down and starts to get up, moving toward the door, we hear a small bird chirping, then the police vehicle coming up the drive encircled by glorious oak trees. Charlotte closes the door and runs to the great hall calling “Velma!” Velma comes to the top of the banister looking through the wooden slats down at Charlotte. She hangs over the edge “What?” in a long drawn-out suspension of the word.

Velma is unpretentious and could be perceived as a crude woman. She’s like an unmade bed or someone who looks like she just rolled out of one, and she doesn’t throw away her words. She strong, sensible and reliable. Velma, disheveled, unkempt by the years of working as a caretaker to her Miss Charlotte, is misleadingly simple yet she is sturdy and obviously faithful to her mistress. Continue reading “Grande Dame/Guignol Cinema: Aldrich’s Hag Cinema: Hush…Hush, Sweet Charlotte 1964 Part IV “Murder starts in the heart and it’s first weapon is a vicious tongue””

MonsterGirl’s Sunday Nite Surreal: Black Sunday/La Mashera del Demonio 1960

BLACK SUNDAY/LA MASCHERA DEL DEMONIO

Directed by Mario Bava & starring the immortal otherworldly – Barbara Steele!

blacksunday6big

This timeless Gothic masterpiece is also known as The Demon’s Mask, Revenge of the Vampire, and House of Fright. It is the Maestro Bava’s first film as a solo director, since first working as a cameraman with another auteur of the dark Riccardo Freda, Bava co-directed I Vampiri (1956)

With the presence of the enchanting & luscious beauty of Steele– the film becomes a romantic exercise in the Gothic style of European horror. Her eyes alone could mesmerize an audience with an effervescence that few possess with their gaze.

Bava also controlled the prowling camera style and Nedo Azzini’s sets are emblematic of the netherworld the story is steeped in.

Like a malefic allegory shown with gruesome keenness, Black Sunday is loosely based on Nikolai Gogol’s The Vij.

Barbara Steele manifests two characters the mirror image of each other–Princess Asa Vajda is tortured and burned as a witch. This is how the film opens with a ferocity that propels the film to a whole other level of classical horror. It is the stuff that dark fairy tales are made of… and nightmares.

The iconic spiked Devil Mask that is pounded into Asa’s face for the crime of adultery, or what was considered to be an act of ‘witchery’ Women’s wiles have always been considered powerful, tempting, and dangerous to men.

The local Inquisitor calling Asa a witch, and condemning her to such a brutal death bears ironing for he is Asa’s own brother. Once Asa returns to claim her revenge she vampirizes Katia in order to rejuvenate her life force.

It is now 200 years later, and Katia Vajda the descendent of the persecuted Princess Asa, is the spitting image of the beautiful ‘witch.’ Asa and her lover Javuto (Arturo Dominici) rise up from the tomb, cobwebs, scorpions, and spiders to wreak revenge on the legacy of the Vajda family curse.

One of the most memorable scenes in horror film history is the resurrection of Javuto from the crumbling ground, the smoky dark clouds surround his devil-masked rotting visage underneath–as he claws his way out of his grave and lurches off into the ghostly night.

The special effects, masks, faces, matte painting, etc. were done by Bava himself with his brother Eugenio Bava. The face of Asa which bears the marks of the spike holes from the devil mask adds a chilling effect to the film. It also creates the image of the monstrous feminine that strives to conquer and drain the life of those she’s fixated on. The two characters that Steele plays are contradictory figures, one virginal and innocent, the other bloodthirsty and evil. Asa was unholy because of her sexual desires.

Black+Sunday+7

Black Sunday’s expressive influence and its grand sense of classical horror are rooted in the idea that a woman’s sexuality cannot be destroyed, and will always inevitably return by its own primacy enduring the scars of the violence inflicted upon her. That which the world order, particularly religious zealotry and patriarchal law attempt to oppress come back twofold just to shake up the order of things.

The ultimate threat appears as the merger of the two Vajda’s women Asa & Katia… the virgin and the whore. Bava continued to make films where men desperately tried to destroy the lure of women’s desire and their desirability…

giphy-2

Black_Sunday-mask_0

black-sunday-1960-movie-review-princess-asa-vajda-witch-burned-at-stake-barbara-steele-mario-bava

black-sunday-ivo-garrani-barbara-steele-1960-us-1961

masque-du-demon031

giphy

STARE INTO THESE EYES… discover deep within them the unspeakable terrifying secret of BLACK SUNDAY… it will paralyze you with fright!

BRIDES OF HORROR – Scream Queens of the 1960s! – Part 4: The Dark Goddess-This Dark Mirror

March 23, 2011 – A Legend, Elizabeth Taylor dies at 79: Girl with the violet eyes…

“I feel very adventurous. There are so many doors to be opened, and I’m not afraid to look behind them.”
Elizabeth Taylor

Today we lost a true legend. One of the most evocatively beautiful and Dionysian actresses of all time, and a passionate humanitarian. To say Elizabeth Taylor is one of my favorite people would sound contrived and pale inadequately to how much I truly love her. Dame Elizabeth was and always will be what dreams are made of.

Elizabeth Taylor was indeed a legendary actress known for her stunning beauty, captivating performances, and undeniable screen presence. Many people have described her as a true Hollywood icon and an embodiment of grace and elegance. Her ability to emote and convey a wide range of emotions on-screen was one of her greatest talents.

Taylor had a unique ability to portray complex characters with depth and authenticity. Whether she was expressing joy, sorrow, love, or despair, her emotive power was unparalleled. Her raw sensuality, expressive violet eyes, radiant smile, and subtle gestures allowed her to connect with audiences on a profound level. She could effortlessly captivate viewers with her every movement and expression.

Throughout her illustrious career, Taylor showcased her emotional range in films like “Cleopatra,” “Cat on a Hot Tin Roof,” “Who’s Afraid of Virginia Woolf?” and some very obscure films but no less significant due to her evocative presence. Her performances garnered critical acclaim and multiple Academy Awards, further solidifying her status as a cinematic goddess.

Off-screen, Taylor was also known for her philanthropic work and her genuine compassion for others. Her charisma and ability to connect with people transcended the silver screen, making her beloved by fans worldwide.

Elizabeth Taylor possessed a unique ability to emote like a goddess, captivating audiences with her beauty, talent, and raw emotional power. She will always be remembered as one of the greatest actresses of all time.

Sam Fuller’s The Naked Kiss (1965): Part I: “There’ll be no later, this town is clean”

May 16th celebrates #NationalClassicMovieDay! with FIVE STARS BLOGATHON

MonsterGirl’s Quote of The Day! The Blue Dahlia (1946)

THE BLUE DAHLIA (1946)

Johnny Morrison ( Alan Ladd ): “You oughta have more sense than to take chances with strangers like this.”
Joyce Harwood (Veronica Lake): “It’s funny, but practically all the people I know were strangers when I met them.”

MonsterGirl’s Quote of The Day! The Black Cat (1934)

The Black Cat (1934) – Bela Lugosi

“Supernatural, perhaps; baloney, perhaps not.”

EDGAR G.ULMER’S: THE BLACK CAT (1934) “ARE WE BOTH NOT"¦ THE LIVING DEAD?”

Amazing Rasputina score The New Zero feat to The Black Cat 1934.

Melora Creager plays a wicked Cello!!!!!!

Chills -M.G.

MonsterGirl’s Quote of The Day: Barbarella (1968)

“A good many dramatic situations begin with screaming.” – Jane Fonda as Barbarella

BARBARELLA- DIRECTED BY ROGER VADIM.

It stars Jane Fonda John Phillip Law as the winged angel, Anita Pallenberg, Milo O’Shea, and David Hemmings as Dildano.

BUtterfield 8 (1960) Part II “I don’t suppose that anybody would think that she was a good person but strangely enough she was. On the surface she was all sex and devil may care yet everything in her was struggling toward respectability,and she never gave up trying”


Gloria’s little red sports car pulls up in front of a row of lovely houses. She gets out, and Ligg tells her “That’s where I was born” There’s snow on the ground, and you can hear the wind howling around them. Ligg tells her his father “was an inventor…can you think of anything more useless in a small town like this?” she says “Not if he invented a way to get out”

“He was certain I’d go a long way in this world.” Gloria says”And you did, didn’t you?…the head of a big chemical company”

“I’m just another hired hand, the company belongs to my wife’s family…My wife is a fact that I can’t avoid…she’s the center of a huge spider web of family, money, country clubs, and childish time killing employments, all into at once” Gloria touches his lips with her leather gloved hand to hush the words that are aching him and they embrace in front of an elderly couple walking by looking shocked.

Gloria’s mother and Francis are sitting at the table drinking coffee and playing cards. Annie seems distracted. She mixes up her cards, “what did I play” Francis says “Your heart and I can hear yours pounding across the table”Annie apologizes and says she’ll pay better attention.

Fannie says “I’d rather you put your troubles out and put them on the table” “I don’t want to burden you with them” “So what am I your friend for…your money?…or maybe I wanna steal your husband” She continues “Look you think I don’t that you haven’t heard from your daughter in 6 days” Annie looks upset “she’s never done such a thing before without calling.”

Annie slaps the cards down on the table and gets up.”Something terrible must have happened” Fannie says “Now why does it have to be bad, there are good things that happen too ya know” “Francis look you’re my best friend but I can’t talk to you frankly” “Why not?” “There are things you don’t know about and shouldn’t…nobody should, “Francis says “Yes they should,” Annie tells her “No her father died when she was so little…I only wish she had a father who was wise enough and strong enough to keep her on the right path” (yet again an example of patriarchal rule giving governance) Annie looks out the window. “once there was a man I almost married…(she looks visibly shaken)

“The Major, Major Hartley” she starts to cry a little “Somehow or other Gloria didn’t like him” We see Annie’s profile, Francis listening “it might have been good if I had” Francis walks over and puts a comforting hand on her shoulder and in a stern voice says “Annie, Gloria’s a good girl, don’t worry about her”

Annie cries out “But you always say such impolite things to her” “I say the same thing to everybody, I’m a born critic…there’s bad in everything, but there’s good too…her good far outweighs the bad” Fannie is one person aside from Steve and Happy who sees the virtue and kindness in Gloria.

“Oh if she was as bad as she pretends, you wouldn’t have heard from her in 6 years.” Annie asks “Do you mind if I kiss you?”Fannie grabs her with a big wide hug “You do and I’ll spread a big ugly rumor all around the neighborhood.

Crossfade

While Gloria and Ligg are walking together on a pier Liggett uncovers his old rust bucket of a Yacht, and the two go inside the cabin to spend some romantic time together.

Emily Liggett is sitting in bed reading. Her mother Mrs Jescott played by the gritty Carmen Mathews enters the room. “You should be in bed. And you shouldn’t be in bed, alone” She sits down and says that she wants to tell Emily about the family. “We’ve had sacrifice and cowardice, honor and infidelity, courage, love, deception, confusion, brilliance, tragedy”

Now seated across from her mother as an equal, Emily is more assertive “Mother if there’s anything wrong with Wes we brought it about” she explains “Instead of my living his life, we brought him here to ours, and we handed him a big gift wrapped package and said, here, here’s your life don’t bother to live it yourself…you even presented him with a meaningless job, all title and no work.”

“One day he woke up with energy to burn…and he started burning it, but in all the wrong directions…liquor, women, defiance and the more he did it the more he had to go on doing it to justify it.”

Emily’s mother says “But you’re not running a mission for lost egos” “Mother I’m running a marriage, not just through the good days but through the bad days too. Some day Wes is going to find himself.

(Gloria is also on a journey of self-discovery yet still considered a tramp while Wes doing all the same things is going to find himself),and when he does his wife will be there waiting for him. Gloria only awaits loneliness and a terrible end.

Back in NYC Gloria and Liggett are walking arm and arm down the busy city sidewalk. Gloria sees a leather attache case and stops in to buy it for Steve’s birthday.

Gloria calls over to “Liggett, I’m going to have to leave you today and go see Steve” he says “Now Look” she says “I know, you’re with me kid remember” Gloria asks the clerk if what she called in the other day was ready yet. The clerk goes and gets it. Gloria hands Liggett a small gift-wrapped package. It’s a sterling silver lighter with the inscription BU8 on it.

He smiles and kisses her. “Gloria there’s something I have to tell you” She looks deeply into his eyes, “you act like a man who’s expecting his wife back in town.” ” How did you know?” she says “I always knew…someday,” She says thank you for not calling me, honey and babe and doll face anymore,” he says “I couldn’t I don’t think of you like that anymore”

Crossfade

The little Yorkie sitting atop a pillow like a princess on Annie’s couch. She comes into the apartment and calls out “Mama.” Seconds later her mother walks in puts the packages down and runs over to hug her daughter. “Mama I want to tell you what I’ve been doing” nervously “No dear, you don’t have to” “I’ve been with a man a whole week. Her mother gets up shaking her head disturbed “No”, Gloria says “let me tell you the truth for once in my life” her mother pleads ” no please, please, please”crying and turning away, Gloria goes after to her.

“Mama, we both know what kind of a girl I’ve been, we both know it” Her mother screams and covers her ears, shaking,”no I don’t want to hear about it”Gloria tries to grab her mother’s hands away from her ears, so she has to listen. She shakes her “Mama you have to!… unless I can be honest with you about yesterday, how can you believe me today?” “believe what?!”

“I am different, Mama I am different, yesterday it was men, a whole world full of men,” her mother says”let me go you’re hurting me, you’re hurting me!” Gloria begs, shouting “Mama face it, I was the slut of all time!” Her mother slaps her in the face. There is a sudden silence. A moment’s pause in the midst of crisis. Gloria looked so much more authentic, “if only you’d done that before…long ago…every time I came home all soaked through with gin.” Annie is sobbing, turns, and faces the wall “I’m sorry” she weakly speaks out.

Gloria touches her “It’s not your fault Mama, it never has been, it was in me…but it isn’t there anymore. It’s no longer just men for me, there’s only one man, one, just one…maybe it’s too late for marriage, but it’s not too late for love…now by some miracle, I’m like everybody else.” Annie is facing her daughter now. “I’m in love…you can look at me mama, without wishing I’d never been born” they hug.

Mildred Dunnock is remarkable as Gloria’s fragile yet caring mother

Fade to black

Gloria shows up at her psychiatrist’s office. Dr. Treadman says”Don’t try to analyze me, you don’t have the training” She comes back cleverly “Not in books perhaps”

“Dr Treadman are you hard of hearing?… I’ve been trying to tell you something…I don’t need you anymore!” he looks skeptical” I have no problems anymore…I’m in love, I am in love…I am really in love” He says that he’s delighted to hear it. Gloria gets up, shakes his hand, and thanks him for everything.

He calls to her “Gloria, Gloria while it is possible that sometimes love can solve many things, love is not so simple that you can rely on it as a complete solution, so if it isn’t all that you hoped it would be…if it doesn’t work out, don’t hesitate to come back…quickly.”

She looks back at him confidently “But it will work out, I’m gonna make it work” he calls over to her again as she is walking out of his office. ” but if it doesn’t”” but it will, it has to”

Crossfade

Gloria knocks on Steve’s door, he opens the door she kisses his cheek wishing him a happy birthday, holding flowers and his present. Norma’s on the phone. Gloria is snuggling all over him, kisses him trying to get him in trouble while Norma’s on the phone.

“what are you trying to do to me?” he says laughing, she says “oh you drive me wild with desire,” he asks “Gloria where’ve you been all this time?”I’ve been chained to the wall of a sanitarium trying to keep away from you”Steve has to leave to meet up with Norma.

Gloria follows him over to the closet. And sees the fur coat. Liggett’s wife is coming back to town today, “The coat, oh the coat, what am I going to do?” She runs out of Steve’s with the fur.

Short scene.

Just as Gloria is walking towards the doorman to Liggett’s apartment building with his wife’s fur, Emily Liggett gets out of a limo wearing another fur coat. The doorman greets Mrs. Liggett, and Gloria is stopped in her tracks. She runs back to her little red sports car with the coat, gets in, and starts crying.

Crossfade

Emily is sitting at her dressing table doing her nails. Wes gives her a kiss and welcomes her home. She thanks him and acts surprised at the gesture. She tells him that “there’s a certain aliveness about you” She tells him her mink is missing. He says maybe she left it out on Long Island. But she’s checked it’s not there.

He tells her he’s been home the whole time and nobody else has been there. Then he looks down at the cigarette lighter. He leaves the room, and she runs after him calling Wes. She wants to call the police, but he grabs the phone from her. “the cheap publicity and all” they argue for a bit. “let me do it my way shall we, without your mother!”

Liggett is at a bar, asking if the bartender knows Gloria. “you don’t have to describe her to me Mr. Liggett, I’d know her with my eyes closed, on the bottom of a coal mine, during the eclipse of the sun” She hasn’t been in for over a week.”Without her this place is dead, she’s like cat nip to every cat in town”

He goes to the next bar. two men approach him and ask where he’s been. Then they say Gloria’s the kind of business they wouldn’t mind having again. One man puts his arm around Liggett, “Oh come on Liggett come on Gloria, ha sure, she’s she’s frantic isn’t she like a rocket right off the earth…mother I’d have left home for that…she’s got a traveling hitch, she’s like a flea hop hop hop from one dog to another, bites ya and she’s gone, she picks ya up and she drops you” Ligg looks worried, angry, the man raises a glass and says “well welcome to the fraternity we meet once a year at Yankee Stadium”

Ligg walks out and is on the phone now. “Now listen Butterfield 8 I’ve called her hundreds of times, (desperate) I’m her closest friend, you’ve got to tell me where she is, it’s a matter of life and death.(frustrated about to blow) you’re liars all of you liars fiends and liars now tell me!” he slams the phone down.

We see Gloria driving the red sports car and being pulled over by flashing police lights. Tells her to take it easy, don’t drive away her troubles. Tomorrow the sun will come up again just like it did today. She’s at Happy’s now. Happy brings her a plate of cookies. She’s telling Gloria a story about an actress trying to get a part in the show.

Trying to get in solid with the director.”Two days later or should I say two nights later, she was in, but solid, yeah with the director with his cousin, She was so busy getting in solid with every Tom, Dick and Harry and his uncle George that she wouldn’t recognize a producer if she found one right under her pillow…So time passes and our heroine is very big, yeah but not in the theater oh no, in all the wrong places…in 500 little black books…and 28 divorce cases, 2 police blotters, and in one restraining sheet in the psychopathic ward in Bellevue. Yeah, she hit it big, from a size 12 dress to a size 44. She went from looking like an Orchid to a face like a pan of worms and all because she said with only a rag a bone a hank of hair. I will move the world my way”

Happy sees that Gloria is sullen. She grabs her arm and tells her “Hey you live it, you kick up your heels, you grab everything you can get, you light the candle from one end to the other as they say…and then one day, you too can be the proud proprietor of a very heavily mortgage rolled side brick brothel, you’ll wish you were dead.” Happy eats a cookie looking down and disgusted with her life.

crossfade

Liggett is with his wife Emily sitting at the breakfast table. He gets up and pours vodka into his orange juice glass, “Don’t worry Emily it’s not alcoholism it’s just a kind of medicine”

He says he can’t he has to go out and look for her fur coat. She wonders why he feels so personally responsible for it. “Wes is there anything I can do?” he says  ” When I come back with that coat which I will, I want you to throw me out” he takes his drink, and the scene ends.

Gloria’s mother is needle-pointing “Sorry I didn’t come home last night I spent the night in a motel, Annie looks worried but Gloria laughs “Alone” I had some thinking to do, then she passes a mirror and takes a hard look at her reflection. I saw a woman, utterly proper, utterly conventional, utterly beautiful.

Then she stares at herself in the mirror again. Annie says “You’re beautiful too dear,” She says “I have a face, and that’s not the kind of beauty I mean,” Her mother asks “What kind of beauty?” “The kind that comes from self-respect I guess, it shines” Her mother answers “I’ve seen that kind…it takes a lifetime to find,” Gloria says “I”m going to find it”Mom says “I think you will”

“Butterfield 8 called. Mr Liggett says he has to see you, it’s a matter of life and death.” Now Liggett’s sitting at a bar table, he’s already drunk. Gloria walks in holding his wife’s coat. He sees her and takes a long look. She looks back at him. He sees the coat. “so you did take it!”

“Yes and I’m sorry Liggett, may I sit down?” he says “That’s up to you Honey” The waiter comes by asking if she’d like to order, but Ligg says “No the lady’s not going to order” Gloria gives him the coat. “why did you bother to bring it back?” “because it isn’t mine” he throws it down and erupts quietly,” because you’re scared you mean…cause you to know I’m not like one of those ordinary Joe’s you take for a sleigh ride…because you know while I’m might have given you the world, I’d tear your head off if you’ve stolen as much as a nickel from me, isn’t that it?” she quietly shakes her head and says “no.”

He drunkenly says “So you pick up the man when you want, and drop him like a bomb,” he drops his glass. it breaks, “When you want…people don’t mean anything to you, do they?, the way they feel in here ( he points to his heart) not down where you live” she cries “I care about some people,” he says  “for an hour, or a day, or a week, til you’ve had your kicks, then you slither off to the next one.”

She is so visibly struck silent “I’ll talk to you tomorrow” he grabs her arm very violently, “there isn’t going to be any tomorrow… and for once somebody’s going to drop you, and go ahead try that heel trick again the one you use that gets the boys hot…I ought to break this arm right out of your shoulder” she says “May I say something to you” “Sure honey, babe, doll face, kid…say something sexy, something that always got the boys straight for the hotel” He’s still gripping her wrist, imploding.

Gloria reasons”You can’t have everything in life, be grateful for the few things you do get, no matter where they come from.” she’s holding it together, and he lets go of her arm “The pornographic philosopher….now you just sit there like a good tramp should until I get out of your sight…I can’t stomach being seen in public with you”

He’s creating a scene in the bar. Gloria picks up the coat and says “Liggett” he snaps “Don’t you dare mention my name in public again…( he gets closer up to her face and yells ) You’re a joke, a dirty joke from one end of this town to the other”

A man comes over to try and quiet Liggett, Liggett gets violent and the man punches him til he staggers off. Gloria runs after him with the fur.

They’re sitting in her little red car now. She tries to help him out of the car, but he shoves her away. Emily looks out the window at just the right moment and sees him getting out of Gloria’s car. Gloria gets out of the car and hands him the fur. He says, “For something like this you want me to give this back to my wife after something like you has touched it”!

He throws it back at her. Emily tears up at the window. He walks into the building and tells Emily to leave him alone. “Do you want a doctor?” Wes says “Yes and tell him to bring me something to make me unconscious before I can think.”

Gloria shows up at Steve’s. They’re in total darkness at first. Then Steve thrusts the room into the light. She’s wearing the fur “Ask me about the coat, Steve, ask me.”

“I see you still have it” “Because it’s mine..every skin…every thread…every hair…is mine….(she gasps for air) and you know why?… because I earned it, pretty good pay for one week…a thousand dollars in fur a day” She yanks it off her body.

Steve says “I take it Liggett couldn’t make it?” She says that’s not the important thing, the important thing is “I took money…you know what that makes me” She breaks down and sobs and hugs Steve. She says “Let me cry , let me cry like all the times I should have and never could”

She throws herself face down sobbing on Steve’s bed. He pats her back and she says Steve I have to tell you something” he says I know about you Gloria,” she says “You don’t know this…nobody knows this, except a certain man somewhere who I’d like to think of as standing in the middle of a lake filled with burning gasoline…she pauses and cries please listen…”

“I was 13, my father was dead, all older men seemed like fathers to me, but I wanted one of my own…to sit in his lap…and to hug him…and have him say I was beautiful.” She turns to Steve and asks “Do you remember Major Hartley? Steve remembers. “Major Hartley my mother’s friend, came down to Grand Central Station one day to pick me up from summer camp, Mother was away visiting. He took me home…he let me sit on his lap. he let me hug him…he told me I was beautiful.”

“He stayed in that house for one week, and taught me more about evil than any 13-year-old girl in the world knew” Steve quietly says don’t don’t. She turns to him viciously asserting “You haven’t heard the worst of it yet” She says with a smile and a defiant yet self-deprecating tone, “I loved it!!!!!…every awful moment of it, I loved…” screeching out the words”that’s your Gloria Steve, that’s your darling Gloria…I made a way of life out of it, the deep shame of it didn’t hit me til it was too late. I couldn’t go back to 13 again.”

She looks up a bare trace of light on her face, “I had one chance to stop it, one last chance, and I threw it all away for 32 animals sewn together in a coat.” She’s crying into her hands. Steve goes to her, “It’s not all over…you have another chance. She says it doesn’t matter where she goes. But Steve tells her it matters a great deal what she does. “You got to decide what you’re going to do next, I do too, stay here tonight” She sadly kisses his cheek “Thank you Steve”

Crossfade

Liggett’s in bed smoking, and Emily asks “Anything you need Wes” He says  “A divorce” he’s a failure as a husband and a failure as a man. She doesn’t want the divorce “Wes I love you.”

“I know you do and that makes the divorce all the more necessary…because I can’t go on disappointing you.” She asks “Do you love her, that woman you were with?” “I seem to” “but you fought with her and sent her away in a rage” “Yes I did, I was sick because I was afraid I was going to lose her…and I hated her unreasonably because I couldn’t stand the thought of losing her…just as you hate me now. Emily runs out of the room crying.

Gloria is back with her mother holding the dog, “I just called Butterfield 8 and told them to shut off the service and to send me a bill as soon as I have an address in Boston will you forward it to me?”

Fannie is there Gloria’s mother says “Yes dear I will” “take care of Mama Mrs. Thurber “Oh I got plans for her, my cousin Harry” “Oh Francis” “I’m a born matchmaker” Gloria pipes in ” at 10 percent of course,” Fannie say “naturally…look I don’t want to be a nosy neighbor but why Boston?” “Well that’s where the pilgrims made a fresh start, if it’s good enough for them I guess I can take it”Fannie replies “Can Boston take you?”

Mother asks ‘what will you do in Boston dear?” “Well, I’ll buy a paper, look up the want ads, same as any girl without a job,” Fannie says wearing Emily’s fur coat, “look before we start crying let’s get the luggage into the car…looking in the mirror, ah this is as close as I’ll ever get to heaven,” Gloria asks “Do you like it Mrs Thurber?” “Course not I’m only faint from not eating in three days” “It’s yours”

Fannie looks shocked”no” Annie is smiling, and Gloria says “Wear it in good health” “Oh no you can’t bribe me with this…I could never say a mean word about you as long as I live, I’d die of boredom ” “Well then just keep it warm for me” She turns to her mother “Goodbye mama” They hug very preciously and Annie says “I don’t want you to go, I have a feeling you’ll never come back” “I never will come back Mama, but I’ll send for you as soon as I can” she kisses her on the cheek, then kisses the little dog on the head.

Now Liggett is on the phone, “Did she leave any forwarding address?… Now look this is the most important telephone call of my life…you must tell me, please…Boston? You’re certain…thank you Butterfield 8, thanks”

Joe’s Barber Shop, a Gulf gas station, cars speeding fast on the road, he’s driving to find her. He stops the car, he sees the little red sports car outside a brick diner. She’s sitting at a table. She looks stunned. He says “Don’t be frightened Gloria, please…I can only think of one apology…will you marry me?… I’ve arranged for a divorce, wait for me, and in time, I’ll make you forget every word I uttered last night” “You can’t….I’m left with those words…I’m branded with them, but thank you for asking me to marry you…if only you’d done it yesterday it might have meant something, but not today.

“I only did what I did last night because you were so much in my blood that I exploded” “But you were right last night, no man could marry me and not keep remembering, you, you’d have to explode at my life..past and present, you couldn’t help but explode” Oh Gloria I can think of a dozen apologies” Oh I know, and I accept, but then look at all the thousand of explosions ahead and the thousand apologies and a thousand acceptances until we” he grabs her hand and kisses it, crying holding in his mouth. “til we both get so disgusted” he whispers “I love you I love you” And I love you…it’s no use it’s no damn use”

He wants to go over to Happy’s to be alone and talk ” If I get in a room with you, together, alone, I know what’ll happen, it’ll be the same thing all over again” Look Gloria, we started this whole thing together, we’re obligated to solve it together, please” She tilts her head she’s weakening.

Happy greets Liggett and says “Oh you brought another weary traveler. Hi Honey, welcome home”. Happy keeps talking, and Liggett gets impatient. ”Happy give me the key” Gloria is gripping the steering wheel of the car, hesitating to go into the motel room. Suddenly Gloria speeds away, and Liggett goes after her.

]

She’s racing the engine as fast as it will go. She gets onto the thruway, he’s in pursuit. She goes faster, looks behind her to see him following, and realizes too late that she’s hit a detour. Gloria skids off the road, and we see and hear a scream in the little red car as it goes off the cliff and smashes down into rocks. The horn stuck blaring. Liggett looks over at the wreck then the police show up, they are putting a stretcher in the back of an ambulance. Liggett is just standing there. A cop comes over “You saw the accident?” “Yes” Your name please” “Weston Liggett 10 -38 10th Avenue NYC.

The cop says “I stopped that same girl 2 nights ago for speeding, I wish I had put her in jail” Then another cop comes over “I haven’t made her name yet chief” “Her name is Gloria Wandrous” “You knew her?” the cops look at each other baffled.

crossfade

Liggett returns home, “You’re going to read about it in the newspapers tomorrow Emily, the family name your picture, my picture, everything, I’m sorry”

“Wes I don’t understand what’s happened tell me” “She’s dead…she lived for an hour unconscious but she’s dead,” Emily asks “who that girl?”  “Yes, terrible, automobile accident, she was trying to get away from me, I’m sorry, so sorry”

He says solemnly “I don’t suppose that anybody would think that she was a good person but strangely enough she was. On the surface, she was all sex and devil may care yet everything in her was struggling toward respectability , and she never gave up trying”.

He jerks forward in a gust of anguish then turns to Emily, “I’m going out looking for my pride, alone, when I find it, if you’re here, I’ll come back and we’ll see if it still has any value to either of us” he walks out the door. The strings start dramatically, we are left with  Emily standing in the apartment for a second before the screen goes black.

The End

Elizabeth Taylor rightfully won an Academy Award for this role. A woman cannot afford to be an individual who is sexually adventurous otherwise she is labeled a whore. Thus she is reviled by the very men who are themselves sexually active and ultimately she must be deconstructed and destroyed.

Gloria is also under a doctor’s care for this. Another factor in a woman having a strong sexual identity is that it is associated with a mentally ill pathology. Francis Farmer was lobotomized for this. Not many decades ago women were thrown into jail or Psych wards for this.

While men are heralded as being part of a Fraternity, a brotherhood of users, exploiters, and objectifiers. They are viewed as heroic and successful. They affirm their masculinity. While women, lose their self-worth and become dehumanized and shunned.

Gloria’s downward spiral was inevitable because she needed the outside agency of other sympathetic characters to find the good that is buried deep within her, when in fact it was obvious that she was a good person.

She is already a very dynamic, delightful, loving, and free-spirited individual, something to be honored and not reviled.

As in The Naked Kiss (1964), we see a double standard of male /female expectations.

Sam Fuller’s The Naked Kiss (1965): Part I: “There’ll be no later, this town is clean”

A woman’s sexuality is something to be feared, and judged, and also used as a weapon as it applies to the undoing of male power over logic. The theme of Madonna vs Whore syndrome, where she can’t be both, not able to exist in this world with this dual role she must be destroyed in order to be set free from the stain of her sexual nature. Kelly had to leave Grantville, and Gloria had to die horribly in a car crash, in order to destroy the sexual desire she both embodied and projected.

From “The Dread of Difference: Gender and the Horror Film” edited by Barry Keith Grant

Page 35 “Horror and the Monstrous -Feminine An Imaginary Abjection” by Barbara Creed

“All human societies have a conception of the monstrous-feminine, of what it is about a woman that is shocking, terrifying, horrific, abject. Classical mythology also was populated with gendered monsters, many of which were female. The Medusa with her “evil eyes” head of writhing serpents” -Barbara Creed

page 36 “It is not by accident that Freud linked the sight of Medusa’s to the equally horrifying sight of the mother’s genitals, for the concept of the monstrous- feminine, as constructed within and by a patriarchal and phallocentric ideology, is related intimately to the problem of sexual difference and castration.” In 1922 Freud argued that “Medusa’s head takes the place of the female’s genitals. If we accept Freud’s interpretation we can see that the Perseus myth is mediated by a narrative about the difference of female sexuality as a difference which is grounded in monstrousness  and which invokes castration anxiety in the male spectator.” -Barbara Creed

Remember when Liggett tells Gloria that she should go slither away, making a reference to her as a serpent? Liggett is also emotionally castrated by his relationship with his wife and mother-in-law.

Sam Fuller’s The Naked Kiss:Part II “I washed my face clean the morning I woke up in your bedroom”

The Naked Kiss (1965) Part II

The scene opens with Griff sitting at the bar in Candy Ala Cart’s girlie establishment with “bonbon” girls dressed sort of like hat-check Playboy bunnies, wearing fuzzy hearts on their heads instead of rabbit ears. The girl behind the bar says “Hello Griff” and he says “Hello Marshmallow” Swing music is playing on the jukebox. “Say Griff I can earn more from the refined types than the ones who work in this rat hole…I’ll put Grantville on the map” Griff turns to her “You will, you really think you can?” he says sarcastically, which goes above Marshmallow’s head. “well sure, how can I lose with John ‘Law’ on my team.” another scantly clad girl comes over to Griff and touches his face,

Griff condemns prostitution in his town, but he frequents Candy’s club as a customer, as well as procuring girls right off the bus for Candy’s stable. That would make him pimp by proxy right?

There is a brazen double standard being perpetrated here. Women were objectified, then women were reviled. Even the use of nicknames for the call girls in Candy’s stable is demeaning and denigrating. Hat Rack, for instance, something you’d hang an item on. It dehumanizes these women. Candy even refers to Hat Rack clashing with her “upholstery.”Later on, Kelly is called “new stuff”

The other girl asks “Are you sure you don’t want a bonbon Griff?” just then an older woman Candy dressed in a long sequined gown walks over. “Get back to the stable,” she says in a sandy voice that’s been abraded by years of smoking, reaches over and grabs Griff’s face and kisses his cheek. Marshmallow, tells Candy “he’s not buying your chocolates, Candy.”

Candy played salty by Virginia Grey snaps back “Go earn your money, check the stock.” “Who you looking for Griff?”  “Kelly,” she asks “Kelly?…no Kelly here, do I know him?” “Well, I sent her here.” Candy looks slightly perturbed, “another female?” “A pro and she’s got class.” “Well, we could use a little class in this shop.”

“Just get a look at my bonbons, they’re all a broken-down flock of bimbos, all except Hat Rack.” Griff seems surprised, “Hat Rack?” “the name suits her alright, there ain’t a customer here that doesn’t want to hang his fedora on her.” Candy calls over to the tall girl. “Hey Hat Rack, come over here.” “Did I do something wrong?” asking in an ultra-feminine tone. The beautiful brunette realizes that it’s Griff at the bar, “Oh Griff! How are you, Griff?” She puts on an even more seductively whispery voice, “So glad to see you again.” He looks confused “Do we know each other?” “We met in a park in Grantville, near the fountain…on a Thursday?” Pouting she adds “Don’t you remember me?” Then a smile breaks free.

“Oh sure you came in by bus… (Sound Familiar?) sure I remember.” “It was very kind of you to recommend me to Candy… I just love selling bonbons.” Griff says “You were a platinum blond” as he puts his hands on her tray, Candy pulls him away and says “Well she was, but the color clashed with my upholstery, I made her go back to her own natural peasant color.”

Then Candy points and tells Hat Rack “The customer in the booth has a sweet tooth.” “Are you going to stick around for a while Griff?” Candy interjects strongly “The customer!” Hat Rack bends over and kisses Griff on the cheek, walks away, and says “Bonbon sir?” Candy says “Boy you sure pick ’em Griff.” Pleased with himself he says “I sure can” Candy asks “Then why did that hangdog look when you found out that this Kelly didn’t show?” He stays silent, and she says “How about a snort in the office?” He looks at her with a gaze that means something else, and tells her “I’m not thirsty.”

We know from before that when Griff uses the expression thirsty it is what he uses to mean “wanting sex” He used the same term with Kelly in the beginning. Candy gestures with her hand as if to say, she’s disappointed but whatever. Apparently Griff in the past has sampled some of Candy as well.

Back at Miss Josephine’s “Paris…have you been to those places?” looking at beautiful garments in her suitcase Kelly says no, but the old woman says “But these are originals…ultra ultra expensive.” The trunk with the K on the side, is almost like Kelly’s own scarlet A. After all, she is a marked woman, like Hawthorne’s Hester Prynne.

“What about that factory outside of town?” “Oh, I’m afraid there’s no job opening at Grant Mill.” “Grant” Kelly says “Grant this, Grant that.” Her hair pulled up in a lovely classic bun, and looking through her wardrobe “he seems to own everything around here.” “His great great grandfather founded this town.” “JL Grant is our most famous citizen.”

Here is the developing back story of the founded patriarchy in Grantville. The old woman continues, “Everybody calls him Grant” Kelly says “JL Grant, yes I’ve read about him, international playboy, chateau in Normandy, Villa along the Riviera, private Yacht in Monte Carlo, societies most eligible bachelor.” Josephine comes back “he’s a hard worker Miss Kelly… he’s no playboy, his very name is a synonym for charity… he’s got the biggest heart in the world. Why he built our hospital… he built the Orthopedic Medical Center and sponsors it all by himself. And it’s open to all handicapped children, with no racial or religious barriers.” Miss Josephine equates Grant’s kindness with his fame and outward appearance, and reasons he’s beneficent. Kelly starts to contemplate what the old woman is saying. She asks “Handicapped children?” Josephine says “It’s a haven of hope for those angels, so little, so helpless and so pitifully crippled.”

Cross fade from Kelly’s face to a single chiaroscuro shot of a nurse’s shadow, the central focal point is now on an empty wheelchair. Two nurses come into focus, the formidable Patsy Kelly (Rosemary’s Baby) as Nurse Mac, says in that broiled steak voice of hers “One more operation and that baby will have straight feet.”

The Naked Kiss (1964) Directed by Samuel Fuller Shown (left of center): Constance Towers

They continue to walk and talk about the various children in the hospital, then we see an office with a nurse seated at a desk. Griff is standing.“That Kelly is some woman Griff” Nurse Mac comes into the room.“One day she walked in here out of nowhere and “Mac chimes in “I’ll fill in lover boy with all the facts June.” Griff turns to face her. He says “Hello Mac, Dusty, where is this new nurse’s aide I’ve been hearing about?” Mac says “You Too?!”

Mac takes Griff for a walk down the corridor. Tells him that “she came out of the clouds one night, without a single reference” There are several allusions to angels in this film. Is Kelly a Whore or a Madonna? How do we perceive her character, how does she perceive herself? How do the townspeople distinguish her? Is she a whore because she is beautiful? or is she an angel because she is beautiful. The messages are mixed.

Nurse Mac tells him that she hired Kelly on the spot. He thought orthopedics called for specialized training. He’s obviously upset that she didn’t take the job at Candy’s. Mac tells him that “it does, some people are born to write books, symphonies, paint pictures, build bridges, but (Mac holds up her hand to the sky), she was born to handle children with crutches and babies in braces.” He looks visibly skeptical “Sounds like one of those sweet Florence Nightingales.”

Griff is clearly fixed on objectifying Kelly as a fallen, marked woman with no potential to be a woman of quality. There is a patriarchal hypocrisy in this town, where the most influential man is actually a despicable pedophile and has most of the power. Kelly who is truly virtuous and compassionate is labeled a pariah even though the men who judge her are the very people who simultaneously use her, without taking responsibility for their own participation.

“Ha, Kelly she’s tough, runs her ward like a pirate ship… she makes Captain Bly look like a sissy.” Now we see framed in the scene from the knees down, the boy Kip is slowly walking with crutches along the floor. On-screen we study the child walking for several seconds, and then we see Kelly’s legs. Full screenshot now, the boy stands stiff in front of Kelly dressed in a nurses aide uniform. Kip drops to the ground. Kelly asks to see him touch his toes. Griff and Mac are watching them from the doorway. Kip is trying to touch his toes. He says “They’re too far away.” He takes a deep sigh and tries again and does it! Kelly seems so relieved. Kip looks at her smiling with pride. Griff is hiding behind the door watching all this in secret.

Crossfade Kelly is sitting at a table with a toy sailing ship. We hear Griff speaking off-screen “That’s a new low, using crippled kids to front your trade” Kelly insists “I quit my trade” He grabs her arm,” You’ll have a problem breaking in those little girls to walk the streets on crutches” Kelly looks disgusted with this accusation and slaps Griff in the face. “I washed my face clean the morning I woke up in your bedroom.”

He says to her contemptuously “You got morals in my room?” She shakes her head reviling him “You had nothing to do with it…Nothing!…it was your mirror.” Griff says “You must have taken a long look.” She asserts “It was the longest look of my life…I saw a broken down piece of machinery.” Here Kelly herself objectifies her body as something that other people utilize. She continues “Nothing but the buck, the bed, and the bottle for the rest of my life…that’s what I saw!”

He turns away, “A hooker moving in with the town virgin, what an act.” He is so indignant “How much did you score honey?…how much did you tap at the hospital?” his hands in his pockets looking down at her like trash. “How much Angel Foam did you peddle?” Kelly’s furious “Oh you ask, you ask the doctors if I made a play for any one of them, ask them!… You were the only buyer I had in this town and my last one.”

“Are you coming with me or I am going to talk to Mac myself.” She grabs his arm and pleads “Look Griff, I’m trying your side of the fence, is there a law against it, is there anything wrong with it?” All Griff says is “Your face might fool a lot of these people, but not your body.”

Griff slams her with “Your body’s your only passport.” Kelly says “You’re right” instead of defending herself. She says “I can renew a passport, but I can’t renew my body…or my face” She shakes her head, tears in her eyes,” Or my health, oh look Griff I’m trying to change, please help me” she beseeches him. “Give me a break.”

Fade To Black

Kelly is telling the children the story of the White Swan Queen who wishes to be transformed into a woman. The film is predicated on the notion of transformation/redemption.

Kelly is surrounded by children dressed up in costumes. She’s telling them a story of the White Swan, a story about wishing to be turned into something else. This is what lies at the core of and is the veritable crux of The Naked Kiss.

Kip, is fantasizing about doing cartwheels outside with Kelly. He is shouting “I have legs, I have legs.” We see a daydream sequence, every little girl and boy running as if they had no handicap. The idea of handicap is a metaphor for Kelly’s past. The film equates her being a prostitute with having an affliction, an illness, or an abnormality. That question is put to us again, towards the end of the film.

Fade To Black

Now at Grant’s house. This is a very short scene introducing us to Grant. Griff is there, Grant has just come back from traveling. His servant Barney has been given a gift. It’s a skull, used as a drinking cup from some ancient city. A rather bizarre item to give his servant. Barney seems uncomfortable with it as well. Grant asks if everything is set up for the party tonight, Griff and Grant go to make themselves a drink, and we Fade To Black

Fade in with a long shot. Kelly’s in a beautiful long black gown at the hospital. The camera views her from a distance, rows of wheelchairs lined along the walls. Kelly is framed in darkness with a single band of light along the floor, like a runway. She pushes a wheelchair up against the wall. Then she walks over to an infant sucking on a bottle. She strokes the baby’s hair so gently, looking upon her with a maternal gaze, then gently touches her little foot in a cast, in traction. The baby looks up at her. We keep seeing glimpses of mothering in Kelly.

Cross Fade is now at Grant’s party. Grant is quoting something in Italian, to a room filled with the elite socialites of the town, he says “This means, All things by gentleness may be made smooth”

Nurse Mac and Kelly arrive, and then Grant focuses his gaze on Kelly, he sees something in her. Their eyes meet. We hear romantic strings, something is stirring. Griff looks up, the camera closes in on Kelly’s face, then Griff’s. The sensual motif of horns is there to remind us who Kelly really is. Kelly looks stopped in her tracks by Griff’s expression.

But we switch back to Grant and Kelly exchanging pleasant looks with each other. The romantic strings play once again. Mac hugs Grant and introduces Kelly to him by saying, she wants him to meet the lady that’s making history with orthopedics. He tells her everybody calls him Grant. Then Griff pipes in “And everybody calls her Kelly” obviously annoyed that she is at the party. Griff spells it “K E double L Y” A dig about their sexual interlude.

Griff still looks so bottled up with anger. Grant hands Kelly a package and tells her it’s something she might like from Venice. It’s blown glass. He tells her it’s Venetian 17th century.” “From Venice?” Kelly is very impressed by his breeding, and worldliness. This is something that has been brewing in her all along. The desire for a life with finer things. Grant has an almost childlike exuberance. He is not an archetypal masculine/male figure at all. Not a naivete, yet an icy calculating kind of assumed innocence.

Cross Fade, we see a reel-to-reel analog tape machine ( I get excited I can’t help it, I’m a musician) the music on the tape is playing once again Beethoven’s Moonlight Sonata the camera pans to a bust of Beethoven, and then we see Grant and Kelly lying back on a leopard print sofa, taking in the beauty of Beethoven’s piece. eyes closed. Grant is waxing poetic about the moonlight and Beethoven’s hands playing the sonata. “he carved that sonata out of moonlight” Grant is wearing a silk ascot. There is something so plasticine about his appearance.

Kelly asks “Was he in love when he wrote it?” “Yes” “Did he marry her?” “No, he never found the wife he was looking for” “How do you know he was looking for a wife?” “What man isn’t…a sweetheart is a bottle of wine, a wife is a wine bottle” Kelly turns and faces Grant “Did Goethe write that?” “Baudelaires (Flowers of Evil)” “Beethoven and Goethe were good friends”

Kelly sits up, Grant smiling and says “Griff doesn’t go for Beethoven” Kelly spurts out “Griff is tone deaf” Grant looks over at her “How did you know?” “Well, I…I watched his face when we were singing the other night” Grant looks away from her, and smiles again “You sang very well” she says “I was happy” Grant spouts some more verse, “Happiness was born a twin” Kelly turns to him, leaning on her arm, “Lord Byron” Grant looks over to her as if surprised and she says “my favorite poet.” Grant has been trying to impress Kelly with his knowledge of literature, art, and music.

He sits up “Kelly you baffle me, intellect is seldom a feature of physical beauty” Grant is surprised Kelly is “a woman”, a “beautiful woman” who possesses an intellect and understanding of culture.

Grant continues “And that makes you a remarkable woman…the most interesting contradiction I’ve met in years, with a love of poetry, rare in this age of missiles…”

“Would you like to visit where Byron wrote many of his famous sonnets?” “Venice?” “I’m going to take you there right now. He shows her a movie projector with a travel reel from Venice and men in gondolas and fishing boats. They sit and watch the movies which Grant took from a gondola. He turns to her and says don’t you hear the man in the gondola singing? He tells her “If you pretend hard enough and if you listen hard enough, you can hear his fine Italian voice.”

Pretend is an active verb for the characters in The Naked Kiss, no one is what they seem to be. It comes down to image, embodiment, perception, class, and gender.

She has been taken under Grant’s childlike spell. She smiles and we see her as she imagines the tenor voice singing Santa Lucia. Her desire to inhabit a world with culture and refinement blinds her to Grant’s true identity. She escapes into a daydream where a man in a gondola is rowing she and Grant are lying on silken pillows. Flower petals are falling on her, as they flow through the canals of Venice, and Grant is making love to her.

For Kelly, Grant is symbolic of worthiness, success, and virtue. This is perpetuated by the town which is rooted in these beliefs. Grant is powerful and well-bred, so he must be the epitome of integrity and virtue. She wakes from the dream her hands on Grant’s shoulders, we see now that they are kissing on the couch.

For a brief moment of clarity, she pushes him slightly away, something in her gut reveals his true nature. She has the most curious stare on her face, she senses a tinge of the unnatural. Her hands and fingers splayed like claws on either side of his face. He looks confused. She studies his face. There is a prolonged pause while we hear the travel reel clicking in the background. She’s breathing uncomfortably, and Grant is looking more concerned. His gaze turns almost dark.

Ultimately she dismisses her intuition and gives way. A smile comes over her face, and then Grant’s darkness begins to clear up. Her right hand holding his head now. He goes back in for an embrace, and the camera stops on Kelly’s long legs, her shoes have come off, set against the leopard skin fabric of the couch. We’re left with the movie projector’s blaring lights in our eyes as it spins off its reel. We are blinded and so now unfortunately is Kelly.

Back at the hospital, the children are singing Old MacDonald. Kelly and the nurse Buff played by Marie Devereux are bathing 2 of the kids. Buff tells Kelly that the job is for the birds.“I’m not like you Kelly, I don’t got steel in my veins…I get sick just looking at these poor little babies, let alone handling them…I’m gonna quit, I’m gonna quit this job” she starts to cry, “it’s gonna hurt Griff, it’s gonna hurt Griff bad” Kelly asks “why Griff?” “he’s been like a father to me, ever since mine was killed in Korea…Griff got me this job, and he’s so damn proud of me.”

All the women in this town, need approval from these men, in particular Grant and Griff, as paternal and alpha male figures that Grantville sets up. Kelly tells Josephine that she’s worried about Buff.

Now we see Kelly pacing in her bedroom, in her nightgown. We hear a woman’s heels clicking outside. Kelly goes to the window and whispers “The door’s open Buff” In this scene Kelly is lit like an angel by the window light. Her white crepe gown flowed like wings, a huge divergence from the opening shot of her in black sexy underwear and shaved bald head. Like a mannequin, like an object. Like sexual “machinery” as she referred to herself earlier on.

Buff is wearing the lame’ gown that Kelly gave her, she grabs a box from downstairs as if it’s a tray and mimics the words “Would you care for a bonbon” Then she ascends the stairs to Kelly’s bedroom.

She enters Kelly’s room and tells her that she made $25 tonight, throws her bag on the bed, and shows Kelly the money. Kelly looks disapprovingly at Buff. “where’d you get that money?” A woman gave it to me” Kelly steps closer to Buff “What woman?” “Candy she runs a club across the river” “What’s the $25 for?” “It’s an advance, I’m gonna be a bonbon” Kelly gets angry and shouts “Take off my dress”, she spins Buff around, and starts grabbing at the zipper “I paid $350 for that dress, I’ll take it off myself” she then tells Buff, “those bon bon’s aren’t just there to serve drinks you know,” Buff says “I know” Kelly spins her around to face her, then smacks Buff and she falls onto the bed. Buff starts to sob. Kelly says “you had that coming to you” but Buff says, “Candy says I could make $300 a week.”

Now Kelly sits on the bed next to her and relates to her the hard facts of being a call girl “alright…go ahead…you know what’s different about the first night…?…nothing…nothing except it lasts forever that’s all. You’ll be sleeping on the skin of a nightmare for the rest of your life. You’re a beautiful girl Buff, young, oh, they’ll outbid each other for you ( Buff smiles)you’ll get compliments, clothes, cash. You’ll meet men you live on…and men who live on you ( now Buff frowns ) and those are the only men you’ll meet. And after a steady grind of making every john feel at home…you’ll become a block of ice.”

“And if you do happen to melt a little, you’ll get slipped a tip behind Candy’s back. You’ll be every man’s wife-in-law and no man’s wife. Well, your world with Candy will become so warped that you’ll hate all men…and you’ll hate yourself because you’ll become a social problem…a medical problem…a mental problem…and a despicable failure as a woman.”

Samuel Fuller’s film is very hard on women’s primacy and sexual freedom to choose what they do with their own bodies. If you can get passed the judgemental attitude from all sides of the picture, you’ll find an interesting character study of the early 1960s cinema. It would have been better to see Kelly more empowered and less self-deprecating.

Dressed in simple black Kelly shows up at Candy’s. A fight breaks out between one of the bonbon girls and Marshmallow, over a john. Candy rises from her seat the sequined madame of the joint and walks over to Kelly. She introduces herself and then circles around Kelly like she’s surveying merchandise. Candy says “Griff told me about you.” Then Candy asks where she’s been coasting. Kelly says she’ll tell her in her office. When one of the johns grabs Kelly, a bonbon comes over and says “Listen new Stuff” he’s my john exclusively after she hits him over the head with her tray. Candy remarks that he’s the 3rd guy she’s cold-cocked with a karate punch and laughs.

Candy starts to tell Kelly to sit down to talk business, but Kelly sucker punches Candy with her handbag. She’s good at that, remember Farlunde the pimp in the opening scene. She keeps the onslaught going, bashing Candy with her bag, til Candy falls down on the couch. Kelly keeps hitting her, smashing the lamp. Candy pleads “Cut it out” Kelly puts her knee on Candy’s chest and forces Candy’s mouth open. She counts the money like Buff did, reciting as she shoves the bills into Candy’s open mouth. “Ten, ten, and five…now you stay away from Buff” and Kelly hits her in the face one last time.

Fuller’s gusts of brutal cinema vérité are as shocking and confrontational. Candy lies there humiliated, pulling the money out of her mouth, looking destroyed by Kelly’s assault. This powerful businesswoman who runs an entire stable of what she calls”Bimbies” will not take this lying down!

Continued in Part III