Even the Rainbow’s Bent (1977, Charlie Chester)

During the heyday of light entertainment many leading figures such as Eric Morecambe, Les Dawson and Irene Handl took the public by surprise by penning 'serious' novels, but when it came to going against expectations in print, Charlie Chester was in a field of his own.

Comedian, radio personality, water rat and tireless charity campaigner...one of the now forgotten feathers in Charlie Chester's cap was as a paperback writer. Chester first came into the orbit of publisher New English Library when he wrote his showbiz memoir 'The World of Full of Charlies' for them in 1974. Unexpectedly Chester then stuck around and entered into the spirit of NEL, writing crime thrillers that fully embraced the company's lurid ethos. Anyone seeing 'Cheerful' Charlie Chester's name as the author and assuming they were in for a chuckle filled romp, would have been in for a shock with Chester books like Symphony and Psychopath (1975) with its scenes of spanking, Soho prostitution and a pregnant woman being murdered during auto erotic asphyxiation. Chester's career sideline was reflected in the company he was keeping back then, associating with British sex film producer David Hamilton Grant, and -presumably through NEL- befriending notorious author James 'Richard Allen' Moffatt. Being a fly on the wall during a roundtable discussion between Charlie Chester, David Hamilton Grant and James Moffatt would, I'm sure, have been quite the experience. Moffatt even dedicated 1975's Perfect Assignment -one of his 'The Girl from H.A.R.D' sexy spy book series- to Chester 'friend, fellow-sufferer and a soapbox packed with energy'. However, there's evidence of Chester having had second thoughts about associating his real name with his NEL output, as he took to billing himself as 'Carl Noone' for his final three NEL books. Noone's career consisting of Mind Over Murder (1976), Sweet Cyanide (1976) and finally Even the Rainbow's Bent (1977) a mind-boggling tale of murder, cross dressing and vagina envy that defies genre and gender, and may well be the kind of book that you have to read for yourself to really believe it exists.

Even the Rainbow's Bent initially focuses on Billie Shapiro, a butch, middle aged lesbian with a possessive streak, who in part appears to have been modeled on Chester himself. Billie having written several racy novels under a false male name. Tragedy strikes Billie in the opening of the book when her small dog is hit by a car and dies. Still, what you lose on the swings, you gain on the roundabouts, and consoling herself in the local library Billie attracts the sympathetic attention of librarian Janice Doyle. A younger woman who has gone off blokes and whose passive personality is a turn on to Billie's dominant one. After Janice is talked into spending the weekend with her, Billie decides she might not need to throw away that dog collar after all. Billie purposely hires out a book from the library called 'Obey Me, Or Else' sending a coded message to Janice as to what a whip cracking time she can expect at Chez Shapiro. Chester's NEL work leaves the impression that sadomasochism was a subject close to his heart. When Chester writes about the lesbians going horse riding, getting into tight jodhpurs, leather boots and feeling their riding crops, his descriptions suggests an author whose heart just skipped a beat. Likewise his dialogue really comes to life when it turns to their dom and sub dirty talk; Billie: "I'm going to have a feast looking at you, so you'd better get used to it hadn't you"...Janice: "If ever I look at anyone else, you have my permission to thrash me". The possibility that Chester himself had offbeat and misunderstood sexual tastes, may explain Even the Rainbow's Bent's empathy with outsiders to the acceptable societal norms. His adoption of a pen name here, allowing Chester greater freedom to explore the gay themes of the book. Temporarily leaving Billie and Janice behind in lesbian bliss, Chester then peaks through the window of their new neighbours.  Adrian, an effeminate 26 year old dressmaker, and his domineering mother Jessica Chayney, who keeps her son firmly under her thumb. While their relationship has echoes of the Billie/Janice one, in terms of age difference and dom/sub roles, the atmosphere in this household is far more sexually suffocating. Mrs. Chayney despises her son's obvious homosexually, her homophobia partly driven by hurt straight pride, his father having left her for another man, and partly by misguided concern, the father's pursuit of the gay lifestyle having lead him to the bottle. When Mrs. Chayney catches Adrian getting frisky with hunky gardener Mr. Keefe, she blows her top, banishes Keefe and destroys her son's chance at a homosexual romance. Driving Adrian, not to the drinks cabinet, as per his father, but to the makeup cabinet. Ladies clothes being Adrian's escape from the misery that his sexuality brings him, with his mother predictably preferring a heterosexual daughter to a homosexual son. One of the big questions of Even the Rainbow's Bent is whether Adrian is a gay man kowtowing to society and his mother's bigotry by passing himself off as female, or a heterosexual woman born in the wrong body. For the most part Chester appears to be on the side of Adrian being a gay man who does himself no favours by creating a female alter ego. Chester's mouthpiece for this being Janice, who becomes more forthright and outspoken as the book progresses, hilariously telling Adrian "why don't you say bugger the world and all that's in it and just find someone who wants to bugger you, it'll do you good". One suspects that if Janice had her way the book's tagline 'Adrian did not need love, he only wanted friendship', would have actually read 'Adrian did not need love, he only wanted buggering'.

While Janice argues that Adrian needs to follow her lead and come out as gay, the book gives space to the counter argument that Adrian is what we'd today consider to be Trans. At one point Chester describes Adrian as 'what god had made him, a maiden in masculine attire' and when Adrian is temporarily freed of his mother's influence he chooses not to live as a gay man but pursue a female identity. Explaining the presence of his new self in town by introducing himself as his identical twin sister Adrienne. Nothing is too straight forward here though, when Adrian accidentally runs into one of Adrienne's admirers, Adrian is disappointed that the man has no sexual interest in him, and instead just keeps yakking about how he'd like to get off with Adrian's 'sister'. Indicating that Adrian really wants to be loved and accepted as a gay man, rather than as Adrienne.

For a book written by a heterosexual in 1977, Even the Rainbow's Bent isn't the tone deaf, avalanche of insensitivity that you might expect, even though it admittedly has it moments. It's a book that is ahead of its time in some respects, and of its time in others. Whereas lesbianism and sadomasochism were longtime acceptable turn-ons in NEL paperbacks, Even the Rainbow's Bent breaks taboos with its depiction of male homosexuality. Chester approaches Adrian's make out session with Mr. Keefe with the same erotic gusto as any of the straight and lesbian sex scenes in the book "he could feel the bulge of urgency almost bursting through his trousers". When Adrian first steps out as female, Chester breaks rank with an era where men in women's clothes were either seen as a freak show or figures of fun, and the mood is instead celebratory 'he really did look pretty. The makeup was absolutely right and the gown fitted him like the proverbial glove'.

We follow Adrian from the highs of turning the heads of all the men in a restaurant, to the inevitable fall back down to earth when a groping session with a straight guy leads to the discovery of Adrian's unwanted appendage and a traumatic gay bashing. However, Even the Rainbow's Bent doesn't consign all of its gay characters to a tear stained existence. As Adrian suffers as a result of his adopted female identity, Janice's acceptance of her lesbianism causes her to thrive in her new relationship. Even the Rainbow's Bent is refreshingly uncritical about lesbian and sadomasochistic relationships, with Chester admittedly having some possible skin in the game when it came to the latter. Billie might initially raise red flags as a sexual predator, zoning in on a younger, vulnerable and sexually questioning woman, but the book turns such preconceptions on its head, by making Billie and Janice a very loving and passionate couple, enhanced by their role playing adventures in the bedroom. Billie digs Janice's submissiveness, and Janice loves taking her punishments. Even the Rainbow's Bent does shine a light on the inconsistency between society's acceptance of lesbians compared to their male counterparts. Arguing that lesbians enjoy greater freedoms 'very few people challenged two girls sharing a room together, and yet the thought of two men loving was a matter of derision and laughter'. Although the true cause of Adrian's unhappiness is his mother and the confused men who reject him, instead his rage is more inwardly directed. His hostility being aimed at his gay father and especially Janice, ironically the one character in the book who had shown him any understanding. On account of what Adrian regards as her melding and questioning of his female identity, Janice becomes everything wrong and unfair in the world as far as Adrian is concerned. The fact that Janice has a fully functioning vagina, but has chosen not to use it to attract men, proves utterly intolerable to Adrian, who'd give anything to have a vagina. Here Chester inadvertently anticipates the more toxic elements of the Trans community. Yesterday's anti-Janice rants could be today's responses to J.K. Rowling's twitter feed.

Not even this disturbing change in Adrian's character however, can prepare you for Even the Rainbow's Bent's own extreme personality switch. Going from a moving, very human, gay themed book about Janice and Adrian's struggles to find acceptance, and into Pete Walker film territory… 'A wire clothes hanger bent into a loop and turned around the clothes rail supported the naked girl from her neck...the wire had bitten deep into the flesh and had almost disappeared'. After the naked body of a schoolgirl is discovered, and thereafter further naked women start turning up dead, the finger of suspicion gets pointed in the direction of them flagellation loving lesbians and the cross dressing homosexual misogynist who lives next door.

Chester died in 1997, leaving us to but speculate what motivated him to write a book like Even the Rainbow's Bent. I find it hard to believe that this was a commission or a subject matter that was forced on him. On the contrary, the book feels like a passion project, evidenced by the fact that NEL were clearly clueless as to how to market it. The back cover selling it as a serious drama about an unlucky in love guy 'thwarted in his search for the right girl, he strove for other ways to satisfy his desires', largely sidestepping the gay aspects of the book, and more inexplicably concealing the horror elements that await at the end of this rainbow. Even the Rainbow's Bent was one hell of a head-trip for naughty, nasty NEL to lead the public blindly into.

As a person who moved in showbiz circles, historically more open minded than mainstream society, it's possible that Chester was inspired by a sensitive soul from that world who was tormented by their sexuality or gender. Adrian's cross dressing is often euphemistically referred to in the book as his 'theatricals' and at one point his mother observes 'had he been a more robust boy with a bit more ego, he might have been a great actor'. Given where Chester goes with the character of Adrian however, I can't imagine any real life thespian would have been flattered by this particular homage. Nevertheless, Even the Rainbow's Bent gives the impression that Chester was relaxed and comfortable around male homosexuality, reflected in his frank language and the sexual tension he builds up between Adrian and Mr. Keefe. Making Chester’s relationship with James Moffatt, an author with a much more troubling and combative attitude towards homosexuality, all the more intriguing. What conversations Charlie and Jim must have had. Only when Adrian's misogyny and anti-lesbian rhetoric becomes all consuming, does the hand of friendship get withdrawn and Chester begins to distance himself from his creation. It's feasible that Chester related to Adrian in the sense of having to lead a double life and create a new identity, Adrian has Adrienne, Chester had Carl Noone. The most revealing aspects to Even the Rainbow's Bent with regards to Charlie Chester himself is when a nosey journalist intrudes on Billie's privacy and quizzes her on her writing career. The confessional tone here representing the closest Chester came to going on record about his NEL days. We get an insight into why Chester rechristened himself Carl Noone, when the dirt gathering journo asks "Do you ever wonder what people think of you and how much is reflected in your own life". Billie's cryptic reply being "I suppose every writer puts something from experience into their books, even if it is distorted". Even the Rainbow's Bent also sees Chester playing Superman and coming to the rescue of the BDSM community. At several points in the book Chester is at pains to point out that sadistic proclivities in the bedroom isn't necessary evidence of a violent personality outside of it. Nevertheless, Even the Rainbow's Bent does acknowledge that practitioners of such a lifestyle are at risk of negative attention from those who don't walk that beat, a fate that befalls the unfortunate Billie Shapiro.

The elephant in the room that needs addressing with regards to Charlie Chester's NEL career is that he sure was fond of writing about very young girls. This is more strongly felt in Symphony and Psychopath, with its John Lindsay-esque subplot about a schoolgirl's sexual run ins with her lesbian teacher and a pervert caretaker. On that level, Chester and James Moffatt were two peas in a pod...see also the infamous chapter eight of Moffatt's Skinhead. The trash fiction that men do lives after them. The schoolgirl fixation isn't as overt in Even the Rainbow's Bent, but it is still detectable. Adrian spies on schoolgirls through a peep hole, later one of them is found dead and naked, whilst the mood turns ogling when Adrian himself dresses as a schoolgirl 'black shoes and white socks, then the bare hairless legs...and as Adrian came down slowly he gradually revealed himself in a trim blue gym slip with a spotless white blouse'.

I'm holding out hope that Chester was one of the 'good ones', if only because authoring such books would surely have been way too incriminating for anyone with dark secrets in their closet. The real bad eggs of that era keeping a wide berth from anything saucy, or actively coming out against permissiveness, as in the case of Jimmy Savile, or voicing their support for the banning of top shelf magazines, as in the case of Clement Freud. So, I have my fingers crossed, very tightly, that Charlie Chester reserved making a beast of himself to the printed word.

In the cold light of day, it has to be conceded that Charlie Chester wasn't a born novelist. His career was mainly played out on the radio, and his books feel as if they were meant to be heard over the wireless than actually read. His writing style is strictly no frills, relying on basic descriptions so that everything can be quickly and easily visualized by the audience. A very, radio play mentality. Chester also has a habit of overwriting dialogue scenes with unnecessary parting pleasantries, and gossipy rehashing of incidents we've already read about. This might well be a realistic depiction of how people speak in real life, but on paper just comes across as padding or a book in need of a tighter edit.

Chester's books do paint him as an avid cinema-goer, who wasn't above a bit of pilfering. Symphony and Psychopath's shy, obsessive protagonist is compelled to murder women in order to immortalize them in symphonies, and comes across like a Charlie Chester take on Peeping Tom (1960), only with music, rather than film as the killer's creative outlet. On the other hand, Even the Rainbow's Bent reads like Chester and James Moffatt got pissed one night on Seagram's 100 Pipers and ended up at a Fleapit cinema double bill of The Killing of Sister George and Psycho. Even the Rainbow's Bent is also reminiscent of Norman J Warren's Prey, what with its lesbian couple and a sexually confused male getting into drag, just minus the Sci-Fi elements of the Warren film and with a more positive depiction of lesbianism. Since Prey and Even the Rainbow's Bent were released within about a month of each other though, the similarities there really do have to have been coincidental.

Given the sensitivity and controversy that now surrounds the subject of gender identity; it's unlikely that a famous person would today consider writing a book like Even the Rainbow's Bent. At least not without the courage of the Cowardly Lion. I can guarantee three things about Even the Rainbow's Bent, that you'll never have read a book quite like this before, that you'll never be able to think of Charlie Chester in the same light again, and that you'll never forget Adrian/Adrienne "let's leave Mother in the cellar, she likes it down there with her wines".

More Chainsaw Terror

There's a buzz in the air as Clive, Nick and myself discuss Shaun Hutson's Chainsaw Terror

Joe 11

 The D'amato journey continues into 2025

Jackboot Girls (1971, James Moffatt)

 

Written by that renowned schweinehund James Moffatt, shortly before coming to prominence with his 'Richard Allen' Skinhead novels. Moffatt must have thought he'd won the pools, or a lifetime's supply of Seagram's 100 pipers when somebody at New English Library approached him with the words every alcoholic, far right leaning hack writer longs to hear "how do you fancy writing a book about sexy female Nazis, Jim?". In keeping with the Dad's Army maxim of 'Don't tell him your name' however, Moffatt chose to bill himself as Leslie McManus for this slice of Nazi smut. A pseudonym he'd revive for his subsequent books dealing with the sexy side of WW2, including Operation Backlash, Unfaithful Enemy (tag line: 'Hitler's Germany was one hell of a place for an old fashioned love affair') and the four book 'Churchill's Vixens' series.

According to Jackboot Girls you can tell allot about a woman by the way she sits on a chair. If she shows a generous amount of thigh she is 'seeking inequality and seduction', if she shows little of her undergarments she is a virgin, and if she sits down in a manner that is devoid of passion, she must be a lesbian. One such dispassionate sitter is Helga Schwartz, who is tormented by the fact that her lesbianism is preventing her from fulfilling her promise in the SS. "All her life, Helga Schwartz had fought her lonely battle of passion under the impression her lesbianism could not be espied". Not even laying back and thinking of Hitler, helps Helga overcome her revulsion at heterosexual sex. Fortunately for Helga, there happens to be an opening in the SS for a lesbian interrogator. Based on the thinking that fraulein on fraulein seduction will be a more effective way of loosening the lips of female prisoners than rape and torture by male Nazis.

Rising in the ranks, Helga soon finds herself head of the Wolverines, an all female battalion of Nazi interrogators, after her ex-lover Gertrude puts in a good word for her with Himmler. Proving that even in the Nazi party, it's not what you know, it's who you know. The Wolverines fear nothing, apart from it seems naked, overweight people. Titillated by the idea that her latest victim Inge Kloffer, will be a sexy, slender thing, Helga is horrified to discover that the SS have sent her anything but. Poor Inge suffering the indignity of being judged too fat to be tortured by regular Nazis. Leading Helga to call in Lizabet Langendoff, a Wolverine with a strong stomach for S&M, having been tied up and beaten by a trusted family member as a Jungfrau. It's difficult to know which inflicts the greater humiliation on Inge, Lizabet's whip or Moffatt's poisoned pen with his references to her as 'big, flabby breasted, rolling hipped' and an 'ungainly sow'.

Lesbianism and sadomasochism are the two main themes of Jackboot Girls, with little else getting in the way. In terms of sleaze, Moffatt was at the top of his game here, the book's Nazi theme playing to both his fascistic and dirty old man tendencies. Moffatt being Moffatt he opts to tell the majority of the book from a Nazi perspective, and proves to be as disturbingly adept at getting into the heads of extreme German nationalists, as he later would with extreme English nationalists in his Skinhead novels. The rare breathing space between degeneracy here finds Moffatt gushing over the Fatherland and the grandeur of Nazi Germany, Helga being particularly impressed with Himmler's lair 'a full sized painting of Hitler surrounded by German flags helping to subdue the Security Chief's overwhelming personality'. While Moffatt's anti-Semitism, which would later flare up in his novels 'Boot Boys' and 'Glam', here finds an outlet when the only significant Jewish character in the book, Rolf Dottinger, turns out to be cowardly and treacherous, willing to sell out the resistance in return for safe passage to Poland.

It's only way into the book that it finds something resembling a moral compass, and a dissenting, heterosexual, anti-Nazi voice in uber-stud Alois Krauss. Vowing revenge on the Nazis for the death of his wife, Alois doesn't let his bereavement get in the way of bringing dick to a dictatorship. Not only is Alois getting his end away with lovesick Vera, the resistance fighter posing as his new wife, but also attracts the amorous eye of resistance head Elke Liebl. Leading to the side splitting observation "he felt like a prime bull being examined for flaws by a female farmer who needed the beast for best-breeding purposes". Alois and Elke's ensuing sex session warrants an entire chapter of its own, and brings Alois to the scientific conclusion that Elke must be ninety percent nymphomaniac and ten percent adventuress.  Jackboot Girls does give the impression that Moffatt was in a horny, morning mood when he wrote this thing, even his description of the sun rising has an air of indecency about it 'blushing dawn arrived in his hotel room like a giggling schoolgirl timidly making a surprise arrival'.

Moffatt displays a worrying admiration for his female Nazis, for more so than he would later do with his English skinheads. Helga lives in the shadow of failure, and is under constant pressure to break prisoners and get results. Moffatt's Nazis are also a suspiciously compassionate bunch. Helga's lover Frieda Weber is a self confessed romanticist, filled with good will for the British troops "how kind they had been, how considerate of the aged and the struggling poor'. Later, a male Nazi displays a momentary flash of conscience and allot of chauvinistic double standards by being shocked at female on female sadism, even though he'd think nothing of dishing out the same to a male prisoner 'a woman- no, a fiend! A woman and her victim another woman! Gott Im Himmel!'.

Despite Helga expressing women's lib like sentiments, becoming annoyed that male subordinates refer to her as fraulein rather than obersturmbannfuhrer, only a fool would mistake Moffatt for a feminist. In a move to appeal to a red blooded readership, Moffatt's Sapphic schweinehunds invariably fall prey to the 'Wham, Bam, Thank you, obersturmbannfuhrer' desires of heterosexual males. While Goering, the only significant male homosexual in the book, is depicted as a sexual predator, using alcohol to corrupt young, fresh faced soldiers who are (literally) willing to bend over backwards to serve Nazi Germany. For all of the claims of a secret bond existing between gays and lesbians, theorized by Moffatt in Jackboot Girls 'it was common knowledge that lesbians and, especially homosexuals walked a higher path than those indulging in normal male-female sex', Helga's relationship with Goering ultimately suggests that there's no honour among Nazi homosexuals.

While playing to his strengths as a writer, Jackboot Girls also exhibits a few of Moffatt's flaws as well. There's the usual Moffatt tendency to flood the book with very similar characters... Jackboot Girls subscribing to the idea that there's no such thing as too many whip wielding Nazi lesbians. Jackboot Girls' narrative paradoxically manages to be both overly complicated and little more than a series of sex and torture set pieces slung together. There are so many characters in Jackboot Girls that it is probably best approached as an anthology piece, with Helga and Frieda being the only consistently reoccurring ones. In keeping with the WW2 movies of the day, German characters converse in English, only occasionally breaking into basic German. There's an overkill of 'Nein', 'Mein Gott', 'Jawohl' here, which in a post 'Allo Allo! world can't help but add a layer of unintentional hilarity to Jackboot Girls, in spite of Moffatt's deadly serious approach to the material.

Only towards the end of the book does its Nazi allegiance give way to Canuck pride. Moffatt, who was Canadian by birth but of Irish heritage, gives away his own nationality by reliving the German Alois Krauss of his hero/stud role and replacing him with the Canadian Edward Spencer Morash. An even more hard living, virile and patriotic example of manhood, Canadians clearly being the true master race in Moffatt's opinion. Edward proudly confessing under Nazi integration "I'm single, enjoy beer and rye whisky, gamble only on big name horse-races or poker and I've been bedding gals since I was fourteen". The references to Edward venturing to Soho for sexual thrills, does make you wonder just how much personal research Moffatt had done into that neck of the woods. Illusions to Soho vice being common in his books, and the major backdrop for 1973's Massage Girls, written under the name 'J.J. More'. Edward takes the war to the bedroom, getting tied up and set upon by Nazi vixens, who are posing as English girls in order to gain his sympathy as well as the top secrets he keeps. Since he was a Canadian living in Britain, one wonders if Moffatt wasn't writing from personal experience when it comes to the culture clash that erupts between the German girls, who've been educated in England, therefore indoctrinated in English ways of politeness and decency, and the crude, tough talking, working class Canadian. Edward delights in offending the prudish Nazi ladies, shocking them with his frequent usage of the word 'screw', before letting them have it with the double barrel vulgarity of "you Kraut whores- clear out".

Jackboot Girls stands as tribute to Moffatt's unsavory imagination, to which it seems there were no limits. Few sadomasochistic avenues go unexplored here. Apart from Canadian Edward, no characters emerge with any honour. Moffatt's women are sadists and murderers, men folk from both sides of the battlefield aren't above committing vengeful gang rape. Jackboot Girls owes a debt to older WW2 themed Men's magazines, while bluntly expanding on their S&M preoccupations. In some respects however, Moffatt was a little ahead of his time here, anticipating Ilsa- She Wolf of the SS, made by his fellow Canadians, and the Naziploitation to come from Italy. Jackboot Girls is a prime example of why New English Library books ended up being called Nasty NELs, yet mysteriously avoided the censorious backlash that would later plague the video industry, whose more extreme offerings would inherit the 'nasty' nickname. Maybe NEL's masterstroke was to keep any potential enemies close and on the payroll. Not long after they let loose the whip cracking, leather boot licking Jackboot Girls onto an unsuspecting British public, NEL also published Mary Whitehouse's autobiography 'Who Does She Think She Is'. The latter proved a particularly lucrative venture for Whitehouse, who always remained silent over the sleazy excesses of her fellow NEL writers. Funny, that.

Naked England (1969)

Currently only around in an Italian language version with Japanese subtitles, Naked England is an Italian made, Mondo movie look at British customs, sexuality and eccentricities. A subject matter that dictates Naked England has more in common with Arnold Louis Miller documentaries like Primitive London and London in the Raw than the Italian made Mondo Cane. Thus giving you the unusual spectacle of Italian filmmakers imitating British filmmakers who were in turn imitating Italian filmmakers. Naked England opens with a man on a tranquil golf field, his launching of a golf ball then quickly cuts to a ball of the wrecking variety making short work of old tenanent housing. This metaphor of the new demolishing the old is reflected in the ensuing crowd shots, Naked England was made at a time when top hats and bowlers were still a common site on the heads of Londoners, but were beginning to share pavement space with girls in short skirts... young, dandy fellas and the bald heads of Hare Krishnas. The timing of Naked England certainly can't be faulted, this was a period when the rest the world looked to London as a colourful, cultural trendsetter, and the makers of the film sure managed to grab a generous slice of the Swingin' London pie. The film might have been more accurately titled 'Mondo Kings Road'.

Some of the subject matter of Naked England includes women's wrestling, trepanation, and a ''School for Wives' where a professional stripper teaches the average housewife how to act sexy for their husbands. As is the nature of the beast, Naked England is mainly bogus, highly sensationalistic, and must have had the effect of getting red blooded Italians on the next plane to England while being treated with much amusement by a UK audience, where it's fakery would have been more apparent. Particularly questionable are scenes of Jesus freaks holding a public crucifixion and the depiction a Nazi themed restaurant, where customers pay to be brutalised by staff dressed in SS uniforms, then suffer a mock gassing...an experience akin to the 'be black baby' sequence in Brian De Palma's Hi Mum. Saying that the film does specifically identify the restaurant in question- Alexander's club on the Kings road- which does check out as being an authentic location back then, and for libel reasons surely wouldn't have been name checked in the movie had there not been some credibility to this Nazi fetish sequence. 

Another authentic London restaurant, Melita, is similarly portrayed here as a sexuality transgressive hotspot...with a montage of transvestites preening and making out memorably scored to 'Eloise' by Barry Ryan. The use of too theatrical, too red looking, stage blood rules out the crucifixion and trepanation scenes as being real, ditto a scene of the police tangling with criminals, which leaves the latter with faces full of Kensington gore and plays like a warm up for a scene of a blag going down in The Sweeney. On the other hand, scenes of junkies shooting up in the underground toilets of Piccadilly Circus are as grueling and real as anything in Tony Klinger's Extremes.

Distributed by Miracle Films on the lower half of a double-bill with Pete Walker's Man of Violence, Naked England played the Leicester Square Jacey cinema in July 1969, before resurfacing at the Edinburgh Jacey cinema in January 1971, then transferring to the Liverpool Jacey cinema in March 1971. The more titillation orientated Mondo movies were all welcomed in British cinemas, with the likes of Naked England, The Queer....The Erotic, Mondo Sex and Excuse Me, Do You Like Sex, showing up on the Fleapit circuit during the late sixties and early seventies. By the time VHS came along though, the perception seems to have been that these films were then too tame, and too dated to warrant being preserved on the new media. The copy of Naked England that is currently on the film collectors circuit looks to have been recorded off Italian television, and has managed to acquire Japanese subtitles along the way.

Unlike many foreign Mondo movies which turned an eye towards Britain, but faked the location work, Naked England was predominantly shot on British soil, meaning you do get lots of late 1960s London here. From a Brit-Sleaze perspective, there's also footage of an exhibition of Harrison Marks' photographic work, with Marks' friend and straight man Stuart Samuels seen manning the counter and selling prints of Marks work. While a suspect look at Nude psychotherapy, which just seems to be an excuse to fill the screen with naked glamour models, offers a fleeting glimpse of Esme Johns, thus shattering the idea that Groupie Girl was her only movie.

Stanley Long(er) :His XXX rated adventures

 

Stanley Long always maintained that he never made stronger, hardcore versions of his British sex films, separating himself from such practitioners as his former business partner Derek Ford. However, around 44 minutes of recently unearthed footage has a different tale to tell. We have 'Under the Counter' author Oliver Carter to thank for saving this 35mm footage from imminent destruction, which reveals that Long did in fact shoot hardcore for at least three of his productions. Namely, Groupie Girl (1970), Naughty (1971), and On the Game (1974).

The additional 4 minutes, 48 seconds from Naughty -Long's 1971 look at the history of pornography- consists of Long filming Scottish blue filmmaker John Lindsay in action. In front of Long and Lindsay's cameras are porn actors Peter Vernon and Lucienne Camille alias Sylvia Bayo having real sex during the making of Lindsay's blue movie 'Sex After School'. There is, of course, a great deal more explicit imagery here than in the softcore version of Naughty that we are more accustomed too. In a memorable moment Vernon shows off his physical prowess by lifting Lucienne up in the air, then displays his sexual prowess by bringing her down in the reverse cowgirl position, before proceeding to have real sex with her, first on a couch and then on the floor. 

It's valuable footage in the sense of allowing us a prolonged look at a Lindsay film being made, and of the elusive 'Sex after School' a Lindsay short which I don't believe has ever resurfaced in full. At the same time, Long is merely filming someone else filming hardcore here, rather than being the instigator of the material himself. This is not the case with the footage from Groupie Girl and On the Game.

The general consensus among those who have so far viewed the 17 minutes, 41 seconds of hardcore material shot for Groupie Girl is that it may have been made a couple of years after the film itself, since it features no actors from the original film. In their book 'Immoral Tales', Pete Tombs and Cathal Tohill claimed that Groupie Girl was released in France as 'Les Demi-Sels De La Perversion' with hardcore scenes. 

Immoral Tales assumed that the hardcore must have been filmed and inserted by a French distributor. The existence of hardcore footage specifically shot for Groupie Girl however now makes it more likely that Long himself went back and shot new footage for the film in order to meet the demands of more liberal territories like France. The IMDB records July 1974 as the French release of Groupie Girl, tying in with the idea of the hardcore footage being filmed later than the film.

-In the first additional scene, a band member, travelling in the back of a van, unzips his fly, wakes up a sleeping groupie and insists on her giving him a blowjob. He then throws her onto a filthy mattress, tears off her clothes and has rear entry sex with her, this is followed by further fellatio. The male lead in this scene is Mike Gallagher, who was in the John Lindsay blue movie 'Betrayed' alongside Mary Millington, and later resurfaced in the Millington documentary 'True Blue Confessions'.

-In the 2nd additional scene, two groupies -one of whom is played by Jacqui Rigby- make out with each other.

-The third scene ventures into S&M. Handcuffed to a bed, Jacqui Rigby is ridden from behind by a band member. She has a gag in her mouth and is hit several times with a cane. The scene ends with the couple stopping their activities and the man responding to something said off camera, presumably taking direction from Long.

-In the fourth scene, two groupies in the back of a van jointly fellate a band member.

-In the fifth scene, there is more fellatio, this time being performed under the bedsheets. It is likely this footage was intended to be inserted into the scene where James Beck's character wakes up the band and complains about them sleeping in late.

-In the sixth, and final additional scene, a man and a blonde woman become sexually aggressive towards a groupie, tying her spread eagled to the floor and stripping off her underwear. They then start breaking raw eggs over her body, and sensually rub egg yoke over her, in what could be seen as a prelude to On the Game's creme bun/food fetish scene, albeit using the raw materials. The egg yoke rub down is intercut with a separate couple having more conventional, non egg based sex. The egg man begins beating the bound groupie with a cat o'nine tails before receiving a blowjob from her.

My initial reaction to this footage was to attribute it to Groupie Girl director Derek Ford, it's combination of kink and hardcore seemingly being more in Ford's wheelhouse. The problem with that line of thinking is that the additional footage for On the Game is near identical in terms of the shooting style and sexual content. On the Game was a solo Stanley Long project, with no involvement from Derek Ford at all, therefore Ford can't be held responsible for the On the Game footage, nor the additional Groupie Girl footage. It should be mentioned that the original Groupie Girl cast members I have spoken to, do tend to remember Stanley Long over Derek Ford. One even expressed surprise that Long wasn't the credited director of the film, since Long appeared to have directed a fair amount of Groupie Girl, but for whatever reason never took a co-director credit. It is ironic that Ford has been historically vilified as the wrong 'un of the Ford-Long team, and the one more willing to push the envelope. Whereas the reality now seems to be that while Derek Ford was indeed shooting additional 'continental' style footage for his early 1970s productions, he didn't film any hardcore until a few, reportedly brief scenes for his 1974 comedy Keep It Up Jack. Meanwhile Stanley Long may have beat Ford to the punch by filming hardcore for Groupie Girl and On the Game, much of which is of a disturbing and sexually rough nature. From a 21st century perspective, Long's porn footage doesn't quite behave in the way we've come to expect hardcore too. While real, penetrative sex is visibly taking place in this footage, Long rarely lingers on it in close-ups, as is the universal approach in hardcore. What's also notable is the total absence of money shots in these scenes.

The additional footage for 1974's On the Game -Long's companion piece to Naughty about the history of prostitution-runs 23 minutes, 6 seconds, and unlike the hardcore material for Groupie Girl does feature original cast members, sets and costumes from the film itself.

-The first additional scene sees the return of the blonde woman from the egg yoke scene in Groupie Girl. A veteran of the era's porn, she is familiar as Clyda Rosen's Groupie galpal in the Harrison Marks hardcore short Autograph Hour, and also appeared in films by John Lindsay (Desire, Frustration) and Lasse Braun (Rope, Blondie's Lesson in Statistics). The BGAFD website, which ascribes THX-1138 type names to porn performers whose names aren't known has her listed as XNK0161. This scene opens with an exchange of money between punter and prostitute...playing the latter XNK0161 strips down to fetishistic underwear, before the john eats her pussy and ass. Echoing the sexual bent of the Groupie Girl footage, he then takes to ridding her from behind whilst beating her with a cat o'nine tails.

-In the second scene....well I'm come to that later, it's 'something special'.

-The third scene is a sexual assault with lots of face slapping, forced fellatio and spanking, this time taking place in a cell with hay on the floor. Therefore it's likely this would have been inserted into the 'Witchfinder General' type section of On the Game depicting the persecution of prostitutes in 16th century England.

-In the fourth scene two sailors frolic with two prostitutes, the sex here is prolonged but without showing hardcore detail. Given the costumes this presumably would have been used for the section of On the Game set in the New Orleans brothel.

-The fifth additional scene is from the WW1 set, mobile brothel segment. A prostitute reads a book whilst indifferently giving a German officer a hand job. He becomes agitated, knocks the book to the floor and demands fellatio.

-The sixth additional scene is once again set at the WW1 mobile brothel. The same prostitute orally services a second German officer, he wraps a cushion around his head in ecstasy, but eventually runs away.

-The seventh additional scene is an extension of the final scene in On the Game. Lucienne Camille plays a nurse who services an old geezer behind a hospital cubical screen. There's fellatio and penetration shots featuring Lucienne, but it seems the elderly actor in the scene wasn't recalled for the hardcore footage. The male body used in the hardcore shots is blatantly that of a younger man, and tellingly Long keeps the face of the male body double off screen.

I've saved the most mind blowing revelation till last, for the 2nd batch of additional footage from On the Game features none other than June Palmer performing hardcore. June was of course, a legendary glamour model from the sixties, who absolutely no one has ever suspected of appearing in hardcore. I'm rarely surprised by anything these days, but I was taken aback to find myself watching June Palmer sucking cock on film. Her male co-star here was in fact her real life partner Arthur Howell. A stuntman by trade, who later worked on An American Werewolf in London, Howell is another unlikely porn performer. The extended version of their scene together in On the Game also sees Palmer masturbating Howell, before straddling him, although there are no penetration shots. Having only been familiar with this scene in the softcore edit of On the Game, I've often wondered why Howell and Palmer performed the scene wearing facemasks, but since we now know that this scene was originally hardcore, their reasoning for partly concealing their identities now begins to make sense.

To the layman this 44 minutes of footage from Groupie Girl, Naughty and On the Game will just appear to be standard hardcore, yet to those into the history of these things, this footage is a game changer. Altering the way we look at the careers of Stanley Long and June Palmer, maybe even the British sex film in general. Of course, once you become aware of just how widespread the practice of shooting 'continental' footage was, it becomes difficult to watch any British film from the sixties or seventies without wondering if their was ever a sexier, dirtier version out there. In the cases of Groupie Girl, Naughty and On the Game, the answer proves to be a big fat 'YES'.

Again I tip my hat to Oliver Carter for both rescuing this footage and allowing me to review it. An article about his rediscovery of the Long hardcore footage can be found on his under-the-counter.com website. Hopefully in the near future, a boutique label will come along and bring this porn treasure trove to a wider audience.