26 November 1933 – 10 September 2012
May he rest in peace – while we enjoy his legacy!
(1959, dir. Stanley Marks)
(1959, dir. Stanley Marks)
(1961, dir Arnold L. Miller)
Aka Nature Camp Memories. When Stanley A. Long returned to civilian life from the RAF in 1954, he initially earned his keep as a photographer, as much for weddings as for under-the-counter "art books." The latter brought him in contact with Arnold L. Miller, the director of this film, for whom he supplied photos for Miller's glamour magazine, Photo Studio. Soon, they were producing 8mm striptease films and, finally, nudist films under the production banner of Searchlight Films. Their first was this 27-minute-long short, Nudist Memories. One of the earliest nudie films ever made in Great Britain, it was actually preceded by Charles Saunders' Nudist Paradise (1958) – poster to the right – and Michael Keatering's Travelling Light (1959 / scene). For Nudist Memories, Long did the cinematography while Miller directed. Filmed at the Spielplatz Sun Club, the UK's second oldest "naturist" club, in the village of Bricket Wood, which hosts two other such clubs as well, the films Naked…As Nature Intended (1961 / Pam Green's shower scene) and Confettii (2006 / trailer) were also filmed there. Narrated by Alfred Molina's future wife Jill Gascoine, the movie features four striptease dancers – Anna Karen, Laura Mason, Carol Lynne and Mitzi Mayo – playing their own namesakes. Ms. Mason can also be seen (dressed) as a "Venusian Girl" in the classic bad Zsa Zsa Gabor film Queen of Outer Space (1958 / full film / trailer), while Ms. Karen, seen above left from her stripper days, went on to become a minor character and TV soap actor and can be seen in films such as Beautiful Thing (1996 / trailer) and the under-appreciated wanna-be cult film Flick (2008 / trailer). As we were unable to find any video documentation of Nudist Memories online, we now share with you an early example of Stanley Long's 8mm "glamour films"...
Beauty and the Beast,
featuring Desiree the Stripper and Pierre the Gorilla:
The Skin GameAka The Con Man. Long was director of photography and co-producer for Arnold L. Miller's feature-film debut, a "crime drama" originally released as K.I.L. 1 that appears to have had as much skin as drama. The plot, as supplied by the BFI: "Melodrama of a racket run by a scrap dealer making profit out of wrecked cars, which ends in murder when one of his men demands more money." Among those of the cast are the British pop star Jess Conrad...
Not from the film – Jess Conrad's abysmally funny hit song, This Pullover (1960):
Nudes of All NationsAka Nudes of the World – it was rather a hit when it came out. Long not only wrote this Arnold L. Miller directorial effort but, as normal, he was the director of photography and co-producer. Over at Strange Things Are Happening, they explain the plot: "[...] After being accused of having a fake tan by fellow international beauty contest entrants, Miss England (Vivienne Ramon, in fact a Spaniard) introduces the girls to the joys of nudism, and before long, they've opened up their own resort in the grounds of a stately home, where they and fellow (real-life nudist) guests enjoy such wholesome activities as a bonfire sing-along, splashing around in the pool and (you guessed it) volleyball. In a rare attempt to give a nudist film some narrative content, the local villagers don't approve of such activities [...] and are determined to put an end to such immorality, leading to a confrontation and new level of understanding. [...] Nudes of the World is entertaining enough, with its wholesome approach to naturism positively daring anyone to find it sexy. Censorship rules mean that this is probably the only nudist camp in the world where everyone wears a g-string – or nearly everyone; to show just what a different world 1961 was, while adult genitals are fully covered, children are shown completely naked. Seen today, this is a rather eyebrow-raising interpretation of decency. [...] Alongside Naked – As Nature Intended (1961), this is probably the high point of the short-lived naturist genre, at least as far as British productions go." Narrated by Valerie Singleton, a well-known and recognizable voice in Britain, she now denies being part of this film despite the original film credit and the unmistakable voice.
Trailer to Hoven & Friedman's The Long Swift Sword of Siegfried (1971):
While it lasts, the full HD film:
Trailer to Primitive London, London in the Raw & The Bed-Sitting Room (1969):
Modern dance circa 1965:
Long and Miller's third film about London's underbelly, once again in Mondo Cane mode with some real and mostly reenacted sequences. As normal, Miller directed while Long did the photography and co-produced. The BFI, which has also just released a restored HD version of DVD, says: "[...] Primitive London sets out to reflect society's decay through a sideshow spectacle of 60s London depravity – and managed to outdo its predecessors. Primitive London is a bizarre hotchpotch of loosely linked and entirely disconnected sequences. Here, we confront mods, rockers and beatniks at the Ace Café, cut some rug with obscure beat band The Zephyrs and goggle at sordid wife-swapping parties as we discover a pre-permissive Britain still trying to move on from the post-war depression of the 1950s. The film is an entertaining period piece, most interesting precisely because it provides an unusual counterpoint to the prevailing myth of 'Swinging Sixties' London." According to different on-line sources, the film features "a school for strippers, the judging of a beauty contest, all-in wrestling bouts, sleazy clubs and all-night cafes" as well as "interviews [with] mods, rockers and beatniks, wife swapping, an overworked stripper, childbirth, the killing of chickens and an interview with Billy J. Kramer."
The British teenager explained in Primitive London:
Secrets of a Windmill Girl
Your Business Is Love from Secrets of a Windmill Girl:
"Presented" by Michael Klinger, Secrets of a Windmill Girl was written and directed by Miller while Stanley Long was there as co-producer and director of photography. The website Strange Things Are Happening explains everything about the film: "[...] Stanley Long had filmed the final night of the legendary nudie revue club The Windmill [featured in the bitter-sweet movie Mrs Henderson Presents (1985 / trailer)] in 1964, [when] the once famous venue [was] no longer able to cut it against a world of strip clubs. Realising that there wasn’t enough footage for a straight documentary, Long and producer Arnold Louis Miller concocted a ridiculous melodrama to wrap around the footage, with childhood friends Pat (Pauline Collins) and Linda (April Wilding [of Hands of the Ripper (1971 / trailer)]) getting jobs as Windmill Girls. While things are good for a while, Pat soon becomes a victim of success, thinking herself above the show and hanging around with a sleazy old theatre producer, attending 'wild' parties and eventually finding herself reduced to the sleazier end of the strip scene. This is all narrated in flat monotone by Wilding, intercut with extensive footage of the Windmill show – [...] staid stuff even in the mid-Sixties (though ironically still more daring than most modern burlesque). Secrets of a Windmill Girl is part of a great British sexploitation tradition – grim-faced, moralising and ultimately depressing. [...] Collins, it must be said, is better than the film deserves – she's an effectively saucy little minx for much of the film, and her decline into delusional, angry, dead-eyed stripper is delivered with a worrying sense of conviction."
Clip from Secrets of a Windmill Girl:
Stanley A. Long was the director of photography of this cult favorite (produced by Arnold L. Miller) starring the great Boris Karloff and directed by future suicide Michael Reeves, who followed this uncompromising film with an even more uncompromising classic, Witchfinder General (1969). Over at the Cult Movie Page they tell you everything you need to know about the movie: "A bleak horror thriller starring the inimitable Boris Karloff as Prof. Marcus Monserrat, a man who creates a device with the power to control peoples' minds and enable Boris and his wife to feel the sensations the people are feeling. He and his wife (Catherine Lacey) take advantage of this power by inviting an unsuspecting young man (Ian Ogilvy) to their house under false pretences and hooking him up to the device which will link his consciousness with theirs. Now they are able to control the young man, manipulating him into committing acts of sex and violence and feeling these sensations in the comfort of their own home. The Professor's wife becomes addicted to the power and the sensations she is able to feel without repercussions and the Professor ultimately realizes he must stop her before it's too late. This film can be seen as a commentary on the nature of cinema and the viewer and their relation to one another. Voyeurism is a key theme; the film makes the bleak point that one of the things we as an audience find so appealing about the cinema is the fact that we are witnessing and reveling in the projections of violence and sex in the safety of the cinema or in our own homes, viewing things from a safe distance and as such not unlike the cruel puppeteers the Professor and his wife become."
The TomcatAka Mini Weekend. Stanley A. Long was the director of photography on this forgotten film produced by Arnold L. Miller; director Robin doesn't seem to have directed another film after this one. The plot to "this mod, mod movie" (as All Movie describes it), according to TCM: "Tom (Anthony Trent) is a sex-starved young man who is harried by his old-fashioned girl friend, Sandra (Liz Rogers of The Return of Count Yorga [1971 / trailer] and Dead Space [1991 / trailer]), and his overbearing mother (Connie Frazer). Obsessed by romantic fantasies about women, Tom spends a weekend in London's West End looking for excitement. He imagines that he is the best-dressed man on Carnaby Street, and later, that he is a popular singer who is mobbed by admiring females. In a nightclub, Tom actually meets a young woman whose boyfriend has left her for the evening. She in turn ditches Tom, who then goes to a pub where he picks up a prostitute. Later, Tom visits a striptease show where he imagines saving the stripper from a gang of attacking old men. Tom decides to return home, and on the way he has a final sex fantasy in which he spends the night with a lovely woman named Jenny (Veronica Lang)."
The Blood Beast TerrorAka The Vampire Beast Craves Blood, Blood Beast From Hell and Deathshead Vampire. Stanley A. Long was the director of photography of this British horror (produced by Arnold L. Miller) starring the great Peter Cushing and directed by the disrespected director who brought us House of Mystery (1961 / full movie), Curse of the Crimson Altar (1968 / trailer) and Burke & Hare (1972 / first 10 minutes). Cushing supposedly thought this to be the worst film he ever made. The Celluloid Tomb tends to agree: "[The film production company] Tigon, whilst capable of brilliance, often sullied themselves via an unfortunate penchant for knocking out totally formulaic, cheaply made tat, which just rehashed tried and tested convention to a point of tedium, wasted the talents of their cast and served no purpose other than to clog up an already overcrowded marketplace. This regrettable shortcoming was never demonstrated better than in their interminable 1967 killer moth opus The Blood Beast Terror. In the countryside of Victorian England some very strange (and highly clichéd) goings on are afoot. The dead bodies of young men are being discovered on the local heath. The corpses are drained of blood and are mutilated in an inexplicable fashion which baffles the local constabulary. Enter Inspector Quennell (a slumming Peter Cushing of Corruption ) who arrives to investigate the deaths, accompanied by his sweet-natured daughter Meg (Vanessa Howard). Quennell's enquiries soon lead him to the door of crazed entomologist Dr Mallinger (Robert Flemyng of The Body Stealers ) who, via a series of bizarre experiments, has succeeded in gifting his daughter Clare (Wanda Ventham) the ability to transform into a gigantic Deathshead moth. It turns out that the monstrous Clare is responsible (naturally) for the spate of killings."
I Am a Groupie
Derek Ford's third and final film for Stanley Long is this mod comedy aka A Promise of Bed. TV Guide calls the film "An all-around sophomoric picture." Over at imdb, Gavcrimson (firstname.lastname@example.org) explains that the film is a "Three-part 'trilogy of comedy'. In 'This,' Susan Stress (Vanda Hudson of Circus of Horrors [1960 / trailer], in her last film), a fading sex symbol attempts to win the lead in a movie by seducing the son of a film producer only to make a fool of herself in a case of mistaken identity. In 'That,' George (Victor Spinetti of Help! [1965 / trailer]) is a depressed middle-aged loner whose suicide attempt is interrupted by the arrival of a child-like hippy girl who proceeds to turn his life on its head.
Susan Stress takes a bath:
Crowd scene with the Crazy Mabel singing:
The feature film directorial debut of Stanley A. Long, who co-wrote this film with Suzanne Mercer, who in turn had assisted Derek Ford in writing Groupie Girl and, according to Wikipedia, was a former groupie herself. But at the time of the making of these films, she was the wife of the saxophone player in Juicy Lucy – which might explain their presence in this film. Curzon Cinemas explains: "An unusual mixture of pop festival documentary and saucy teen comedy, [...] Bread was released in mid-1971 with a running time of approximately 79 minutes; even before the year ended prints had been pruned down to a double-bill-friendly 62. 'I'm not entirely sure I knew what the hell I was making,' Long later admitted. 'The distributors promoted it as a sex film, which it really wasn't, and my first attempt at directing took some time to turn a decent profit at the box-office.' In retrospect, it's not hard to see why. Bread is too strange and erratic an amalgam of different film genres to really succeed. There's not enough sex to make it a sex film; not enough music to make it a music film; and none of the sleazy drama that would move it into Groupie Girl territory. What there is in abundance is mild, cheeky comedy. With bulging tents, sexy ladies, a humorous, dim-witted bicycle-riding policeman, a smattering of very literal toilet gags and boxes and boxes of 'BIG-UN' sausage rolls, Bread emerges from the Carry On tradition, and foreshadows Long's later Adventures series of saucy comedies. [...] Nonetheless, its cheerfully strange fusion of styles and genres make it entertaining and strangely compelling." The plot, again according to Gavcrimson at imdb: "On their way home from the Isle of Wight Pop Festival, Jeff (Peter Marinker, also seen in Event Horizon ), Trev (Dick Haydon) and Mick (Anthony Nigel) along with girlfriends Marty (Liz White) and Cathy (Noelle Rimmington) decide to pitch a tent on private land. In the morning the land's owner Rafe (Michael McStay) turns up and orders them to get off his lawn but changes his mind when one of the girls emerges naked from the tent. Rafe explains he only comes down to the house at weekends and lets them stay providing they redecorate his house. The squatters agree but once Rafe leaves they plot to organize a pop festival at the house. Attempting to raise cash for the venture, the men coerce their girlfriends into making a blue movie. When this proves disastrous Jeff goes to London and poses as a pop journalist in order to book the groups Crazy Mabel and The Juicy Lucy for the festival."
The Juicy Lucy in Bread:
Sex and the Other Woman
(1972, dir. Stanley A. Long)
1975 saw the realization of two films inspired by the bawdy ballad The Ballad of Eskimo Nell, one the Australian feature film debut of Richard Franklin (of Psycho II [1983 / trailer]) – originally entitled The True Story of Eskimo Nell (trailer), it got re-titled as Dick Down Under for its UK release – and then this Stanley A. Long production, the second feature film of Martin Campbell, who went on to do No Escape (1994) and Casino Royale (2006 / trailer), among others. In addition to the poem, Eskimo Nell is also inspired by the true life experiences of scriptwriter/actor Michael Armstrong, who plays "Dennis Morrison" in this film: Hired as the director/writer of the Jill Haworth film The Haunted House of Horror (1969 / trailer), he parodies his unpleasant experiences during that production with the representative of AIP (the American distributors) in this film. TCM explains the plot as thus: "Three young men, a scriptwriter (Christopher Timothy), a producer and a director (Michael Armstrong) are called in by Benny U Murdoch (Roy Kinnear of Taste the Blood of Dracula [1970 / trailer]), an exotic movie producer. He wants to make a new erotic movie starring a big woman – the 'Eskimo Nell' of the title. However problems start from the beginning, the scriptwriter is a virgin, a lover of penguins and hasn't a clue on how to write an erotic movie, each of the three main backers want a different type of movie – a western, an erotic and a kung-fu movie with different people in the main part. However problems really start for the three when Benny runs off with all the money and they have to make three different versions of the same film and try not to let the backers and stars know what has happened. And this is made harder when there is a clean-up-filth society breathing down their necks...." Over at The Spinning Image, Graeme Clark says "If a lot of the jokes are too forced, many of them are very funny. Each of the characters have their own obsession, from seedy Benny's breast fetish (see Kinnear amusingly working himself up into a macho frenzy at one point), to the moralists' fixation on clean living. The sequence where they finally shoot the film(s) is the funniest, displaying many the pitfalls of the work: accidents with a clapperboard and the leading man's manhood, too-tight cowboy jeans that rip when the hero gets off his horse, or the prima donna antics of the cast. The kung fu musical is particularly ridiculous, with its unsuitable nun extras and high-kicking number. The whole adventure ends up in a predictable case of mixing the cans up, but by then Eskimo Nell has proved you could make a funny sex comedy – so why didn't it happen more often?"
Scene from Adventures of a Taxi Driver:The first of three Adventure of... films, a series inspired by the then-popular Confessions of..., which were in turn probably inspired by the Carry On... films; as a whole, all three series were more popular in their land of production (England) than anywhere else. 10K Bullets supplies the following synopsis: "London – the seventies. Joe North (Barry Evans of Die Screaming, Marianne [1971 / trailer] – he ended his years as a real taxi driver in Melton Mowbray, Leicestershire) likes the ladies and gets to meet a variety of them in his job as a taxi driver. From dizzy young birds and frustrated housewives, Joe fancies them all, and they take a fancy to Joe. If only things were smoother at home for the put-upon cabbie. With his nagging mother (Diana Dors of Craze [1974 / trailer], Theatre of Blood [1973 / trailer] and Berserk [1967 / trailer]), thieving teenage brother, and the attentions of an overbearing girlfriend (Adrienne Posta) with ideas of marriage, Joe leaves the homestead and rents the spare room at his best mate's flat. Meanwhile, he continues to find himself in an assortment of humorous sexual escapades until he accidentally becomes embroiled in a jewel heist that doesn't quite go to plan." Over at imdb, the Movie Cat says "Transvestites, prostitutes and oral sex references, the weirdest thing about all this is that this sexist tripe was written by a woman."
Short scene:Every successful film needs a sequel! 10K Bullets, which thinks Adventures of a Private Eye "is the best of the series", offers the following synopsis: "With renowned private eye Judd Blake (Jon Pertwee of Carry on Screaming! [1966 / trailer]) away on business, his lackluster assistant Bob West (Christopher Neil) jumps at the chance to proving himself as an equally skilled detective. When a former model (Suzy Kendall) is blackmailed by a set of compromising photographs, the well-meaning but inexperienced Bob takes on the case. With a list of eccentric suspects all set to inherit a fortune if the offending pictures should come to light, the naïve detective sets about uncovering the blackmailer but his investigation is continuously hampered by several sexy shenanigans. Bob soon finds himself in over his head as he tries to protect his client and solve the mystery." Barry Evans, of Adventures of a Taxi Driver, was offered the lead role here, too, but was unavailable due to other commitments; thus he was replaced by Christopher Neil, who went on to do the next film as well. As with all three movies of the series, a tie-in novel was published written in first-person viewpoint from the lead, who was likewise credited as author (who the true authors were is unknown). Following Adventures of a Private Eye, the beautiful Suzy Kendall (nee Freida Harrison) – of such great eurotrash as Spasmo (1974 / trailer), Torso (1973 / trailer), Storia di una monaca di clausura (1973 / trailer), In the Devil's Garden (1971 / trailer), The Bird with the Crystal Plumage (1970 / trailer) and Psycho-Circus (1966 / trailer) – retired from the film business.
Rula Lenska as US Americans know her:
The third and last of Long's Adventures of... films possesses, according to 10K Bullets, "a decidedly despairing, mean-spirited desperation that sits uncomfortably alongside the earlier entries" and "plays as a high-bred throwback to the seedy, small-time crime thrillers of the 50s and the cheeky, light-hearted sex comedies of the 70s." At the NY Times, Hal Erickson writes: "Christopher Neil plays the title character, a bloke named Sid South. In course of his job, Sid runs up against thieves, would-be spies, motorcycle salesmen, and a bevy of cute female tennis players. It was perhaps a 'given' that he'd also run across a character named Crapper." As with the other two entries, there was a tie-in novel to the film. Christopher Neil also supplied some of the music to the film, like the disco song I'm Flying that closes the film...
Closing disco theme: