1. I JUST UPLOADED MY FAVORITE HILARIOUS WEIRD
PORNO DOWN THERE SOMETHING LIKE ZUM
KUNTSCHULLER OR SOMETHING IT'S ABOUT A
NAKED RESTAURANT AND THEN I FOUND THIS
GREAT BLOG WITH A GUY WHO'SE ALL OBSESSED
WITH THE DIRECTOR AND SOME MARY MILLINGTON
CHICK. I HAVEN'T EVEN HAD TIME TO READ IT YET.

4. PEEPSHOW LOOPS VOL 190 REVIEW
* QUARTET, 2f-2m, 1968-70,
* SECRET WEAPON, 2f-1m, 1970, Denmark
* DOCTOR IN BED, 2f-1m, 1970, Denmark
* SEX-TRIOLE, 1f-2m, Early 1970s,
* POTENZ KLINIK, 4f-3m, German
* BED GEISHA, 2f-1m, Early 1970s,
* THE HOT STUDIO, 2f-1m, Early 1970s,

5. * BARTENDERS ORGY, 2f-1m, Late 1960s,
* SEX SHOW, 1f-1m, Late 1960s,
* ZUM KNUTSCHKELLER, 1f-1m, Kiss Films #2, Danish
* CLUB CLEOPATRA, 4f-3m, Kiss Films #8, Danish
Set in a room that you know you’ve seen in countless other
loops in the past, “Quartet” is a merry romp that
illustrates the perils of looking at dirty pictures when a
bunch of friends are in the room – two to begin with, but a
third soon arrives, and he seems almost perturbed when
one of the girls promptly unzips his trousers and starts
sucking on his dick. Especially as the other guy seems to
intent on orchestrating everything, even obligingly raising
his buddy’s shirt tails to make sure they don’t get in the
way.
From thereon in, “Quartet” unfolds in “typical” foursome
fashion, with a modicum of swapping and a minimum of anal;
good looking though they are, the cast seem neither overly
enthusiastic or adventurous, and as the second film,
“Secret Weapon,” gets going, you might wonder whether
that’s going to set the stage for the rest of the disc. The
bizarrely uniformed guy doesn’t even take his clothes off
until almost halfway into the sequence, while the third
member of the threesome, a second girl, does no more
than watch for even longer. And then, suddenly, it’s all
systems go and, provided you don’t mind watching the

6. undulations of his appallingly scrawny ass, it’s all a lot of
fun. But not especially memorable.
“Doctor In Bed” is one of those classic Danish doctors and
nurses epics, shot in stag-style black and white, but with
considerably less expertise than you might hope – one
particular scene, as the doc licks one nurse while a second
sucks him off, is notable only for showing the back of his
head and the side of her face. Others… well, you know
something’s going on, but what is it? There’s more medical
mayhem to be found in the German “Potenz-Klinik,”
including a memorable scene where the nurse gives a
patient an injection in the ass, to which he responds by
giving her one in the mouth. But, though no less than seven
stars fuck and suck through the clinic’s wards, it’s seldom
more than one at a time.
Which is the key to this entire disc; no matter what
they’re told they’re expected to do, the cast of these
movies really don’t seem to know what they’re doing there;
indeed, one (the blonde babe co-starring in “Sex-Triole”)
might not be. In a way, it’s typical European b-list fare;
none of the films really leap out as classics, none of the
stars are especially stunning, and a few of the guys don’t
even raise erections until very late in the day, which might
be another reason why “Sex-Triole” suddenly shifts from a
hesitant threesome with lots of cunnilingus, into a

7. haircutting session, pruning her pubes with a pair of nail
scissors. “Zum Knutschkeller” might well be the only loop
ever to include a sequence of a restaurant’s patrons
dancing naked (and more!) to accordion music, but that’s
about all to recommend it, while “Club Cleopatra” stays in
club land, to examine the effect that a leather clad blonde
dancer can have on her audience. A polite one.
Only “Sex Show” deviates from the genteel norm, offering
up (as its title suggests) a succession of almost clinical sex
acts that barely even show the actors’ faces. One wonders
why?
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9. Zum Knutschkeller restaurant
http://gavcrimson.blogspot.com/

10. Harrison Marks’ “Bistro Bordello (1972)” resurfaces
Hot on the heels of Dolly Mixture, another of George
Harrison Marks’ shorts from the early seventies, Bistro
Bordello, has resurfaced from the pornographic
wilderness in its German version “Zum Knutschkeller”.
As with Dolly Mixture and many other of Marks’
Maximus era titles, Bistro Bordello was shot in a soft
core version for the UK, then an explicit hardcore
version to satisfy the overseas market, its the latter,
dirtier second helping of Bistro Bordello that has turned
up via the internet, and whose German title roughly
translates into English as “Into the Kissing Cellar”,
though personally I think Bistro Bordello is the more
catchier title.
Shot in early 1972, Bistro Bordello concerns an
innocuous British couple dining out at a French Bistro,

11. and somehow remaining oblivious to the fact that the
other customers are indulging in an orgy around them,
which isn’t an easy task given that the other people
going at it on the tables. As you might expect from an
early 1970s Marks production there are some familiar
faces among the naked bistro ravers, Howard
“Vanderhorn” Nelson plays one half of the British
couple, while Marks himself turns up as the Bistro’s
head waiter, sporting the same buck teeth and wig
disguise that also got an airing in The 9 Ages of
Nakedness and later Come Play With Me. In what was
clearly one of his favourite guises (one he was still
donning for Kane photoshoots in the 1990s), Marks
resembles a baggy pants, Victorian music hall act who
has inadvertently traveled through time and ended up
on the set of a 1970s blue movie. Also in the cast is a
young Ava Cadell, now a world famous sexologist and
life style guru, captured here at the outset of her
acting/modeling career. As Ava is also a black belt in
karate and is married to a lawyer, its worth
emphasizing, quite heavily, that despite her appearing
in the overseas version of Bistro Bordello there is no
actual evidence of her performing hardcore in the film,
and the film only utilizes her in a softcore capacity,
which is presumably why she is given less screen time
than the other couples, and Marks mostly keeps her in
the background.

12. Amidst all the sexual gymnastics and hardcore close-
ups Marks did however find the time to indulge in his
usual penchant for mixing pornography with old time
comedy, not just with the silent movie type mugging he
gets up to in his cameo, but with sight gags like
Vanderhorn leaving the bistro without his trousers on,
and a table collapsing while two people screw on it,
which is rewound and repeated in the film several times
over for comedic effect.
Marks thought highly of Bistro Bordello, and a year
later was proclaiming it the best thing he’d ever done
on film, as well as citing an unlikely influence. “Going
back a long way, I had seen some films made by that
great French director Rene Clair, and in one of his
films the lead actor had owned a Bistro” he told Verve
magazine in 1973 “when I saw the rushes I knew that I
had unconsciously created this Bistro with its 1930

13. atmosphere.” While its unclear which Rene Clair film
Marks was trying to recreate here, and its unlikely
that Clair’s original version had an orgy in it, Marks’ set
designer Tony Roberts did do a fantastic job of
transforming Marks’ Farringdon studio into a 1930s
French Bistro. Only the longhaired, early 70s look of
the male actors, and the German oomph pah-pah music
the foreign distributor dubbed on, work against Marks’
beyond the call of duty attempts at evoking a saucy,
French oh-la-la atmosphere. Tony Roberts’ eye for
detail even went as far as importing several crates of
wine to the set, which predictably started to disappear
once the camera started rolling. “God knows how much
booze they (the cast and crew) drank” Marks later
complained, though going by his own unorthodox
appearance in the film, it doesn’t seem unfair to
suggest that The Great Marko polished off a few of
the bottles himself.

14. Bistro Bordello also marked the start of the porn
career of actor “Short Jack Gold”, who’d go on to
appear in many of Marks’ 8mm productions throughout
the seventies. For Mr. Gold, Bistro Bordello was
sometime of a baptism of fire into the drunken,
pornographic world of Harrison Marks. “I had seen
pictures of him in some of the Kamera magazines I had
squirreled away in my teenage home, so I knew exactly
who he was” the porn actor recalled earlier this year
“what I had not counted on was the fact that there
was so much hanging around, waiting for different
scenes to be shot, or delays as George changed the
film in the camera. But most of all, what I had not
anticipated, nor remotely thought about, was that when
George yelled "Action" the male model, working with one
or two gorgeous lingerie draped female partners, was
expected to achieve an instant erection, and proceed to
coitus pretty dammed promptly. Sounds easy doesn’t it!
Mark my words. It isn’t. There were two or three
other guys on the shoot. Some of them "veterans" of
the embryonic London porn scene, but not up to it, if
you pardon the pun. A situation of such unnatural
eroticism, coupled with the hanging around and delays,
made grown men droop. Not helped by the copious
amounts of wine available on the set, which George and

15. his crew took full advantage of. It was chaos!..........
…”
Pat Astley’s Partial Nymphomania
Thanks to the efforts of several collectors the rare
Pat Astley short Nymphomania has recently resurfaced
on the internet. Directed by Harrison Marks and unseen
since being sold on 8mm through David Sullivan’s
magazines toward the end of the 1970s, Nymphomania
appears to have been filmed back to back with another
Marks short "Dr Sex" (written up on the blog back in
march, and downloadable from this link
http://rapidshare.com/files/384652912/Dr.Sex.avi,
given that the two films share the same sets, as well
as Pat and her female co-star.
Whereas Dr Sex saw a dodgy dentist getting too hands
on with a female patient, Nymphomania presents the
all-female flip side with a female nurse getting touchy

16. feely with a patient. Having been cast for the
umpteenth time as a nurse in Dr Sex, Pat gets a rare
chance to hang up her nurse’s outfit here and play the
patient, in a role that also entails her having a dentist’s
light shined on her privates!!.

17. Unfortunately the 8mm copy of Nymphomania that has
surfaced is incomplete and only runs around two minutes
(the full version probably clocks in at 7-10 minutes).
Still its nice to see another Marks rarity turn up and
with the added bonus of the film featuring Blackpool
Pat at the outset of her career. Hopefully the full
version will re-surface at some point, in the meantime
here is what has currently surfaced of it. Many thanks
to Moon raker plus Bygoneguy at
http://www.bygonemedia.com/ for dusting off this
elusive piece of Pat’s filmography and bringing it into
the internet age.
Download Link:
http://www.mediafire.com/?28m2rxnbkk9vrty
Posted by gavcrimson at 00:07 0 comments
Labels: pat astley harrison marks
Mary Millington -were you in her club?
Ads for the Original Mary Millington Fan Club. The
personally signed pictures given out through the fan club
now appear to have been fakes. (pictures courtesy of RBT
Foot)

31. Mary Millington -Great Rock N’ Roll Swindle poster
Poster for TGRRS emphasizing Mary’s appearance. On the
off chance that anyone happens to have this poster and is
interested in selling it, let me know, a music collector
acquaintance of mine would definitely be interested in
buying one of these.

33. Wednesday, 25 August 2010
The Case of the Naked Ironing Lady
As a quick follow on to the 8mm glamour piece from
yesterday I’ve been informed that the star of Bunny Blue
Belles’ film Use a Hot Iron who “clearly had a bit of a
career in these things and also pops up in several other
Bunny Blue Belles productions like “Dreamy Plaything”” is in
fact called Kim Foster, and was a former hairdresser

34. turned late 1950s glamour model. Aside from her 8mm film
outings she also appeared in Ben's Books titles like Silky
and Strip Lingerie and graced the cover of the August
1959 edition of Spick. Many thanks to the source of this
info, who wishes to remain anonymous, and who also
supplied these photos of Ms. Foster.

37. A Fistful of 8mm Glamour Films
Birthed in the late 1950s the 8mm British glamour film was
the logical extension of the popular nudie magazines of the
time. Its no real surprise then that the films themselves
mostly emanated from the same source, with many of the
key pioneers of the nudie magazine, Harrison Marks,
Russell Gay, Stanley Long and Ken Williams laying down
their photographic cameras and becoming rookie
filmmakers to turn out countless examples of these short
b/w films of their models undressing. Several DVDs worth
of new (to me anyway!) examples of the genre came my way
recently, and while they span the 1960s and 1970s and
were the work of different filmmakers they warrant I feel
a collective write-up, offering as they do a loose history of
8mm titillation and a peek into the changing face of what
was socially acceptable in adult material during these eras.
The earliest examples of 8mm films by Marks, Gay, Long

38. and Williams are if truth be known little more than filmed
documents of one of their magazines' photo-shoots with
models undressing and posing in the nude and whose main
historic interest now lies in their capturing famous models
of the era -like Pamela Green and June Palmer- on film.
Because these films kept firmly within the acceptable
standards set by these filmmaker’s own magazines, which
emphasized boobs and bums but avoided full frontal nudity,
these 8mm short films soon became common sights in
newsagents in the West End and even more unlikely places
“the market was vast because all the photographic shops
stocked these things” remarked Harrison Marks in 1997
“Dixons were my main customers”. Of course real
pornography did exist in Britain at the time, Ivor Cooke
turned out numerous raw, taboo themed stag films
throughout the 1960s, and some sources even have it that
Harrison Marks himself was directing hardcore on the sly
during the early sixties. Such productions however were
totally illegal and therefore filmed and shown in the most
cloak and dagger circumstances possible and certainly
never allowed to intrude on mainstream sensibilities in the
way that the 8mm glamour film would….. nor would they
ever be sold in Dixons!!.
As the craze for these short black and white films of
women undressing began to take off, many companies like
Top Hat, Herald, Ultima and Windmill Films sprung up to

39. cater to this new niche for the nude. Titles like
PENTHOUSE STRIP (Unique Films), BED BOOK AND
CANDLE (KLF ) and NIGHT CLUB QUEEN are fairly
listless examples of the early glamour film, and in spite of
the location specific title of the latter were all filmed on
basic sets.
With comedy and sex being so deeply intertwined in British
culture via Max Miller, George Formby and Donald McGill,
its no surprise that when the 8mm glamour film finally
started to develop its own personality it generally chose to
serve up titillation whilst tickling the funny bone. PEEPING
TOM (circa early 60s) nicks its title from Michael Powell
and proves that years before Robin Askwith took up the
mop and bucket a window cleaner was the No.1 occupation
for getting an eyeful of a stripping housewife. Not to
mention an invitation to comedic trouble as befalls the
peeping window cleaner here, who gets caught by her
husband and then falls through his ladder whilst trying to
make a quick get-away. HONEYMOON NIGHT (Playtime
films, late 60s) features glamour model Samantha Bond as
part of a just married couple spending their honeymoon in
a hotel and much of the running time taken up by Bond
undressing in the bathroom while her husband waits in
their bedroom. In a scenario used in countless sit-coms and
stage farces Bond then forgets which room number she is
in, goes into the wrong room and gets in bed with a weirdo

40. who chases her about the hotel before being punched out
by her hubby. Bond, a stunning redhead who would go onto
to appear in Lindsay Shonteff’s Permissive, now runs her
own model agency and has the dubious honour of being the
woman who discovered Jordan- we all have our crosses to
bear.
Other 8mm films eschew any basis in reality and come
across as equally dirty mac daydreams sprung to life and
unintentional surrealist filmmaking. NUDE COCKTAIL
features a naked barmaid serving drinks to a clothed
female customer who upon discovering she has left her
purse at home pays for her drinks with her clothes. Bunny
Blue Belles films whose logo was a rudely suggestive
drawing of a rabbit (it actually looks like an ejaculating
cock) contributed USE A HOT IRON to the surrealist
8mm glamour film genre in which a woman loses her clothes
while attempting to do the ironing, then in a scene that
should come with its own “don’t try this at home” warning,
runs an iron over her breasts to test how hot the iron is!!
The female lead in Use a Hot Iron clearly had a bit of a
career in these things and also pops up in several other
Bunny Blue Belles productions like “Dreamy Plaything”. If
truth be known though only a handful of actress/models
from these films ever progressed to much more beyond
further sexploitation gigs. One who did was Sue Bond, now

41. best known for her three year stint on the Benny Hill Show
and her subsequent sitcom and panto roles. Sue had a
background in the late 1960s glamour scene, modeling nude
for magazines like “Terrific” and acting in several Harrison
Marks 8mm films. “It came as quite a shock the first time
I realized a director had selected me for my profile than
my portrayal” she complained to Titbits magazine in 1975
“after all its not exactly what your dreams are made of”,
today Sue is reportedly even more guarded about this side
of her career, even going so far as to deny her
participation in such material. Just as well then that we
have AUDITION NIGHT (Expo Films) which conveniently
serves as a visualization of Sue’s humble nudie beginnings,
and sees Sue-who is billed on the 8mm box under the name
‘Heidi Kessler’- auditioning for a disinterested magazine
publisher. As well as a showcase for Ms. Bond’s assets,
Audition Night also sees the filmmakers both
simultaneously play up and parody the public’s image of
smut peddlers. The blokish magazine publisher Sue shakes
her boobs at is made up like a caricature of a soho
sleazebucket, chain smoking his way through several
cigarettes, hiding behind dark glasses and barely
acknowledging Sue in favour of reading a copy of ‘Men
Only’ much to the annoyance of S.B. Its only in the film’s
closing moments do we discover the reason for his apathy
towards her. As Sue suddenly notices a curtain twitching in
his office he quickly springs into action attempting to shoo

42. her out of the room before the curtain comes down
revealing several photographers who have been snapping
away during her nude audition.

43. Bond, Sue Bond working undercover in the 8mm glamour
film world as “Heidi Kessler”
While Sue may well have progressed beyond 8mm films and
been given an entry into sitcom and panto land, such later
career achievements pale in comparison to the mainstream
successes of Margaret Nolan, who after a brief two year
glamour modeling stint as “Vicky Kennedy” would enjoy
roles in big budget films featuring The Beatles and James
Bond, be immortalized as Dawn Brakes in Carry on Girls and
unlike Sue Bond could also lay claim to have been taken
seriously as an actress with roles in Last of the Summer
Wine and Crown Court that were far removed from her
glamour and even Carry On image. Two of Margaret’s early
8mm glamour film calling cards to the industry -Dawn
Brakes’ early breaks if you will- were SEXATIONAL and
the aptly named PRESENTING THE FABULOUS VICKY
KENNEDY (Star Films). The latter is immediately of
collector interest as it is in colour, whereas most of the
filmed footage of Margaret’s glamour period is in black and
white. A pity then that its so indifferently filmed and
poorly lit, and on the basis of the film it would seem that
Star Films were one of the more low-rent of the 8mm
glamour outfits. The film itself which follows Margaret in
and out of a shower and ends with her posing nude on a
bed, even includes full frontal shots, albeit briefly and

44. probably the result of filmmaking incompetence rather
than any serious desire to challenge the status quo on the
use of full nudity in 8mm films.
Sexational, likely to have been filmed by Russell Gay, is in
black and white and similarly limited in terms of onscreen
action, yet is infinitely superior, and goes to show the
difference an established glamour photographer behind
the camera can make. Gay uses a variety of imaginative
costume and set changes, as well as a generous amount of
long shots, pans and close-ups to draw out Margaret’s
looks, personality and allure on camera. The result is an
8mm glamour film whose natural sexiness has held up well
through the ages and the successful marriage of a model
with sex appeal by the bucket load and a photographer who
knows how to utilize it. Like many of the girls captured in
these films Margaret was also a smoker and signs off the
film by producing a cigarette, being given a light off
screen (likely by Gay himself) and blowing smoke
seductively at the camera. A memorable reminder of a
time when fagging it onscreen was seen as a sexy and
glamorous thing to do, and lending an obviously post-coital
feel to the films closing moments.
Margaret Nolan in ‘Sexational’ and as and in “Presenting
the Fabulous Vicky Kennedy”

47. Future horror filmmaker Pete Walker also began his
career in the world of 8mm glamour films, shooting an
estimated 400 to 500 glamour shorts in the mid to late
sixties and boasting that none of these films took more
than half an hour to make. Watch some of these films
today and you’ll be amazed it took Pete as long as half an
hour. Still as his 8mm glamour career continued there are
slow signs of -if not exactly a cinematic great in the
making- then some interest in filmmaking beyond shooting
simple stripteases. This transition is reflected in TOP
MODELS OF THE YEAR, a self-produced compilation of
Walker’s 8mm films which also displays Walker’s tenancy
for billing his models with “Miss” before their names as if
they were being introduced at a high society ball rather
than about to take their clothes off for an 8mm film. Clips
from “Miss Britt Hampshire” and “Miss Yvonne Bennett and
Miss Maria Thomas” suggests routine glamour films, on the
other hand “Miss Donna Marlowe” uses some primitive stop
motion effects to undress Miss Marlowe (Walker’s real life
girlfriend at the time). Every time she plucks a flower,
part of her clothing magically disappears, still embarrassed
as she is by this the girl just can’t stop plucking. Even
funnier are clips from Walker’s “Aeronautical Nude”,
starring Miss Ann Walker as a pilot who somehow manages
to perform a striptease while supposedly flying and landing

48. a light aircraft. The film ends with Ann awkwardly
emerging from the plane backwards (obviously in order to
avoid any full frontal shots) and with a royally puzzled
expression that suggests someone waiting for her director
to yell cut and get her down.

49. Miss Ann Walker suffers for her art in Aeronautical
Nude.
For Walker the 8mm films seem to have been at best a
means of making money and a way of learning the basics of
filmmaking in order to progress to better things. He is
famously quoted as later saying “I didn’t want to be known
as a tit man…. I didn’t want to be Harrison Marks”. Marks
on the other hand was clearly in the sex industry for the
duration and would fully inject his own personality and
drunken memories of his music hall forefathers into his
productions. Marks’ ROSE’S BUSTIN' OUT ALL OVER
(circa 1964), contains the sort of double-entendre in its
title that Max Miller would have been proud to deliver.
Rather than featuring anyone called Rose the film actually
stars model Maxine King, who while attractive is hardly
busting out all over. Only as the film progresses does the
title make any sense as Maxine goes for a nude walkabout
in a garden to admire the roses in bloom, hence Roses
busting out all over!! Marks’ sense of humour is even more
in evidence in STRICTLY FOR BACHELORS (1968). Coming
across as a piss take on TV advertising and cookery shows
aimed at women, Strictly for Bachelors purports to show
women how to bake a Christmas cake, and casts topless

50. model Cindy Neal as a sexed up Fanny Cradock wannabe
following onscreen advice and making a royal hash of it. A
caption asking her to “take two cherries” has her pointing
cluelessly to her nipples while another asking her to add a
dash of napoleon brandy to the mix results in her drinking
brandy while dressed as Napoleon. Neal is actually a real
find, not only able to hold a candle to any of Marks’
greatest models in the looks department but also proving
herself to be game for a laugh and a good comedienne
here. There is a real sense that Neal and Marks had lots of
fun making this, with Neal throwing eggs and flower around
her mock kitchen set (it was actually filmed at Marks’ flat
in St John’s Wood) and Marks throwing in some very rude
visual gags like Neal kneading dough with her bum and the
cherry topped cake eventually expanding to resemble a
giant tit before exploding covering Neal with a sticky
white substance. You get the impression that Marks may
have worried he’d gone a little too overboard with the
comedy here, since after the exploding cake gag the film
ends on a more conventional, calmer note with Neal filmed
posing nude amidst such bachelor pad essentials as a TV
set and a Frank Sinatra LP, the film was after all Strictly
for Bachelors.
As the sixties gave way to the 1970s the 8mm glamour film
began turning towards soft core rather than mere nude
posing. Harrison Marks first tested these waters with

51. 8mm films like Tutti Fruit and Hot Teddy which feature
off the wall stand-ins for sex acts with the former
depicting Sue Roberts suggestively eating a banana while
the latter sees Sue Bond madly humping a giant teddy
bear. Marks finally made the transition to soft core shorts
featuring real people with titles like PENNY AND PAUL a
no-frills recording of a sex session between the busty
Penny and a longhaired stud who’d go on to bonk his way
through several more of Marks’ soft and hardcore shorts
during the 1970s.
As with his early 8mm glamour films Marks’ soft core
shorts quickly became more elongated affairs often
running around 12-15 minutes and with elaborate plots that
were an outlet for Marks’ comedy inclinations. By the time
of Marks’ GOODNIGHT NURSE, which was filmed in 1972
and released in January 1973, Marks was shooting both b/
w soft core versions of his films for the UK market and
colour hardcore versions for Tabu’s Charlie Brown to
distribute in Germany. The colour hardcore version of
Goodnight Nurse which is called “The Happy Nurses” was
written up by me back in June, and the soft version keeps
pretty close to it in terms of plot, only with the action
kept soft core and a few cast changes. Having entrusted
the role of the doctor to a ubiquitous hardcore actor in
The Happy Nurses, Marks himself steps into the role for
Goodnight Nurse. Also present and correct is Howard

52. Nelson, who reprises his role as a blacked-up fez wearing
patient from The Happy Nurses. As this was a non-sex role
Howard is soon wheeled away allowing Doctor Marks to
have a quick fumble with one of the nurses. At the same
time a patient who resembles a young hippie version of
Marks, is checked in and soon becomes a target for the
randy nurses. As in the Happy Nurses the patient is
eventually revealed to be the new ward porter, news that
the nurses react to by emptying a fruit bowl over him.

53. Harrison Marks and friend play doctors and nurses in
Goodnight Nurse
According to a 1972 interview with Marks, Goodnight
Nurse was inspired by his own hospitalization that year
which predictably caused his mind to drift onto the
subject of naughty nurses (tellingly he also wrote the
script for Come Play With Me around this time as well).
“The first week or two I didn’t pay much attention, I was
too groggy to think about sex” he claimed “but when I felt
a bit better, the old urge came back. I started to think
about a bit of crumpet again”. Unfortunately for Marks the
reality of the situation was rather less erotic than the film
it inspired with the day nurses Marks was lusting after
always replaced at 8’O Clock by “a pair of right dragons”.
While one of the nurses did it seems go after Marks she
wasn’t exactly Mary Millington, rather she was, in Marks’
own words “built like a brick built shithouse” and kept
Marks up till 3am in the morning talking about sex until he
eventually shooed her away by complaining “I am a bit

54. tired”. One suspect she must have been really rough on the
eye for him to turn down an offer of sex, and in a way its a
testament to Marks’ overactive imagination that such an
un-erotic sounding encounter could be turned into the
randy farce that is Goodnight Nurse.
This in mind its tempting to speculate whether the
chronologically final Marks’ films on the discs, BLOWJOB
and NIGHT DREAMS have a similar basis in real life
incidents that Marks sexed up in his imagination and then
put on film. BLOWJOB features a punter contacting a
prostitute from the back pages of a sex magazine and both
of them going down on each other in scenes shot on Marks’
couch at his flat. In the comedic punch line the punter
then rewards the woman with two one pound notes and she
in turn offers him some green shield stamps!!! NIGHT
DREAMS is Marks’ mock horror film which opens once
again on his couch, and with a woman flicking through a
book on horror films, with particular emphasis on pictures
of Lugosi’s Dracula and Karloff’s Frankenstein. After this
not so light reading she retires to bed only to suffer a
nightmare, symbolized in the film by Karloff’s face
superimposed over her tossing and turning in the nude. At
the same time a mysterious stranger, initially seen only by
shots of his gloved hands and feet, creeps around her
apartment. Its all shot in a manner to suggest we’re
building up to a full on horror outing, with lots of

55. stereotypical horror imagery like a clock striking midnight,
before the film reveals itself to have been a bit of a tease.
Since when the woman wakes up she is greeted not by the
sight of Dracula or Frankenstein but Harrison Marks
himself, stripping off and jumping into bed with her, no
doubt in order to offer her some “comfort” after her bad
dream. A scene that also allows Marks to display a whole
new side to his talents- his backside !!!

56. The Naked Harris of Harrison Marks
With titles like Blowjob the norm and even Marks himself
flashing his Harris onscreen, the old style nude posing 8mm
glamour film was clearly a thing of the past by this point.
Some, such as original glamour girl Pamela Green may have
felt that much of the artistry went out of the window in
the 8mm glamour worlds’ clambering for a more upfront
approach to sex. But with nudity by then common place in
the tabloids and mainstream films as well as John Lindsay
making blue movies more publicly visible thanks to his
regular appearances in the tabloids and in court the 1970s
were clearly marching to a more saucier beat. Changes that
left the surviving 8mm filmmakers like Marks, Russell Gay
and Ken Williams now free to depict the sort of explicit
scenarios that a generation raised on the likes of Nude
Cocktail and Use a Hot Iron had had to make do with
merely visualizing in their minds as coy images of nude
women serving cocktails or ironing in the all together
flickered onscreen.

57. THE END !!!

58. Pat Astley by any other name
Pat Astley in Span magazine, billed as “Patricia Maynard”
(pictures courtesy of AFN33). According to this IMDB poll
http://www.imdb.com/search/name?birth_place=Blackpool,
%20Lancashire,%20England,%20UK
Pat rates as their 23rd most popular person born in
Blackpool, so not quite as famous as Graham Nash or Zoë
Ball then, but more popular than Lennie Bennett!!

62. Mary Millington takes an easy ride
A photoset that appeared on a now defunct website,
therefore the original magazine source of these photos is
unknown, although we’re clearly talking one of her early,
pre-David Sullivan photoshoots here.

65. • The rest of the shoot
http://img264.imagevenue.com/img.php?
image=82559_marymillington110_123_561lo.jpg
http://img42.imagevenue.com/img.php?
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image=82675_marymillington114_123_892lo.jpg
http://img126.imagevenue.com/img.php?
image=82730_marymillington115_123_230lo.jpg

66. http://img186.imagevenue.com/img.php?
image=82731_marymillington116_123_405lo.jpg
http://img125.imagevenue.com/img.php?
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Harrison Marks - 1972 interview
A bawdy Q and A with a Maximus era Harrison Marks,
including how a 1972 hospital visit and an encounter with a
randy nurse who was “built like a brick built shithouse”
provided him with the inspiration to make Good Night
Nurse, and possibly write the script for Come Play With
Me (discussed here a good four years before it actually
went before the cameras)

71. Wednesday, 28 July 2010
Zeta One with stripes on
A funny typo from the 1990s video release of Zeta One

72. For this:

74. Oy bloody vey -Alfie Bass on the making of Come Play
With Me
from 'Titbits', May 19th 1977

75. Here come “The Playbirds”

76. Press release
“On 9 August 2010 Odeon Entertainment release the
digitally-remastered widescreen edition of Mary
Millington's cult 1978 sex thriller The Playbirds.
In her greatest film role, Mary plays a sexy policewoman
secretly infiltrating the seedy world of pornography. In
order to unmask a pathological killer who’s targeting the
beautiful centrefolds of Playbirds magazine, Mary puts her
life, and reputation, on the line by sleeping with millionaire
publisher Harry Dougan (Alan Lake). The Chief
Superintendant (Glynn Edwards) and Police Commissioner
(Windsor Davies) are keeping a close eye on her, but time
is running out fast. Now that Mary’s joined the blue squad,
will she blow her cover?

77. One of the most fabled British sexploitation films of the
1970s finally gets a release on DVD, beautifully
remastered from the original negatives. Based on the best-
selling porn magazine and featuring star turns from Gavin
Campbell (That’s Life!), Dudley Sutton (Lovejoy) and the
luscious Suzy Mandel, The Playbirds is a murder thriller
bursting with thrilling bodies!
‘Contains more flesh than the EEC beef mountain’ Western
Mail
Special features include: Animated menus, an extensive
stills gallery, Response (1974 short lesbian fantasy
featuring Mary), Mary Millington's World Striptease
Extravangza (1981), Odeon trailers and new booklet notes
written by Simon Sheridan featuring an interview with
director Willy Roe.”

80. courtesy of Sgt Rock, a rare picture of Mary in the
Mistral film Response and a Mistral Ad.

83. Review: The Happy Nurses (197?, Harrison Marks)

84. Sometime in 1976 sex superstar Mary Millington ran into
a spot of bother with the law after selling a policeman
8mm copies of Harrison Marks’ softcore Maximus films
“Goodnight Nurse” and “The Danish Maid” at her Norbury
sex shop, only to see the same copper return a few days
later with some of his colleagues to raid the shop. And
while the police never really needed a good reason to raid
Mary’s shop, one can imagine she’d have been in even
more hot water had she slipped him a copy of Marks’ The
Happy Nurses, a hardcore “under the counter”
production, which used the same sets, storyline and the
more opened minded cast members-or should that be
cast’s members- as Goodnight Nurse.

85. Released in Germany by Diamant Films, likely an offshoot
of Charlie Brown’s Tabu company, the hospital ward set
Happy Nurses opens with the hilariously off the wall
sight of Marks’ muscle-bound stooge Howard
‘Vanderhorn’ Nelson, playing an irate foreign patient. A
role Howard has been blacked up for, while the typical
Vanderhorn disguise also includes a fez and a glue on
goatee as an extra touch so people won’t know its him.
Clearly not a happy camper, and presumably suffering
from a disease that turns you into a hybrid of Tommy
Cooper and Al Jolson, Howard is quickly carted away by
wheelchair by one of the staff, and while the Horn is
away the doctors and nurses will play. With no patients
around, the head doctor and one of the nurses seize the
opportunity to screw each other senseless in his office.
Elsewhere, a patient turns up on the ward and checks
himself into a bed. No one actually bothers to enquire
what is wrong with him, but there is a succession of
randy nurses on hand to administer blowjobs and fuck
him in bed, which while it might not cure his illness,
presumably will cheer him up a bit.

87. Aside from Howard, the other familiar face in The Happy
Nurses is Peter, the actor playing the doctor, who Marks
also cast in his 8mm short ‘Hot Fingers’. Peter was clearly
something of a player in the 1970s London hardcore
scene, and pops up in numerous blue films by both Marks
and John Lindsay. Slightly more mature looking than your
average 70s porn actor, and distinguished by that and his
wavy, Sid James type hairdo, he also had a small,
uncredited role as -aptly enough- a stud for hire in
Stanley Long’s film On the Game, from 1973.
After finishing off with the doctor, the nurse
remembers she was meant to deliver an important letter
to another of the nurses, and hurries off to find her,
inadvertently walking in on her riding the patient. The
letter reveals the man isn’t a patient and all, and it turns
out he is actually the new ward porter who has been
posing as a patient in order to get some free sex on the
NHS. Left a not very happy nurse at the news of this
deception, the nurse gets her own back by empting a
fruit bowl over him, which knocks him out and leaves him
with an apple stuck in his mouth. Actually given the

88. spontaneous way sex seems to break out between
doctors, nurses and patents in the film, its hard to make
sense of why it matters whether he was a ward porter or
a patient, still thats the NHS for you!!
Hyped by Tabu in their typically excitable, broken english
manner as “a jewel for the broadminded … after this film
you are bound to have a permanent itch, if not a quivering
cunt”, Marks was definitely firing on all cylinders when
he came up with this one, and a boozy sense of mirth is
very much in evidence in the films mixture of horny blue
movie action, Howard’s music hall like get-up and Marks’
penchant for working slapstick comedy and assorted silly
gags into the dirty film equation. While the joke
revelation about the ward porter might not be up to
much, The Happy Nurses can lay claim to featuring the
rudest, dirtiest sight gag Marks surely ever filmed,
which entails poor Mr. Nelson being wheeled out again at
the end of the film for the honour of suffering an even
greater indignity than he does in Come Play With Me.
Still moaning at the nurses while they are busy wanking
off the ward porter in the next bed, Howard’s complaints
are cut short mid-sentence when he is hit in the face by
the ward porter’s misdirected spunk!! A freeze frame of
Howard fuming and the (obviously fake) cum running
down his face ends the film.

89. Actually this ending comes across -no pun intended- as a
bit of an improvisation due, you suspect, to the porn
actor running out of steam and failing to deliver the
requisite money shot that by rights the film should have
ended on, leaving Marks to substitute it with a belly
laugh instead. A suspicion further fuelled by an earlier
scene with the ward porter and one of the nurses also
making use of the same porridge like substance, or
whatever the heck it was that Marks used as a double
for mansplat, that also ends up being squirted on
Howard’s face for the film’s finale. Still while the porn
actor doesn’t seem to have been able to deliver all the
goods, Howard certainly went way beyond the call of duty
for The Happy Nurses, blacking up, spending an
afternoon being wheeled around and taking the porn
equivalent of a custard
You can watch it here:
http://vimeo.com/15684114
Legs Co. Video Six-Pack
http://vimeo.com/15684114
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91. https://docs.google.com/Doc?
docid=0ATnhWp1czE60ZGM5NGN3OWNfNWZna25qNGh
k&hl=en