Add to that the fact that Betty Page helped to popularise the Bondage look and that the major S/M publications were originated in New York (notably BIZZARE and EXOTIQUE), and it was obvious that something like this had to happen.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|||||||||||||||||||||||||||||
| THE WILD WORLD OF OLGA!!! | |||||||||||||||||||||||||||||
| A look into THE most influential film series of the Roughie and Kinkie scenes of The 60's and beyond. | |||||||||||||||||||||||||||||
| READ MORE ABOUT IT!!! | CINEMASINSIN HOME | ||||||||||||||||||||||||||||
| SIGN THE GUESTBOOK! | |||||||||||||||||||||||||||||
| When American Films Distribution introduced the Olga series in 1964, they finally created the first American films that had that hard-to-perfect mix of Sexy Kink and extreme plotlines. BLOOD FEAST was a start for those who wanted their Horror with more visual impact and Ed Wood's THE SINISTER URGE proved that there was an audience ready for something more interesting in the Adult Film scene but with the emphasis on a powerful lady who had that something special. What Bettie Page offered to Irving Klaw's publications and Show Girl films, Audery Campbell, a lady from Ohio who dressed sharp and effective, offered to the 42'nd Street moviehouses in New York and the world of Shock Films. | |||||||||||||||||||||||||||||
| Audery Campbell ready to apply a treatment on one of her victims! | |||||||||||||||||||||||||||||
|
|
||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||
| Audrey Campbell was no stranger to the 42'nd Street scene, as her appearance in 1,000 SHAPES OF WOMAN was a standout for the film, with an appearance in Joe Sarno's SIN IN THE SUBURBS being something more sophisticated, but when it was decided that she would be the one who would play the sadistic leader of a different kind of pack that delt with the usual sins a crime syndicate would deal with, but with bondage, torture, and a very seductive style, a destiny in Exploitation Film history was made. These films, sometimes shot without sound and including some wild narration by Campbell and Joel Holt (for the first three), and continued for another two without the lady from Ohio who would go on to only two more films after that (1965's THE SEXPERTS, distributed through Mishkin, and 1970's A WOMAN IN LOVE) her appearances in the Olga trilogy would still impress many, shock those who do not get it, and would continue to be an influence in the Underground of American B Films, thanks to the fact that the legendary John Waters would be amongst of the first generation of fans. | |||||||||||||||||||||||||||||
| Joseph Marwa and George Weiss were the ones who created the character, but it took a distinctive beauty like Campbell to weave a spell over the audience and an excellent line of victims to complete the picture. It's use of a Hard Drug Cartel storyline started a whole trend of "White Slave" documentaries to be played through the Grindhouses, and the Bondage action and Olga's treatment of her bound-to-the-crime-world-forever captive gangmembers was Irwin Klaw-styled excellence brought to the screen in feature form (Mawra himself worked with the legendary photographer for an Ikay Beautiful Film from 1963). Weiss was the one to bring Ed Wood's GLEN OR GLENDA, but it took the 42'nd Street success of another Wood anti-Classic in THE SINISTER URGE (The book NIGHTMARE OF ECSTACY had a line about the fact that it played for quite a few weeks there!) to convince him that there was an audience hungry for something a bit more exciting. Add to that the fact that Betty Page helped to popularise the Bondage look and that the major S/M publications were originated in New York (notably BIZZARE and EXOTIQUE), and it was obvious that something like this had to happen. |
|||||||||||||||||||||||||||||