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How to take Glamour Studies by Harrison Marks
Working in the field of theatrical photography, George Harrison Marks had the good fortune to capture on film some of the most beautiful women in show business; through trial and error, he eventually came to specialise in glamour or “pinup” photography. Asked to reveal the formula for his success, he wrote a series of articles for FOTO magazine in the 1950s, and these are collected here for the first time. You can download a FREE copy of this 67-page book when you subscribe to our mailing list at: www.pamela-green.com PDF: 67 pages Size: 127 mm x 203 mm
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by Yahya El-Droubie with illustrations by Colin Gordon Satisfy your passions for female combat and nostalgia with this collection of rarely seen photos of bare-breasted female wrestlers of the 1940s and ’50s. Blood, sweat, tears, and plenty of writhing. Punch, bam, body-slam; she hits the mat, as she gets put on her back! Hardback: 34 pages Size: 203 mm x 254 mm £15.99/$18.99
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THE STEPHEN GLASS COLLECTION
Amazons of Yesteryear: Wrestling Women of the 1940s and ’50s
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THE STEPHEN GLASS COLLECTION
Naked in the Menagerie by Yahya El-Droubie with illustrations by Colin Gordon Here’s another vintage collection of nude photographs. This time, we take a playful look at Eve, accompanied by her animal friends. It’s a portable exhibition of unusual images that will have you harking back to more innocent times. Photographed in the studio and on location in a nudist camp, and featuring among other creatures, Grandma’s stuffed cat.
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Hardback: 46 pages Size: 203 mm x 254 mm £15.99/$18.99
Introduction THE PHOTOGRAPHER STEPHEN GLASS is a bit of an enigma. He was well-known enough during the 1950s for his name to be prominently displayed on the front of magazines to help sell them, but very little actually was written about him or his work. This situation differs somewhat from that of his elder brother, Zoltán Glass, who was also a photographer. Known to his friends as “Zolly” he was featured and interviewed in numerous magazines on both sides of the Atlantic. Zoltán was born in Budapest on April 26, 1903. He began his career as a cartoonist and retoucher for a local newspaper, but in 1925 he moved to Berlin, where he found regular employment as the picture editor of a Berlin evening paper, before moving on to the Berliner Tagblatt as a photojournalist. He prospered and was soon able to develop a thriving freelance business as a commercial photographer and journalist. He established Reclaphot, a photographic agency that specialised in advertising work, and Autophot, a company dedicated exclusively to automobile photography. He was an amateur racer and keen motorsport enthusiast, and he covered Germany’s biggest races at the Nurburgring and the Avus circuit, near Berlin. His most famous photos are of the Mercedes-Benz Silver Arrows team, which dominated Grand Prix racing in the mid-1930s. With the rise of Hitler, however, business became increasingly difficult, and he fled to London. As an enemy alien at the outbreak of World War II, he was not permitted to pursue his profession and faced the threat of internment, so he voluntarily handed over his camera equipment to the British authorities. After the war, he eked out a living taking publicity stills for clients in the film and theatrical worlds. His career took a big step up when the Hungarian Arpad Elfer who was Creative Director of Colman, Prentis & Varley, one of the most prestigious London ad agencies started giving him work. By the mid-Fifties, he was one of the most successful fashion and advertising photographers in London 4 | naked in the menagerie
Sir Thomas More invented an imaginary island, which he named Utopia, meaning ‘nowhere’ to explain his idea of what a perfect world should be like. In this too imperfect age, we could all do with occasionnal glimpses of perfect beauty such as the camera has secured in these pages. – Benson Herbert naked in the menageriE | 5
naked in the menageriE | 13
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THE STEPHEN GLASS COLLECTION
Nudist Camp Follies I by Yahya El-Droubie with illustrations by Colin Gordon Those who have enjoyed our other titles on this topic will appreciate this further collection of camera studies. In this volume we take an intimate look at the natural and free atmosphere of the Sun Clubs. Many of the pictures were taken just outside London, between Watford and St. Albans, where there are four nudist camps, all of which have proved popular with photographers over the years. The book features well-known models such as Pamela Green and Lee Sothern.
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Hardback: 46 pages Size: 203 mm x 254 mm £15.99/$18.99
After the war, we saw a new type of person becoming interested in nudism. Previously it had always been the well-to-do, educated, rather out-ofthe-ordinary type of person who joined the movement. Now we began to see the average, unprejudiced Englishman and his wife. – Dorothy Macaskie
Left: Model Pamela Green poses as Artemis, the Greek goddess of the hunt, at Spielplatz nudist camp in 1951.
One of his clients was Odhams Press, who published Lilliput, a pocket-sized gentleman’s magazine that featured an assortment of titillating articles and risqué humour, together with adventurous photographic essays from such well-known talents as Bill Brandt and Brassai. Zoltán’s brother, Stephen, who also fled Europe during World War II, carved out a name for himself taking pictures for such publications as The Naturist and Health and Efficiency. The well-known model Pamela Green (1929–2010) posed for him several times at the infamous nudist camp Spielplatz in Bricket Wood, Hertfordshire, and at his tiny first-floor studio in Old Church Street, just off the Kings Road in Chelsea. “In those days, when Stephen photographed me, I still had dark hair. He liked his props, especially stuffed animals,” she said. Pamela’s agent, Pearl Beresford, sent her along to Zoltán, whose studio on the Kings Road was enormous by comparison. Unlike Stephen, Zoltán was brisk and businesslike. Iseult, the daughter of Spielplatz co-founders Charles and Dorothy Macaskie, remembers Stephen. “He would often ask me to pose for him,” she said. “I quite nudist camp follies | 7
Right: Audrey Wayne and Anita Smith.
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THE STEPHEN GLASS COLLECTION
Nudist Camp Follies II by Yahya El-Droubie with illustrations by Colin Gordon Further fun and frolics in volume two of Nudist Camp Follies — a photographic peek at naturism in 1950s Britain. The book features well-known models such as Naturism’s Ambassador, Elizabeth Walker, wife of Edward Craven Walker, the inventor of the lava lamp.
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Hardback: 46 pages Size: 203 mm x 254 mm £15.99/$18.99
One of his clients was Odhams Press, who published Lilliput, a pocket-sized gentleman’s magazine that featured an assortment of titillating articles and risqué humour, together with adventurous photographic essays from such well-known talents as Bill Brandt and Brassai. Zoltán’s brother, Stephen, who also fled Europe during World War II, carved out a name for himself taking pictures for such publications as The Naturist and Health and Efficiency. The well-known model Pamela Green (1929–2010) posed for him several times at the infamous nudist camp Spielplatz in Bricket Wood, Hertfordshire, and at his tiny first-floor studio in Old Church Street, just off the Kings Road in Chelsea. “In those days, when Stephen photographed me, I still had
Above left: British Naturism by Michael Rutherford, published by The Naturist Ltd., 1946. Above right: The Pool of Enchantment: Reflections on the Naturist Movement by Anne Seton, published by The Naturist Ltd, 1950. Far left: Cover image of Health and Efficiency, January 1951.
nudist camp follies II | 7
After the war, we saw a new type of person becoming interested in nudism. Previously it had always been the well-to-do, educated, rather out-ofthe-ordinary type of person who joined the movement. Now we began to see the average, unprejudiced Englishman and his wife. – Dorothy Macaskie
Left: Model Pamela Green poses as Artemis, the Greek goddess of the hunt, at Spielplatz nudist camp in 1951.
One of his clients was Odhams Press, who published Lilliput, a pocket-sized gentleman’s magazine that featured an assortment of titillating articles and risqué humour, together with adventurous photographic essays from such well-known talents as Bill Brandt and Brassai. Zoltán’s brother, Stephen, who also fled Europe during World War II, carved out a name for himself taking pictures for such publications as The Naturist and Health and Efficiency. The well-known model Pamela Green (1929–2010) posed for him several times at the infamous nudist camp Spielplatz in Bricket Wood, Hertfordshire, and at his tiny first-floor studio in Old Church Street, just off the Kings Road in Chelsea. “In those days, when Stephen photographed me, I still had dark hair. He liked his props, especially stuffed animals,” she said. Pamela’s agent, Pearl Beresford, sent her along to Zoltán, whose studio on the Kings Road was enormous by comparison. Unlike Stephen, Zoltán was brisk and businesslike. Iseult, the daughter of Spielplatz co-founders Charles and Dorothy Macaskie, remembers Stephen. “He would often ask me to pose for him,” she said. “I quite nudist camp follies | 7
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by Yahya El-Droubie with illustrations by Colin Gordon Glamour girls are mostly photographed in the studio or some exotic location, so one often wonders what they look like relaxing at home. Wolfbait is devoted to showing you just that. And as you will see, these girls, whether on the phone, getting dressed, doing a bit of DIY or just hanging out nude on a hot day by the fireplace, are just as lovely for it. Featuring such well-known models as Lee Sothern, Kim Foster, Mina Felgate and June Wilkinson. Hardback: 50 pages Size: 203 mm x 254 mm £15.99/$18.99
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THE STEPHEN GLASS COLLECTION
Beauty Off-duty: Relaxed, Everyday Moments Caught on Camera
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THE STEPHEN GLASS COLLECTION
Nymphs and Naiads: Beauty Unadorned and Outdoors by Yahya El-Droubie with illustrations by Colin Gordon Pastoral dreams of beauty unadorned and outdoors by the acclaimed naturist photographer Stephen Glass. A fascinating depiction of a very British arcadia that is unashamed and unabashed in its vision of an island idyll. Venture out into the glorious British countryside to take in the view of beauty unadorned. The book is delightfully illustrated by Colin Gordon and comes with a short introduction exploring the links between the Edwardian cult of Pan, Wicca and the nudist movement.
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Hardback: 46 pages Size: 203 mm x 254 mm £15.99/$18.99
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THE STEPHEN GLASS COLLECTION
Poise and Pose: Studio Nudes by Yahya El-Droubie with illustrations by Colin Gordon Pose & Poise is the seventh, and possibly the final (never say never), volume in Wolfbait’s Stephen Glass Collection. Join us as we venture into the studio of one of the greatest photographers of the female nude in the post-war era. The young ladies may look French, but their appeal is universal. The book features several well-known models such as June Russell and Pamela Green.
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Hardback: 46 pages Size: 203 mm x 254 mm £15.99/$18.99
however, as an enemy alien at the outbreak of World War II in 1938, he was not permitted to pursue his profession and faced the threat of internment. As a result, he voluntarily handed over his camera equipment to the British authorities. After the war, Zoltán eked out a living taking publicity stills for clients in the film and theatre worlds. In 1948, after twelve years as an émigré, he became a naturalised British subject. It was around this time that Stephen began to concentrate on naturist photography. Zoltán’s career took a big step up when fellow Hungarian Arpad Elfer, creative director at Colman, Prentis and Varley, one of the most prestigious London advertising agencies, started giving him work. By the mid-1950s, he was one of the most successful fashion and advertising photographers in the capital, with a studio at 183 Kings Road, Chelsea, and later, another at 41 Paradise Walk, SW3.
SALUT
PRÉSENTATION
EN GARDE!
TOUCHÉ
poise & pose | 15
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Doing Rude Things: The History of the British Sex Film by David McGillivray with a foreword by Pamela Green Doing Rude Things: The History of the British Sex Film was orginally published in 1992. It was the first serious study of a genre which, if not forgotten, was universally denounced and denigrated. Yet the book was highly influential; it led to numerous film seasons and festivals, and in 1995 the BBC turned it into a documentary. The 25th-anniversary edition is vastly expanded and updated, with new chapters and photographs, and brings the story of British prudishness and censorship bang up-to-date. Hardback: 172 pages Size: 203 mm x 254 mm £17.99/$26.99
coined today by pundits speaking disparagingly of the naturist
a Russian invention which involved the audience standing
were next out of the Long-Miller stable. In both these cases the
ethos. Was it intended to be tongue-in-cheek in 1962?
inside a 360° screen. A novelty during the London tourist
reward for enduring the unpleasantries, which included a hair
Long: “Yeah, it was.”
season, it later flopped in Blackpool and Glasgow and was
transplant operation and the killing of a battery chicken, was
Really?
abandoned before the project had recovered its costs. But for
sex: striptease, a woman giving birth, and the reconstruction
“All right, no, it wasn’t. I’ll tell you what it was. It was just
Long it posed several enjoyable challenges, one of which is that
of a wife-swapping party (a subject to which Long was later
a contrived title to excite the type of patron these films were
cameras shooting a complete 360° angle will inevitably photo-
to return.)
aimed at. I mean, taking off your clothes is a bit naughty, and
graph the crew. (They eventually hid by crouching under the
The inclusion of such hitherto forbidden material was the
then... live... I mean, that suggests Take Off Your Clothes and
duralumin plate on which the eleven cameras were mounted.)
result of Sixties permissiveness breaking down the bounds of
Fuck. I suppose that was the thinking behind it: that it might
Mondo Cane (1962), the Italian shockumentary which
censorship. In 2017 essayist Andrew Martin also theorised
dwelled gloatingly on various aspects of man’s savagery,
that guilt was declining exponentially with the decline of re-
In 1964 Long and Miller were asked to make the first (and,
spawned dozens of imitations during the Sixties, two of which
ligion. The graphic depiction of sexuality was still some years
as it turned out, the last) British travelogue in Circlorama,
– London in the Raw (1964) and Primitive London (1965) –
imply sexual activity.”
off, but the degree of liberation achieved in the mid-Sixties was apparent in the names of the films themselves. In 1960 foreign sexploitation films were still being given English titles which reflected the British audience’s guilty conscience: Forgive Us Our Trespasses (1957); Girl of Shame (1959); Sins of Youth and Let’s Be Daring, Madame (both 1960). But in 1964 the BBFC allowed an Italian film, L’amore difficile, to be given the shamelessly open title Sex Can Be Difficult, and henceforward it was sex, and not vice, corruption and nudity, that sold the exploitation film. It was in this enlightened atmosphere that Long and Miller produced their first unadulterated sex film, Secrets of a Windmill Girl (1965). Originally intended as a straightforward record of the last nude revue presented at the Windmill Theatre, its cramped dance routines and comic fillers were later woven into a fictitious story concerning a detective’s investigations into the death of a former Windmill girl. Important as documentary evidence of the kind of tat that inflamed the senses of a million voyeurs during the three decades the Windmill operated non-stop revue, the film is also of interest in that it features early – clothed – appearances by singer-actress Dana Gillespie and Oscar nominee Pauline Collins, as well as William Graham, a Windmill dancer who had begun his screen career as a child in the 1940s as Richmal Crompton’s
Above: The title references a now defunct Sunday newspaper. Valerie Singleton, who narrated Nudes of the World, declined an invitation to the launch of Doing Rude Things in 1992.
Above: Britain’s last nudie. Made in 1963 but unreleased for three years, it played as a second feature. Spoiler alert: Sandy (Annette Briand) sheds her inhibitions and becomes a nudist.
Above top: The only shock in London in the Raw was the hair transplant operation.
Just William. Shortly after the film’s release Stanley Long and Arnold
Above bottom: The still from London in the Raw used for
Louis Miller went their separate ways. For Long the split was
the British Film Institute’s DVD release.
especially beneficial, leading as it did to a range of work far
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him this was at Ealing Studios, where he learned about light-
CHAPTER 2 | 51
Bettie Page, Green also wielded an influence over Marks, and
ing from Czech cinematographer Otto Heller and helped the
thereby the development of British nude photography, hither-
ancient cinema pioneer Cecil Hepworth, who “used to bugger
to acknowledged only by those in the trade. “Some photogra-
about on a Moviola”. Pamela Green’s memory, however, was
phers of renown,” said Peter Sykes, editor of Men Only maga-
that Marks told her he lugged film cans around at Pathé News.
zine, in 1974, “maintain that it was she who made Harrison
She was reasonably sure he did not meet Otto Heller until
Marks and that he would never have amounted to very much
1959, when Marks visited the set of Green’s first film, Peeping
without her.” Surprisingly Marks already had acknowledged
Tom, which Heller lit. Whatever the case, Marks seems to have
Green’s importance. In the 1967 biography The Naked Truth
observed enough camera technique to enable him to switch
About Harrison Marks, he said, “Pam set me up, she started it
from performing to photography.
all; in many ways I owe much to her.”
He began by snapping his fellow comedians, one of whom,
A former art student who turned to nude modelling to pay
a young unknown stooging for the magician David Nixon,
her way through college, Green not only participated in every
was Norman Wisdom. In 1952 Wisdom was chosen to appear at the Prince of Wales Theatre in Paris to Piccadilly, the London version of the Folies Bergère. Marks used the Wisdom connection to gain further commissions photographing the Prince of
Above left: The original version of The Naked World of Harrison Marks may be lost. Only an edited black and white
Wales showgirls. One of these was Pamela Green.The most fa-
version is known to exist. Above right: Trade advert for The Nine Ages of Nakedness,
mous British nude of the Fifties, Britain’s answer to America’s
released by nudie pioneer Nat Miller.
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Above: Wrestler Bruno Elrington captures June Palmer in the Stone Age segment of The Nine Ages of Nakedness.
CHAPTER 2 | 57
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Cinema au Naturel: A History of Nudist Film by Mark Storey The quirky world of nudist films is revealed. Cinema au Naturel brings to life many long-forgotten films such as Elysia: Valley of the Nude, The Monster of Camp Sunshine, and Take Off Your Clothes and Live! In his account of the history of nudist film, Mark Storey introduces readers to the best and the worst of these cinematic portrayals of clothes-free life. Paperback: 346 pages Size: 152 mm x 223 mm £16.99/$21.99
Nearly Naked was one of a pair of Rogers’ forays into filmdom. Beer is Here, a comedy short about prohibition-era beer production, and his dalliance with nudist themes in Nearly Naked, comprise his filmography, each from 1933. The nudist-themed film follows the Ballyhoo of 1932 plotline closely, with the character here named Eddie requesting his girlfriend’s hand (again played by Vera Marshe) from her mother at a nudist club. Much to his mortification, Eddie has to undress to enter the club, but shrubs and fences hide the parts of his and other actors’ deemed legally obscene in the early 1930s. Newspaper movie reviews are few or nonexistent, as the film died a death soon after release. No copyright was even registered. Many films in the early 1930s blatantly toyed with the limitations set down by the Production Code. By 1934, however, there was enough pressure from potential censorship forces to goad Hollywood executives into abiding by the Code in both word and deed. In particular were a series of theater boycotts organized by a group created in April 1934 called the Catholic Legion of Decency, and a threat by the twenty-two-million-member Federal Council of Churches of Christ in America to campaign aggressively for federal censorship laws. On 1 July 1934, Hollywood executives responded by creating the Production Code Administration (PCA), this time with Joseph Breen—a lay Catholic activist and publisher of the Motion Picture Herald—as its director. Together with Hays and Quigley, Breen set out to control every aspect of content and theme that went up on a Hollywood screen. The PCA was given the authority to review and clear with a “PCA Seal of Approval” every movie that Hollywood wished to 38 distribute to its theaters. Since the same producers making the films controlled virtually all major theaters, it was easy in principle not to allow any theater to 39 show a film not approved by the newly empowered Hays Office. A $25,000 fine for failure to abide by the Production Code gave additional teeth to the PCA. Hollywood had avoided federal governmental regulation, but the Production Code finally had the biting power needed to be a controlling force. The movies Hollywood produced thereafter took on a decidedly moral tone. Gone were the likes of Jean Harlow’s bathing scene in Red Dust (1932), or Mae West’s sexy dialogue in Night After Night (1932) and She Done Him Wrong (1933). For the next three decades the police would be honest; crime would not pay; any youth worth admiring would respect authority; drug abuse would not exist; people would kiss only briefly and with both feet firmly on the floor; and nobody would even think about being nude in front of others. The policy of filming married couples sleeping in separate beds was not, as many believe, a demand of the Production Code. It was rather an unwritten tradition established by the
The classic U.S. poster for Nearly Naked (1933). Image courtesy of the Pamela Green Archive.
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The nudist film usually is set in a nudist camp or in some way proclaims the nudist ‘philosophy,’ however unrelated that may be to the plot, if indeed there is a ‘plot.’ The nudity presented is ostensibly nonerotic, and, to all appearances, is meant to present the physical and spiritual advantages of a way of life. With such ‘advocacy’ clearly aimed at claiming free speech protection, nudism has become the most 61 extensively expounded idea in the entire history of motion pictures. Randall’s discussion merits detailed attention and provides a basis for the defining criteria of classic nudist cinema. Nudist exploitation films will have the following five character traits. First, they must be exploitation films in the sense outlined in the previous chapter. Obviously, if they are not exploitation films, they cannot be nudist exploitation films. In particular they must focus on a “forbidden topic.” From the 1930s to the 1960s, nudism clearly fell into this category. After the 1960s, nudism—although certainly not accepted by the public—was a topic available for polite conversation. Nudists and “nudist colonies” had been in the public eye long enough to remove their earlier sensationalist cachet. By the late 1960s, those who would have the tendency to be morally outraged by any form of social nudity had more obvious objects of ire. The growth of soft pornography and the publicly acknowledged fads of free love and swinging made easier targets than the cloistered nudists in their remote campgrounds. Since nudism now appeared tame in comparison and ceased to provide a sensational topic, the nudist movies produced after the 1960s are not accurately deemed exploitation films. The second character trait of nudist exploitation films is that they will have as their setting a nudist camp or beach, or the film director will present the characters as nudists. Throughout the 1940s and 1950s, films featuring burlesque dancers, naked Polynesians, and nude models were extraordinarily popular at independent theaters. The narrators often provided voice-overs extolling the purity and naturalness of nudity, but nudism per se was not addressed. A nudist might agree with everything the narrator said regarding the appropriateness and benefits of being nude, but since social nudity itself was not part of the focus of these films, they belong in a different category of movies exploiting the audience’s thirst for on-screen nudity. Third, nudist exploitation films will explicitly or tacitly proclaim some important element of “nudist philosophy.” This may include discussion of the physical, psychological, social, or spiritual benefits of practicing non-sexual social nudity. This may be accomplished by filming a scene where a clothed 48
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U.K. poster for the The Nudist Story (1960). Directed by Ramsey Herrington. Image courtesy of the Pamela Green Archive.
Tim Sutton (Paul Kendrick) and Carol Sutton (Joy Hinton) discuss club matters in The Nudist Story (1960), often described as the Citizen Kane of nudist films. Photo courtesy of the Pamela Green Archive.
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Miniten: Rules of the Game by Yahya El-Droubie with illustrations by Colin Gordon Invented in the 1930s, Miniten is a tennis-like game played by naturists. Challenging and fun, it can be enjoyed by all. If you’re new to Miniten and want to learn how to play it, this is the book for you. The book features illustrations by Colin Gordon, famed house artist for Chaz Royal’s London Burlesque Festival. His other work includes theatre and gig posters, pinup art, sculpture and animation. Paperback: 30 pages Size: 127 mm x 203 mm £6.99/$9.99
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Naked as Nature Intended: The Epic tale of a Nudist Picture by Pamela Green with photographs by Douglas Webb Released in 1961, Naked as Nature Intended created a sensation. Queues formed around the block and police were called in to manage the crowds. It stayed on the big screen for over 17 months. The film was directed by the notorious George Harrison Marks and starred Pamela Green, Britain’s answer to Bettie Page. Pamela Green was best-known for her short but striking role in Michael Powell’s Peeping Tom. Made for little money, the film earned its production costs back many times over. It ushered in a new era of cinematic “exploitation”, driven by simple economics. Features behind-the-scenes exclusives and never-before-seen photographs by Douglas Webb, who, during World War II, was the front gunner on the last plane back from the legendary Dambusters Raid. Hardback: 54 pages Size: 203 mm x 254 mm £16.99/$25.00
All in place, Roy lit us. This is where we were to discuss naturism. We all looked blank. By now, it was 1 pm, the unit broke for lunch, and all went to the pub in Macclesfield Street. “Not you lot”. Brason called us back. “You can spend your lunch hour learning your dialogue”. “John”, I said, “There is no dialogue, there has never been any dialogue. Furthermore, he who should have written it is at this moment stuffing himself with smoked salmon sandwiches and enjoying a large drink. I suggest that instead of nagging us, you go and find him”. Grimly Brason left the studio, hauled George away from his lunch and bid him to write. That afternoon we received our few lines, each on separate pieces of paper. The four girls learnt the lines they had to say, but not when or in what order. After endless, “Oh, is it me now ?” and “I’ve forgotten. What do I say ?”, patience was exhausted. Slowly and laboriously, we toiled on. The lure of the sea, sun and sand proved overwhelming, as we longed to move free, as nature intended. Converted to naturism, we threw away our bikini tops. Petrina and I dropped ours somewhat Above: Angela Jones. Right: Angela Jones, Pamela Green and Petrina Foryth basking in the studio lights in Dean Street. Far Right: Bridget Leonard. The film’s publicity material states that “born in Donegal, Ireland, Bridget spent her early years in a small village until she was fifteen and spoke no other tongue than her native Gaelic. Three years ago however, a talent scout working with a Swedish film company in Ireland spotted her and on their return to Sweden she went with them and worked in several films. Bridget first came to England just a year ago to learn English and to study at one of our drama schools. Introduced to Harrison Marks who was very much impressed by her sparkling beauty, she was signed-up to participate in Naked as Nature Intended.” Vital statistics 38"-24"-36".
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Below and right: The girls outside the rather austere clubhouse at Spielplatz enjoying a drink and a chat.
Although armed with a towel and instructions to keep his “bits” covered, he had a tendency to forget and let the towel drop. In the publicity shots there he was, offending “bits” in full view. They were standing behind an open wire fence which came up to their waists, a rose was climbing up one side of the wire, so I extended the rose and incorporated the offending parts into the leaves. The final shots were a 15 minute sequences of camp activities. We quickly exhausted the table tennis, the swimming and the quoits. Doug did a series of stills of me on a swing. We were filmed talking to the residents and admiring their gardens. After that we all left, getting into the Buick and driving off, waving, supposedly silhouetted against the sunset. George seemed to be very fond of sunsets, it was his misfortune that there were never any.
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The Naked Truth About Harrison Marks by Franklyn Wood When this book first appeared in 1967, public interest in glamour photographer and magazine publisher George Harrison Marks was perhaps at an all-time high. Just who was this man with the beatnik beard, the thick frame glasses and the apparent dream job of photographing beautiful women in a state of undress? The author Franklyn Wood, formerly an Art Editor at The Times, was the first editor in Fleet Street to run a diary (in The Daily Sketch) under his own name. He wrote numerous features in The Sunday Times, News of the World and other popular Sunday newspapers on a variety of subjects, ranging from shock, horror and scandal exposés to business news. Paperback: 180 pages Size: 127 mm x 203 mm £9.99/$12.99
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