John Michael McCarthy – Broad Daylight (2004)
An amazing and timeless collection of pretty peelers brought to the masses by super8 headmistress Victoria Renard and Memphis Movie Messiah JMM (Superstarlet AD, Shine On Sweet Starlet). Set against a backdrop of sock dropping rock and roll and beautifully bizarre screen-warped colorization. Featuring the timeless talents of the modern burlesque scene such as Miss Exotic World 2002 KITTEN DEVILLE, URSULINA, THE FISHNET FLOOZYS, Miss Exotic World 2004 DIRTY MARTINI, MIMI LaBEAUX, CANDY WHIPLASH, THE DEVILETTES, THE SOPHISTIKITTENS, and MORE! See starlets “burlesque” to garage rock and roll recorded in the most primitive conditions!
[B]IN THE WORDS OF JOHN MICHAEL MCCARTHY (JMM)[/B]
“I’d wanted to do a COLOR follow-up to SHINE ON SWEET STARLET called BROAD DAYLIGHT with new music and new starlets, but I never thought I’d get the chance. Then Savannah Raught (who would be instrumental in co-producing my LOSERDOM show) introduced me to business-savy Chicago socialite Catherine Kouzmanoff. Catherine’s company Inter7.com created ‘internet solutions’ for clients all over the world and brought a whole new fresh approach to Guerrilla Monster at mid-decade (2002 – 2004). She and co-producer Ken Jones funded BROAD DAYLIGHT. Catherine (and son Brandon) went on to supply guerrilla monster buttons, business cards, postcards, and starlet appearances, not to mention a premiere or two! The most special occasion being in Miami when we spent a few days with legendary photographer and all around sweetie Bunny Yeager! Catherine also joined us at Miss Eotic World 2003 where much of Broad Daylight was shot (mostly by Victoria Renard on Super 8, of course).”
[B]INTERVIEW WITH JMM FROM CASHIERS DU CINEMART ABOUT “Broad Daylight”.[/B]
JMM’s faithful recreations of vintage stag loops are a highlight of nearly all of his features. And his two incredible compilation films – SHINE ON SWEET STARLET, and its “she-quel” BROAD DAYLIGHT – are natural outgrowths of this pursuit. These films are actually collaborations between JMM and photographer Victoria Renard, with JMM taking producer credit on each of the films.
Keeping in step with the vintage look of so many of his films, SHINE ON SWEET STARLET and BROAD DAYLIGHT appear at first glance to be compilations of actual ’50s and ’60s “nudie-cutie” loops. The only dead giveaways of their contemporary status are the tattoos and piercings on some of the “models.” But the attention to period detail is painstaking; all of the “costumes” worn (and subsequently removed) by the gals are, at the latest, of Sixties vintage. And in one segment, a 1966 “girlie” calendar is visible on a wall behind one of the strippers. Every scene in each of the films was shot in either grainy black-and-white or garish color, and shots are often out-of-focus, dimly lit, and/or handheld.
Singularly appropriate soundtracks of ’50s- and ’60s-styled “raunch ‘n’ roll” (by bands such as the Woggles, Gas Huffer, the Oblivians, Riverboat Gamblers, Girl Trouble, and even Neko Case, who was originally to have appeared as a “dancer” in BROAD DAYLIGHT) add to the vintage “feel.”
Among the featured starlets in BROAD DAYLIGHT is “Miss Exotic World 2002,” Kitten DeVille. Her segment was shot in front of an old trailer with pink flamingos in the yard, which makes one wonder if this is an offhanded tribute to a Baltimore filmmaker whom JMM usually pooh-poohs.
As a promotional item for BROAD DAYLIGHT, JMM created a deck of old-fashioned “girlie” playing cards, with the help of pin-up photography legend Bunny Yeager.
SWB: How did you hook up with Bunny Yeager?
JMM: Greg Theakston [publisher/editor of the burlesque tribute magazine Tease!] hipped Victoria to the fact that Bunny Yeager is living in Miami. I called Bunny and invited her to our Cameras & Cocktails party down there. Ursulina, Dawn Ashcraft, Victoria, Kelly Ball, and Kitten DeVille were all present. It was a blast! Bunny’s photos are on the BROAD DAYLIGHT disc.
SWB: It seems to me that SHINE ON SWEET STARLET is specifically an emulation of 1950s stag loops, and BROAD DAYLIGHT more of a tribute to 1960s stag loops.
JMM: BROAD DAYLIGHT is all color, if that’s what you mean. The original idea was to use outdoor locations and avoid artificial light. Some of it was shot indoors anyway.
SWB: These two films at last put the “tease” back into striptease. Especially the segment of BROAD DAYLIGHT wherein one starlet had her “performance” distorted by (deliberate?
) “problems” with sprocket holes in the print.
JMM: Are you talking about Mez?
The mammoth-chested girl – with the accompanying song by Jack Oblivian called “Drinking Mother’s Milk”?
SWB: Yes! Some would label that particular effects technique “post-modern.”
JMM: No film effects were used on BROAD DAYLIGHT, ’cause we shot in Super 8, and most screw-ups were caused by the old cameras themselves.
SWB: How was BROAD DAYLIGHT received at Tease-O-Rama (a national burlesque “convention”)?
JMM: I remember sitting behind Kitty Crimson. She watched herself onscreen for the first time, so that was great fun. I hope to work with Kitty Crimson in CADAVERA!
SWB: Tell me about Victoria Renard’s role in SHINE ON SWEET STARLET and BROAD DAYLIGHT.
JMM: She shot about 80% of BROAD DAYLIGHT. I literally phoned some of the direction in, ’cause Victoria lives in Seattle and I’m in Memphis.