Erotic depictions of women in drawing, painting, sculpture and photography from the dawn of man to the present.

Sunday, November 30, 2014

Centrefold Venus of the Month 51: Cathy MacDonald, August 1965




Well, it's St Andrews Day today so a good reason to feature a Venus from Scotland.




So here, from August 1966, comes Cathy MacDonald, Penthouse's fourth ever Pet of the Month.




Glasgow-born Cathy was actually the second Scots-born Pet as the second issue's Linda Richie hailed from the Hebrides.




Readers had actually seen their first glimpse of Cathy in the previous issue, where she was featured in this splendidly tactile shot.




Penthouse had launched in March 1965 but Bob Guccione had been taken by surprise by the popularity of the magazine and, with his printers struggling to keep up with demand, only managed to publish every two months to begin with.




Copying the Playboy model, which had originally inspired him to launch a UK equivalent, his centrefold portfolios would also include black and white shots as well as colour. 




Guccione took all the initial shots himself, using available light and no flash or other artificial lighting.  




The Playboy Playmate for August 1965 had three pages of black and white shots of her clothed and just the colour centrefold picture of her undressed.   Cathy, however, was only dressed in one picture out of the seven pages plus the centrefold that Bob Guccione dedicated to her.




At this point, Penthouse insisted that their Pet of the Month had not posed naked for any other publication.  In contrast, Playboy used a lot of well known nude models and exotic dancers, which rather belied their girl-next-door conceit. 




Equally, most Penthouse Pets at this stage never posed again and disappeared back into obscurity.  Initially, many were trainee secretaries who Guccione scouted in Chelsea's King's Road.




Penthouse claimed twenty-two year old Cathy was an actress who had appeared in eleven films but we haven't been able to find anything else about her.




Here she is in another prototypical Penthouse available light shot.  Guccione often had his girls gazing at curtains drawn across windows.




Pubic hair, of course, couldn't be shown in the magazine at this time and various methods were used to cover the offending area.  Here, however, it is quite clear that Cathy has a smooth, hairless groin.  In fact, she shows the most of her mound of any Pet up until that point.




We got one final look of Cathy in Volume 2 Number 1; the September 1966 Pet review issue.  As they hadn't managed to publish the magazine every month they started Volume 2 after 12 issues rather than one year. So in this 13th issue they had a new photograph of every preceding Pet of the Month, so this is Cathy's goodbye picture.

Friday, November 28, 2014

Bond Girl Venus 4: Caroline Munro


The Golden Voyage of Sinbad


Today someone suggested that we feature Miss Caroline Munro on the blog.  We haven't had a Bond Girl Venus for a while so here she is.  See is notable in this area because not only was she in one of the regular Bond films, The Spy Who Loved Me (1977) but also the eccentric sixties Casino Royale (1967) a decade earlier.

Agent Triple P first remembers Caroline Munro from her performance in the Ray Harryhausen classic, The Golden Voyage of Sinbad (1974), although as a model she regularly turned up in newspapers like the Sunday Express, which our mother read and we always searched through excitedly looking for that week's bikini dolly.


Munro's 1966 modelling card


Munro was born in Windsor in 1949 but attended St Martha's, a Catholic convent school in Rottingdean near Brighton.  At the age of sixteen a photographer friend of hers needed a model.  Unbeknown to Munro the photographer sent the pictures he took of her to the Evening News' face of the year 1966 competition; one of the judges being David Bailey. She won the competition and signed up with the Lucie Clayton modelling agency. Bailey helped her out in starting her modelling career and got her a part as an (uncredited) extra in a short film he made (G.G. Passion (1966)) that year.  She was immediately popular as a model, despite still being at school, and even picked up a few more bit parts in films including Casino Royale (1967), her first brush with James Bond.


A 16 year old Munro on set for Casino Royale



Casino Royale


She only appears on screen, as one of Dr Noah's (Woody Allen) guards, for a few seconds. although her scenes took two weeks to shoot.  In the two stills above the sixteen year old Munro is fifth from the right in the silver mini dress.  She would return to Bond, memorably, in ten year's time. 




When she was seventeen, Munro, who was always keen to be a singer, recorded a song called Tar and Cement.  This was a cover of a song by Verdelle Smith, recorded in 1966, which was itself based on an Italian song Il ragazzo della via Gluck.  Agent Triple P best knows it in its French version by Francoise Hardy, La Maison ou j'ai grandi.  The backing group for Munro's recording consisted of, rather amazingly, Eric Clapton, Steve Howe, Ginger Baker and Jack Bruce, all in early phases of their careers. She would later go on to make a record with Gary Numan, with whom she had a fling in the eighties.



Lamb's Navy Rum


In 1969 she signed a contract for what would become a ten year partnership with Lamb's Navy Rum and appeared in many advertisements for them, which would brighten many a day for Agent Triple P throughout the seventies.  





Also that year she won a contract with Paramount and appeared in A Talent for Loving (1969) a sex-comedy, western spoof which never even got a release in the US and only appeared on TV there five years later.  Munro appears as Richard Widmark's daughter.



Publicity photograph by George Whitear for Dracula AD 1972


James Carreras, the Chief Executive of Hammer Films, saw one of Munro's Lamb's Navy Rum posters and set about seeking her out and giving her a contract.  Her first film was the Peter Cushing/Christopher Lee Dracula AD 1972 (1971), where she plays Dracula's first victim, in this groovy update on the traditional tale.



Munro on set at Elstree Studios for Dracula AD 1972


It was during the shooting for this that Munro decided that she would rather be a full-time actress rather than a model who did a little acting.  She was, however, still doing a lot of modelling work and like many of the glamour girls of the period appeared on the cover of one of those cover version compilations of chart hits.







In her case it was Hot Hits 11, from 1972, where she appeared fetchingly, and for no apparent reason, dressed up as a sort of fantasy, pantomime Robin Hood in hot pants and boots.





She didn't appear on the cover of the rival Top of the Pops compilation, unlike just about every other top model at the time.  Well, not on the UK edition, anyway, but she did feature on one of the European versions.





In those far from politically correct days models could also make good money from appearing on the covers of lurid paperbacks and Munro did a number of these too.



Munro with Horst Janson in Captain Kronos Vampire Hunter


The following year she made another film with Hammer, the rather bizarre Captain Kronos Vampire Hunter. The only film directed by Brian Clemens, who was the key figure in the development of The Avengers. Clemens had written the script and had produced Hammer's earlier Dr Jekyll and Sister Hyde (1971) which had been a great success.  





Clemens had worked with director Robert Fuest on The Avengers and adopted many of his techniques, such as extensive storyboarding, for Kronos.  Munro had been in both Fuest's The Abominable Dr Phibes (1971) and Dr Phibes Rises Again (1972) in an uncredited part as Phibes' dead wife, which only required her to lay in a coffin.  Hammer, however, were disappointed with Clemens' stylish but off beat Kronos and it wasn't released for another two years.  However, the film was a big boost for Munro, in her biggest part so far.  








Munro in The Golden Voyage of Sinbad


Clemens then helped her get the role in The Golden Voyage of Sinbad (1974) for which he had written the screeplay, actually against the wishes of Ray Harryhausen and producer Charles Schneer who wanted a bigger name for the role of Margiana. 



Munro promotes Sinbad in Amsterdam in 1974


In the end Clemens sent Schneer and Harryhausen some footage of Munro in action and they, not surprisingly, immediately changed their minds.  Oddly, Munro had nearly worked with Harryhausen in 1971 on the aborted Hammer film The Day the Earth Cracked Open.  






While doing pre-prodcution publicity for The Golden Voyage of Sinbad she gave an interview which appeared in April 1973's Oui magazine in the US.  Oui was a joint venture between Lui in France and Playboy.  It was designed to be a more "European" (i.e. slightly naughtier) challenger to Penthouse, which, at that time was eating into Playboy's circulation at an alarming rate.  








In this piece Munro said "No, I've never been nude in a film.  I don't really think it's essential.  You can get so much more - meaning, out of a bikini or a little decolette, if that's what they want."  









In fact, it had been this stance that had caused her not to be hired by Hammer for any more of their films. 



Publicity shot for Vampirella


She had been offered the lead in Hammer's Vampirella but turned it down because of the required nudity, even though she had actually gone to Italy and shot some publicity photos.









The same went for her modelling except for a couple of mild topless pictorials done in 1969,  For the sake of completeness we felt compelled to include some of these shots.











With Doug McLure in At the Earth's Core


Munro cemented her fantasy film credentials by appearing (with Peter Cushing once more) in At the Earth's Core (1976), an adaption of the Edgar Rice Burroughs novel.  She received third billing, behind Cushing and Doug McLure, as Princess Dia.  The costume department and publicists made the best of her assets.   The following year she appeared in an episode of Clemens' The New Avengers, The Angels of Death.




 Bond tries not to get distracted in The Spy Who Loved Me


1977 also saw Munro's most celebrated, despite not being her biggest, role in the Roger Moore James Bond film, The Spy Who Loved Me (1977).  Munro played bad girl helicopter pilot Naomi and really made the most of what was actually a small  part.




She has two key scenes, firstly where she picks up Bond and an understandably scowling Anya Amasova (Babrbara Bach) to take them out to Stromberg's base and, of course the helicopter chase where, ultimately, she becomes the first woman that any Bond kills on screen.  Her wink at Bond from the cockpit of the helicopter being the most famous cinematic example since Elizabeth Taylor's in Cleopatra (1963).




It being a Bond film, of course, the publicity machine went into overdrive with some splendid shots of Munro appearing just about everywhere,  The Wetbike featured in the film was a new invention so it was obvious that Munro should be put into a gold crochet bikini and sat on one.  The one used in the film was actually the prototype and it didn't go on sale until the following year.




Caroline Munro in a gold crocheted bikini.  No further words are really necessary


The Spy Who Loved Me is very much the Triple P's favourite Roger Moore Bond film.  We thought Barbara Bach was absolutely gorgeous (unlike most of our class at school who though her bust wasn't big enough), Munro's appearance was an unexpected bonus as was Valerie Leon's as the Sardinian hotel's receptionist.  Interestingly,  Leon also turned down the role in Hammer's proposed Vampirella film after Munro declined it, also because of the nudity required.




When it was announced that John Barry wouldn't be doing the score (he was unable to work in the UK for tax reasons) we were, at the time, quite anxious about the film's music but Marvin (The Sting) Hamlisch turned in a very different but still enjoyable score. This score also resonates because we first heard the record in its entirety in the bedroom of A, our first proper girlfriend.  She did a little belly dance in her underwear (having stripped off her school uniform) to the Arab-type music (actually written by Paul Buckmaster not Hamlisch) which was most diverting.










More publicity shots for The Spy Who Loved Me


After The Spy Who Loved Me Munro was advised to go to America by Cubby Broccoli but she decided to stay in the UK to be close to her family, condemning her to career of low budget (often Italian) films and TV appearances.






You didn't get much more low budget than Italian Star Wars rip-off Star Crash (1978) which starred a pre-Baywatch David Hasslehof and Christopher Plummer, who really, really must have needed the money. Munro's husband, Judd Hamilton (who she had met on the set of A Talent for Loving in 1969 - they married in 1974 but divorced 12 years later) also featured, as did one of the Triple P's favourite seventies actresses Nadia Cassini (at her best in Pulp (1972), Mike Hodges follow up to Get Carter (1971)).






The film got far more publicity than it deserves, almost entirely due to the publicity shots of Munro in her minimalist leather costumes.  Bizarrely, although John Barry couldn't do the soundtrack to The Spy Who Loved Me he did do the soundtrack to Starcrash, giving the film a far better soundtrack than it deserved.


The Last Horror Film


Her husband, Judd Hamilton, co-produced her in the Last Horror Film (1982) and although she kept working during the decade she dialled right back on her film appearances.




As a hostess on 3-2-1 in the eighties


She spent three years working as a game show hostess on the ITV quiz 3-2-1 between 1984 and 1987, which must have been something of a come down. She even played a game show hostess in a Christmas 1986 TV pantomime: Cinderalla: the shoe must go on (cringe).


In Midsomer Murders (2013)


In the nineties her appearences were largely confined to cameo roles as herself in an number of small productions but lately she has started working on screen again, appearing last year as an "evil priestess" in Midsomer Murders.











In the world of the seventies, when there were perilously few attractive girls to lust after (at least, ones whose names you actually knew) Caroline Munro was a particularly splendid example of English womanhood.  Long may she prosper!