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Ed Wood

Ed Wood

Ed Wood

Text Susan MacDonald

 

Since the biopic ‘Ed Wood’ starring Johnny Depp, the for nearly two decades forgotten eccentric of the 1950s, Edward D. Wood Jr. enjoyed a success that quite escaped him in life. His technically inept, but oddly fascinating films are shown at midnight screenings in off-beat picture theatres around the world. 

 

This revival is largely due to his being presented to a new audience by Michael Medved’s 1981 book The Golden Turkey Awards, a volume which attempted to satirise the Academy awards by presenting nominations and awards for lack of quality. In a Ben Hur-like performance, Ed Wood won both the award for the worst director of all time and the award for the worst film of all time, which was given to his magnum opus, Plan 9 from Outer Space. Ed Wood had his own troupe of players: a bizarre entourage of friends which included the flamboyant newspaper and television seer Criswell, blond cowlick spit-stuck to his forehead, whose dramatic future predictions were nearly always wrong. (“I predict that in 1980 public executions will be shown on television, sponsored by your local gas company!”) Criswell (his full name was Jerome King Criswell ) lived his childhood at the rear of his father’s mortuary business, and for the rest of his life he preferred sleeping in satin-lined coffins, because he found them so comfortable (as one Ed Wood acquaintance commented, “Where does Ed find them?”) Another famous member was the Gothic spider-woman Vampira (Maila Nurmi), whose raven-black hair, dark make-up, and bloodless pallor marked her as the heiress to a tradition going back to the early Victorian age, through the female vampires in Dracula, the silent film temptress Theda Bara, Morticia Addams of the New Yorker’s cartoons, and the villainesses of a thousand forgotten radio and Saturday matinee serials. Even Natasha, from the Rocky and Bullwinkle cartoon series, is a parody of this interesting genre and bears an especially striking resemblance to Vampira. In the early 1950s she was a late night horror film hostess in Los Angeles, with an enormous cult following throughout America, and her own sub-retinue of flunkies and minders. Just before his untimely death James Dean had been having a love affair with her.

With the popularity of the Goth look in more recent times, Vampira was forty years ahead of her time. John Breckenridge (“Bunny”) was the scion of a wealthy European family. He was transsexual and dreamed of having a ‘Christine Jorgensen’ procedure to change his gender. For several years he was an acquaintance of Ed Wood’s but made one film appearance only, as the alien Ruler in Plan 9 from Outer Space. It is a performance of such outrageous and hilarious world-weary camp that one regrets he did not appear in more movies. There were others: Loretta King, who could not drink any liquids because she was “allergic to water”, the growling Swedish professional wrestler Tor Johnson, hack actors Paul Marco and Conrad Brooks (the latter is nicknamed by enthusiasts “the John Geilgud of bad movies”), and Bela Lugosi, who had starred in Dracula in 1931, but who was now forgotten, depressed, and a narcotics addict. Ed Wood gave Bela Lugosi something to live for again. The two became friends, and Bela was overjoyed to be making films once more, and with a much more interesting crew than he had ever known at the major studios. And there was another interesting sidelight to Ed Wood’s film career. He was a very public cross-dresser. This would be unusual today, but in the 1950s it was unique. There were female impersonators of course, but Ed was a genuine transvestite. He found women’s clothes and their soft fabrics sexually enticing, and extremely relaxing. If there was stress on the film set – and there often is – he would disappear, and return wearing a wig, a skirt, nylon stockings, and a fluffy sweater and beret knitted from angora, his favourite fibre.

Of course the members of his outlandish menagerie were not put off by this at all. In order to raise money for his pictures however, Ed had to deal with the wider world too. He confronted a great deal of misunderstanding and prejudice, and one of his films, Glen or Glenda (1953), is partly a documentary explained by a psychiatrist and overseen by a kind of Science God played by Bela Lugosi. It’s also partly a fictional story of courtship, with the purpose to help people understand and empathise with the phenomenon of cross-dressing. Ed Wood even played the lead role himself. He wanted there to be no doubt in the minds of the audience that the difficulties the hero encountered were based on personal experience. It was probably the most courageous film of the 1950s, and still remains the only main stream movie about genuine transvestism from any English-speaking country. As Ed Wood himself explained, “If you want to know me, see Glen or Glenda, that’s me, that’s my story. No question. But Plan 9 from Outer Space is my pride and joy.” But, for the business that hired Ed, Glen or Glenda was meant to be a sensationalist work of mild pornography. When the producer saw it, he was furious.

Three years later Ed Wood made the movie which discriminating film scholars regard as the pinnacle of his career: Plan 9 from Outer Space (shot in 1956, it was not released until 1959). The film was financed by the Baptist Church of Beverley Hills. Ed had convinced them that they should finance a film with the teenage appeal of the time, and that this film would then generate the money needed to make twelve films about the apostles of Christ – which were the movies that the Baptist Church of Beverley Hills really wanted to make. The cast included the best collection of Wood regulars that he ever assembled. The credits music, which develops into a theme as the film progresses, was Alexandr Mossolov’s Iron Foundry, a brilliant choice, full of menace and foreboding. The web site listed below states, “Iron Foundry enjoys an oddity reputation, and is rarely heard. Recordings have been few and far between.” Ed Wood was a classical music enthusiast, and any aficionado of Plan 9 would recognise the music at once.

 

 

 

‘Ed Wood won both the award for the worst director of all time and the award for the worst film of all time.’

It might be of interest to compare the real Ed Wood ‘stock company’ with the modern actors who portrayed them. Documentaries were made about Ed Wood’s life and career: Look Back in Angora, Flying Saucers over Hollywood, and one biography, Nightmare of Ecstasy. There has even been a rock video in the Ed Wood manner. But the zenith of the renewed interest in Ed Wood’s films was the superb biopic released in 1994, Ed Wood, directed by Tim Burton. It is an affectionate homage of notable accuracy, and was probably the best film made in the 1990s. At the time of writing, it is certainly the last great film made in gleaming black and white – a decision which Tim Burton fought hard for, but which was exactly right. Unfortunately, the use of black and white harmed the film at the box office. It made little money, because these days young filmgoers especially do not understand that black and white cinema has its own special beauty. But film critics and film magazines gave it the highest praise. It is a bitter-sweet fact that, even accounting for inflation, any fifteen minutes of Tim Burton’s film cost more to make than all the films Ed Wood made over a period of 25 years.

The casting of the film is exemplary. Lisa Marie is amazingly good as Vampira, and Jeffrey Jones is wonderful as Criswell. He brings a skein of warm comedy to the role which the real Criswell lacked. Johnny Depp in the title role projects Wood’s infectious enthusiasm and joi-de-vivre, and Bill Murray has fun as Bunny Breckenridge, although no mere actor could adequately display the real Bunny’s jaded, droll, contrived ennui. Martin Landau, such a wooden actor in so many films, won a well-deserved Oscar for his brilliant portrayal of Bela Lugosi in his final years. Edward D. Wood was unique. Is there any explanation for his strange life? Tim Burton, the director of the 1994 film, concluded that Ed had wanted to be a film producer and director ever since he was given a movie camera as a boy, and was bewitched from that moment on. When he was 17 years old, probably the most impressionable age in a person’s life, he saw Citizen Kane, when it was first released. (Ed was born October 10, 1924.) The youthful Ed Wood wanted to make films. But his idea of a film director was a cartoon idea. In cartoons the director habitually wears jodhpurs, shiny black boots, and carries a horsewhip. He sits in a simple canvas-backed chair, and shouts directions from an old-fashioned megaphone. He is frequently portrayed with a pencil-thin moustache, and sporting a beret.

While making his films Ed always used the megaphone, even though directors at the major studios had long abandoned its use. He never went for the jodhpurs or boots, or the horsewhip, but such affectations predated his memory: they had vanished at the end of the silent era (the earliest directors dressed this way as a protection against snakes and scorpions – in the silent days, films were usually shot on outdoor locations, and often in the desert). Tim Burton believes that this is the key to understanding Ed Wood’s style. Ed was in love with the idea of directing films…the romance, the persona of the admired but unpredictable martinet, and the artistic adventure. He enjoyed sitting in the canvas-backed chair, and shouting “Cut!” He wanted nothing to do with the tedious side of film directing: the careful attention to continuity (in his own films characters can drive away from a house in broad daylight and, after a trip of a mile or so, arrive in pitch-black, foggy night), the re-shooting of scenes in which bits of set protruded, or even fell over, the repetitive rehearsal of important scenes with the actors. In Ed’s films it was one take, or two at the most. He couldn’t wait to get on to the next scene, and play director again. The best answer to those who have nothing to offer the Ed Wood renaissance except derisive laughter, is the films themselves. Ed did try to get a job with the major studios, but none of them were interested. Anybody else would have gone home and taken a clerical job, but Ed went ahead and made his own films . . . shoestring budgets, fantastically strange actors, and technically inept . . . but they were made, and released.

And that was much harder to achieve fifty years ago than it is today. The major studios have lost their iron grip on Hollywood. Amazing sets and technical effects are just a software package away, and just about everybody in cinema boastfully announces themselves as an “independent”. One can glimpse behind those films a special mind of dark, surreal mysteries and obsessions. After all, there were other ultra-cheap directors in the 1950s and 1960s, but their films are about as interesting as the people next door’s home movies. In death, Ed Wood found the intellectual acclaim which had so painfully eluded him while he was alive and working. All of the chief members of his repertory are now dead, with the exception of Vampira. Maila Nurmi used to run a business preparing signed gravestone rubbings of Hollywood stars, but today she has time for little else except attending Ed Wood film festivals and special screenings. She speaks with heartfelt admiration of Ed’s kindness, and his brightening the last years of Bela Lugosi’s life, when the rest of Hollywood had turned their backs on him. Ed Wood died on December 10, 1978. He was not only kind; he was one of a kind.

Main Films
Glen or Glenda   1953 
Jailbait   1954 
Bride of the Monster   1955 (Bela Lugosi’s last film) 
Plan 9 from Outer Space   1956 
Final Curtain   1957 
Night of the Ghouls   1958 

This film was lost until 1983, because Ed Wood never had the money to pay the film developer’s bill. Finally recovered and released when the Ed Wood renaissance was well under way, it was immediately acclaimed an ‘Ed Wood masterpiece.’

The Sinister Urge   1960 
Orgy of the Dead   1965 
Take it out in Trade   1970

www.petticoated.com

 

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Et Alors? magazine. A global celebration of diversity.

Woolfetish

Woolfetish

Woolfetish

Text JF. Pierets    Photo Geoffrey Tolaro & Thomas Van De Water

 

Let’s be honest here: the moment Johnny Depp draped the cutest, soft pink mohair sweater on his gorgeous body in the biopic on the American director, producer, writer and actor Ed Wood, many of us developed a delicious vision on wool fetish. Using the alias Daniel Davis, Wood both directed and played the titular character in ‘Glen or Glenda’, expressing his fetish for cross-dressing and angora jumpers. Although he regularly featured angora in his films, his wife recalls that Woods’ transvestism was not a sexual inclination, but rather a neo-maternal comfort derived mainly from angora fabric (Ann Gora also happened to be one of Wood’s pen names). 

 

But what is wool fetish all about? When turning to Wikipedia, information on this subject is very scarse. We do find plenty of articles on leather, spandex, latex and whatnot, but wool seems to mainly stay in the closet. Google however brings us closer to what we’re looking for. This is what we stumbled upon: “A wool fetish is not ‘weird’ to me, but just another expression of human sexuality. People get turned on by all sorts of things, from rubber to latex to fantasies of a dominant giantess or being covered in food. It may not fit the ‘classic’, almost clichéd picture of BD/SM gear and play, but ‘soft’ fetishes like this one are often equally about ideas of enclosure, bondage, control and the tactile/textural experiences of a particular material. We should celebrate this sort of stuff, instead of mindlessly reacting to its difference’.” Needless to say that we at Et Alors? were overjoyed to have found the perfect guy to lead us out of the dark! Some research tells us that he goes by the name of ‘Jumbuck’(this is Australian slang for a sheep). Besides running wool-related web forums and sites he is also a published author. We’re delighted about his willingness to talk to us about this uncommon fetish.

When did this fetish start?
My first conscious recognition of enjoying the look and feel of wool happened when I was four years old. It is very different from others like the transformation fetishes that are common. It soon turned into a fetish that still moves my thoughts and emotions now, at forty nine. The Australia of the mid-sixties was a time when many people – particularly women – frequently wore cardigans and jumpers.  Essentially they were fashion staples during the cooler months of the year, as they had been for a long time.  Anyway there I was playing with my sister and my cousin – who is a few years older – and they both wore cardigans.  They dressed me up as a girl and made me wear a soft, fluffy white one.  I loved it! That act alone may not have resonated so far inside me if it weren’t for a series of experiences over the next couple of years. Starting school when I was four, I found myself strongly attracted to the girls wearing their navy blue school cardigans. In fact I can still remember the full name of the first girl I had a “cardigan” crush on!  I couldn’t exactly articulate the reasons. I just had a feeling they looked delightful and beautiful wearing their lovely buttoned-up woolly vests. At the Catholic school I went to, all the teachers were women and any time one of them wore a cardigan I found myself  responding similarly. Seated in front of these ladies I was a very attentive pupil. I found myself loving the look of cardigans and sweaters on girls and women around me: my sister’s friends, an aunty and her fluffy mohair garments, et cetera. For some reason my mum never wore jumpers or cardigans so there’s no Oedipal element involved. Perhaps, if certain events hadn’t occurred then, my responses might have remained benign forever. But – when one day a new jumper found its way into my wardrobe – my love of wool developed a decidedly darker tone.  Even though I hated wearing it – it was so scratchy! – I obediently put it over my head whenever it was handed to me.  I can still vividly remember how dreadful it felt against my skin as it itched and tormented my neck, arms and chest. Being a “good little boy” I never rebelled, suffering the torment in misery and silence – a rather classic Catholic response of its times, masochistic for all intents and purposes. But in those days young Catholic boys (and girls) did what they were told and from that point on I began associating wearing wool on my body with pain and discomfort.  I didn’t see that women suffered wearing wool in the same way though – theirs seemed so soft and lovely! Age eight, year four. My masochistic associations with wool came to me in full blown colour! Red to be exact. That year my teacher, Mrs Maxwell, could only be described as a very firm, strict disciplinarian who freely administered the cane and strap to any pupil who failed to meet her exacting standards. And yes, she happened to have a penchant for cardigans. Actually just one and it was red. My crush on women and girls took on a completely different turn. From then on – and for many years to come – all I craved was to be “firmly disciplined” by women in cardigans, all the while imagining myself dressed in an itchy, scratchy, high necked jumper or cardigan. Puberty was hell to me! I felt different and all too aware that my responses to my budding sexuality were far from “normal”, so much so that all I could focus on were dreams and thoughts of wool-clad women dominating me while I suffered under the torment of wool bondage. I hated myself for it. But I’m perfectly well adjusted now.

Do you think you would have had this fetish if it hadn’t been triggered at an early age? 
That’s an impossible question to answer definitively. I suspect it  highly unlikely. In my opinion it’s all about associations, so if they didn’t exist from an early age I think they wouldn’t have emerged at all. My life might have been very different if I hadn’t developed this passion for wool when I was a child. Mind you, with a Catholic school upbringing like mine, I might still have developed some type of “appreciation” for firmly applied Femdom discipline.  But we can never know.

What is it that exactly arouses you?
Both the look and feel of wool… specific types and styles of wool and woollen garments. I adore the sight of soft wool such as lamb, angora and mohair on women. I think it enhances their femininity. The way the soft fabric and texture encloses their bodies is something that I truly love. Soft, fluffy cardigans and twin sets as well as turtle necks and bonnets are styles that appeal to me as well. A high, tight turtle neck can look fabulous on certain women, as can a ribbed black one (think “Kill Bill”). Some colours and colour combinations attract me more than others. Soft wool tantalises me as it brushes against my skin. The thousands of tiny claws in the scratchy kind bring my body to life and are a constant reminder of the darkish delights that thrill me so. A turtle neck – preferably one with a high and tight neck line – wraps me up and encloses me (bondage);  a weighty sweater reminds me of my predicament (bondage). Picture two, three or even four layers of jumpers on me: closest to my skin a scratchy, tight fitting crew neck mohair, then a high, tight turtle neck and – to top it all off – followed by a velvety, fluffy angora. Soft on the outside and a visual delight,  but enclosed and uncomfortable on the inside (hidden “delight” / “torment”). There’s yet another element of arousal: I sometimes enjoy cross-dressing in (adult) women’s jumpers and sweaters, but dressing as a “girl”, complete with a soft fluffy cardigan worn with a knitted skirt, matching woollen tights et cetera, is my favourite and definitely evokes memories and associations with those mid-to-late sixties girls I had crushes on.

Is there always a bondage association or is it personal? 
There’s a strong association with bondage but the fetish is not solely focused on that element.  Some of this association is overt – this includes sexual play and sexualised feelings and responses.  And some is covert, and simply focused on liking the look or feel of wool on my body. When I wear a sweater – a turtleneck in particular – I feel warm, snug and enclosed.  This is strongly bondage-related in the sense that I’m “locked in” to the object that encloses my body, especially when the neck line is tight and/or high.  But I don’t go to work, shopping or a concert wearing a turtle neck for overtly sexual pleasure.  I don’t necessarily consciously feel ‘in bondage’, I just enjoy the sensation of being snug and comfortable. Of course there are times when sexual feelings may emerge from a day spent at work whilst wearing a sweater, but certainly not as a matter of course, nor does it have to in my view.

On what level does this fetish have an influence on your daily life?
It’s been – and still is – a major influence on my life.  I can honestly say that it has shaped my life, my personality, my journey.  An early love of wool introduced me to B&D, Domination/submission before I reached puberty. While my teenage years were chaotic and often traumatic because of these associations, they pushed me into questioning the basis of socially-acceptable, “normal” sexuality and from there, a questioning of how society was and is constructed.  This in turn led me to a broad libertarian – leftist political/social perspective.

 

‘I like all types. My favourites are lambs wool, mohair and angora: the “soft and fluffy” ends of the wool spectrum.’

Am I wrong to think you could never live in a warm country? Doesn’t this fetish put limits to your whereabouts? 
I could never live in a warm or hot climate. It’s coolness I love, it makes me feel very much alive.  My face all rosy and flushed, wrapped in a sweater, a coat, perhaps a scarf and beanie, tights under my pants, armoured against the chill…feels wonderful. But this doesn’t mean I want to be cold – anything but! Besides, hypothermia isn’t very pleasant, haha!  It’s about feeling warm, snug, enclosed.  “Warm as toast” as one Australian / English aphorism puts it.  Hot weather doesn’t answer my needs, it just makes me enervated, drained, lifeless…and sweaty for the wrong reasons! I don’t feel any sense of being limited by my whereabouts, nor do I feel that I’m  missing out on something because I love living in cooler climes.  We all have to live somewhere, and with a preference for cooler climates, this is my choice. Thankfully my profession allows me to live in a few locations throughout the cooler, South-East parts of Australia. If I chose to do so I could live in warmer, drier, hotter parts of the country. But why would I want to? However, it doesn’t mean I don’t enjoy or appreciate the time when the weather warms up and the jumpers go in the closet. Longer days, lots of sunshine to enjoy…whatever!

Do you feel it with all sorts of wool? 
I like all types. My favourites are lambs wool, mohair and angora: the “soft and fluffy” ends of the wool spectrum. Possum “fur” or “wool” is starting to become more common in Australia and New Zealand. It’s as soft , fluffy and delightful as angora. I love it a lot and on my last trip to New Zealand I picked up a possum wool turtle neck sweater, it’s wonderfully salving against the skin. That said, I also appreciate and like “non-fluffy” varieties and styles of sweaters. Interestingly, many turtle necks are made of cotton and other non-wool materials, yet I still like these too. Probably because of the look, that “enclosure” element. Like I said before I also like scratchy wool on myself. The contrast between the external softness and internal torment really plays with my mind and body!

Can we conclude yours is a very sexual fetish?
Not in the normal course of a day. Not all my responses to wearing wool is overtly or necessarily fetishist. I love the style of a turtle neck and know it looks good on me when I wear it with the right clothes. However, I do like the feeling of being wrapped up, enclosed, armoured against the cold. No doubt that response does have bondage associations at some subconscious level. I have strong associations with wool and sex.  Wool bondage holds great appeal. I love being enclosed and wrapped in layers of wool. It puts a completely different slant on what balaclavas, thick knitted gloves and knitted stockings can offer as clothing items. Dom/sub fantasies as well:  the woman doesn’t necessarily have to be dressed in wool but it strongly enhances the experience, as it does when I’m dressed in some wool garment.

Do you have your clothes custom made? 
I don’t have any custom-made items of wool clothing.  It’s amazing what you – or a partner/lover – can do with layers of sweaters, balaclavas, knitted gloves, woollen tights and woollen blankets in the bedroom.  They are available from so many “vanilla” sources!  Among some other things, just add kink-standard cuffs, collars, belts, restraints and voilà! If I’m cross-dressing though, the emphasis is on looking more traditionally “femme”.  I’m largely into the “prim and proper”  look. Very conservative even. It’s quite a contrast to my “other” self! It includes a classic, soft and fluffy cardigan or sweater, perhaps a blouse, woollen tights and skirt, et cetera.

Does it make a difference to you if it’s a woman or a man who wears it? 
Men in wool are not interesting to me. The only times for me to have fetishist feelings is when women wear it, or when I do. I see women as inherently stronger and more sensible than men, especially when they are dressed in a nice turtle neck or cowl. My view on women formed at a very young age.

Does she have to be beautiful or is that of secondary importance?
No, the woman does not have to be beautiful. It doesn’t influence my initial responses towards her sweater or cardigan.  However, a beautiful, intriguing or interesting face or body shape may make the experience more enriching. This could keep my attention – or  memories! – for longer.  But I’m completely biased: I think women look adorable and more beautiful when dressed in a sweater or cardigan.

Do you have a partner? 
Yes I do and she is fully aware of my love for wool and wool-related kink. It’s been like that since the day we got serious with each other. She completely accepts it and knows it’s an integral part of my make-up, personality and sexuality. We regularly played sexual, wool-related games, but in recent years there have been health- and other issues, so we rarely play now. That’s okay, she at least recognises my fetishist interests and accepts them fully. We could be watching a movie and a lady comes on the screen wearing a nice, high turtle neck and she’ll playfully nudge me or make some amusing comment to me.  In other words: by her acknowledging it, she “normalises” it in our relationship so it ends up being just another part of the mix that comes with sharing a life together. Fortunately she enjoys wearing woolly garb and loves cool climates as much as I do. But one has to be realistic: there might be seven billion people on this planet but very, very few are into wool as a sexual object. I’ve never sought out a partner on the basis that they should love this fabric too. Instead, I’ve identified as a kinkster who has a particular bend towards wool and wool B&D, Domination / submission.  They can relate to the bondage and discipline elements. The associations I have with wool becomes easier for them to comprehend, accept and understand.  Over the years I’ve seen many men on wool-related web forums hankering for a woman who will love wool like they do.  I feel sorry for them. They need to think more broadly about the fetish. Seek a partner who is sexually open, loves kink games and fantasies. Inevitably, the wool games will flow as part of a mutually complementary sexual expression by two lovers.

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Et Alors? magazine. A global celebration of diversity.