YEAR 1957: HONEY WEST

As of this writing I've only read three of the eleven novels starring Honey West, one of the best-known female detectives of the 20th century, though her fame may derive from the one-season 1965-66 teleseries, featuring a very different version of the character.

The first three novels, collected as THE HONEY WEST FILES vol. 1, are breezy entertainments clearly aimed, despite their feminine star, at a male audience. Most of the writing by pseudonymous author "G.G. Fickling" was by one Forrest Fickling, though he got some collaborative aid from his wife Gloria. The titular Honey, like many heroes of both genders, gets into her dangerous business because her father is killed by criminals.  She has no regular assistants, in contrast to the teleseries, but if the rest of the novels are like these three, readers weren't regularly picking up copies to see Honey trounce thugs with judo tosses. There are a few such scenes here and there, but-- in keeping with the target audience-- there are a lot more scenes in which Honey finds herself ogled and/or groped by a half-dozen males of varying quality in each story.  Her character pretty much accepts this as the way of the world, but she does have a knack for the basic putdown and defends herself as well with words as with judo.

All that said, Honey does have brains as well as beauty, and she does solve her cases with some decent if far from exceptional detective-work.  This might go toward explaining the less frequent use of violence; in contrast to the novels of Mickey Spillane, the Honey West stories are pretty firmly in the groove of the ratiocinative detective tale.

COVERFEMMES #2

The aforementioned book also overlooks a lot of the significant starring or co-starring femmes of the Silver Age, such as:

MERA

ELASTI-GIRL OF THE DOOM PATROL

And, as I've pointed out elsewhere, MADEMOISELLE MARIE, who actually became the cover feature to DC's STAR-SPANGLED WAR STORIES, at a time when Supergirl only had a backup.

YEAR 1957: KYRA ZELAS

 

I confess that I haven't seen the 1957 SHE-DEVIL in over 20 years, and haven't found even a greymarket source for a copy.  Thus I won't review the film here, but I will link to this review at DVD Savant.

This seems to be the ultimate-- in the sense of "the last"-- adaptation of Stanley Weinbaum's short story, "The Adaptive Ultimate."  I suspect that the short story's appeal to film, radio and television may have been that its "monster" was simply a woman who changed from less-than-attractive to a bombshell, in this case played by popular B-actress Mari Blanchard.  The fact that the monster needed no more than a basic Hollywood makeup job probably made it  attractive to producers than its loose adaptation of Stevenson's "Jekyll and Hyde" trope.  Still, SHE-DEVIL does deserve to be known as one example of the comparative wealth of femmes formidable- films that appeared during the 1950s decade.

One interesting addition to the standard adaptation of "Adaptive" is a memorable scene in which Kyra, having married a wealthy man, simply does away with him by crashing their car.  Her powers enable her to survive the wreck while he perishes, while the apparent circumstances give her a great murder-alibi.  Amusingly, the footage of the car-crash was lifted from an earlier femme formidable film of the period, 1952's ANGEL FACE.

COVERFEMMES #1

This is a new feature I'm adding, one that may supplement the ongoing-- but infrequently updated-- "diachronic study."

I'd seen Louise Simonson's DC COVERGIRLS on stands when it was new but wasn't too impressed with most of the choices. I freely admit that this may be nostalgia on my part, as I prefer the comics covers of my youth to many-- though not all-- of those published today.

The other week I picked up a cheap copy of the book, and once I had a clear idea of everything it covered, I decided to touch on some of those "better covers" featuring "femmes" of some sort, though not invariably "formidable" types.

In the original version of this blog, I devoted some posts to some of these, including:

The second SUPERGIRL

The first SUPERGIRL and the third BATGIRL combined:

The first BATWOMAN

One of the two best Golden Age CATWOMAN covers

KNOCKOUT

THE LEGION

STAR SAPPHIRE

THE GOLDEN GLIDER

Now, these are only the best DC covers that I've reproduced so far; a really good survey of "girls on covers" would have to include all companies.  So whenever I update this feature, I'll take a stab at some of DC's competitors as well.

And just to prove that I don't necessarily have to confine myself to pulchritudinous pictures, here's a cover featuring a "dominant female" that I certainly HOPE no one finds sexy.

YEAR 1956: THE SWAMP WOMEN

For some reason various sources list this Roger Corman "roughie" as appearing in either 1955 or 1956, but the most reliable sources seem to go with the latter date.

Though this is far from the worst film ever to be spoofed on MST3K, SWAMP WOMEN provided one of the comedy-team's best riffs, in part because it's one of Corman's dullest films.  It's one of three films Corman completed in or around 1956 with actress Beverly Garland, but both have greater moxie than this one.  GUNSLINGER, featuring Garland as a tough lady sheriff, deserves to have its own entry here, while IT CONQUERED THE WORLD has earned a place on many viewers' "best bad SF film" lists.

SWAMP WOMEN, though, is basically a "fugitive on the run" story, with the comparative novelty that the fugitives are four gun-molls escaped from a women's prison.  One among them, name of Lee Hampton, is in truth an undercover policewoman who arranges the escape so that the real gun-molls will cut her in on a cache of stolen diamonds.  Her brilliant scheme doesn't make a lot of sense in that she apparently has no means of calling for backup.  Maybe she assumed she was tough enough to take down all three molls in the wilds of the Louisiana swamp?

To her good fortune, during the escape the Swamp Women come across a rich young guy named Bob (Mike Connors), his good-time girl date, and the guy piloting their canoe.  The bad girls want the canoe, so they kill the pilot, and eventually the good-time girl too, despite Lee's attempt to prevent bloodshed without blowing her cover. 

This leads to the only mild asset of the film: a G-rated kinkiness as the four comely women all take turns mooning over the safely-trussed-up Bob.  In addition, Corman-- who may have noticed an increase in female-centric exploitation flicks of the decade-- appears to be playing to the catfight-connoisseurs in the audience, just as GUNSLINGER did.  But whereas GUNSLINGER's simple characters are involving, the script's idea of "characterization" is to have the molls sitting around dreaming of the ways they'll continue flouting the law after they cash in on the diamonds.

To be sure, "real molls" Marie Windsor, Beverly Garland, and Jill Jarmyn do pretty well with their threadbare roles, though for most viewers their fistfights will prove more memorable than their line-readings.  Eventually Bob and Lee team up to defeat the real molls and the law recovers the stolen diamonds-- a dull resolution that may have persuaded Corman to give more attention to the outlaws in some of his future endeavors, like 1957's NAKED PARADISE and 1958's MACHINE GUN KELLY.

YEAR 1955: POLICEWOMAN LIZZ

I can't top author Jay Maeder's observation from his DICK TRACY: THE OFFICIAL BIOGRAPHY on the subject of Lizz's introduction. She was not just the first policewoman to become a regular fixture in the Dick Tracy strip, but also an indicator of author Chester Gould's awareness of changes in the air.

Lizz (whose married surname was "Worthington," though it wasn't regularly used) first appeared in 1955.  She began as a nightclub photographer whose husband was killed by petty leather-jacketed hoodlum Joe Period.  Period was an unmistakable clone of Marlon Brando's character from 1953's THE WILD ONE, but cast as an unmitigated lowlife.  The Joe Period arc, ending with the villain's capture, concluded after a few months, but this swaggering embodiment of 1950s "edge" didn't come back. Lizz, however, was inspired to become a policewoman by Dick Tracy's example, and she remained a regular supporting character throughout the remainder of Gould's tenure and continued to appear regularly thereafter.  Gould created many one-shot characters, and Lizz easily could have been one of these.  The fact that she stayed around, even in the years prior to the development of "second-wave feminism," suggests to me that Gould valued, either personally or professionally, the representation of women in the police force.

Admittedly, Lizz is not a great femme formidable in the mold of Gould's villainesses, particularly Breathless Mahoney.  But she was consistently represented as a tough customer, skilled both in judo and firearms. Oddly, since she was first introduced as an adversary to a "fifties rocker," she was later married to a sort of "hippie cop" with the painful name of "Groovy Grove." But Grove disappeared from the strip, and Lizz remained-- again, rarely if ever using her married name.

YEAR 1954: ANNIE OAKLEY

There was of course no resemblance between the real-life sharpshooter Annie Oakley and this early television heroine, played by frequent Gene Autry leading lady Gail Davis.

I've only seen a couple of episodes of this now-obscure western series. From these few, I can still tell that though Davis's pigtailed Annie character wasn't stridently feminist, she made no bones about being a better shot than any man in her small town of Diablo, Arizona. 

Though the show isn't of easy access today, it had a definite impact on the female audience of the 1950s.  Ms. Davis is quoted as saying:

"Back then I knew the show was having a positive impact, especially on little girls. It wasn't until years later that I realized just how much. Little girls had turned into influential women, thanking my portrayal of Annie for showing them the way."