A Virgin in Hollywood

Aside from the low-budget production and horrible at times acting etc... This is to some people a very interesting piece of history. When our intrepid reporter "gets lost" in the Hollywood hills, she ends up at this "Photo Ranch". This place is called The Hacienda in certain circles. There is Arline Hunter, Playboy Playmate August 1954 swimming in "THE LITTLE POOL". This was an ACTUAL place where photographers and models did their work! This is not a made up movie plot. This was a (then in ruins), ranch with arched patios, and cobble stone drive and walkways, and buildings. "The Hacienda was built by a Pasadena millionaire in 1927, and served as the backdrop for even more photos than the Spiderpool during the heyday of 1950s cheesecake photography." This is a quote from a web-page on the Hacienda and the Spiderpool. Another photog/model place.

Well here I was just watching this piece of Schlock when it suddenly became VERY interesting to me. The place is a piece of Seamy Hollywood History! Other than that and a few funny moments it is nothing.

A Virgin in Hollywood (1948)

** (out of 4)

Silly exploitation film about a female news reporter who travels to Hollywood so she can get the scoop on what really happens in the dirty town. The film starts off with a few good laughs and I was expecting things to get even better once we hit Hollywood but that's where the film fell apart. Even by 1948 standards this exploitation flick is rather dull and tame without too much going for it. There are a couple scenes where women almost drop their towels or bathing suites to expose some nudity but that's about it. The "secrets" behind Hollywood are also rather lame. Oh well.

Also known as SIDE STREETS OF HOLLYWOOD, this is basically an extended series of silent 1940s girlie shorts narrated by Dorothy Abbott, who plays a midwestern reporter assigned by her editor to go to

Hollywood and get "the REAL story" about what goes on there. What mostly goes on in the Hollywood of this film is a series of "artistic" cheesecake photo sessions that our intrepid reporter stumbles across. In the middle of the film is a 3-D sequence that you need "eyescopes" to see in 3-D--my guess is that this was added to the 1953 reissue of this film (first released in 1948)--it is crudely spliced in and doesn't match the rest of the film. Later in the film, she answers a few personal ads and we see her meeting a few clownish guys whose routines are right off the vaudeville stage...or a third-rate 1930s Educational Pictures comedy short. Abbott, who I believe appeared in some DRAGNET and LEAVE IT TO BEAVER episodes, is a distinctive looking lady I'd like to see in a vehicle that is more worthy of her. Without ever really showing any nudity or sex, the film does has a sordid feel--a requirement in films of this type--but the reliance on narration, even in some scenes where Abbott appears, slows down the pace considerably. However, there is just enough plot to keep things going and the occasional lowbrow humor (surely the makers of this film are from a burlesque background!) helps too. This film should appeal to any follower of z-grade Los Angeles-based exploitation films of the 40s/50s. I dig out my copy every year or two and enjoy seeing it again. (note: East Side Kids fans will recognize the canned music used during the scene of the date with the hammy actor)

I like classic exploitation films, but this one left me cold. The idea of stringing together a bunch of clips from strip tease movies with narration by a supposedly wide-eyed innocent reporter was dumb the moment it was conceived -- and got no better in the execution. This movie has everything: nipples, lingerie, whips, girl-fighting, a Latin specialty act, models and photographers, drunken actors, and a guy who can roll his hat down his arm and catch it in his hand, but with the exception of the last bit, the whole assemblage of gimmicks was actually more boring than one could have imagined. The only thing (besides the guy who could roll his hat down his arm and catch it in his hand) that really grabbed my attention was the face of one of the protagonist's lingerie-model friends -- the little short brunette with the pointy face and the dark-tan skin. I could swear i've seen her before in another movie or on television, possibly playing a light-skinned African American rather than a dark-skinned Anglo-American, or possibly playing a juvenile delinquent extra part. Unfortunately, the IMDb credits for this movie as of April 2007 are incomplete and do not list character names at all, even for the actors who are listed, so i am unable to identify this mystery-chick. Anyway, if you like really bad hairdos, ugly lingerie, and amateur strip tease by grinning gals who have been taught to wink one eye as if that gesture meant something, then this is your cup of tea. Otherwise, just watch it for the man who can roll his hat down his arm and catch it in his hand.

With a title like that, you won't be surprised to learn this is a soft-core pornographic movie, in which Dorothy Abbott got her only lead. Based on a book by Darla Sloan, Miss Abbott portrays the author as a small-town reporter who is assigned by her editor to dig up the dirt on Tinseltown. When she says she doesn't have the experience, he leers and says she has the equipment. So off she goes and we get some of the dirt: the modeling, the burlesque shows, the collection of crackpots available for dates in the personals, and the catty lingerie models.

A lot of it is shot wild, with Miss Abbott providing a droning voice-over which shows she learned nothing of the art from five shows playing Jack Webb's girl friend on Dragnet. This was produced by the owner of a small chain of "Pussycat" movie houses, but the smut factor is all but unnoticeable to someone who is fond of pre-code and 1970s movies. True, you get to see the navels of some of the burlesque dancers, but there's no sign of any costumes being removed. There's a brief sequence of the 'dancers' in three-d, in which they throw stuff at the camera. I like to imagine the audience was throwing stuff at the movie screen at the same time.

Klaytan W. Kirby was generally a very poor director for this movie, but one of the dance numbers shows some competence. It is a harem-fantasy Apache sort of dance, with some bondage and sadism thrown into the mix. I'd like to call it a highlight, but in the Death Valley of the rest of the production, I cannot muster the enthusiasm.