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With 1980's action- and B-movie fans, actress Sybil Danning has already
reached cult status. Nobody in the 80's could play the tough-as-nails bitch
quite as good as this statuesque, long-legged and very sexy blonde, and it
didn't even matter that Danning wasn't the greatest of actresses, because
she had something the competition didn's have: Charisma. She was able to
steal almost every scene she was in, she was able to leave a lasting impression
regardless of the movie she was in (and over the years, she has been in quite a
few turkeys), and she could improve every film she was in by her mere
presence (again, she was in quite a few turkeys). Plus, with
Sybil, it didn't even matter if she played a good guy (well, girl would be
more appropriate) or a baddie (actually, I always prefer her as a
villainess), she would always get her point across. And despite her
revealing outfits, despite her many nude scenes, despite everything, she
simply was the female action star of the 1980's every feminist
should/could have been proud of !
Early Life, Early Career Sybil
Danning was born Sybille Johanna Danninger in 1952 (other sources claim
1947) in Ried im Innkreis (other sources claim Wels), Austria to an
Austrian mother and an US American father who had to leave for the USA
before she was even born. Her mother later married an US-army major, and
the family moved to the USA, where her father was relocated several times
to various army bases and where Sybil also learned the English language to
perfection. However, when Sybil was 14, her (step-)father was
relocated to Japan, and her mother, refusing to accompany him, moved the family back to Austria. Sybil quit school at that time to
support her family, working first as a dental assistant, then in several
jobs related to dentistry in one way or another. However, dentistry wasn't
something she was really into, so after a while, she enrolled in the Buchner School of Cosmetology in Salzburg and
ultimately received her diploma in facial treatment, decorative make-up, pedicure,
manicure, and body massage, with the goal of opening her own beauty
salon - but was denied a permit to do so by the city. However, she was
asked by the Buchner Institute to work for them as a cosmetician ... but
her beauty, Nordic in type, soon granted her a place in front of the
camera, and before you know it she had become a sought after model.
It was now the late 1960's, and the world was just waking up to
erotic cinema, so for a beauty like Sybil Danning, who wasn't shy to shed
her cloths either, there was always some
room on the big screen ...
German Erotica
Sybil
Danning gave her film debut in 1968 in the film Komm nur, mein liebstes
Vögelein/Come Now, my Dear Little Bird (Rolf Thiele), a West
German-Italian episodic sex comedy, in which she merely had a small role -
but her appearance as naked Lorelei sitting on a bare rock and luring
sailors to their doom by songs sure left a lasting impression ... possibly
the only lasting impression the film left at all.
This film
pretty much set the tone for all the films she made over the next few
years, cheap and cheesy German sexmovies, often anthologies (following the
success of the Schoolgirl
Report-series, the Germans had a soft spot for sex
antohologies it would seem) in which she was cast mainly for her looks and
her willingness to undress in front of the camera.
Among these films were Liebesmarkt
in Dänemark/Golden Bananas (1970, Benno Bellenbaum, Günter
Vaessen), Das Ehrliche Interview - Die Sexuellen Wünsche der Frau von
Heute/The Honest Interview (1971, Werner M.Lenz), Hausfrauen-Report
1: Unglaublich aber wahr/Housewives Report/On the Side
(1971, Eberhard Schröder), Ehemänner Report/Freedom for Love/Married
Men Report (1971, Harald Philipp), Paragraph 218 - Wir haben
abgetrieben, Herr Staatsanwalt/In Trouble (1971, Rob Houwer,
Eberhard Schröder), Urlaubsreport - Worüber Reiseleiter nicht
sprechen dürfen/Holidays Report/What Tour Guides can't Tell
You (1971, Ernst Hofbauer), Das Mädchen mit der
heissen Masche/Loves
of a French Pussycat (1972, Hans Billian), Gelobt sei, was hart
macht/Sex Olympics/Praised be what Hardens You (1972,
Rolf Thiele) - a sex comedy about the Olympics in Ancient Greece to
coincide with the 1972 Olympics in Munich - and Blutjung und
Liebeshungrig/Die
Liebestollen Apothekerstöchter/Naughty Nymphs/Don't
Tell Daddy/Passion Pill Swingers (1972, Franz
Antel). These films, many of them produced by TV13 Filmproduktion,
a company specialised in softcore erotica, were all cheaply made sexfilms
that did not have any artistic aspirations but were put out to make a
quick buck or two - and the reason that at least some of them are
re-issued on DVD these days is not so much because of their quality but
because of their unintentionally funny cheesiness and camp appeal ...
which makes at least some of these films irresistible to trashfilm fans
like me. Of all her German sex movies of the early 1970's, only
Siegfried und das Sagenhafte Liebesleben der Nibelungen/The Long
Swift Sword of Siegfried/The Lustful Barbarian/Maiden Quest
(1971, Adrian Hoven) might be of special interest, not so much because
it's a good film (it isn't), but because it's a sex-take on the German
national epic of the Nibelungs - which despite all the sex
thrown in stays relatively true to its source. Sybil Danning plays Kriemhild in this
one, a role that has previously been played by Margarete Schön in Fritz
Lang's two-part adaptation of the legend from 1924 and by Maria Marlow in Harald Reinl's
[Harald Reinl bio - click here]
1966/67 version, which also came in two episodes. Compared to the
dead-seriousness of either Lang's or Reinl's interpretation of the story,
Hoven's version is almost enjoyably silly. (Adrian Hoven, by the way, in
the late 1960's/early 1970's desperately tried to shake his image as the
nation's favourite son-in-law - an image he has earned himself by acting in too many Heimat-
and kitschfilms in the 1950's and early 1960's - by directing/producing sex and exploitation
films.)
Going International
By
1972, Sybil Danning has earned herself quite some recognition as a sex
starlet (and she certainly had the looks and body to go with it), but she
had higher aspirations, aspirations to become a real actress, and to that
end she studied with renowned German acting coach Annemarie Hantschke for
three years in Munich, until she was finally given the chance to play in
something other than sex flicks. Initially though she was only cast in
supporting roles in a handful of Italian flicks like L'Amante dell'Orsa
Maggiore/Die Geliebte der Grossen Bärin/The Smugglers
(1972, Valentino Orsini) starring Giuliano Gemma and Sophia Loren and the gialli
(giallo = a specifically Italian version of the murder mystery with horror
undercurrents often featuring serialkillers and madmen) L'Occhio nel
Labirinto/Eye of the Labyrinth/Blood (1972, Mario
Caiano) - this one was again co-produced by TV13 Filmproduktion -
and Dama Rossa uccide Sette Volte/The Red Queen Kills Seven
Times/Cry of a Prostitute: Love Kills/Blood Feast/The
Corpse which didn't Want to Die/Horror House (1972, Emilio
Miraglia), but finally, the film Bluebeard (1972, Edward Dmytryk,
Luciano Sacripanti) starring Richard Burton, Raquel Welch, Virna Lisi,
Nathalie Delon and trashmovie regular (and later porn actress) Karin
Schubert presented her to a wider, international audience - even if her
role of a prostitute whom Richard Burton in the title role disposes of by
dropping a chandelier on her head wasn't all that big.
Even bigger than Bluebeard was The Three Musketeers
(1973, Richard Lester) - like Bluebeard produced by Alexander and
Ilya Salkind -, the famous all-star swashbuckler starring Michael York as
D'Artagnan, Oliver Reed, Richard Chamberlain and Frank Finlay as the Three
Musketeers, Raquel Welch, Christopher Lee as Rochefort,
Jean-Pierre Cassel as Louis XIII, Geraldine Chaplin as Anna of Austria,
Faye Dunaway as Lady de Winter, Charlton Heston as Cardinal Richelieu, and
Spike Milligan. Compared to all these international heavyweights, Sybil's
role as Queen Anna's lady in waiting is comparatively small, but the film
became a smash hit and was in 1974 followed by a sequel (The Four
Musketeers [Richard Lester]), featuring almost exactly the same cast,
including Sybil Danning.
Apart from these prestige films, Danning's output in the mid 1970's
was an incredibly (and enjoyably) mixed bag of goodies, including comedies
- the high sea adventure comedy Arrivano Joe e Margherito/Run,
Run, Joe ! (1974, Giuseppe Colizzi) starring Keith Carradine and Tom
Skerritt, the Adriano Celentano-starrer L'Emigrante/Little
Funny Guy (1974, Pasquale Festa Campanile), and the World War II-comedy
Opération Lady Marlène (1975, Robert Lamoureux) -, an adaptation
of a book by German writer Heinz G.Konsalik - Der Geheimnisträger
(1975, Franz Josef Gottlieb [Franz
Josef Gottlieb bio - click here]) -, a German crime TV - Derrick -
Zeichen der Gewalt (1975, Theodor Grädler) -, a (late) spaghetti
Western - Diamante Lobo/God's Gun (1976, Gianfranco
Parolini) starring Lee Van Cleef and Jack Palance - and even a film by
Claude Chabrol - Folies Bourgeoises/The Twist (1976)
starring Bruce Dern, Stéphane Audran, Sydne Rome, Jean-Pierre Cassel,
Ann-Margret, Maria Schell, and in small roles Charles Aznavour, Tomas
Milian and Curd Jürgens.
Among the films Sybil made during that time, one movie is definitely
worth a mention: Der
Flüsternde Tod/Whispering
Death/Albino
(1975, Jürgen Goslar) - not so much because of the film's quality or even
the importance of Danning's role in it (she plays a rape victim who only
has a few scenes), but because the film, a West German/South African
co-production starring Christopher Lee and Trevor Howard, ably
demonstrates how much even exploitation cinema has changed since the
1970's - as this film, an exploitation flick by all means, features quite
a few racist tendencies reminiscent of cowboys-vs-Indians films of the
1950's. (Of course, none of this can be blamed on Sybil Danning, who was
then still a starlet with an uncertain future.)
Being so far mainly cast in
(pan-)European productions (apart from the Musketeer-films), Sybil Danning went more and more international
in the latter part of the 1970's. She had parts in such films as the Mark
Twain-adaptation Crossed Swords/The Prince and the Pauper (1977, Richard
Fleischer) starring Oliver Reed, Raquel Welch, Mark Lester, Ernest
Borgnine, George C. Scott, Rex Harrison, David Hemmings, Charlton Heston and Lalla Ward -
which was incidently produced by Musketeer-producer Ilya
Salkind -, the Israeli film Mivtsa Yonatan/Entebbe: Operation
Thunderbolt (1977, Menahem Golan), a film about the real life Entebbe airplane
hijacking drama that pits Danning against Klaus Kinski and that was an
early collaboration of later Cannon-masterminds
Menahem Golan and Yoram Globus, the forgettable American thriller Cat
in the Cage (1978, Tony Zaraindast), the tired all-star desaster movie
The Concorde ... Airport '79 (1979, David Lowell Rich) starring
Alain Delon, Sylvia Kristel, Robert Wagner, George Kennedy, Eddie Albert,
Bibi Andersson, David Warner and Mercedes McCambridge, and the all-star
sci-fi desaster movie
Meteor (1979, Ronald Neame) featuring Sean
Connery, Natalie Wood, Karl Malden, Brian Keith, Martin Landau, Trevor
Howard and Henry Fonda.
The weirdest of Danning's film in the late
1970's though might be The Swap (1979, John C. Broderick, John
Shade), a murder mystery using large portions of a film called Sam's
Song from 1969 starring a very young, pre-star Robert De Niro, but
creating a whole new movie around the old footage that doesn't necessarily
have much to do with the older film. Danning plays an older version of
actress Jennifer Warren (not to be confused with the singer of the same
name) in the film, despite the fact that the two actresses look nothing
alike. The result is pretty much as ridiculous as I make it sound to be
...
Action Icon of the 1980's
In the latter part of the 1970's, Danning's appearances were still split
between A- and B-movie fare, her roles varied considerably in size and
importance, and her career by and large lacked direction. By the early
1980's however she seems to have found a home in B action movies.
In the early
1980's, Danning's role in action films were still rather small, like in
the thriller Cuba Crossing/Kill Castro/Sweet Dirty Tony
(1980, Chuck Workman) starring Stuart Whitman, Robert Vaughn and Woody
Strode, and in the comedy How to Beat the High Cost of Living
(1980, Robert Scheerer) starring Susan Saint James and Jane Curtin (both
still being a few years away from co-starring in Kate and Allie), and
Jessica Lange.
Sybil's first action film of real interest
regarding her role might be action auteur Enzo
G.Castellari's [Enzo
G.Castellari bio - click here] Il Giorno Del Cobra/Day of the Cobra
(1980) starring Franco Nero [Franco
Nero bio - click here]. Admittedly, for the most part of the
film, Danning seems to be serving little more than decorative purposes
(which she does very well of course), only to in the end turn out to be
one of the persons behind a plot against Nero, and suddenly the sweet girl
she has played throughout most of the movie turns into a cunning and
ruthless bitch who only loses her life because Nero turns out to be even
more cunning and ruthless. (Apart from having a good role, it of course
also has to be mentioned that Day of the Cobra
is wonderfully directed action fare with many breathtaking setpieces, a
speciality of director Castellari.)
The film that is credited by many with being
Danning's breakthrough film as an action star though is the Roger Corman-production Battle Beyond the Stars (1980, Jimmy T.Murakami)
[Roger
Corman bio - click here], a film
clearly inspired by George Lucas' original Star Wars-series
of films but more based on Shichinin no Samurai/The Seven Samurai
(1954, Akira Kurosawa) and its Western remake The Magnificent Seven
(1960, John Sturges) - some of the dialogue of the latter re-appears in Battle
Beyond the Stars - and starring Robert Vaughn (of Magnificent Seven-fame), John
Saxon [John Saxon bio - click
here], George Peppard, Richard Thomas as a rather pale
lead, and of course Sybil Danning as a starfighter of few words, a role
that she allegedly based on Clint Eastwood.
With Battle
Beyond the Stars, Sybil Danning's larger-than-life action bitch (bitch
not necessarily in a bad way) character was born, a character she would
return to many times over the years, but not before she played a few more
supporting roles in films like the horror film Nightkill (1980, Ted Post)
starring Robert Mitchum and Jaclyn Smith, the misguided crime comedy The Man with
Bogart's Face (1980, Robert Day) starring Humphrey Bogart lookalike
Robert Sacchi, Franco Nero, Olivia Hussey, Herbert Lom, plus veterans
Victor Buono, Richard Bakalyan, Yvonne De Carlo, Victor Sen Yung and even
George Raft, or the political thriller The Salamander (1981,
Peter Zinner), yet again starring Franco Nero, plus Anthony Quinn, Martin
Balsam, Christopher Lee, John Steiner, Claudia Cardinale and Eli Wallach. However,
Danning was her action self once again in I Sette Magnifici
Gladiatori/The
Seven Magnificent Gladiators (1983, Bruno Mattei [Bruno
Mattei bio - click here]),
interestingly like Battle Beyond the Stars inspired by The
Seven Samurai, only this time around the story is set in ancient Rome
and obviously made to jump the Conan
the Barbarian (1982, John Milius) bandwagon. The film starred
former Mister Universe Lou Ferrigno (with whom Danning reportedly didn't
get along too well) [Lou Ferrigno
bio - click here], and former Hercules
actors Brad Harris [Brad Harris
bio - click here] and Dan Vadis, and it's pretty much cheap trash as
trash can but not without entertainment value.
Somehow, Menahem
Golan and Yoram Globus of Cannon,
the producers of The
Seven Magnificent Gladiators, must have been
quite pleased with this film because they the very same year cast Lou
Ferrigno and Sybil Danning plus Brad Harris in Hercules
(1983, Lewis Coates = Luigi Cozzi), this time pitting Ferrigno (as the
title character) against Danning who is in this one at her bitchy best
wearing one of these campy outfits only very few women other than Danning
could wear with dignity. While The
Seven Magnificent Gladiators though was only slightly amusing, Hercules
was a laugh riot, and most probably intentionally so, filled with silly
dialogue, trippy colours and wonderfully out-of-place special effects -
and for some reason the film was successful enough to spawn a sequel too,
Le Avventure dell'Incredibile Ercole/The Adventures Of Hercules
(1985, Lewis Coates = Luigi Cozzi), though
unfortunately without the participation of Ms Danning.
It's not
that Sybil Danning could have complained about lack of work during the
mid-1980's, regarding genres she was at that time almot literally all over
the place:
She starred with Anthony Franciosa in the shocker Julie
Darling/Daughter of Death (1983, Paul Nicholas, Maurice Smith),
the story of a girl (Isabelle Mejias) obsessed by her own father.
In
S.A.S. à San Salvador/S.A.S. San Salvador/Exterminate with
Extreme Prejudice (1983, Raoul Coutard) she unfortunately leaves most
of the action to Miles O'Keeffe as a womanizing and elegant secret agent -
the film co-stars Dagmar Lassander, Anton Diffring and Raimund Harmstorf.
Then on the other hand there's Chained Heat
(1983, Paul Nicholas), one of the key films at this stage of Danning's career. Basically
the film is a sleazy women-in-prison flick in which
Sybil plays the white queen bee of the penitentiary to Linda Blair's innocent inmate - and she's
just perfect playing a mean bitch, so much so that it's almost surprising
she didn't play in all that many women-in-prison films. Tamara Dobson
of Cleopatra
Jones-fame is also in Chained Heat
by the way, playing
the black counterpiece to Danning's white bitch. Former Russ Meyer-muse
(and wife) Edy Williams, later one-time Emmanuelle
Monique Gabrielle, and veterans John Vernon and Henry Silva round out
the cast. In 1983, Sybil Danning was also considered for the female lead
in the James Bond flick Octopussy (John Glen), a role
that ultimately went to Maud Adams, but even while losing the prestigious
(but not always terribly flattering) role of a Bond girl, her
career went from strength to strength back then, as in '83 she also did a
much acclaimed photoshoot for Playboy magazine (August 1983
edition), which had her on the title page, dedicated 10 pages exclusively
to her, and christened her Queen of the Action Flicks. In
1984, Panther Squad (Pierre Chevalier) took
Sybil back to Europe to star in this dirt-cheap Eurociné
co-produced action flick
opposite veteran Jack Taylor, later porn star Karin Schubert, Analía Ivars,
Donald O'Brien and Antonio Mayans. The action in this film is really close
to pathetic and a leather clad Sybil Danning is by far the most appealing
thing the film has to offer - which is exactly the reason why bad movie
lovers will want to see this movie anyways. For some reasons, Sybil had
her hands in producing this one
They're Playing
with Fire (1984, Howard Avedis) takes Sybil back to her roots in
erotic cinema, as in this one she plays an English teacher who seduces one
of her students (Eric Brown) in an attempt to frame him for a murder - but
is she deceiving him or is she the one who's double crossed ? Of course
this movie is not to be taken entirely seriously (though it was meant that
way) but as a typical piece of 1980's sexploitation trash to be enjoyed.
Over the next few years, Sybil Danning did return to the
erotic genre every now and again, with films like Private Passions
(1985, Kikuo Kawasaki), Young Lady Chatterly II (1985, Alan
Roberts) - in which Danning only played a supporting role (the title role
was reserved for Harlee McBride, who also played the role in the first
part from 1977), and which was mainly carried by Adam West, who gave the
film a comic edge -, and Talking Walls (1987, Stephen Verona).
Apart
from that, Sybil also made two shockers in the latter part of the 1980's: Howling
II (1985, Philippe Mora) is what you would call a pretty bad werewolf
film, but it's also amazingly (if unintentionally) funny - just try to
watch the sex scene during which Sybil, playing the queen of the
werewolves, and her friends turn into wolves without chuckling.
Christopher Lee and Ferdy Maine are also in this one. And then there's Fred Olen
Ray's The
Tomb (1986), a mummy flick that is among the director's
better films, actually. In this one, we can see Michelle Bauer as a
(surprisingly sexy) mummy out for revenge, Cameron Mitchell, John
Carradine [John Carradine
bio - click here], and former Russ Meyer actress Kitten Natividad
doing a striptease routine (that has nothing to do with the rest of the
movie).
In 1986, Sybil Danning returned to women's prison, but
this time as a warden - a role cut out for her - in Reform
School Girls (Tom DeSimone). Unfortunately though, she is given
too little screentime in this film to really play out her talents.
By
and large though, Danning has become a bona fide action star by the
mid-1980's, appearing in such films as Euer
Weg führt durch die Hölle/Jungle
Warriors (1984, Ernst R.von Theumer) - in which she plays a baddie
opposite a gang of models (no joke) -, Malibu Express (1985, Andy
Sidaris) - a film that once again exploits her sex appeal as most of the
action is handled by Darby Hinton -, the sword and sandal pic Warrior
Queen (1987, Chuck Vincent) - a silly mix of action and erotica set in
ancient Pompeii that for some reason also stars Donald Pleasence [Donald
Pleasence bio - click here] -, and L.A. Bounty (1989,
Worth Keeter) - a film which she also co-wrote and co-produced and that
features Wings Hauser as the main villain. Even Dannings occasional
TV-appearences from that time spelled action, series like the Lee Majors-vehicle The Fall Guy (1984), Street Hawk
(1985), Superboy (1989) and the alien invasion series V
(1984). And if all that wasn't enough yet to cement her image as top
action girl, in the mid-1980's she also hosted a series of action videos
called Sybil Danning's Adventure Video (in which she
introduced the films pretty much in Elvira-mode), formed her
own production company, Adventuress Productions in 1989, and got
her own comicbook, Black Diamond, published by AC Comics.
She also took this new turn of her career very seriously, as she started
to work out extensively from the mid-1980's onwards and got a bit of
training in karate and judo. However, desaster struck in 1989:
When rehearsing a stunt, Sybil was seriously injured and forced to take a
two months resting period. Unfortunately though, her condition was
misdiagnosed as either a strained muscle or a damaged nerve, and during
her rest, her pain only worsened until a specialist found out that she was
actually suffering from two severely herniated discs. This condition left
her hospitalized for over a year, especially since she was at first
aversed to any kind of surgery (which she later had to undergo all the
same), and somehow it put a rather tragic end to her career as
an action star. (On a friendlier note though, also in 1989, Sybil
married German businessman Horst Lasse, to whom she is still married as of
2008.)
Danning's best two movies from the final years
of her action career might not be those who saw her as a mere action star
though but those that exploited her iconic status in a comic way: On one
hand there is Amazon Women of the Moon (1987, John Landis, Joe Dante,
Peter Horton, Robert K.Weiss, Carl Gottlieb), an episodic walk through
TV-wonderland in which she plays the alien queen in the actual Amazon
Women of the Moon-segment (directed by Robert K.Weiss), which also
featured fellow female action star Lana Clarkson [Lana
Clarkson bio - click here], on the other
hand there is
Fred Olen Ray's intentionally silly and usually underrated The Phantom
Empire (1986), a film starring Ross Hagen, Jeffrey Combs, Robert
Quarry, Michelle Bauer and Russ Tamblyn, but that also features Robby
the Robot and dinosaurs (lifted from the film Planet of the
Dinosaurs [1978, James K.Shea]). In this one, Sybil actually once
again plays an alien queen, and in a very kinky outfit, too ...
It's not Over Yet Her
injury brought Sybil Danning's career as action star to a dramatic
and aprupt end, and for the 1990's she pretty much vanished from the
screens big and small, apart from a guest starring role in an episode (Der
Onkel aus Amerika [1993, Franz Antel]) of the German TV-series Almenrausch und Pulverschnee
produced by Lisa
Film [Lisa
Film history - click here].
But still, Sybil proved
anything but a quitter when she in the early 2000's re-entered the
limelight: She (allegedly) executive produced the film To End all Wars
(2001, David L.Cunningham) starring Robert Carlyle and Kiefer Sutherland,
she finally started visiting genre conventions - to great fan acclaim -,
and she launched a perfume, Sybil's Secret Scent. However,
Sybil didn't make a real comeback on the big screen until 2006, with Jump
(Joshua Sinclair), the true story of the patricide trial of future
celebrity photographer Philippe Halsman (Ben Silverstone) in Austria,
1928, a film that also featured Patrick Swayze.
Then, in 2007, she
starred in a mock trailer featured in the B-movie parody Grindhouse
(Robert Rodriguez, Quentin Tarantino), Werewolf Women of the SS,
with her sequence directed by Rob Zombie, one of the movie's many guest
directors. Her role as an SS-officer dressed in leather is an obvious
hommage to her many iconic B-movie roles in the 1980's, and truth to be
told, despite her advanced age, she still looks better in that outfit of
hers than most women half her age. Udo Kier is also in her sequence by the
way. Obviously, Rob Zombie was content with Sybil's performance in his Grindhouse-sequence
because he cast her again for his Halloween-remake (also 2007) -
even if her role in this one is rather small and required only one day of
shooting, but in the film she proves that she can live up to great veteran
actor Malcolm McDowell, and that she's still a force to be reckoned with
... ... which is of course a fine note to end this article, an
article about a woman who has usurped the B-action throne in the 1980's
and who despite the bad cards that fate has dealt her, is eager to reclaim
her fame - and any self-respecting B-movie fan hopes she will, too.
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