The Naked Truth About Harrison Marks

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No, the line came from a little known actress named Donna Selby, who National Spotlite scribe Hugh Wells interviewed in London. No such complaints were forthcoming over Marks or Russell Gay’s photographs, nor their choice of models, with both photographers’ work given pride of place in the magazine’s scant colour pages. A master of publicity Tenser had honed his showmanship skills working as head of publicity for Miracle films, a popular distributor, before hooking up with Klinger, a former strip club manager with an ambition on becoming a movie mogul. Theirs was, as he described it, “a devastating, traumatic and searing love”, only a few months into the marriage both parties were heading for a nervous breakdown.

An MO that matches Marks’ recollections of My Slasher Friend’s handiwork ,“I’ve seen some of the people he had cut up, he really mutilated them in a matter of seconds”. Once Marks got down to business, Practical Photography found him to be one of the fastest photographers they had ever encountered, forever changing his positions and angles, taking photographs from above his head right down to sand level, “often his shooting poses are as interesting as the models” they noted, going on to claim Marks in action resembled a human tripod. Marks is then put on trial for leading a “worthless life” before being dragged away by the nude women to be drowned. Within a few more years, though, the paper regressed to the same form as Beta’s cheaper imprints and was reduced to putting out issues like this one.The earliest documentation of Marks’ glamour photography his estate can find is “ Pamela”, a 1955 hardback photo book of a brunette Pam, published by Luxor Press, further examples of his earlier glamour work turn up in the August and Autumn 1956 editions of “Carnival”, and the October 1956 edition of “Fiesta” (no relation to the later top-shelf magazine of that name).

Comprises an unbroken run of the first 15 issues, all in very good condition indeed to near fine, except No. He also produced and directed short erotic corporal punishment films for Janus for the then-emerging home video market. Bernard Delfont was impressed by Marks work, and soon more commissions came Marks way, allowing him to photograph some of the biggest names in show business including Jack Benny, Nat King Cole and Laurel and Hardy. Their hastily put together routine, which aside from a pinch of original material, was mostly stolen from other performers, was something they learned to perfect in the trial by fire experience of appearing in front of a demanding music hall audience “the difference between entertaining a gang of friends at a party and keeping a fee paying audience happy for eighty minutes is the difference between two worlds, and bridging the gap between the two can only be done with a lot of experience and heartache. Rounding off the Kamera ensemble was one Henry James Guy, described by Amateur Cine World as “a suitably benevolent grey-haired father figure”, who began as Marks’ sales manager before moving up in the ranks to general manager.You have to give National Spotlite credit—unlike many middle tier tabloids of the period this one managed to actually feature relevant and semi-relevant personalities. Marks feature films as a director were Naked as Nature Intended (1961), The Chimney Sweeps (his only non-sex film, 1963), The Naked World of Harrison Marks (1965), Pattern of Evil (1967), The Nine Ages of Nakedness (1969) and Come Play With Me (1977). that “many prominent film agents and producers are readers of Kamera, and we are proud of the facts that in some cases this magazine has been the instigator on the first steps of discovery.

Marks was initially unsure about directing a feature film until Tenser and Klinger took him to their cinema club and showed him a typical example of the sort of tacky sex film they were playing, after which Marks vowed “if I couldn’t make better (films) than those then I would give the whole racket up”. From there Marks went on to work as a tea boy at a local film studio, eventually graduating to even more menial jobs like a clapper boy.Such raids were rare, because the ships had to fly hundreds of miles over French territory to reach their target, making them vulnerable to attack. After around 40 minutes of travelogue and Stuart Samuels falling over, the audience’s patience is finally rewarded when the girls innocently trespass onto a nudist beach and are converted to the cause, soon deciding that “there is nothing shocking about enjoying the feeling of complete physical freedom that nudity brings”, a philosophy they put to the test by sunbathing, gardening and playing table tennis in the nude. Moving on, readers are treated to a nice shot of Patsy Ann Noble, aka Trisha Noble, just below, who we discussed back in 2009, and also appearing in the issue is German actress Dagmar Hank, who acted in several movies between 1958 and 1965.

Its possible that an entire generation of men, experiencing the female body for the first time through Kamera, were bamboozled by Pam’s handiwork into thinking that women actually had nothing of interest between their legs, and boy were they in for a shock when they encountered the real thing !Marks cats remained a fixture of his studio and can be spotted scurrying about in several of the 8mm glamour films of the period, occasionally even appearing in prominent roles.