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FLY ME! by Daniel Symmes By 1969, U.S. social mores were loosening to the point where nudie cutie films were commonplace in most states.  The growing disapproval of the Vietnam War, LSD, youth demonstrations, a decent economy, and an ever-present drive to break past the previous generation's hang-ups/limitations led to the making of two ground-breaking films. First was Sexual Freedom In Denmark which, thinly disguised as a documentary, was the first widely distributed theatrical film featuring hard core sex, and lots of it. Largely because of this film, the mainstream film porn industry was born. The second film was the brainchild of two brothers and an imaginative would-be filmmaker who felt 3-D and sex would make a good combination. The Stewardesses was not hard core, but the concept of feminine skin in depth hit the right note, and for an investment of something just over $100,000 grossed over $25,000,000 making it one of the most successful films (cost to profit) ever. To make it happen, one of the partners, Chris Condon, who had founded Century Precision Optics, worked with director Allan Silliphant and developed a single camera 3-D system that was easy and economical to use. Instead of two cameras, as was the norm in the 1950's, the single camera system put the two images (left eye, right eye) side-by-side in a normal 35mm film frame. Such a design allowed for a very portable camera which was needed for the gorilla-style filmmaking dictated by the miniscule shooting budget. A general story outline was written, though there was never really a script. Often scenes weren't finalized until the camera was ready to roll. With a minimal crew, and some decent looking actors, scenes were shot all over Los Angeles, with some shots stolen at the airport and on an actual passenger plane. Those pre-security days were amazing. Director Silliphant (younger brother of the late, Academy Award winning writer/producer Sterling), Chris Condon (camera/3-D technology) and Condon's brother William Condos (actor/makeup) had fun improvising the film together, scene by scene. As soon as the first cut was available in the summer of 1969, it was opened at the Art Theatre Guild's Centre Theatre in San Francisco where it first demonstrated box-office draw. It didn't hurt at all that it was busted in August (though back on the screen the next day), making it seem like it was raunchier than it was. Initially spreading out on the Art Theatre Guild circuit coast to coast (Guild owner Louis K. Sher was the executive producer), as the film made money, it was plowed back in to shooting. Scenes were cut, new scenes added. One could catch the film every week or two and see a slightly different version! Sher made history by breaking out of his theaters, and national bookings took off, catching everyone by surprise. It played in a surprising number of major (read non-sex) theaters, including a 70mm run at the famous Boston Music Hall Theatre. The biggest challenge was the need for 3-D projection equipment and the special 3-D friendly silver screens. One concept decided on in the very beginning was to send a 3-D technician to each and every theater to install the special equipment, and to teach the projectionists how to keep it running. This was a key aspect to assure each play date was technically as good as possible. At one point, there were about ten specially trained technicians flying all over the country setting up what would ultimately be hundreds of theaters. While The Stewardesses will never be regarded as high entertainment, it nonetheless is a classic rising above many major films of the time in box-office take (and in a smaller number of theaters). The public came in droves. Many wonder what all the fuss was about. This author feels it was a combination of: 1) The title 2) The self-imposed X rating 3) 3-D Add that to the social changes of the time and you have a nexus that no one could possibly predict nor replicate. Viewed through 2005 glasses, The Stewardesses is funny (mostly inadvertent camp) and grim. It actually expressed social problems of the time, which have some validity even today. Best seen with a group of friends, The Stewardesses is a 3-D romp that will have everyone laughing, especially if they can remember back that far. And if they can't, they may just learn a few things. Why They Call It The Cockpit by Dion Conflict If you were to ask other film critics or historians about the greatest 3-D movie of all time, they might come up with the standards: Creature From The Black Lagoon, Dial M for Murder, or House of Wax. But believe me, those classics pale in comparison to the greatness of The Stewardesses. Made for a little over $100,000, The Stewardesses earned close to $30 million in its original theatrical release, making it the highest grossing 3-D movie of all time. Think of it as the Titanic of 3-D boobie movies. You've seen Count Floyd spoof it on SCTV, now it's time to see the inspiration!  Even before the fantastic story of several mod clad stewardesses unfolds, a stewardess introduces the cast to you the viewer and to the passengers on the plane, who happily smile into the camera, breaking the cinematic rule of "Don't look the camera." As the plane lands the girls plan what they intend to do during their time off. Samantha (Christina Hart) decides to pursue Colin, an ad exec who looks like Oscar Goldman from The Six Million Dollar Man. She makes a quick pit stop to freshen up at home, where her roommates are practicing nude yoga. Can she play Colin to get a big part in an upcoming lipstick commercial? (His pad is pretty snazzy too. He presses a button and the curtains open, all in 3-D!) Another stewardess goes home to find that her parents have gone on vacation. We hear her thinking: "Mom and Dad are on a trip. It's time for me to trip too... I'll take some acid!" Then she downs the sugar cube with a nice glass of milk. After tripping for a bit, she has a tryst in the sheets with a Greek God headlamp! All the while uttering the lines, "Your Eyes! Where are your Eyes!!!" Some of The Stewardesses check out "Stewardess Night" at a local club, while a band that looks and sounds like Canada's The Gruesomes play on. While grubbies try to pick up some of The Stewardesses, another one entertains a soldier by going on roller coaster rides (you remember this is in 3-D, right?). Need some poorly acted lesbian action? Jo and her co-worker lie on a bed after many drinks. While they brush each other's hair, the friend tries "duping" Jo into a little girl-girl action. As she touches her she utters something like, "Think of my hands as waves in the ocean." Which is answered with: "Well, you ARE my best friend!" Captain Brad Masters (William Basel) coaxes the "new girl" (with whom he messes around in the cockpit with the intercom on) over and tries to get her drunk on the tallest glasses you've ever seen. It's hysterical. Meanwhile the relationship of Colin and Samantha starts to sour as Colin admits "how" exactly he made it big in advertising, and Samantha comes clean about why she's pursuing him. But hey, this is supposed to be an average day in the life of The Stewardesses! While Alf Silliman Jr. may not have directed the best film, it IS entertaining. And the technology and lenses made for The Stewardesses (created by the Stereovision International Company) were eventually used for many films like Jaws 3-D during the 80s three-dimensional boom. The Stewardesses is a film that I could watch over and over again. Any time it came to the Kingsway while I was in film school, I would anxiously wait in line to see it. It has everything that I want to see in a movie, and the better than average polarized 3-D photography made me want to fly the friendly skies with the cast and crew, each and every viewing. For me to make a sequel to The Stewardesses would be a dream come true (anyone at Alliance-Atlantis listening?) After watching The Stewardesses, I'm sure you'll agree with me that it is the most fantastic 3-D film ever. And it will finally answer that age old question, "Why DO they call it the cockpit?" |