The AIP Beach Movies - Cult Films Depicting Subcultural Activities

18 Pages·2015·0.08 MB·English

The A.I.P. Beach Movies - Cult Films
Depicting Subcultural Activities
Andrew Caine, University of Sunderland, UK
ThelegendaryAnnette Funicellosings six songs from theAIP cult movie
[BeachParty],alongwithsix othersand-dustedditties ofequal
inconsequence.Marvellous junkand,ifnothingelse,anartefact oftheera
whentheleather-cladEricVon Zipper ruledSouthernCalifornia's beaches as
no-oneelsehas, beforeorsince.(Dellar,1997: 122)
Describing"Annette's BeachParty" byAnnette Funicello,thecompanionsoundtrackalbum
toBeachParty(1963), rockcriticFredDellarassociatedthis product of1960s surfingculture
withcult fandom.Significantly,theextract originates from the"nuggets",i.e.collectors page
ofthemusicmagazineMojo,itselfapublicationaimedprimarilyat dedicatedenthusiasts of
"classic rock".Anoriginal HMVmonocopyofthealbum costs anestimated£40; an
expensivesum forastar whonever achievedahit inBritain.Theextract's actual wording
also locates thefilm and Funicellowithindiscourses oncult fandom,placingthemovie and
album withinaspecifichistorical context.Hermusicandfilms represent a bygone era,
eminentlyofpotential interest forthecollectors andreaders ofMojo.Moreover,Dellar's
reviewcontains acontradictory,love-hatetone.Funicellomight be "legendary",but her
musicandfilms areeffectivelytreatedas entertainingkitschofminimal artisticmerit: surely
it is paradoxical towriteabout "marvellous junk"?
Otherwriters also assumethat theA.I.P.(American International Pictures) beachmovies
belongwithinthebroad generic categoryofcult movies. TheoeuvreofAnnetteFunicello
andFrankieAvalonnow seeminglybelongs ina "badfilm"corpus that alsoincludes 1950s
monstermovies, soft-pornskinflicks andElvis Presleymusicals (Ross,1989: 155; Sconce,
1995: 371).This categorisationhas extendedbeyondtheacademy: forinstance,therecent
deathofA.I.P.beachmoviestar,DeborahWalley,sawBeachBlanket Bingo(1965)being
described as "acult classicandamust forthosewhowallowinsixties surfingnostalgia"
(Independent -ReviewSection,18th May2001: 6).
Giventhis unquestioningplacement ofthebeach movies withinthecult movieconstituency,
it seems anappropriate moment toinvestigatehowandwhytheseproducts ofmid-1960s
Americanaappearrooted withindiscourses surroundingcult tasteand consumption.This
articleexamines whether thefilms deservetheirproclaimedcult status, bynegotiatingthree
keyareas. First,the A.I.P.series'relationshiptomainstream popular culture is considered,
concentratingonDellar's presumptionthat themovies possess camp,cult andnostalgic
qualities. Second,theactual content ofthemovies andtheirdepictionofthesurfing
subcultureis detailed,negotiatingwhetherthecyclesucceededinacknowledgingthecustoms
andsubcultural sensibilities of1960s surfers and A.I.P.viewers. Finally, Iconsiderwhythe
movies failedcommerciallyandcriticallyin1960s Britain.This emphasis ontheBritish
receptionoftheseries permits anopportunitytounderstandhowpopular youthmovies may
fail totranslatetointernational audiences.
Camp, Cult Taste or Nostalgia?
Apart from Presleyfilms, suchas BlueHawaii (1961),thebeachmovieis nowprimarily
associatedwiththeteenagepopmusicals producedbyA.I.P.duringthemid-1960s including
BeachParty,MuscleBeachParty,Bikini Beach (both1964)andBeachBlanket Bingo.The
importanceofthesepictures lies withtheirromanticisedvisionofCalifornian youth culture,
particularlyviatheirmixtureofsun, sea,sand,surfandsex.Adefinitionoftheseries'
intentions emerges withRecord Mail's reviewof "Annette's BeachParty":
Isupposethat American teenagers dohavethings likehomework,anddo get
bored,but theyarealways singingabout suchwonderful activities as surfing,
hot-rodding,holidays inthesun, thepleasures of goingsteadyandthe
reflectionofthemoononthetranquil waters ofthePacific.(Attenborough,
1964: 4)
Withintheoretical workoncult movies, it is oftenclaimedthat theconsumptionofsuch
products operates as aself-conscious defianceofnotions ofqualityand goodtaste.According
toJeffreySconce,thedevelopment ofacult movie,i.e."paracinema",sensibilitysucceeds in
operatingas "aparticular readingprotocol, acounter-aestheticturnedsubcultural sensibility
devotedtoall mannerof cultural detritus", calculatedtoincorporatemovies formerlyderided
as "trash"bythearbiters ofcultural taste(Sconce, 1995: 372).
ForJonathan L.Crane, watchingcult movies "means, forat least aninstant, turning your
backonseemlyor fittingcinema"that offers a genuinealternativetothemainstream"(Crane,
2000: 87).Certainly, critics havenot always treatedthebeachmovies with respect.Rick
Altmannegativelycompares theA.I.P.beachmovies tothemusicals ofElvis Presley,
effectivelydismissingthefilms'depictionofsurfing,hot-dogs and romanceas "totally
vacuous"(Altman,1989: 196).ForPhilipJenkinsonandAlanWarner,the "awful"Beach
Party"confirmedall pop lovers' worst fears about thesinkingUS moviepopscene"
(Jenkinson andWarner, 1974: 56).However,it is possiblytoo faciletoautomatically
categorisethebeachmovies andtheirfans as belongingtothecult film phenomenon.To
investigatethe extent towhichtheyfit intothis theoretical framework,threeapproaches seem
particularlypertinent: camp,cultism andnostalgia.
Official noticeoftheconnectionbetweencamp andthebeachmovies emergedinthelate
1960s throughthe comments ofBritish rock critic NikCohn.Whilehardlycomplimentary
about themusical andcinematiclegacyofAnnette Funicelloand FrankieAvalon,calling
theirheyday"theworst periodthat pophas beenthrough",Cohnat least recognisedthe
possibilityofcultural redemptionforteenmovies previouslyderidedas trash (Seealso
Appendix One):
…this was thetimeoftheBeachPartymovies, madebyAmerican
International andstarringsuchas TommySands, Frankie Avalon,Annette(ex-
MickeyMouseClubMousketeer) FunicelloandFabian.
Thesewereunchangingepics -therewerealways alot ofclean cut bodies in
bikinis andbriefs, afew songs, a fewbadjokes, muchsuntanandsandand
water,hundreds offlashingteethandendless cheerfulness.Seeninretrospect,
they'recampandtruePopArt,theysaymore about Campbell Soupthan
Warhol everdid.As 1960teenentertainments, though,theywerenothingbut
dire.(Cohn,1996[1969]: 73)
AccordingtoSusanSontag, camptaste resultedfrom adesireamong(often gay) bohemians
andintellectuals toself-consciouslyembracebadtaste: "TheultimateCampstatement: it's
goodbecauseit's awful" (Sontag,1969[1964]: 293).As hintedearlier,this sensibilityseems
topermeate Mojo's twist on"Annette's Beach Party". Indeed,manyreviewers inthemid-
1960s apparentlyregardedthefilms as examples of"bad"movies. For example, Muscle
BeachPartywas describedbyMonthlyFilmBulletinas "[an] indifferentlyscripted...unfunny
andunattractivesequel"(MonthlyFilmBulletin,April 1966: 62).Thefilm's reputationas an
exampleoftheworst form ofcommercial cinema duringthemid-1960s was hardlyhelpedby
its dialogue. Lines such as theconversationbetweenDeeDee (Funicello)andJulie,an Italian
Contessa(LucianaPaluzzi),onthesubject ofFrankie's affections canhardlybe considered
qualityscripting:
DeeDee: "What's thematter,did you runout ofmusclemen?"
Julie: "Ohno! It's just that helooks so sad,likealost pup".
DeeDee: "Thenmaybe youdidn't noticehis license."
Julie: "Ididn't evennoticehis leash".
Thebeachmovies'positionas campfilms emerges intwootherways. AccordingtoSontag,
"manyexamples ofCamparethings which,from a‘serious’point ofview areeitherbad art
orkitsch"(Sontag,1969 [1964]: 280).Chieflyreferringtocriticallydespisedfigures, such as
Cecil B.DeMille,andderidedfilm genres likethe dubbed Italiansuperhero epics and
Japanesesciencefiction, sheclaimedthat "badmovies"often achievesuch status "because,in
theirrelativeunpretentiousness andvulgarity,theyaremoreextremeandirresponsibleinthe
fantasy-andthereforetouchingandquiteenjoyable"(Sontag,1969[1964]: 293).Thebeach
movies sharecertaincharacteristics withtheabove mentionedexamples ofcinematic "trash".
First,theyareexplicitlyworks offantasywithnoclaims tograndiosestatements regarding
worldaffairs andthehumancondition.BeachBlanket Bingocontains obvious similarities to
thefamous folktale "Cinderella",perhaps theultimatefantasystory. Inthe film,theidiotic
Bonehead(JodyMcCrea)meets a300-year-oldmermaid Lorelei (Marta Kristen),who
besides speakingeveryknownlanguagemanages tocomeashoreduringthedaytime.
Therefore,likethe Italian musclemanfilms, thebeachmovies seem rooted withinafantasy
worldofmyth andlegendthat neverreallyexisted.
Second,as withtheother examples ofcelluloid"trash"mentionedbySontag,thebeach
movies doappearto containelements that fit insidegayculture. LikeDeMille's epics andthe
Italiansuperherosagas, thereare anextensivenumberofmale,muscular bodies ondisplay.
Indeedsurfingis asport whichreputedlyfeatures "astronghomo-eroticcurrent"(Martin,
2000: 54).Relatedtothis theme,thefilms frequentlyrefertothethemeofunfulfilledor
unconsummatedlove.GaryMorris comments that throughout theseries (heterosexual)love
affairs oftenfail toreach fruitionthanks toclass andnational differences (Morris, 1993: 9).
Forexample,JulieandAva(EvaSix),theHungarian"goulash"inBeachPartymight lust
overorlove Frankie,but theirillicit foreigninfluenceis associated withsomething
threateningandunacceptable.Normal,i.e.American,chaste,heterosexual relations are
restoredviathe renewal oftheromancebetween AvalonandFunicello's characters. Such
comicepisodes couldeasilybereadas ametaphor fortheconditionof gayrelationships
withinsociety,particularlywhen repressedduetheconventions ofheterosexual normality.
Interestingly,theappeal ofthebeachmovies was first comparedtothe Italianepics byFilms
andFilming,apublicationthat accordingtoRichardDyer effectivelyoperatedas "acloset
gaymagazine" (Dyer,1986: 148; Bean,1964c).Althoughthesepieces ofinformationare
important andrequire furtherconsiderationoutsideofthis article,it is possibletooverstate
theconnections between thebeachmovies, camptasteand gayculture.As Iwill explain
later,thewebsitematerial relatedtoAnnette Funicelloremains rootedinwholesome
American familyvalues.
Perhaps of greater significanceinaccountingforcurrent enthusiasm forthe beachmovies has
beentheemergenceof "paracinema",brieflyoutlinedearlier.Sconce's workowes muchto
theinfluenceofPierre Bourdieu's writings on cultural formations. Bourdieuclaims that
cultural "tastes…arethe practical affirmationof aninevitabledifference" whichachievetheir
significancethroughthe dismissal ofotherpeople's valuejudgements (Bourdieu,1984: 56).
With"paracinema", film fans supposedlydefinethemselves against bourgeois cultureand
establishedcanons of cinematictaste.Anexample ofthis attitudeinoperationfeatures ina
bookonHollywoodRock,whichclaims that BeachPartyis amongthe greatest examples of
rock'n'roll inthemovies andthat Avalonpossessedfinecomictalent:
So-calledsophisticates whodismiss thesefilms must realizewhat they're
missingis thebeat. BeachPartyfeatures DickDaleandhis Del-Tones. So
does BeachParty's follow-up,MuscleBeachParty.Donot advanceonthe
laterpics until you'veseenthesebeachers, because thecontinuityofthe
storylineis important. In BeachParty,we get the basiclesson: surfdwellers
areatruesubculture,and this is what theydo….30 years later,BeachPartyis
oneofthefewplaces youcanstill see"hot curl" art,Tiki cultureteen clubs,
andDickDaleplayingleadguitaronGaryUsher-pennedsongs likethe
brilliant "Secret Surfin'Spot".CandyJohnson dances upastorm,Jody
McCrearules as Deadhead,andHarveyLembeck is preposterous as motor-
sickleleaderdeluxeEric VonZipper.Kickopenthedoors. (Priorein
Crenshaw,1994: 30-31)
This statement seems compatiblewithSconce's ideas concerningthepolitics ofoppositional
taste.ContributorDomenicPrioredenounces theself-appointed guardians ofcultural tastefor
denigratingthehumourandzaniness ingrained withinthebeachmovies, therebysupporting
preconceptions that A.I.P.fans areengagedindeliberate revisionism ofthecinematiccanon.
In realityPriore's positionappears morecomplex.Thecult moviethesis does not adapt
particularlywell topopularmusic.Whilefilm enthusiasts seekingtodisassociatethemselves
from mainstream deliberatelyendorse "badfilms",musicfans oftendistinguish themselves
from moderncommercialism throughembracingestablishedrockclassics, acritically
acceptedcanonpatrolled closelybythevalues disseminatedbymusicwriters. Withregards
tothebeachmovies, the enthusiasm ofrockcritics fortheseries largelyrevolves aroundtheir
intertextual musical framework.Critical hierarchies of goodtasteremainintact ensuringthat
Prioreapplauds GaryUsher,alyricist and collaboratorwithestablishedcritical favourites the
Beach Boys andthe Byrds. Equallythemusical reputations ofAnnetteFunicelloandFrankie
Avalonremainderided,forever associated withthedilutionofclassic1950s rock'n'roll
rebellionintoblandpop.DonaldClarkewrites that thearrival ofsuchclean-cut teenidols
coincidedwithashift to "irritatinglymonotonous…saccharine[and] banal"music(Clarke,
1995: 426).Therefore,thereal interest ofMuscle BeachParty's musical soundtracklies with
songs writtenbyBeach Boys'legend BrianWilson andanearlyappearancebyStevie
Wonder,bothfigures whorankhighlyinthepantheonofmodernAmericansongwriters.
Wilson has beenapplaudedforhis "melodic genius, almost unparalleledin thehistoryof
pop"(Hoskyns, 1996: 61),whilesurfmusicpioneerDickDale(relativelyobscureuntil Pulp
Fiction)receives acclaim forfacilitatingsurfing's growthas "arecognised sport andthebasis
foramarketable esthetic [sic]"(White,1994: 130).Nosuch grandiose acclaim greets
FunicelloandAvalon. Indeed,thereis animplicationthat their"best ever" musical
performances inMuscle BeachPartyresult solelyfrom Wilson's involvement inthefilm
(Larkin(ed.),1997: 16; PrioreinCrenshaw,1994: 161-162).
This situationillustrates several potential problems withthe"paracinema"thesis in
conjunctionwithrockfilms. First,Priore's comments containmorethanahint that
enthusiasts ofthebeach movies displayaninterest inmusicthat is consideredpart oftherock
canon.Thesamealmost certainlyapplies forfans offifties rock'n'roll flicks andElvis Presley
vehicles. These films might havealways beencriticallyneglected as works ofcinema,but
manyoftheartists featuredin1950s and1960s popmusicals arevenerated byrockhistorians
as thegreatest acts oftheirgeneration.This sits uneasilywiththeideathat cult movie
audiences stand against canonical taste: withrock movies, this notionclearlydoes not hold.
Fans ofElvis Presley,ChuckBerryand theBeach Boys whorelish JailhouseRock (1957),
Rock,Rock,Rock(1956) andA.I.P.beachmovies arearguablynot engaged in"anoverall
aestheticof calculateddisaffection"(Sconce,1995: 376),but rathercementingtheirown
"good"tasteaccordingto thecanonical hierarchies evident withinrockcriticism.Film critic
MarkKermode's review ofrockmovies evenargues that thereal significanceofsuch
ventures revolves around theirmusical interludes ratherthantheirdramatic qualities. The
status ofrockmovies as "classic celluloidtime-pieces",evidently"representativeofacritical
moment in youthhistory…theygot themusicright,andthat was enough", veryoften
connects films' cultural status tothedistinguishedacts showninparticular productions
(Kermode,1995: 9).Second,as withotherforms ofpopularculture, rock musicfans adopt a
process of "capital accumulation"(Fiske,1992: 42-43).AccordingtoJohnFiske,this process
ensures that theelitevanguardoffans attempt toobtainas muchinformationabout their
favouritestars as possible,inordertodistinguish themselves from more casual followers of
theiricons. Withthebeachmovies, thefilms thereforeserve as anopportunityforthe
discerningelitetoconfirm andextendtheirknowledgeconcerningthe artisticlegacies of
BrianWilson andStevieWonder.Forexample,in afootnotetotheirbeach moviechapter,
EhrensteinandReedclaim that "BrianWilson canbespotted-if youlook real [italics in
original] close- as abackgroundplayerinMuscleBeachParty andoneor twooftheother
films intheAIP ‘beachseries’"(EhrensteinandReed,1982: 53).Giventhat "capital
accumulation"initiates a process ofdistinction,suchinformationarguablyhelps toreinforce
cultural hierarchies andcanons inpopularmusicratherthanestablishinga rival system of
cultural tastes as thenotionof"paracinema"implies.
Equally,amongcontemporarywebsiteandeGroupmaterial relatingtoAnnetteFunicello,
thereis littlementionofthecampor "paracinema" appeal ofthestar. Ironicallysimilarities
doexist withoppositional tastethrough attacks uponthosethought tobetraythelegacyofthe
beachmovies. Bourdieu writes that tastes "arethe practical affirmationof aninevitable
difference",theyare "distastes"which effectivelycondemnthecultural values andlifestyles
ofothers (Bourdieu,1984: 56).OneeGroupcorrespondent seems typical inseekingtoprotect
theauthenticityofHow toStuff a WildBikini (1965)against themachinations ofMGMfor
betrayingthefilm's artisticlegacy.Thereleaseof themovieonDVDserves as thebasis to
attackMGM's VHS versionwhich"looks andsounds absolutelylousy" andis further
condemnedforits "false advertising". Incontrast thedigitallyremasteredversionseems
faithful totheoriginal conceptionofthefilm: "the colors andclarityonthe digital remaster
areabsolutelypsychedelic".This fanappoints himselfas adefenderofthe A.I.P.legacythat
has beenbetrayedbythe majorfilm studios. Whatemerges is abattlebetweentheoriginal
fancommunityfrom the mid-1960s andbigbusiness; it represents a confrontationbetween
theself-appointed artisticprotectors ofA.I.P's heritageandthe actual owners ofthemovie's
copyright:
Maybepeoplehavecomplainedthat DonRickles andabunchofmusclemen,
andStevieWonderareNOTin"HowToStuff", eventhoughtheirpictures are
ontheDVDbox!Further falseadvertisingbyMGM afterthe catalogand
websiteads forit started out bysayingforthelast 3months, "Annette
Funicellodons herswimwearin[How ToStuff aWildBikini].Anyonewho
bought it forthat reason was certainlydisappointed.
At least it looks likethey'reworkingona DVDof MuscleBeachParty! The
covershot ofAnnettewithherarms aroundDwayneHickmanis reallyashot
ofAnnettewithher arms aroundFrankie[Avalon] from MuscleBeachParty
withHickman's headsuperimposed.(http://www.egroups.com/message/annette/1058)
Despitetheanti-commercial stanceofthis particularcontribution,thepredominant toneof
boththemainFunicello websiteandeGroupis nostalgia(http://www.cowtown.net/users/annette/,
www.egroups.com/group/annette).AlthoughSontagstates that the "banal can,withthe
passageoftimebecomefantastic" (Sontag, (1969) [1964]: 287),this theoretical position
seems not tomatchtheactual material availableonthe Internet. Basedona preliminary
searchintocyberspace,surprisinglyfewreferences toFunicelloactuallyexist ontheWorld
WideWeb; indeedtheeGrouponlycontains "100somethingmembers", whilemore
informationappears connectedwiththestar's current business interests intheworldofluxury
teddybears thanherfilm andmusical careers. The most notablewebsitedeclares itself
"DedicatedtoAnnetteFunicello"andoffers thechanceto "Visit WithAmerica's 'Girl Next
Door'". It contains numerous reproductions ofvarious photographs, record covers and
memorabiliafrom the1950s and1960s. Although unofficial this material adopts adeferential
tonewithinformationbeingliftedstraight from theDisneywebsiteon Funicello.For
instance,thelatest career retrospective from Disneyfeatures "atributetoDisney's most
belovedMousketeerand thequintessential all-Americanteen".This bastionofAmerican
capitalism appears determinedthat Funicelloshouldfunctionas areminderoftheinnocent
past ratherthan as aniconof"badfilms":
AtributetoDisney's most belovedMouseketeerandthequintessential all-
Americanteen,Annette captures theinnocenceof theerathroughthemusic
andeyes ofoneofthe first femalerecordingstars toconsistentlycrackthe Top
40.From her first smash hit "Tall Paul",whenshe was just 16,toDisneyfilms
andtelevisionclassics andbeachmovies withFrankieAvalon,Annette
Funicellocameofageon cameraandremains America's darlingtothis day.
(http://www.cowtown.net/users/annette/afcdset.htm)
Asimilarlydeferential tonefeatures throughout theeGroupdiscussions centredaround
Funicello.Debates focus upontwoprincipal areas. First,thestar's current battleagainst
multiplesclerosis ensures that theeGroupnetworkserves as asupport networkforfamilies of
othersufferers ofthedisease.Nostalgiaforms themembers'otherkeyinterest.The Internet
provides themeans forfans interestedincollectingmemorabiliaconnected withthestar.
Various items includingvideos, records, CDs and autographedphotographs areplacedfor
sale.Regularupdates are featuredregardingtelevisionbroadcasts ofthebeachmovies and
otherFunicellorelateditems. Surprisingly,detailedreminiscences ofthe1950s and1960s do
not featureparticularlyprominently,althoughmanyfans areobviouslynostalgicforthepast:
"I'm 47andhave also beenafansinceTheMickeyMouseClub - Iwanted togrowuptobe
just likeher!:-(Ievenhaveseveral oldvinyl albums ofhersongs from waybackwhen…;-)"
(http://www.egroups.com/message/annette/1052).Equallythematerial describedearlierrelatingto
How ToStuff AWildBikini hints that Funicello's original fans still judgethe beachmovies
accordingto1960s cultural values, apreferencetypifiedbythepreference forwidescreen
authenticityandpsychedeliccolours.
This means that the"bad taste"cultureencouraged bythe campand "paracinema"
sensibilities wouldappeartohavelittleinfluence upontheFunicellofans engagedonthe
Internet.Of course,it remains virtuallyimpossibletofullyinvestigatetheseoppositional
stances amongwebbrowsers andeGroupmembers, becausetheappropriateempirical data
requiredtounderstandthesocial backgrounds and cultural values ofthese Funicellofans
simplydoes not exist. It is quitepossiblethat theopinions expressedbysomeoftheegroup
members originatefrom campand "paracinema" perspectives, but nostalgiaprovides the
prevalent toneofmuchofthis multimediamaterial.This mooddoes not present Funicelloas
aniconof "bad"movies, but as anall-Americansweetheart.Disney,the epitomeof
wholesomefamilyvalues appears determinedtopresent thestar "as alegend"inthestudio's
history(http://www.cowtown.net/users/annette/Anniebio).Nowhereinthe websitematerial
orthroughtheegroupdiscussions does anyargument emerge whichmight fundamentally
challengethis official saccharinevisionof Funicello.Herfilms andmusicarediscussedby
fans as works ofqualityratherthanas forms of "badtaste". This does not present avisionof
"adeviant tastepublicdisengagedfrom thecultural hierarchies oftheiroverarchingtaste
culture" (Sconce,1995: 376),but ratherdisplays a compliancewithand enthusiasm for
mainstream popularculture.Fans ofcult moviestars donot necessarilyendorsethecampor
"paracinema"position; indeedmanymaynot even beawareoftheirhero/heroine's place
withintheranks of "trash"icons. This has implications forfurtherstudies regardingtheinter-
relationshipbetween cult film andpopularmusic,particularlywithregards torockmovies
andtheiraudiences.
Surfing and A.I.P. Beach Movies As Subcultural Products
Theabovematerial hints at thecult status ofthebeachmovies. Certainly,thefanwritings on
the Internet, alongwiththeworkofprofessional enthusiasts likePriore,doappeartomeet the
theoretical definitions offeredbyGraemeHarper andXavierMendik.Thefans certainlytalk
about themovies "inaninformedmannerbrought about bymanyhours of watchingand
discussion"ofthecultural landscapeinwhichthe films wereproducedand continueto
inhabit throughtelevision,videoandnewmedia outlets (HarperandMendik,2000: 7).
However, giventhat the beachmovies originated from thesurfingsubcultureofthe early-mid
1960s, theseries arguablyalways attemptedtoarticulatethevalues ofthis community.This
sectioninvestigates whetherthesesubcultural origins might havefacilitated themovies'
durabilityas cult products.
Youthsubcultures havetraditionallybeenrepresentedas being"identifiablydifferent"from
parental culture.AccordingtoClarke et.al.,suchsocio-cultural movements "must befocused
aroundcertainactivities, values, certainuses ofmaterial artefacts, territorial spaces etc. which
significantlydifferentiate them from thewider culture"(Clarke et.al.,1976: 13-14).Although
this interpretationofBritish post-war youthsubcultures over-stressedthedegreeofdeviancy
evident withinmanyyouthmovements, its emphasis ontheimportanceof separateteenage
cultural codes contains significance forthis study. TheCaliforniansurfingcrazerepresented
bythebeachmovies depictedsubcultural activities throughlanguageand customs that could
onlyhavebeen appreciatedbypeopleawareofthesecultural codes. Pierre Bourdieuwrites
that theappreciationofparticular cultural products depends upontheabilityofthe recipient
toappreciatetheintendedmessageofthetext:
Aworkofart has meaningandinterest onlyforsomeonewhopossesses the
cultural competence,that is, thecode,intowhichit is encoded.The conscious
orunconscious implementationofexplicit orimplicit schemes ofperception
andappreciationwhichconstitutes pictorial andmusical cultureis thehidden
conditionforrecognizingthestyles characteristic ofaperiod, aschool oran
author,and,more generally,forthe familiaritywiththeinternal logicofworks
that aestheticenjoyment presupposes. Abeholder wholacks thespecificcode
feels lost inachaos ofsounds andrhythms, colours andlines, without rhyme
orreason. (Bourdieu,1993: 116)
Consideringthat surfingretains popularityas an eliteleisureactivitytothis day,the
importanceofthe films as subcultural products shouldnot beunderestimated.Full
appreciationofthemovies has always requiredviewers todeploytheirowncultural
knowledgeofsurfingandA.I.P.itself; without suchcultural capital thefilms canappear
virtuallyunintelligible.
It is important tostress that thelifestyle depictedbythebeachmovies always contained
elements associated withsubcultural distinction.AccordingtoanearlyBritish profileon
surfing, aCalifornianteenagerresidingin Britain, AlanGriffiths, unconsciouslyhintedat the
elitism oftheculture:
"Surfingis not asport -it is acult as strict as anyreligious one….Actual
surfingis not theonlypart ofthecult though -thereis all thesocial life,all the
beachparties andthe actual distinctionofbeinga surfer.Andit gets the girls
inSouthernCalifornia-thebest place forsurfinginNorthAmerica". (Record
Mail,October1963: 6)
This distinctionoccurs intwoways duringthefilms. First,thesurfers employa certain
subcultural languagethat is unintelligibletothoseunawareoftheir culture. Forexample,
DickDale andtheDel-Tones' "Secret Surfin'Spot"from BeachParty refers to"hot-dogging
onmyboarduntil thesun goes down", whilethis secludedsurfingparadise remains unique
becauseit is situatedwhere "the gremmies andthe hooters never go".Thebeachserves as the
classiclocationfor exercisingsubcultural difference.Surfcultureis presentedas being
unavailableto "gremmies",motorcyclists suchas thebuffoon-likeEricVonZipper(Harvey
Lembeck)thesurfers'bumblingenemyinnumerous A.I.P films, and "gremmies"definedby
Griffiths as kids underfifteenwhoare "lookeduponwithamusement,and aredefinitelynot
allowedinwiththesurf" (Record Mail,October1963: 6).Otherfilms are full ofsurfing
terminologysuch as "waxingourboards","cowabunga", "jazz theglass", "real hotdogger",
andto"catch/shoot/sneakawave". Besides this, real-lifesurfinglocations areexplicitly
alludedtoinsongs, Balboa,inBeachParty's themetune,andMuscle Beachthroughthevery
titleofMuscleBeachParty.Thesereferences are intendedtoincreasethesubcultural capital
ofviewers interestedinsurfing. Yet byacknowledgingthesurfingsubculture,they
effectivelydisenfranchiseaudiences unacquainted withsuchspecialisedknowledge
(Appendix Two).
Second,thebehaviourof theteenagers seems designedto expressingsubcultural difference.
AccordingtoSarahThornton,teenagesubcultures provide"ameans bywhich youthimagine
theirownandothersocial groups, assert theirdistinctivecharacterandaffirm that theyare
not autonomous members ofanundifferentiated mass"(Thornton,1995: 10).Withregards to
thebeachmovies this claim has muchtruth,but needs somerevising.Althoughthe characters
playedbyAvalonand Funicellodonot differsignificantlyinterms oftheir beach attireor
behaviourfrom the rest ofthe youngsters, it is theirverystatus as stars that differentiates
them from theotheractors. Forexample,theirprivilegedpositionis veryobvious inthe
openingframes ofMuscleBeachParty, whereFrankieandAnnetterideseparatelyaheadof
therest ofthe gang. Equallymanyofthe figures onthebeach aremerelysymbolic
decorations who arenevergiven anyagencytoexpress theirdramaticabilities. Howeverany
examinationofthebeach movies also reveals that theyplacespecial premium onexerting
social andcultural distinction.BeachParty,MuscleBeachParty andBeachBlanket Bingo all
featurecomicconfrontations withothersubcultural groups whodefinethemselves against the
surfers, principallyVon Zipper's bikers andJack Fanny's (DonRickles)bandofmusclemen.
In each film someform ofclimacticbattletakes placewhicheffectivelyrepresents anattempt
foreachsubculturetooperateinwhat theirmembers perceivetobetheirrightful space. In
MuscleBeachParty,the musclemenphysicallyassault thesurfers, usingtheiropponents to
createadividinglinebetweenthevarious areas of thebeach. Von Zipperdeclares inBeach
Blanket Bingothat his jobis toprotect teenidol SugarKane(LindaEvans) from "them rotten
surfers"and "beachbums that don't work".Althoughintendedtobecomic, thesescenes do
explainhowteenmovies intendedforsubcultural audiences sought toexpress perceived
social andcultural differences onscreen.Perhaps ironicallythe films appeal totoday's cult
movieaudiences interestedinmaintainingtheirowncultural individualitybecausethey
always appearedpreoccupiedwithissues relatedtocultural andsocial distinction.
Thethirdkeyaspect ofthebeachmovies laywiththeabilityofthe films topresent anidyllic
andluxurious visionofAmerican youthculture.Althoughprincipallyassociatedwiththepop
songs ofthe Beach Boys, beachmovie culturedid seeminglyconjureupescapist images of
teenagelife.Twoaspects featuredheavilywithin beachmovieiconography, bothwithinthe
films andtheirattendant publicity: thesport ofsurfingandthebikini.Both characteristics
wereprominent inanarticlefrom thefilm fanmagazinePhotoplaythat details thestar
profiles ofseveral A.I.P.hopefuls engagedonapromotional tourofBritain knownas the
"Starburst ofYouth".Thestars'hobbies andphysiquesubscribetothemyths andstereotypes
associatedwithCalifornian youth culture.Nearlyeveryparticipant involvedwiththeA.I.P.
promotional ventureis described as enjoyingsurfingorotherhealthyoutdoorsports, suchas
water-skiing,tennis andswimming.For example,Patti Chandlerwas describedas: "Always a
sun-worshipper andawatersports enthusiast",while"attractiveSusanHart"was reportedas
"essentiallyanout-doors girl,she excels inski-ing,surfingandhorsebackriding"(McAsh,
1965: 52).Thesetypical "surfer girls"aredescribedinastylethat UK audiences wouldhave
recognised as beingsynonymous withsurfingculture.The articlesuggests that sportingand
physical prowess,togetherwithactual careersuccess wereavailabletothosewhose
personalities andattributes matchedthemyths of surfingculture.
Confirmationofthis occurs throughtheactual presentationofthefemalehopefuls inthe
article.This fullyelucidates theconnections betweenphysical appearance andconformity
towards aparticulardress codeviaMcAsh's descriptions ofthe"starlets"involvedwiththe
"Starburst ofYouth"tour andtheirsupportingphotographs. As Record Mail's reviewof
"Annette's BeachParty" illustratedearlier,theAmericanDream as filteredthroughtheA.I.P.
movies offeredacorrelationbetweensportingaptitudeandphysical attractiveness. Inthe
words ofbeachmoviedirector,William Asher,"ouraudiences welcomecleansex….They're
boredwithjuveniledelinquents"(QuotedinHoskyns, 1996: 59).Thephotographyfeatured
inthearticleexacerbates this sexualisationofthefemalehopefuls involved inthe"Starburst
ofYouth".Ofthefive actresses onlyLureeHolmes fails towearthebikini,thevirtual
national costumeofCalifornianwomen.Therefore,it is not altogethersurprisingthat all of
thewomenfeaturedinthewrittenpart ofthearticleare connectedwithbeautycontests,
modellingorsurfing.Comments suchas "avivacious 22-yearoldblondwiththeeye-popping
measurements of38"-22"-35""and "avivacious 22-year-oldbeautywho wonabikini contest
conductedforA.I.P.'s Bikini Beach" described Bobbi ShawandPatti Chandler."Asuccessful
modellingcareer"providedthepassport tofameforMaryHughes, Salli Sachse,JoCollins
andSueHamilton(McAsh, 1965: 52-53).
Finally,thesubcultural status ofthebeachmovies is enhancedbytheirdegreeofself-
referentialityandknowingness.This appears calculatedtoappeasefans oftheentireA.I.P.
output throughemphasisingcultural codes availabletoaudiences withan expert knowledge
ofthecompany's heritage.Morris states that throughtheir formal inconsistencies, thecycle
appears "about as self-reflexiveas theycome,[but] theyarenot as highinself-awareness",
suggestingthat thestudiodidnot appearinterested in"serious self-criticism"(Morris, 1993:
11).This judgement is overtlycritical: toexpect anavant-gardestyledissectionofthefilm
industryinateenagepop musical represents anunrealisticaim.Thelikes of BeachPartyand
MuscleBeachPartymakeaconstant stream oflight-heartedjokes at theexpenseoftheir
stars andA.I.P.itselfthat placespecial premium upontheiraudience's awareness ofwhat
exactlythetext represents.
This process ofsubcultural distinctionviaself-awareness relies upontheacquisitionof
minutepieces ofinformationthat appearunavailabletothoseunabletodiscernsuch codes.
Withthebeachmovies this operates inthreeways. First,as statedearlier,thefilms areloaded
withreferences tothesurfingsubculture,somethingthat has permittedtheir status as cultist
products foraudiences from the1960s onwards. Second,theseries nevercompletely
disguises its artificiality. Thebest exampleofthis occurs inascene from BeachParty,where
ProfessorSutwell (Bob Cummings)spies onthe beachdwellingteenagers forhis latest
anthropological project into youthbehaviourpatterns. His clumsyattempts todistance
himselffrom accusations ofvoyeurism results inhis assistant Marianne(DorothyMalone)
utteringaveryknowingresponse: "hangontothe picturerights American International will
snap it upinaminute".This presents aclearawareness from themovie's producers regarding
theirownapparent willingness toendorseteenage trends. A.I.P.'s success laywiththeir
abilitytorespond quicklytothechangingfashions ofAmerican youthculture. LikeSutwell,
Arkoff andNicholson wereadult outsiders, cinematicanthropologists desperatelyseekingan
insight intothecontemporaryvalues andtastes ofteenagers. Forpeople whowatchBeach
Partyawareofthestudio's historyofexploitingthelatest teenagetrends, Malone's joke
continues tooffer aslycritiqueoftheintentions ofSutwell andA.I.P. It demonstrates the
company's willingness to laugh at theirownintentions besides indicatingthat adults didhave
avestedinterest intheteenage community.Particularlyformoderndayviewers, an
appreciationofsuchhumourresults from an acquaintancewithA.I.P.'s own history.Thejoke
remains, andpossiblyalways was, alientothose audiences lackingthecultural competence
requiredforunderstandingthefilm.