LEAGUE OF EXOTIQUE DANCERS opens theatrically on May 20, 2016 in Toronto (Bloor), Vancouver (Rio), Edmonton (Metro Cinema) via KinoSmith

Legendary Burlesque Queen and Russ Meyer Star
KITTEN NATIVIDAD, her cutey cartoony still emblazoned
on the equally legendary gentlemen's club, The Body Shop.

League of Exotique Dancers (2016)
Dir. Rama Rau
Prd. Ed Barreveld
Starring: Kitten Natividad, Camille 2000, Delilah Jones, Gina Bon Bon, Holiday O'Hara, Judith Stein, Lovey Goldmine, Marinka, Toni Elling

READ THE FULL **** FOUR-STAR REVIEW by Greg Klymkiw HERE

LEAGUE OF EXOTIQUE DANCERS - HOT DOCS 2016 Review By Greg Klymkiw - a history of the art of Burlesque through the seen-it-all eyes of Burlesque Hall of Fame inductees

Legendary Burlesque Queen and Russ Meyer Star
KITTEN NATIVIDAD, her cutey cartoony still emblazoned
on the equally legendary gentlemen's club, The Body Shop.

League of Exotique Dancers (2016)
Dir. Rama Rau
Prd. Ed Barreveld
Starring: Kitten Natividad, Camille 2000, Delilah Jones, Gina Bon Bon, Holiday O'Hara, Judith Stein, Lovey Goldmine, Marinka, Toni Elling

Review By Greg Klymkiw

I've always loved burlesque. As a healthy, young lad growing up in Winnipeg, I was surrounded by the finest in this magnificent form of entertainment thanks to a crusty old booking agent by the name of Gladys Balsillie who managed a stable of formidable talent on constant view in only the finest gentlemen's clubs of my old winter city. Known famously as "Gladdie's Girls", these ladies were no mere strippers, but featured performers who put on super-cool shows with props, costumes, jokes, storytelling and even narrative arcs to their dances. The greatest of these ladies was the incomparable June Tracy, a ribald, full-figured octogenarian beauty who spun deliciously dirty tales through her craggy, chain-smoke-charred voice pipes. Not only could she twirl one tassel-adorned breast at a time, she oft-performed her famed bubble bath act in a claw-footed tub and then, always ended every show with a series of vigorous bows and the best exit-line ever: "Thank you, thank you, thank you," she'd belt out and then, after a perfectly-timed pause, "…Thank you, relatives!"

- my review of Beth B's EXPOSED

Last year I prefaced the 2015 edition of Hot Docs with a review of Exposed, Beth B's insightful documentary on contemporary burlesque, which, at the time, was making its DVD debut on Zeitgeist Films home entertainment. One year later, I'm faced with the world premier and opening night picture of Hot Docs 2016, which is none other than ace Storyline Entertainment documentary producer Ed Barreveld's League of Exotique Dancers, directed by Rama Rau.

Rau trains cinematographer Iris Ng's expert lens upon a group of exotic burlesque dancers who are not only still with us, but are on the precipice of their induction into the Burlesque Hall of Fame, which will include more than the mere ceremony, but full-on burlesque shows by a number of these great ladies.

The interviews not only provide a rich history of burlesque, but reveal a cornucopia of insights into the themes of female power, grace and showmanship during a time when women in North America were viewed by most men as Madonnas or Whores, Housewives or Harlots, Molly Maids or Madams (and maybe even a healthy/unhealthy mixture of the aforementioned couplings). Though the film provides any number of positive perspectives on the art of burlesque, it also sheds light on those who view it as sex-trade work, pure and simple, some of their lives replete with abuse, addiction and sadness.

One thing they seem to all agree on, though, is that burlesque was a far cry from straight-up stripping and certainly light-years ahead of how disgusting many of the contemporary clubs have become since the implementation of lap dancing, private dancing and the addition of dark V.I.P. rooms which are little more than whorehouses.

Burlesque is bump-and-grind, to be sure, but with the implementation of costumes, makeup and even stories for the various dances, it's hardly a stretch to declare it erotic performance art of the highest order. Some of the thematic elements of the dances might be imbued with satiric and/or political intent, whilst others are simply there to entertain, but what one cannot deny is the fact that fun, and often humour, are the order of the day.

Seeing these grand ladies in their august years, seated like royalty on their respective perches, dolled-up and dressed to the nines, prancing and parading us through neighbourhoods of their past, is a thing of sheer beauty. To see them perform now, is even more tantalizing (attention all GMILF aficionados), especially in juxtaposition to cutter Rob Ruzic's expertly edited montages of archival footage from the golden age of burlesque.

Each of the women make for magnificently entertaining and insightful interview subjects, but if I'm allowed, I'm picking a handful of favourites. Gotta love the Canadian content (this is a Canadian film, after all) with Judith Stein, her famed monicker none other than the saucy "Great Canadian Beaver", the beautiful and erudite Toni Elling recounting the experience from the women-of-colour perspective and Marinka matter-of-factly discussing her sales of used G-strings to those fetishists wishing to take the scent of a woman back home with them.

Kitten Natividad shares her love story
with master filmmaker, the late Russ Meyer.

The inclusion of the gorgeous, supremely intelligent and truly legendary Kitten Natividad made the whole movie sing for me. Director Rau importantly focuses on Natividad's professional and personal relationship with the great Master filmmaker Russ (Faster Pussycat Kill Kill, Beneath the Valley of the Ultra-Vixens, Up!) Meyer. We get to visit the front yard of his modest suburban dwelling (from which one can see the famed HOLLYWOOD sign) and hear Natividad's reminiscences of what sounds like a truly and deeply profound love story. The film also gives a healthy nod to Meyer's place as a film artist, including some terrific clips from his work and the genuinely amazing footage of Russ cutting on a Movieola in his garage.

I couldn't help but shed a tear as Natividad recounted Meyer's final years afflicted with Alzheimer's and how she selflessly took on the role as his primary caregiver.

What Rau's film finally proves is that sex might sell, but the business and art of selling sex can be infused with great love, joy, intellect, imagination, self-discovery and humanity. This, is a good thing. Judgement is easy. Acceptance is what distinguishes us in the eyes of whatever Creator looks down upon us.

THE FILM CORNER RATING: **** 4-stars

League of Exotique Dancers is a Kinosmith release. Its world premiere is the opening night of Hot Docs 2016.

EXPOSED - Review By Greg Klymkiw - Cutting Edge Beth B Delves Into Burlesque World

In anticipation of the upcoming 2015 Toronto Hot Docs International Festival of Documentary Cinema, here's my review of the brand-new Zeitgeist Films DVD release of Exposed, a tremendously insightful and entertaining doc on the world of contemporary burlesque by the legendary cutting edge New York "No Wave" underground filmmaker Beth B.

Exposed (2013)
Dir. Beth B
Starring: World Famous *BOB*, Julie Atlas Muz, Mat Fraser, Rose Wood, Dirty Martini, Bambi the Mermaid, Bunny Love, James Habacker, Tigger!

Review By Greg Klymkiw

I've always loved burlesque. As a healthy, young lad growing up in Winnipeg, I was surrounded by the finest in this magnificent form of entertainment thanks to a crusty old booking agent by the name of Gladys Balsillie who managed a stable of formidable talent on constant view in only the finest gentlemen's clubs of my old winter city.

Known famously as "Gladdie's Girls", these ladies were no mere strippers, but featured performers who put on super-cool shows with props, costumes, jokes, storytelling and even narrative arcs to their dances. The greatest of these ladies was the incomparable June Tracy, a ribald, full-figured octogenarian beauty who spun deliciously dirty tales through her craggy, chain-smoke-charred voice pipes. Not only could she twirl one tassel-adorned breast at a time, she oft-performed her famed bubble bath act in a claw-footed tub and then, always ended every show with a series of vigorous bows and the best exit-line ever: "Thank you, thank you, thank you," she'd belt out and then, after a perfectly-timed pause, "…Thank you, relatives!"

Beth B's wonderful film Exposed, took me back to those halcyon days and reminded me how disgusting many of the clubs have become since the implementation of lap dancing, private dancing and the addition of dark V.I.P. rooms which are little more than whorehouses. In recent years, Canada began to bring back old-fashioned burlesque, but unless you live in Toronto or Vancouver, it's awfully hard to see.

Of course, always ahead of the curve, it makes perfect sense that since the beginning of the 21st Century the creative sluices opened up for a number of New York-based performers to take burlesque into truly transgressive directions and Beth B is clearly the filmmaker for the job of immortalizing it on film. A vital part of the late-70s-early-80s New York "No Wave" of cinema (whose members included Amos Poe, Jim Jarmusch, Sarah Driver and others), she brings her eye for alternative visions as well as her well-honed craft to a film that was shot over a few years.

B's picture is a lovely cinematic alternative to this dazzling, live performance/burlesque art and focuses upon eight spectacular performers who continue to strut their stuff - not in sleazy "gentleman's clubs", but most often in (occasionally sleazy) super-cool venues where the acts are presented with all the bump-and-grind one would expect, plus the addition of genuine performance art of the highest quality. The work is satirical, political and downright cerebral. The performers are first-rate entertainers who continually confound traditional notions of sexuality, gender and body-type.

We're taken backstage, into the homes and hotels, as well as the bedrooms of these eight dancers. B's camera allows them all to present who they are as both artists and people. Then, there are the performances which are gloriously shot and cut, offering humour and food for thought, but most of all, they are just plain sexy as all get out. Not a single man, woman and transgendered performer is bereft of sex appeal and Exposed is easily one of the best showcases for this loin-stirring and noggin-inspiring work.

I loved each and every one of these people and part of this comes from who they are as human beings, but another part comes from B's point of view - she brings humanity and love to every frame of the picture so that it's also deeply and profoundly moving.

It's especially cool to see the brilliant actor/performer Mat Fraser celebrating his sheer sex appeal by "normalizing" his physically challenged thalidomide-affected arms and hands. He does this by using his natural gifts as a performer, but also by infusing his arms with all manner of sex-drenched aplomb and gymnastics. It's also cool to see his deeply loving relationship with his partner Julie Atlas Muz, and why not? He's a major hunk and she's a total babe and they're both brilliant performers in their own right.

What's not to love?

Rose Wood, an astoundingly intense transgendered performer is equally compelling - he's a tower of power in all respects and we eventually even get to see the results of his breast augmentation surgery which adds an amazing element to his act - we're talking hunka-hunka-burning-love here.

Then again, that pretty much describes the entire, glorious experience of Exposed. It's without question one hunka-hunka-burning-love of sheer cinematic joy. It might well be the definitive documentary on contemporary burlesque.

THE FILM CORNER RATING: **** 4 Stars

Exposed is available on DVD via Zeitgeist Films.

FEEL FREE TO ORDER THE FILM DIRECTLY VIA THE AMAZON LINKS BELOW AND ASSIST IN THE ONGOING MAINTENANCE OF THE FILM CORNER:

In USA and the rest of the WORLD - BUY Exposed - HERE!

In Canada - BUY Exposed HERE, eh!

In UK BUY Exposed HERE

THE MANOR - Review By Greg Klymkiw - Klymkiw HOT DOCS 2013 HOT PICK

The Manor (2013) ****
Dir. Shawney Cohen

Review By Greg Klymkiw

When you are next in picturesque Guelph, Ontario

Please make sure to visit the exquisite gentleman's club 

THE MANOR

A very special ALL NEW treat awaits Gentlemen of Distinction.
The Bottle Service Lounge includes everything you could possibly want for the ultimate night out: Front row seating for all major events, your own private waitress, shower shows and comfortable leather couches in your own section.

So you're a six-year-old red-blooded male and your Dad buys a strip club attached to a dive hotel and it becomes the family business wherein you, your little brother and Mom pitch in.

Sounds like a good deal to me.

Even better is that during the first few years the business was operating, your family lived in a suite above the finest Gentleman's Club in Southern Ontario (Le meilleur club pour les messieurs dans le sud de l'Ontario).

Sorry, bro', but this is sounding mighty win-win to me.

I'll admit, though, that time and maturity play nasty tricks on us and in your case, a quarter of a century later, those halcyon days don't seem so golden - if, in fact, they ever were. For example, as a kid, you'd wake up thirsty in the middle of the night, pad down to the bar and pour yourself a Coke from the taps. You remember that during this time, you didn't, for even a second think there was anything "weird" about this.

Hey, bud, why should you? Sounds like some kind of crazy living wet dream to me.

But no, not to you. These days you look around and see your patriarchal 400-pound Dad brashly bullying his way through life, your gentle subservient 85-pound Mom hiding further and further within herself, your baby brother dreaming of owning his own strip club and dating the "help" and you think, is there something wrong with this picture? Is there something wrong with me?

Then you gaze in the mirror and see someone who has not lived up to his potential.

Well, maybe it's not all peaches and cream.

What I see, however, is the kind of filmmaker I dreamed about getting my mitts on during the 13 years I was the Senior Creative Consultant and Producer-in-Residence at Uncle Norm Jewison's Canadian Film Centre.

You know why? You've done what many of them couldn't even dream of doing. You just made one hell of a terrific movie and frankly, your life experience and the talent you display suggests to me that we're going to see some totally amazing work from you in the future.

*****

Director Shawney Cohen, the aforementioned young whippersnapper I was addressing above, clearly needed to explore this situation - if only for himself - but in reality, this process of exploration has yielded something very, very special for all of us. He shot The Manor over a three year period with unfettered access to his parents and their world. What he's crafted here for his first feature is a lovely picture about family, love, loyalty, caring and conflict against the backdrop of a (for some) unconventional setting.

This is one corker of an entertaining movie.

Shawney himself guides us on the journey. His initially dour and vaguely judgemental attitude rubbed me the wrong way, but as the movie progressed, my perception shifted to genuine admiration as the more sour aspects of his character (once he gets a girlfriend, actually) transform into a very moving display of love and caring.

Besides, in both life and art, someone's got to have a voice of reason.

What Cohen does here is pretty damn extraordinary. He exposes a slice of his family's (to some) strange life and makes it completely relatable to everyone. I love how I came to love this family - especially his Dad - a no nonsense, stubborn and unapologetically irascible old curmudgeon who might not always do things the right way, but in his own way, he thinks he's doing the right thing. One of my best friends remarked how frighteningly similar Shawney's Dad was to both my own Dad and, uh, ME. I took it as a compliment. And yes, it was meant as one.

There is, always, a lot of talk about dysfunctional families and there's been much of that in relation to The Manor - even within the film and its promo bumph. I hate that expression. I especially don't believe in how people spread it around like cow shit on the lawn. Unless a family is identical to the fucking Cleavers on Leave it to Beaver, ALL families are dysfunctional - it's simply a matter of degrees.

What I see when I watch Cohen's film is a genuine patriarch presiding over his wife, sons, home and business - old school, for sure - but he is a REAL MAN who LOVES his family. He might not always be choosing the best way to express it, but express it he does.

The Manor, as a slice of life, delivers a great story that's finally all about love.

And why not?

Love is the ultimate unifying force and though many things threaten to split it apart, love - as always - has the last laugh.

"The Manor" is playing at the Hot Docs 2013 Film Festival. For showtimes and tickets, visit the festival's website HERE. It will be released via Kinosmith.

Now Folks, when you're in Guelph, please patronize THE MANOR - I've been there myself and I can personally attest to its abundance of charm. For info, visit the website HERE.

AND LADIES, "THE MANOR" IS A TRULY FEMINIST GENTLEMAN'S CLUB. HOT DOCS GALS MAY WISH TO PARTAKE IN "LADIES NIGHT" ON THE LAST NIGHT OF THE FILM FESTIVAL TO CELEBRATE A GREAT WEEK OF BUSINESS AND PLEASURE!