John Waters Introduces ‘The Girl Can’t Help It’


The Girl Can’t Help It is the gar­ish acme of Cin­e­maS­cope and DeLuxe Color, mon­u­men­tally loud and bla­tantly exploita­tive —a ver­i­ta­ble Parthenon of vul­gar­ity and a supremely unfunny com­edy that is pure eau de Fifty-Six. This satire of Elvis and Mar­i­lyn (or rather, of their clones) shim­mers with radioac­tive pinks and cobalt blues; at once stri­dent and sta­tic, the movie defines the atomic-Wurlitzer chrome– tail­fin Fontainebleau-lobby look. Producer-director-co-writer Frank Tash­lin is one of the very few Hol­ly­wood direc­tors who broke into movies as an ani­ma­tor and, like the Dean Martin–Jerry Lewis come­dies that pre­ceded it, The Girl Can’t Help It is some­thing like a live-action Looney Tune.

Appro­pri­ated by John Waters some 15 years later as the only suit­able way to intro­duce his 300-pound gender-blur Divine in Pink Flamingos.

Grotesque stereo­types col­lide with billboard-sized car­i­ca­tures. This proto Pop Art pathol­ogy might be too painful to con­tem­plate were it not for the exotic life forms flour­ish­ing around its periph­ery. Cli­max­ing with a rock show per­formed for an audi­ence of teenage white zom­bies, The Girl Can’t Help It is pop­u­lated by all man­ner of failed honkers and would-be cool cats—as well as Fats Domino, the Plat­ters, a gospel-shouting Abbey Lin­coln.

The coolest pres­ence ever recorded by a Hol­ly­wood cam­era may be Lit­tle Richard, first seen stand­ing entranced before a piano—as if won­der­ing whether to pul­ver­ize or incin­er­ate it.

In Alba­nia, is any­thing so bad it’s good?” “Lit­tle Richard was “…the King of Rock ‘n Roll, and the Queen of Rock ‘n Roll.“
Here, our beloved Pope of Trash intro­duces Frank Tashlin’s gem­stone for every­one to enjoy.…


I Am Divine, The True Story Of The Most Beautiful Woman In The World


Divine was my close friend and fear­less muse. Who else could con­vinc­ingly turn from teenage delin­quent to mug­ger, pros­ti­tute, unwed mother, child abuser, fash­ion model, night­club enter­tainer, mur­der­ess, and jail­bird? All in the same movie? That’s why I am giv­ing my full bless­ing to a new doc­u­men­tary fea­ture film, I am Divine, to be directed by award-winning film­maker Jef­frey Schwarz.”  — John Waters

We excited to present to you a brand new doc­u­men­tary about the most beau­ti­ful woman in the world… the filth­i­est per­son alive… the leg­endary, the out­ra­geous, the one and only… Divine!

I am Divine will be a defin­i­tive bio­graph­i­cal por­trait of Har­ris Glenn Mil­stead, a.k.a. Divine, and will honor him in just the way he always craved—as a seri­ous artist and immor­tal star. Telling Divine’s entire story, from his early days as a mis­fit youth in Bal­ti­more through his rise to infamy as a cult super­star. Like the char­ac­ters he por­trayed in numer­ous films, Divine was the ulti­mate out­sider. He trans­formed him­self from a bul­lied school­yard fat kid to a larger-than-life per­son­al­ity and under­dog roy­alty as his alter-ego Divine.


Divine stood up for mil­lions of gay men and women, female imper­son­ators, punk rock­ers, the ample fig­ured, and count­less other socially ostra­cized peo­ple. With a com­pletely com­mit­ted in-your-face style, he blurred the line between per­former and per­son­al­ity and rev­o­lu­tion­ized pop culture.

As out­ra­geous and fun as its sub­ject, I am Divine will com­bine movie clips, rare home movies and pho­tos, tele­vi­sion appear­ances and live per­for­mance footage with brand new inter­views with John Waters, Ricki Lake, Mink Stole, Tab Hunter, Holly Wood­lawn, Michael Musto, Bruce Vilanch, mother Frances Mil­stead (who pro­vided her final inter­view just months before she passed away), and many more of Divine’s fam­ily, friends, col­leagues, and devotees.

The Incredible Chesty Morgan

One thing we like at ‘The Remains’ is a good pair of Juggs. And no one deliv­ered more in that field than Chesty Mor­gan. A tiny (around 4 foot 8inches) but sur­pris­ingly attrac­tive woman, for many she rep­re­sents the epit­ome of the big-tit pinup queen.

Chesty didn’t have it easy in life. Born around 1928 in Poland, as Lil­lian Wilczkowsky (now Lil­lian Stello), los­ing both her par­ents when she was a child in the Nazi inva­sion in 1939. Mor­gan mar­ried an Amer­i­can and moved to the United States in the 1960s; her hus­band was later killed in a robbery.The police told her that armed rob­bers herded her hus­band and two employ­ees into a refrig­er­a­tor and shot and stabbed them to death. Tabloids call the crime “the ice­box murders.”She began her career as an exotic dancer in the early 1970s.

Her billing title boasted that she had “The World’s Largest Nat­u­rally Occur­ring Bosom”. At one point, she had a poster enti­tled “The Spirit of 76 (Inches)” She was immensely pop­u­lar on the striptease cir­cuit in the 60’s, known for her 73-inch bust size. How­ever, at some point, she came to the atten­tion of the incred­i­bly film­maker, Doris Wish­man. And in 1973, Doris cast Chesty in the role of Krys­tal in the film Deadly Weapons. This was fol­lowed in 1974 with Dou­ble Agent 73.


Deadly Weapons (1973) and Dou­ble Agent 73 (1974) — are among Wishman’s best-known and most out­ra­geous work. The two films have become cult movies, due to their highly uncon­ven­tional plots, which were writ­ten by Wishman’s niece, Judy J. Kush­ner. In Dou­ble Agent 73, for exam­ple, Mor­gan plays a secret agent who has both a cam­era and a bomb installed in her breasts. Such a thing might not seem wholly out of place in a com­edy, but these films are played straight — the tone is more seri­ous than a James Bond movie.

Wishman’s films are filled with con­tra­dic­tions, par­tic­u­larly about sex. Rather than erotic, many of her movies could actu­ally be described as anti-sexual. In 1976 Fed­erico Fellini is in New York to pro­mote his lat­est movie, Amar­cord, and catches a glimpse of Chesty. He invites her to be in his upcom­ing film, Fellini’s Casanova.

She dyes her hair black and flies to Rome. Casanova, played by Don­ald Suther­land, chases Bar­ba­rina, played by Chesty, around and around a table. Fellini cuts her part from the film, but her scene remains in a doc­u­men­tary that still cir­cu­lates on the Internet.

Ms Morgan’s film career began again in the 1990’s. In 1994, film­maker John Waters used footage of Chesty from the film Dou­ble Agent 73 in his 1994 film Ser­ial Mom. Addi­tion­ally, Waters wrote a role for her in his (never made) sequel to Pink Flamin­gos (Flamin­gos Forever).

You can watch here a com­pi­la­tion of clips of Miss Chesty in all her Glory. Loves to Chesty.