Having previously seen many vintage movies featuring many burlesque strippers doing their stuff, I was very interested in watching this doc directed by Leslie Zemeckis (yes, the wife of Oscar-winning filmmaker Robert Zemeckis who is listed as an executive producer here) of that time when it seemed burlesque was king, at least in the cities that allowed it to be performed. Liked the account of actor Alan Alda's telling of his dad-Robert Alda's-experience as a singer and straight man there. Also was touched with Chris Costello-daughter of Lou Costello-and her account of her dad's tragedy of having his infant son drowning while he was supposed to do his radio show which he did despite that happening especially when they showed the baby's picture. And then there's the audio of one Blaze Starr-the woman who was once involved with my state's (Louisiana) governor Earl Long-who died last June. The interviews seem to have a haphazard quality as it goes from one tangent to another. Still, Ms. Zemeckis has nothing to be ashamed about in covering this long-neglected subject of this part of the entertainment world from days gone by being recorded now. So on that note, Behind the Burly Q is highly recommended.
4 Reviews
Tasties and pasties
F Gwynplaine MacIntyre23 April 2010
I enjoyed almost everything about this delightful documentary except its title: I've never encountered an actual human being who mispronounces the word 'burlesque' as 'Burly Q' or 'burleycue', and I don't know why fictional characters (such as Will Parker in the musical 'Oklahoma!') keep using this mispronunciation.
Despite that titular development, 'Behind the Burly Q' offers some rare and titillating footage from the days of old-time burlesque: Stateside only, though. I wish there had been at least a mention of London's legendary Windmill Theatre.
An impressive number of veteran strippers are interviewed here, offering their memories. Also on hand are Lou Costello's daughter, and Alan Alda. He's introduced here as "son of Robert Alda", and only later is it established that the senior Alda was a small-time burlesque comedian and singer. I wish that this documentary had mentioned that Robert Alda later had a more prestigious career in Hollywood films and Broadway musicals. Alan Alda offers some candid memories of his childhood as the son of a burlesque performer, including a nice anecdote about his sibling rivalry with a pig.
I was fascinated by much of the material here, including descriptions of how the strippers had to vary their striptease to satisfy local ordinances. For instance, in Green Bay, Wisconsin it was unlawful to remove clothing onstage, so the strippers had to duck into the wings to remove each garment, then come back onstage without it. Allegedly, audiences in Indianapolis were especially notorious for their obsession with the strippers' mammary endowments. (Surely this was the case in every other venue as well?)
Some legendary strippers who have made their exit and gone to that great Gazeeka Box in the sky are recalled here, including Lili St Cyr, Ann Corio and Gypsy Rose Lee. Sadly, nobody here has a kind word for Gypsy.
One stripper recounts the tragic story of the death of Lou Costello's infant son, but she implies that Costello was performing with her in burlesque at the time. In fact, he and Bud Abbott were starring in a radio series, and Costello made his scheduled radio broadcast that night despite his loss. This documentary includes a clip from a cross-talk comedy routine between Costello and the unjustly forgotten comedian Sidney Fields. I was disappointed that the clip shown here builds to the routine's punchline but then omits the punchline. American comedian Sidney Fields (no relation to English comedian Sid Field) spent much of his career writing comedy material for other performers, including Jackie Gleason. Also seen here, far too briefly, is burlesque comedian Pinky Lee in a minuscule clip from his 1950s kiddy show.
There's a brief mention of Costello's friend and fellow burlesque comic Rags Ragland. I wish that this documentary had told the hilarious true story about the occasion when an angry gun-toting stripper chased Ragland across the stage during Costello's "Crazy House" routine, and the audience thought it was part of the act!
I was very pleased that this documentary gives tribute to Bud Abbott's splendid timing as Costello's straight man, and I wish that more footage of Abbott had been included.
This documentary very briefly touches upon two lesser-known aspects of burlesque: the female impersonators and the strippers who were Negro or Oriental. I wish that a bit more information had been given here.
One stripper mentions that she dated John F Kennedy, while another recalls working in Jack Ruby's strip joint at the time of Kennedy's assassination.
These strippers certainly earned their money; they were worked hard, many of them came from abusive backgrounds and several were in abusive relationships while performing. At least they made more money taking off their clothes than they would have made in more conventional professions.
'Behind the Burly Q' is a delight: a documentary that's entertaining while also being informative. I was pleased that this movie verified something I've been asserting for years: namely, that early burlesque was family entertainment, with an absolute embargo on 'blue' material, and that the form only gradually moved raunchwards.
I'll rate 'Behind the Burly Q' 9 out of 10. Run all the way to Floogle Street to see it, and bring the top banana. Better yet: meet me round the corner in a half an hour!
Despite that titular development, 'Behind the Burly Q' offers some rare and titillating footage from the days of old-time burlesque: Stateside only, though. I wish there had been at least a mention of London's legendary Windmill Theatre.
An impressive number of veteran strippers are interviewed here, offering their memories. Also on hand are Lou Costello's daughter, and Alan Alda. He's introduced here as "son of Robert Alda", and only later is it established that the senior Alda was a small-time burlesque comedian and singer. I wish that this documentary had mentioned that Robert Alda later had a more prestigious career in Hollywood films and Broadway musicals. Alan Alda offers some candid memories of his childhood as the son of a burlesque performer, including a nice anecdote about his sibling rivalry with a pig.
I was fascinated by much of the material here, including descriptions of how the strippers had to vary their striptease to satisfy local ordinances. For instance, in Green Bay, Wisconsin it was unlawful to remove clothing onstage, so the strippers had to duck into the wings to remove each garment, then come back onstage without it. Allegedly, audiences in Indianapolis were especially notorious for their obsession with the strippers' mammary endowments. (Surely this was the case in every other venue as well?)
Some legendary strippers who have made their exit and gone to that great Gazeeka Box in the sky are recalled here, including Lili St Cyr, Ann Corio and Gypsy Rose Lee. Sadly, nobody here has a kind word for Gypsy.
One stripper recounts the tragic story of the death of Lou Costello's infant son, but she implies that Costello was performing with her in burlesque at the time. In fact, he and Bud Abbott were starring in a radio series, and Costello made his scheduled radio broadcast that night despite his loss. This documentary includes a clip from a cross-talk comedy routine between Costello and the unjustly forgotten comedian Sidney Fields. I was disappointed that the clip shown here builds to the routine's punchline but then omits the punchline. American comedian Sidney Fields (no relation to English comedian Sid Field) spent much of his career writing comedy material for other performers, including Jackie Gleason. Also seen here, far too briefly, is burlesque comedian Pinky Lee in a minuscule clip from his 1950s kiddy show.
There's a brief mention of Costello's friend and fellow burlesque comic Rags Ragland. I wish that this documentary had told the hilarious true story about the occasion when an angry gun-toting stripper chased Ragland across the stage during Costello's "Crazy House" routine, and the audience thought it was part of the act!
I was very pleased that this documentary gives tribute to Bud Abbott's splendid timing as Costello's straight man, and I wish that more footage of Abbott had been included.
This documentary very briefly touches upon two lesser-known aspects of burlesque: the female impersonators and the strippers who were Negro or Oriental. I wish that a bit more information had been given here.
One stripper mentions that she dated John F Kennedy, while another recalls working in Jack Ruby's strip joint at the time of Kennedy's assassination.
These strippers certainly earned their money; they were worked hard, many of them came from abusive backgrounds and several were in abusive relationships while performing. At least they made more money taking off their clothes than they would have made in more conventional professions.
'Behind the Burly Q' is a delight: a documentary that's entertaining while also being informative. I was pleased that this movie verified something I've been asserting for years: namely, that early burlesque was family entertainment, with an absolute embargo on 'blue' material, and that the form only gradually moved raunchwards.
I'll rate 'Behind the Burly Q' 9 out of 10. Run all the way to Floogle Street to see it, and bring the top banana. Better yet: meet me round the corner in a half an hour!
Let me entertain you....
UNOhwen21 December 2012
My hats off to these women (some, sadly, since the making of the film, have left us).
Growing up in NYC, we've had always had a 'reputation' - and, part of it was of our burlesque theatres.
Thank goodness the makers of this terrific documentary were able to give these women the chance to reminisce, and film their terrific stories.
One thing I came away with from Behind The Burly Q, is how these women WERE 'women's rights' before there was such a thing.
But, it's only after this period of time, that we can look back and say something like that.
These women were NOT the 'strippers' (Ahem!) of today.
These women - who can probably talk bluer than a truck driver - are feminine, but, they're TOUGH.
They don't let ANYONE boss them around.
They had a job, and they did it.
Some of these women are still holding grudges against others, all these years later.
For the most part, these women keep up their femininity - and while age might have slowed their bodies down a bit, their minds' are revving at top speed.
If you're interested in the history of 'adult' entertainment' (and understand the difference between vaudeville & burlesque, and their off-spring - or want to), this is a great way to spend some time.
Pull up a chair, and let these mesmerising women do a few tricks, some old and then some new tricks - they're very versatile.
And if you're real good, they WILL make you feel good, they want your spirit to climb.
So let them entertain you, and you'll have a real good time.
Growing up in NYC, we've had always had a 'reputation' - and, part of it was of our burlesque theatres.
Thank goodness the makers of this terrific documentary were able to give these women the chance to reminisce, and film their terrific stories.
One thing I came away with from Behind The Burly Q, is how these women WERE 'women's rights' before there was such a thing.
But, it's only after this period of time, that we can look back and say something like that.
These women were NOT the 'strippers' (Ahem!) of today.
These women - who can probably talk bluer than a truck driver - are feminine, but, they're TOUGH.
They don't let ANYONE boss them around.
They had a job, and they did it.
Some of these women are still holding grudges against others, all these years later.
For the most part, these women keep up their femininity - and while age might have slowed their bodies down a bit, their minds' are revving at top speed.
If you're interested in the history of 'adult' entertainment' (and understand the difference between vaudeville & burlesque, and their off-spring - or want to), this is a great way to spend some time.
Pull up a chair, and let these mesmerising women do a few tricks, some old and then some new tricks - they're very versatile.
And if you're real good, they WILL make you feel good, they want your spirit to climb.
So let them entertain you, and you'll have a real good time.
Half-decent
take2docs4 March 2021
Warning: Spoilers
Imagine a feature-length documentary on pole-dancing, of all things. For 90 minutes a succession of former bill collectors describe what it was like working the pole, when five minutes would do and the point made. Ah, the stories, the insights! Enter BEHIND THE BURLY Q. Although not a film about the history of exotic dancing, it comes close to it and the effect on the viewer is pretty much the same. At about the six-minute mark, the doc begins to feel tedious and repetitious and after a quarter-hour you may long for it to end -- yet there's still a whole hour and fifteen minutes that remains! Who knew the world of the striptease could be this mentally vacuous and insipid?
BEHIND THE BURLY Q. At first I thought the title to be a play on words. To my disappointment, there were no shots of the can-can. (Am I getting burlesque mixed up with the Parisian cabaret, perhaps?) Burly, yes. One could argue that at least some of the aged women interviewed here fit that description, with one or two seeming to have aged as gracefully as Dorian Gray's portrait.
The poster art to this documentary shows a leggy woman in fishnet hose. Cheesecake done up in fishnet hose and garters is likely what drew many a man to the burlesque theaters of yore. One of the grannies comments in this that the comics were the main attractions of these shows, not the strippers. What a howler.
Here and there we're provided with some mildly interesting history and trivia pertaining to burlesque. Speaking of comics, one of the interviewees reveals how many of these were curmudgeons off-stage. Those who worked in the business also traveled a lot, from city to city. There was also a lot of travel required of those who worked in the business. Later on it's told of the amount of travel that was involved. If I sound like I'm repeating myself, so goes most of this documentary.
Occasionally, there were senseless rules the women had to follow. As just one example, breast-baring was fine, so long as the bra was removed from behind the curtain and not in front of the audience. (Why, that would be too suggestive.) There were censors to contend with as well. Certain words were not allowed to be said. (These were audiences full of grown-ups, you see.)
Interestingly, one learns that even as far back as the 1920s and '30s, chorines and other scantily clad women were gyrating on stage in dives and joints for entertainment purposes. Consider some of the clips from this period, shown here. Long before tassles came along, there were pasties. Although the origins of burlesque in America dates back to the mid-1800s, its heyday was in and around the 1920s and '30s, and one has to wonder why they ever called this period the Great Depression.
There were comedy skits, novelty acts, and dance routines, to be sure, and I imagine very little heckling, especially during the show-stoppers! That golden oldie, "Street Scene '58" came to mind as I watched this, and it was surprising not to hear its familiar strains used at some point during this semi-addle affair.
BEHIND THE BURLY Q made a clock-watcher out of me. I found it poorly paced and plodding. Not to mention badly composed. It begins abruptly, sort of in the middle of the story, and scenes continue on pell-mell from there, with no rhyme or reason to the splicer's collage and the frequent quick cutaways from one interviewee to the next, shown reminiscing, rambling, and relating anecdotes. It's a bit like listening in on an extended and relatively yawn-inducing kaffee-klatsch. The clubby doc plays as if made for the enjoyment of past performers in the business and not for a general audience. Face it. These old ladies seem like nice people but are not all that interesting. The only person I really enjoyed listening to was actor Alan Alda, who talks about his days growing up backstage and being surrounded by chorus girls. Some childhood.
BEHIND THE BURLY Q. At first I thought the title to be a play on words. To my disappointment, there were no shots of the can-can. (Am I getting burlesque mixed up with the Parisian cabaret, perhaps?) Burly, yes. One could argue that at least some of the aged women interviewed here fit that description, with one or two seeming to have aged as gracefully as Dorian Gray's portrait.
The poster art to this documentary shows a leggy woman in fishnet hose. Cheesecake done up in fishnet hose and garters is likely what drew many a man to the burlesque theaters of yore. One of the grannies comments in this that the comics were the main attractions of these shows, not the strippers. What a howler.
Here and there we're provided with some mildly interesting history and trivia pertaining to burlesque. Speaking of comics, one of the interviewees reveals how many of these were curmudgeons off-stage. Those who worked in the business also traveled a lot, from city to city. There was also a lot of travel required of those who worked in the business. Later on it's told of the amount of travel that was involved. If I sound like I'm repeating myself, so goes most of this documentary.
Occasionally, there were senseless rules the women had to follow. As just one example, breast-baring was fine, so long as the bra was removed from behind the curtain and not in front of the audience. (Why, that would be too suggestive.) There were censors to contend with as well. Certain words were not allowed to be said. (These were audiences full of grown-ups, you see.)
Interestingly, one learns that even as far back as the 1920s and '30s, chorines and other scantily clad women were gyrating on stage in dives and joints for entertainment purposes. Consider some of the clips from this period, shown here. Long before tassles came along, there were pasties. Although the origins of burlesque in America dates back to the mid-1800s, its heyday was in and around the 1920s and '30s, and one has to wonder why they ever called this period the Great Depression.
There were comedy skits, novelty acts, and dance routines, to be sure, and I imagine very little heckling, especially during the show-stoppers! That golden oldie, "Street Scene '58" came to mind as I watched this, and it was surprising not to hear its familiar strains used at some point during this semi-addle affair.
BEHIND THE BURLY Q made a clock-watcher out of me. I found it poorly paced and plodding. Not to mention badly composed. It begins abruptly, sort of in the middle of the story, and scenes continue on pell-mell from there, with no rhyme or reason to the splicer's collage and the frequent quick cutaways from one interviewee to the next, shown reminiscing, rambling, and relating anecdotes. It's a bit like listening in on an extended and relatively yawn-inducing kaffee-klatsch. The clubby doc plays as if made for the enjoyment of past performers in the business and not for a general audience. Face it. These old ladies seem like nice people but are not all that interesting. The only person I really enjoyed listening to was actor Alan Alda, who talks about his days growing up backstage and being surrounded by chorus girls. Some childhood.
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