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Plot: in a barbaric world one warrior must fulfill an ancient prophecy.

There are but two demographics who were really receptive to embracing the practice of DIY filmmaking, stunt actors and horror/science fiction enthusiasts. That not everybody can be a Sam Raimi, Peter Jackson, or Tsui Hark was a given – but it seems more than a little unjust that stuntwoman/devil-do-all Cecily Fay is left in micro-budget hell whenever she isn’t working anonymously on Hollywood blockbusters. A woman with her skill set should be employed as an action director, fight choreographer, and weapons expert on productions with budgets that she’ll never command. It’s nigh on unbelievable that a woman like this wasn’t hired by Stallone for his The Expendables series or whenever America attempts another martial arts romp. Certainly indie directors like Rene Perez, Neil Johnson, and Benjamin Combes would know what to do with somebody her. Imagine what fireworks could be generated when Fay was partnered with somebody like Danielle C. Ryan, Antony Centurini, or Tara Macken. Warrioress provides ample evidence why such a partnership needs to happen. If this is what Cecily can do on her own, imagine her bundling her considerable forces with someone with actual clout.

Warrioress is a throwback to the barbarian movies - particularly the ones produced by Roger Corman in Argentina from the early-to-mid 1980s - following the break-away success of Arnold Schwarzenegger in John Milius’ Conan the Barbarian (1982). Like its Argentinian forebears Warrioress too feels like a Luis Royo, Boris Vallejo, Frank Frazetta, or Christophe Young painting brought to life. Albeit that it just as often looks as LARPing caught on home video. Just like Geisha Assassin (2008) and Ninja Apocalypse (2014) before it Warrioress has the thinnest veneer of a story as a preamble to have as many action sequences (brawls, confrontations, and duels – with and without weapons) as humanly possible. It’s primary concern is not one of world-building, the plot is at no point significant (or all that important), and it consists of just about every barbarian, steampunk, and post-nuke archetype under the sun. Before anything else, Warrioress is a showcase for Fay and her Babes With Blades collective and a demo reel extended into a 90-minute feature presentation. It’s one of those unfortunate instances where the digital box art is better than the film itself.

And who’s the creative force behind Warrioress? Cecily Fay. Fay is a British stuntwoman who has worked on Tim Burton’s Charlie and the Chocolate Factory (2005), The Hitchhiker's Guide to the Galaxy (2005), and Ridley Scott’s Prometheus (2012) as well as Snow White and the Huntsman (2012), The Huntsman: Winter's War (2016), and Outlaw King (2018). This pint-sized powerhouse is a martial artist, choreographer, weapons expert, and a lifelong practitioner of tai chi and the Indonesian martial arts of pencak silat. With a resumé like that you’d expect at least some of her Hollywood friends to lend a hand. No such thing is the case. Warrioress is DIY from conception to execution. In practical terms that means that Fay was involved in every aspect of its creation with exception of directing. She may not stand… well, tall or anything at 4’9″ (1.45m), but Cecily is a force of nature otherwise. A British Michelle Yeoh, or Angela Mao Ying, if you will. Warrioress is the debut feature of both herself as a performer and the Babes with Blades Theater Group that she runs and something of a collaborative effort between herself and director Ross Boyask.

Once every generation the Danan Sidhe hold a tournament to choose their ultimate warrior. For long they have held a prophecy that a Chosen One would fight the northern tribes of the Ragganwold and unite the hordes. She would wield the Twin Sister Swords and crush the Falonex oppressor. The shamaness (Loveday Holly) believes that Boudiccu (Cecily Fay) is the prophesied Chosen One. When she wins the local tournament she’s send on a perilous quest by village sage Valexia (Penni Tovey). Believing her lover Finvarrah (Christian Howard) to be slain during a raid only enrages Boudiccu further beckoning her on her journey to the mythical Tombs of the Ancestors. Meanwhile the Emperor (Will Brenton) of the Falonex industrial empire has sent champion Djahn (Helen Steinway Bailey) to eliminate Boudiccu. Along the way she forges an alliance with Ragganwold warrioress White Arrow (Joelle Simpson). The two liberate White Arrow’s sister Silver Rain (Jennie Flader) and some of her kin from imprisonment. It’s then that Boudiccu realizes that the legends, the Prophecy, and the traditions of her people were just fables to maintain inter-tribal disputes. Her adversary in the battle of Prophecy is not some Falonex agent, but her ally White Arrow. After defeating White Arrow it dawns upon Boudiccu that the only way to keep the encroaching oppressor at bay is by joining the Ragganwold. As the two tribes unite under one banner, the Falonex mount an invasion to consolidate their regime…

Since the story isn’t all that important it’s no wonder that Warrioress has the look of a Renaissance Fair industrial film with a slight Celtic/steampunk/post-nuke bend. Seeing how Fay was clearly inspired by Xena: Warrior Princess (1995-2001) the plot is a seemingly random combination of elements from Amazons (1986), The Sisterhood (1988), and Amazon Warrior (1998) and a twist straight out of Planet of the Apes (1968). The cinematography ranges somewhere between shaky home video and the better no-budget feature (along the lines of Alex Chandon and Nigel Wingrove) to the occassional semi-professional mise en scène (the early work of Rene Perez comes to mind) and the rare artsy shot reminiscent of something from the Arrowstorm catalogue. Overall, though, this remains squarely in the micro-budget/shot-on-video realm of amateur filmmaking. As impressive as the action direction, martial arts – and weapon choreography might be, everything surrounding it leaves a lot to be desired. From the hokey score, and the barely there continuity to the skimpy, highly impractical metallic cheerleader outfit that Cecily herself wears – Warrioress is the much overdue revival of Barbarian Queen (1985), and thus is trash of the highest order.

The reason to see Warrioress are, of course, the main women themselves: Cecily Fay, Joelle Simpson, and Helen Steinway Bailey. Fay (for obvious reasons) gets the most screentime and she’s involved in every action scene. The sheer amount of variety in weapons, number of participants, styles, and locations greatly add to the authenticity. Warrioress breathes Hong Kong with its fast-moving, acrobatic, and frequently gravity-defying stuntwork. Fights will often change while they happen. A brawl might split up into individual confrontations, duels that start as hand-to-hand altercations will change gears when weapons are introduced, and the weapons themselves range from swords, spears, to bows and axes and other sharp-edged utensils. The incredibly scenic locales all were publicly available spaces in and around Guernsey. Warrioress was shot in an combined 18 months over a marathon three-year period. It might not have the sheer inventiveness of, say, We're Going to Eat You (1980) or Bad Taste (1987) – but it is never for a lack of trying. It might not exactly look or sound spectacular, but at least Warrioress has ambition beyond being a thinly-veiled demonstration video.

Although principal photography started in 2011 it wouldn’t wrap until three years later. Mostly because photography was arranged around everybody’s availability and Simpson becoming pregnant twice. Warrioress spent the following year in post-production and the by time it would finally see release Helen Steinway Bailey had become one of the most in-demand stunt performers in the world, the British Tara Macken or Zoë Bell, if you will. In that capacity she has doubled for Scarlett Johansson, Jessica Chastain, Felicity Jones, and Nasim Predat in big budget event movies as Marvel Comics’ Avengers: Age of Ultron (2015), Ridley Scott’s The Martian (2015), Rogue One (2016), Rian Johnson’s Star Wars: Episode VIII - The Last Jedi (2017), Steven Spielberg’s Ready Player One (2018), and even the maligned Aladdin (2019). By the time Warrioress was finally released Fay was several years deep into pre-production and writing on her second feature. Ultimately Warrioress was a victim of unfortunate circumstance with characters, plotlines, and such being cut for any number of logistical or practical reasons. It was destined never to unlock its full potential, but Fay's second feature would. And with that feature she would maintain full creative control and man every department herself. Warrioress might not appeal to everybody, but Cecily Fay is definitely a woman on the rise.

Plot: can Pervirella save Condon from the evil Queen Victoria?

After the fall of the great houses of Hammer, Amicus, and Tigon and with directors-producers as Norman J. Warren and Pete Walker moving out of the filmmaking business British exploitation – and cult cinema seemed destined for obscurity. For a while, at least, that was indeed the case… until 1997. That year two figureheads of counterculture, two masters of fringe cinema joined forces for Perverilla, a vaudevillian throwback of deliberate kitsch and cheese that, for all intents and purposes, was to be a celebration of yesteryear’s celluloid heroes of the preposterous, and the grotesque. Far from a critical – and commercial success upon original release it attained something of a rabid cult following in ensuing decades. In no small part responsible for that following was it being an early outing for two future British television personalities, the last great hurrah for ailing British - and Italian exploitation mainstay David Warbeck, and a showcase for the considerable assets of a young (and often very naked) Emily Booth.

The mad genius behind Pervirella is Josh Collins - a first class honors graduate from Central St. Martins school of Art and Design in London in 1990 - who made a name for himself in British nightlife with his underground cabaret and burlesque club The Frat Shack, RHB Exotic Entertainment as well as his bars in Melbourne and Perth. Collins and his entourage are behind the annual retro music festivals Wild Weekend Festival in the UK and Spain as well as the Las Vegas Grind in Las Vegas, Nevada. With his Zombie Zoo Productions production company Collins conceptualizes, designs, and manufactures everything from sets, costumes, and props for the various live performances of his artist collective. As an avid fan of cult cinema from the sixties to eighties Collins was bound to envision his own deviant feature and with The Perv Parlor (1995) that was indeed what happened. Helming The Perv Parlor (1995) was underground filmmaker Alex Chandon who by then had helmed micro-budget splatter epics as Chainsaw Scumfuck (1988), Bad Karma (1991), and Drillbit (1992). In short, Josh Collins is the embodiment of decadence and excess, and more or less the British equivalent to notorious boob-lovers as Jim Wynorski, Andy Sidaris, or Bill Zebub.

Pervirella was to be Collins’ most ambitious and engrossing production up to that point. A spiritual successor to his The Perv Parlor (1995) filled to the gill with oneiric fantasy images, Victorian Age period costumes, ornately designed candy-colored full-size sets, cartoony miniatures, and model animation. It was to be the scion to everything from School For Sex (1969), Zeta One (1969) and Girl Slaves Of Morgana LeFay (1971) to Flesh Gordon (1974), Marie, the Doll (1976), StarCrash (1979) and Galaxina (1980). Following in the footsteps of Luane Peters, Judy Matheson, Kirsten Lindholm, Yutte Stensgaard, Pippa Steel, and Mary and Madeleine Collinson was 21-year-old Cheshire hottie Emily Booth, a curvaceous cutie with an aversion to clothing. As Pervirella Booth was modeled after Jean-Claude Forest’s Barbarella and the Roger Vadim adaptation from 1968 where female libido is the strongest currency, as well as Modesty Blaise. Collins’ creation had a penchant for dressing in pink just as Hanna-Barbera's Penelope Pitstop from Wacky Races (1968) and there never was a situation where Pervirella couldn’t get out of by flashing her breasts or swinging her ass. Among the many guest stars are Redemption Film muses Eileen Daly, and Rebecca Eden, as well as the controversial, BAFTA award winning Jonathan Ross (BBC’s highest paid star as of 2006) and The Word and Never Mind The Buzzcocks host Mark Lamarr. Early in the production Caroline Munro was to guest star as well, but she left after a few weeks. That Pervirella was a satirical jab at the the Royal House of Windsor is an added bonus. Before America got in on the action with Superstarlet A.D. (2000), there was Pervirella.

In the realm of Condon, evil Queen Victoria (Sexton Ming) has decreed that dissidents – intelligentsia, perverts, and otherwise - are to be rounded up and summarily executed. To that end the Queen orders that a wall be built around Condon establishing her long pined after “Monarchy of Terror”. In the underground dissent and discord with the establishment are rife and soon a rebel alliance is growing in the bowels of the city. The rebels call themselves The Cult of Perv and are presided over by the Demon Nanny (Rebecca Eden). For as long as she has been their ruler the Demon Nanny and her Cult of Perv have indulged themselves in the “Sins of the Depraved”. In her death throes she gives birth to a girl (Anna McMellin) who within seconds grows into a voluptuous babe that the Pervs name Pervirella (Emily Booth, as Emily Bouffante). In Pervirella the Cult see their long prophesied savior and a fellowship is soon formed. Professor Rumphole Pump (Ron Drand), Monty (Shend, as The Shend), Sexton Ming (Anthony Waghorne), and special agent Amicus Reilly (David Warbeck) are to embark on a “Crusade Of Doom” and assist Pervirella in any way they see fit. On their zany globetrotting adventure Pervirella and her fellowship are besieged by agents of the malefic Victoria and a trio of witches. If her journey wasn’t dangerous enough Pervirella has one tiny problem: within her bountiful bosom resides a sex demon and whenever she loses her magic talisman she’s overcome by raging nymphomania and an urge to tear her clothes off; both of which she finds impossible not to indulge…

First and foremost Pervirella aimed to revitalize the British sex comedy by taking it back to its Benny Hill roots. Next to that it’s also a very lively steampunk fantastique that lovingly spoofs Eurospy conventions and that two decades prior would probably have been made in either France or Spain. It looks as if Monty Python, Peter Jackson, Renato Polselli, and Luigi Cozzi went on a bender and in their collective state of inebriation produced a screenplay that defies description. In other words, Pervirella is delightfully insane on about every level. It also happens to be Alex Chandon’s most entertaining feature by a wide margin. Here Chandon merely serves as a conduit to Collins’ vision and most, if not all, of his shortcomings are wholly absent. The candy-colored, circus sideshow, Victorian steampunk production design is a wonder to behold. It took cosplaying (a phenomenom that originally came from early 1980s Japan) and LARPing to a then-unprecendented level and we wouldn’t be surprised if much of its cult following derived from those spheres. Also not unimportant is that Pervirella at no point takes itself seriously and that its primary concern is to have fun, above all else. It’s also a good excuse to see freshfaced 21-year-old Emily Booth cavorting around in what seems like a permanent state of partial undress. Pervirella was the injection that the very British and all but extinct knickers and knockers subgenre needed. In any case, there’s an abundance of both but it never reaches Zeta One (1969) levels of camp. Pervirella even has her own swanky, sexy theme song, just like Barbarella (1968) and Galaxina (1980)!

What to say about Emily Booth (here still calling herself Bouffante) without becoming redundant? For one thing the Bouff debuted simultaneously in Hollywood as well as in British (and, by extent, European) trash cinema. Not only did she play the lead role in a vehicle with her mind, she also made a cameo in Paul W.S. Anderson’s failed sci-fi/horror hybrid Event Horizon (1997). If anything else, it goes to show that a terrible screenplay cannot be salvaged by a swathe of respectable Hollywood actors or a big budget. Event Horizon (1997) was a lot of things, but it wasn’t good by any metric you choose to employ. Laurence Fishburne, Sam Neill, and Joely Richardson couldn’t save Event Horizon (1997) – so how was the Bouff going to stand a chance? No, Ems did right by focusing her mad energies on Pervirella, which was never going to have any mainstream appeal. To her credit the Bouff was able to parlay her turn in Pervirella into a lucrative television – and modeling career. Just two years later Emily rechristened herself Booth and went on to host Bits (1999–2001), season three of outTHERE (2003), as well being a regular presenter on Eat Cinema (2006) (now My Channel), videoGaiden (2008), and the Horror Channel. In between her television gigs Ems found time to act in Alex Chandon’s Cradle Of Fear (2001) anthology and Inbred (2011), among many others. Not bad at all for a bubbly British lass never afraid to take her top off when and where it mattered.

The other big name was late New Zealand actor David Warbeck, a veteran of nearly 80 films in a career that spanned a quarter of a century, then in his twilight years. Warbeck started out in theater productions, and performed with a small touring company in New Zealand before being awarded the New Zealand Arts Council scholarship in 1965. The scholarship allowed him to attend the Royal Academy of Dramatic Arts in London, England which he did for four terms. Sources differ whether Warbeck quit or was expelled (he was rumoured to have had an affair with Geraldine McEwan, the wife of Academy principal Hugh Cruttwell) which led him to a modeling career wherein he figured into various print – and television commercials as well as a number of fotoromanzi with Marisa Meil. His modeling engagements quickly led to opportunities in acting and Warbeck’s first role of note was in Trog (1970), the swansong of Hollywood Golden Age leading woman Joan Crawford. From there David was whisked to Italy by spaghetti western specialist Sergio Leone for A Fistful of Dynamite (1971). He returned to England for the Hammer horror Twins Of Evil (1971) from director John Hough and with Mary and Madeleine Collinson. In 1973 he was tipped to play James Bond in Live and Let Die (1973) before producer Albert R. Broccoli vetoed up-and-coming television actor Roger Moore from the spy-action series The Saint (1962-1969) who cut his teeth for the role as suave Simon Templeman.

In the years that followed Warbeck alternated between horror and action-adventure working for directors Lucio Fulci and Antonio Marghereti on The Last Hunter (1980), The Beyond (1981), Hunters Of the Golden Cobra (1982), and The Ark Of the Sun God (1984). Before Pervirella Warbeck’s last notable effort was Rat Man (1988) with Nelson de la Rosa. Warbeck famously shared the screen with everybody from Joan Crawford, Ava Gardner, Anthony Quinn, James Coburn, Jack Palance and Peter Cushing to embattled Italian exploitation babes as Janet Ågren, Laura Trotter, Tisa Farrow, Catriona MacColl, and Cinzia Monreale. While doing Pervirella Warbeck was under investigation for running a brothel out of his restored high Victorian gothic Hampstead palazzo, a colossus built by associates of Sir George Gilbert Scott at the time of the construction of St Pancras station. It was custodian to a miniature salon theatre that witnessed performances from Gilbert and Sullivan, George Grossmith and Ellen Terry.

That Pervirella is acquired taste almost goes without saying and it definitely isn’t for everybody. It’s intentionally kitschy in every aspect and the pastel – and cotton candy production design is enoug to send anyone away screaming. Yet there’s something strangely appealing about a steampunk pastiche that closely mirrors Flesh Gordon (1974) in terms of plot but is completely its own beast otherwise. It wouldn’t be until some twenty years later that Josh Collins took to directing his second feature with the equally irreverent and satirical Fags In the Fast Lane (2017). In the two decades after Pervirella Alex Chandon went on to produce a number of music videos for British extreme metal band Cradle Of Filth which culminated in the band featuring in his proper debut Cradle Of Fear (2001). While Cradle Of Filth exploded into the mainstream (at least in metal terms) and have carved out a very… er, interesting career path for themselves Chandon remained a humble unknown. Chandon’s most recent feature is the suprisingly entertaining Inbred (2011) and the short film compilation Shortcuts to Hell: Volume 1 (2013). Perhaps it’s unfortunate that the Pervirella universe was never expanded or explored with a sequel. Or perhaps not, as Pervirella draws as much strength from not having been tainted by sequelitis. Only one question that remains: who will replace Emily Booth as Britain's n° 1 bra-busting cult babe?