In Celebration: Elvis Presley at 79

SpeedwayToday is January 8th and it would have been Elvis Presley’s 79th birthday if he was still with us. I often spend this day listening to my favorite Elvis albums so today I thought I’d share 5 of my favorite Elvis songs from 5 of my favorite Elvis movies. Enjoy!

“Jailhouse Rock” – from JAILHOUSE ROCK (1957)

“Crawfish” – from KING CREOLE (1958)

“Bossa Nova Baby” – from FUN IN ACAPULCO (1963)

“Viva Las Vegas” – from VIVA LAS VEGAS (1964)

“Let Yourself Go” – from SPEEDWAY (1968)

*Bonus track! Because I had a hell of time choosing between this song & “Crawfish.”
“Trouble” – also from KING CREOLE (1958)

Spellbinding Songs


During the month of October I’ll be sharing Halloween inspired music mixes that you can stream online at 8tracks. My first offering was called “Frankenstein-A-Go-Go” and this time I’m sharing a 12 song mix called “Spellbinding Songs” featuring songs recorded between 1955-1968 about witches and that old black magic that they weave so well. Enjoy!

Track Listing:
Eartha Kitt – I’d Rather Be Burned As a Witch (1959)
Frank Sinatra – Witchcraft (1957)
Sammy Davis Jr. – That Old Black Magic (1955)
Screamin’ Jay Hawkins – I Put A Spell On You (1956)
David Seville w/The Chipmunks – Witch Doctor (1958)
Dave Gardner – Mad Witch (1957)
The Johnson Brothers – Casting My Spell (1959)
Elvis Presley – Witchcraft (1963)
Kip Tyler – She’s My Witch (1958)
Donovan – Season of the Witch (1966)
Fleetwood Mac – Black Magic Woman (1968)
The Rattles – The Witch (1968)

Tura Satana – An American Icon

Tura Satana in Faster, Pussycat! Kill! Kill! (1965)

Real bad girls who are beautiful as well as dangerous, are hard to come by. There are plenty of attractive and talented actresses who “play” action heroines in the movies but few seem like they can really hold their own off the set. They use stunt doubles for their action scenes and special effects to cover up their lack of real fighting skills. Some come from conventional or even privileged backgrounds and unless they’ve been directed to hold a weapon, they’ve never had to learn how to shoot a gun or wield a knife. Tura Satana is the real deal.

Gang member, martial artist, burlesque dancer, actress, stunt woman, nurse, police radio operator, bodyguard, wife and mother. Tura Satana has been all of that and more in her lifetime. She also managed to survive the Japanese internment camps, a horrible rape, reform school, a nasty gunshot in the stomach and a terrible car wreck that left her hospitalized for years. She’s an original American bad girl and a real Action Heroine in and out of the movies. And that’s why I decided to celebrate her work in film for the Action Heroine Blog-a-thon.

Tura Satana entered the public eye as an exotic burlesque dancer in the late fifties. She used her athletic abilities and even her martial art skills in her burlesque act, which included elaborate costumes consisting of kimonos, huge head dresses, beaded g-strings and garters. She also used lots of props in her performances such as knives, swords and a large Buddha statue. Her show was very popular and attracted a lot of attention.

After being photographed by silent film star Harold Lloyd, who encouraged her to get into acting, Tura considered a career in Hollywood but didn’t really pursue it. That all changed after a producer caught her show while she was performing at the Follies Theater in Los Angeles and offered her a part as a sexy secretary in the Hawaiian Eye television series. She would later go on to appear in other television shows such as Burke’s Law, The Man from U.N.C.L.E. and The Girl from U.N.C.L.E.

Tura’s first film role was in Danny Mann’s comedy Who’s Been Sleeping In My Bed? where she got to dance for Dean Martin. That same year director Billy Wilder and writer/producer I.A.L. Diamond visited the Pink Pussycat Nightclub in Hollywood with their wives where Tura Satana was performing. They were all impressed with Tura’s risqué act and Billy Wilder’s wife suggested that Tura might make the perfect Suzette Wong in Wilder and Diamond’s 1963 film, Irma La Douce. Wilder agreed and she got the part of the prostitute Suzette Wong in his film.

It’s been rumored that Tura Satana had an affair with Billy Wilder during the making of Irma La Douce and if it’s true I wouldn’t be surprised. Tura is incredibly beautiful and she has had a lot of famous lovers in her lifetime including Elvis Presley, Joe DiMaggio and actor Rod Taylor. Hopefully her upcoming biography will offer more insight into her romantic relationships, as well as her fascinating life.

Billy Wilder examines Tura’s costume in Irma La Douce (1963)

In 1965 Tura Satana got the role of a lifetime in Russ Meyer’s classic film Faster, Pussycat! Kill! Kill! The movie would make her a cult icon and cement her place in cinema history forever. She was dancing at a supper club called The Losers with fellow Faster, Pussycat! Kill! Kill! star Haji, when Haji introduced her to Russ Meyers. Meyer’s was impressed with Tura’s beauty and naturally large bust so he cast her in his upcoming film. Tura would become a little too hot for Meyer too handle but together the two would make film history.

In Faster, Pussycat! Kill! Kill! Tura plays Varla, a go-go dancer gone bad who beats up men and terrorizes other women. Audiences shouldn’t underestimate Tara’s contribution to the film. She created her character’s look and performs all of her own stunts in the movie. She also wrote a lot of her own dialogue and some of the action scenes.

The part of Varla came naturally to Tura who had grown up in Japanese internment camps during WW2 and learned to fight on the rough streets of Chicago after the war. When she was horribly raped by a group of young men at the tender age of nine, Tura’s father taught her Karate so she could better protect herself in the future and she went on to learn Aikido as well. Tura spent her wild youth hanging out with Chicago girl gangs and enjoyed wearing leather motorcycle jackets, jeans, gloves and boots. During this time she also had to learn how to protect herself with razor blades and switchblades. She was a good student and a great athlete but she seemed to have a hard time focusing on her studies and eventually Tura ended up in reform school due to her bad behavior. By age 15 she had had enough of school and left to become a professional burlesque dancer.

Tura has dished out her own brand of real vigilante justice over the years to men and women who have dared to cross her path over the years. She had a reputation during her burlesque days for fighting with other dancers and she didn’t suffer fools lightly during her live performances. After she was raped as a young girl Tura vowed revenge on her attackers and she has said that she eventually tracked down all of her rapists. In her own words, “I made a vow to myself that I would someday, somehow get even with all of them. They never knew who I was until I told them.”

Tura brought all of her own real world experience to the role of Varla as well as her rage. Tura was an angry woman during the making of Faster, Pussycat! Kill! Kill!, which led her to breaking her own hand during an argument with director Russ Meyer. Faster, Pussycat! Kill! Kill! is now considered one of Russ Meyer’s greatest films and it’s impossible to measure the movie’s contribution to popular culture. The powerful and erotic image of Tura Satana beating a man to death in the desert in 1965 has now become eternally connected to female empowerment and the birth of the woman’s movement in the sixties.

Tura with her fellow Doll Squad members (1973)

After making Faster, Pussycat! Kill! Kill!, Tura had a small part as a dancer in the spy spoof Our Man Flint (1966) and then she began working with exploitation director Ted V. Mikels. Tura’s first film with Mikels was the extremely low-budget sci-fi/horror film Astro-Zombies (1968). Astro-Zombies is not a great movie but some might say it’s a “so bad, it’s good” movie and Tura Satana’s performance as the evil spy Satana’s performance is well worth your time. She looks amazing in the film and wears some incredible low-cut sixties fashions while shooting cops and shoving burning cigarettes into the faces of her enemies.

In 1973 Tura appeared in Ted V. Mikels’ entertaining action-packed film The Doll Squad which is one of the best female action movies made in the seventies. The Doll Squad was the inspiration for the much tamer Charlie’s Angels television series and it tells the story of a group of elite female commandos that work for the U.S. government. In the movie, the “Doll Squad” led by Sabrina (Francine York) must come together to stop a mad man named Eamon O’Reilly (Michael Ansara) who plans to takeover the world by disbursing plague-infected rats throughout the population. The ass kicking Doll Squad girls use guerrilla warfare tactics, martial art skills and their seductive charms to put an end to Eamon O’Reilly’s evil plans. Tura plays Doll Squad member Lavella Sumara, but she is not used enough in the film even though she manages to steal every scene she’s in.

Unfortunately Tura’s film career seemed to come to an abrupt end after she was shot in the stomach by an angry ex-boyfriend with murder on his mind right after making The Doll Squad. She survived the shooting but Tura didn’t return to acting until some 30 years later in Ted V. Mikels’ follow-up to Astro-Zombies called Mark of the Astro Zombies (2002). Why the long delay? Following the shooting, Tura ended up in a terrible car accident which kept her hospitalized for years. She also spent a lot of her time focusing on her family and raising her kids.

Tura and Francine York in The Doll Squad (1973)

Tura also stopped performing as an erotic dancer in the seventies. She was a talented tassel twirler but she never performed completely topless (although she did take topless photos) and when the topless clubs started becoming regular adult entertainment in the late sixties she decided to stop dancing. Tura Satana was a sexy and exotic performer who didn’t need to get completely nude to entertain her audiences. The art of burlesque was also becoming a thing of the past so she turned her talents towards nursing and started working in Los Angeles hospitals.

It’s a real shame that Tura Satana didn’t make more films during the ’60s and ’70s. The handful of movies she did make clearly show that she had talent. Her beauty, as well as abilities as an action star, could have been used to great effect if other directors offered her more interesting roles. Tura didn’t get film roles in Modesty Blaise and the Matt Helm films because casting directors didn’t find her “feminine enough” and director Russ Meyer came to greatly regret not using her in more of his productions even though she refused to do nude scenes.

Tura Satana is now 69 or 72 years old (her exact birth date seems debatable) but she continues to act occasionally and is currently writing her biography, which she hopes to turn into a film. Tura occasionally makes special appearances at film revivals and conventions. This summer Tura Satana will be attending the Midnight Mass Anniversary Show with John Waters and Mink Stole in San Francisco and she’ll also be at the International Comic-Con in San Diego July 26-29.

For more information about the amazing Tura Satana please visit her official website:
The Only Official Site of Tura Satana

The New Cinema Retro

The latest issue of Cinema Retro recently arrived in my mailbox and I think it’s one of their best issues yet. It has lots of great articles that will appeal to anyone who enjoys sixties and seventies era films as much as I do. I’ve mentioned before how much I love this magazine, but if I haven’t convinced you to become a subscriber yet, you really should reconsider it. Cinema Retro rightfully calls itself “The essential guide to movies of the ’60 & ’70s” so if you enjoy the kinds of films I write about here, you’ll definitely enjoy the magazine.

Issue #8 features a cover story about the terrific James Coburn Flint films called ‘Flint Unseen!” which includes lots of rare and never-before-seen photos and production stills from Our Man Flint (1966) and In Like Flint (1967). Other great spy related articles in this issue of Cinema Retro include Part II of an in-depth Interview with my favorite Man From U.N.C.L.E., David McCallum and an interview with the beautiful Bond Girl Luciana Paluzzi from Thunderball (1965). There is even an interesting article from Robert Sellers called “The Bond Film That Never Was” that offers an inside look at how Agent 007 almost came to the screen in a very different way.

You’ll also find terrific pieces about two of my favorite films, Mario Bava’s Danger: Diabolik (1968) and Federico Fellini’s La Dolce Vita (1960). Dave Brown’s tribute to Danger: Diabolik was fascinating to read and included information about the film that was new to me. I also really enjoyed reading film critic Shirley Sealey’s personal account of seeing La Dolce Vita when it was released in Italy and her brief meeting with Fellini.

The new issue also features a detailed behind-the-scenes look at the making of Dennis Hopper and Peter Fonda’s classic motorcycle film Easy Rider (1969), information about the upcoming DVD release of the Steve McQueen film The Sand Pebbles (1966) and Part II of a tribute to Elvis Presley’s female film co-stars such as Nancy Sinatra, plus lots more including reviews of new DVDs, books and CDs that retro cinema enthusiasts like myself should really enjoy.

Cinema Retro has recently updated their website and if you haven’t checked out their current layout you should stop by and give the new site a look. You can also subscribe to the magazine and purchase back issues there.

Cinema Retro : The essential guide to movies of the ’60s & ’70s

An Ann-Margret Retrospective

Happy Birthday Ann-Margret!

My favorite redhead Ann-Margret was born on April 28 in 1941 and yesterday she celebrated her 66th birthday. To celebrate I thought I’d post an overview of some of the best films she made during the sixties and seventies, as well as share some of my thoughts about her life and her work.

Ann-Margret got her start in showbiz when she was 19 years old after being discovered by the legendary George Burns while auditioning for his annual holiday show in Las Vegas. Following her success in Vegas, Ann-Margret’s career took off and within a few months she had signed a record deal with RCA and a movie contract with 20th Century Fox.

Ann-Margret was a real triple threat when she began her career in the sixties. She could sing, she could dance and she could act. She was also incredibly beautiful, sassy, funny and smart. Unfortunately I’ve always thought that movie studios in the sixties and seventies never really knew what to do with Ann-Margret. She ended up in a lot of lackluster films and had a hard time being taken seriously as an actress. If she had been born 20 years earlier she would have probably had an amazing career in musicals, but musicals where becoming unpopular with film audiences and critics just as Ann-Margret was starting her movie career.


Ann-Margaret’s first movie role was in the Oscar nominated Frank Capra film Pocketful of Miracles (1961), where she played the daughter of Bette Davis. Following that she made State Fair (1962) with Pat Boone and Bobby Darin. She then got her real breakthrough role as the beautiful and spunky Kim McAfee in George Sidney’s great musical comedy Bye Bye Birdie (1963).

Following her terrific performance in Bye Bye Birdie Ann-Margret made a memorable appearance as an animated character named Ann-Margrock in the fourth season of The Flintstones (1963) cartoon series before starring alongside Elvis Presley in Viva Las Vegas (1964).

Viva Las Vegas is one of Elvis’ best movies from the sixties and Ann-Margret was easily his best co-star. The two have obvious on screen chemistry together that’s really electric and fun to watch. The musical numbers are great and the movie gave both of them the chance to really show off their comedic skills along with their dance moves.

The meeting between Ann-Margret and Elvis on the set of Viva Las Vegas was the start of a great friendship between the two talented stars. It would also mark the beginning of what might be one of Hollywood’s most tragic and unfulfilled love stories. When Elvis met Ann-Margret in 1963 they embarked on a passionate affair. At the time that Elvis met her he was already in a relationship with Priscilla Beaulieu (a.k.a. Priscilla Presley) and was committed to marrying her. After information about their affair made the celebrity gossip magazines many people think Elvis was encouraged to end his relationship with Ann-Margret by his manager Colonel Tom Parker, as well as Priscilla’s parents who threatened to expose Elvis as a pedophile because he started his relationship with their daughter when she was only fourteen years old. Elvis’ career was having trouble trying to recover from his time spent away from the public when he was in the army. This sort of scandal could have easily put an end to his career altogether.

Elvis and Ann-Margret’s romantic affair came to an end, but the two remained close until Elvis’ untimely death. Elvis’ lifelong nickname for Ann-Margret was “Rusty”, which was the name of her character in Viva Las Vegas and up until the day he died he would send a bouquet of flowers to her every time she performed live. Lots of people who were close to Elvis and knew about his complicated relationship with Ann-Margret have said that she was the real “love of his life” and she has called Elvis her “soulmate.” It’s hard not to wonder how Elvis’ life may have been different if he and Ann-Margret had followed their hearts in 1964. In Ann-Margret’s own words she had this to say about their relationship:

“His wish was that we could stay together. But of course, we both knew that was impossible., and that’s what was so very difficult about our relationship. Elvis and I knew he had commitments, promises to keep, and he vowed to keep his word. Both of us knew that no matter how much we loved each other, no matter how strong our bond, we weren’t going to last.” – From her book Ann Margret: My Story.

After Viva Las Vegas Ann-Margret played a sassy bad girl in the entertaining thriller Kitten with a Whip (1964). Kitten with a Whip is one of my favorite exploitation movies about rebellious teens made in the early sixties and Ann-Margret is terrific as a naughty juvenile delinquent named Jody. The role solidified her reputation as a cinema sex kitten but like most of Ann-Margret’s movies, critics were not very impressed with it.

Jean Negulesco’s The Pleasure Seekers (1964) was Ann-Margret’s next movie and it’s an enjoyable film. Ann-Margret plays Fran Hobson in this updated remake of the director’s earlier picture Three Coins in the Fountain (1954), which itself was a remake of his film How to Marry a Millionaire (1953). The musical numbers and fashions are the best part of this cute comedy, which has a somewhat outdated approach to romance for its time, but Ann-Margret and André Lawrence (who plays her love interest in the film) seem to have worked well together and it’s fun watching them drive around Spain on a scooter.

In 1965 Ann-Margret made Once a Thief with the talented French actor Alain Delon. She arguably does her first really good dramatic acting in Once a Thief but she’s predictably over the top as Delon’s troubled wife and her emotional performance stands out in stark contrast to Delon’s understated style of acting. Even though the two seem like an odd pair, they’re both incredibly beautiful and generate a lot of heat when they’re on screen together. Once a Thief is an interesting crime thriller with a great cast that fans of film noir should appreciate.

After starring with Alain Delon in Once a Thief, Ann-Margret got the opportunity to work with another sixties icon in Norman Jewison’s film The Cincinnati Kid (1965). The Cincinnati Kid stars Steve McQueen as a young poker player and Ann-Margret plays the sexually vivacious and unhappy wife of Karl Malden. She wrestles with Tuesday Weld for McQueen’s affection and does some of her best acting in the film. Ann-Margret and Steve McQueen clearly have on-screen chemistry together so you can’t help but wonder why his character in the film ends up with the cute, sensitive and thoughtful, but much less interesting character Tuesday Weld is playing. According to Ann-Margret she developed a close friendship with Steve McQueen on the set of the film since they both shared a similar interest in fast cars and motorcycles.

In 1966 Ann-Margret teamed up with director George Sidney again for the campy sex comedy The Swinger. In The Swinger she plays a journalist named Kelly who poses as a “swinger” to impress the editor of a men’s magazine. The editor is played by Tony Franciosa who she also worked with in The Pleasure Seekers. The Swinger is a entertaining comedy that takes a humorous look at the swinging sixties and Ann-Margret gets to perform some great songs in the film. She also gets to ride a Triumph motorcycle and after making the movie she was featured in Triumph Motorcycle’s official advertisements.

Following The Swinger she made the entertaining Matt Helm spy spoof Murderers Row (1966) with her pal Dean Martin. The Matt Helm films featured Dean Martin as a hard-drinking, womanizing and often bumbling spy. As usual, Ann-Margret’s performance and numerous colorful costume changes are one of the most entertaining things about the film and Murderer’s Row is definitely one of the best movies in the Matt Helm series. Ann-Margret seems to be having a good time in the film with her fellow Vegas star and the Matt Helm films are well worth a look if you enjoy sixties spy movies.

Ann-Margret spent the next few years making movies in Italy including Dino Risi’s Il Tigre (a.k.a. The Tiger & The Pussycat, 1967) and Il Profeta (a.k.a. Prophet, 1968). These sexy comedies with co-star Vittorio Gassman were popular in Europe but they didn’t have much success in the US. In the late sixties film critics were unfortunately starting to dismiss Ann-Margaret and her talents, which is a shame. She worked well with Vittorio Gassman and I think the two movies they made together are enjoyable films.

During this period Ann-Margret married the handsome actor Roger Smith who’s most known for his role as Jeff Spencer in the popular television series 77 Sunset Strip. Coincidentally, they were married exactly a week after Elvis Presley married Priscilla. Roger Smith had been trying to convince her to marry him for awhile but she finally accepted his proposal on May 8, 1967 and they were married in a quick ceremony in Vegas. It’s worth noting that Elvis Presley married Priscilla on May 1st just a few days earlier. It’s impossible to know if these events were in any way connected but Ann-Margret’s marriage fell apart right after she exchanged vows with Roger Smith. She left him after their first night together and went home to her parents but they eventually managed to work things out. Both Ann-Margret & Roger Smith been through a lot of rough times and never had any children, but they’ve been married for 40 years and seem very happy together.

In 1969 she teamed up with Laurence Harvey to make the interesting crime thriller Rebus. Unfortunately the film was not warmly welcomed by the critics but I think it’s an entertaining movie and Ann-Margret performs some nice musical numbers in it that were written for her by the great composer Luis Enríquez Bacalov. Laurence Harvey and Ann-Margret are both over the top performers with a similar acting style who often “play to the back row” so I thought they worked well together in Rebus. They also both look amazing and manage to keep the film watchable even if the script is somewhat lacking.


Following Rebus Ann-Margret made the “so bad it’s good” biker movie C.C. and Company (1970), which was written and produced by her husband Roger Smith. The movie is mainly worth watching for Ann-Margret’s campy performance and she looks terrific on a motorcycle. Unfortunately her co-star and love interest in the movie is the dreadfully dull and unappealing football player, Joe Namath. The rest of the cast is pretty good and biker movie regular William Smith just about steals the show. With another actor in Namath’s role I think the film could have been much better.

Much to everyone’s surprise (particularly film critics) Ann-Margret managed to land a role in Mike Nichols’ critically acclaimed adult drama Carnal Knowledge (1971) next. The film offered her the best dramatic role of her career as the beautiful and troubled Bobbie, who becomes the target of Jack Nicholson’s rage. The emotional scenes between the two in Carnal Knowledge feature some of the decade’s most powerful and raw acting. For the first time in a long time, Ann-Margret got rave reviews for her performance and received her first Oscar nomination for her role as Bobbie.

Following Carnal Knowledge she began shooting The Train Robbers with John Wayne. Ann-Margret has said that she enjoyed working with Wayne and I think you can see that in their on screen exchanges. The Train Robbers was not released until 1973 and received mixed reviews. At a time when directors like Sergio Leone and Sam Pekinpah were exploring new directions with western films, The Train Robbers seems rather outdated and old fashioned but the movie does have it’s charm and I think it’s one of the more interesting and unique films that Wayne made late in his life.

Unfortunately just as Ann-Margret’s film career seemed to be blossoming a horrible accident in 1972 almost killed her. While performing live at the Sahara Hotel in Lake Tahoe she suffered a terrible fall from the stage, which literally destroyed her face and sent her into a coma. The accident was so severe that her face collapsed due to massive bone breakage. Her arm was also broken in the fall and one of her knees was seriously damaged. She lingered between life and death for days and her family and friends wondered if she would ever be able to perform again. With the help of a team of doctors that included a neurosurgeon, a plastic surgeon and an orthopedic surgeon, Ann-Margret managed to fully recover and after just ten weeks she was back performing live again in Vegas.

After her near-death experience, Ann-Margret returned to acting in Ken Russell’s ambitious rock opera Tommy (1975). Russell’s frenzied directing style meshes perfectly with Ann-Margret’s over the top acting in the film and the combination makes Tommy one of the most entertaining musicals of the seventies. Ann-Margret was only a few years older than The Who’s Roger Daltry at the time that Tommy was made but the accident had aged her a little and she does a wonderful job as Tommy’s glamourous mom. Ann-Margret’s frantic performance in Tommy, which peaks with her infamous “nervous breakdown” scene involving lots of gooey foods, is slightly reminiscent of her paint scene from the 1966 film The Swinger. Her performance in the film managed to snag her a second Oscar nomination.

Ann-Margret made a few more films in the seventies including Richard Attenborough’s excellent creepy thriller Magic (1978) where she starred opposite Anthony Hopkins, which is well worth seeking out if you’re a horror fan. But much to my surprise, many of the films Ann-Margret made during the sixties and seventies are not easily available on VHS or DVD. Thankfully Ann-Margret fans can look forward to a new DVD release of her one and only western, The Train Robbers, on May 22.

Final Thoughts

Ann-Margret has had an impressive career in cinema that was often met with a mixed critical reaction but I think she’s one of Hollywood’s most interesting and beautiful actresses. Her filmography features some of the best musicals made in the past 40 years. She’s a stunning woman and her vivacious personality seems to ignite when shes on screen.

Living in the California Bay Area and working as a music journalist for a brief time has given me the opportunity to meet a lot of celebrities. It’s not uncommon to bump into George Lucas or Sean Penn when I’m out shopping, so I’ve become rather jaded but meeting Ann-Margret was one of the few times in my life where I was truly starstruck. I got the chance to pay my respects to the actress in 1994 after her biography Ann Margret: My Story was released. The actress & singer was on a book signing tour and she kindly signed a copy of her book for me. She was very nice and easy to talk to, but I became totally tongue-tied around her. She was still incredibly beautiful at age 53 and while I was shaking her hand I couldn’t help thinking to myself that I was touching a hand that had touched so many of my favorite performers including Alain Delon, Steve McQueen, Laurence Harvey, Oliver Reed and Elvis. Needless to say, I was a little overwhelmed and could barely get out a word in her presence. Thankfully I managed to pull myself together enough to tell her how much I had enjoyed her movies and she seemed genuinely touched by my nervous compliments. I still own my copy of her book and its’ one of my most treasured items simply because  it reminds me of the time I got to meet one of my favorite actresses and on screen personalities. Happy birthday Ann-Margret!

Ann-Margret’s Official Website