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She Should Have Stayed in Bed (1963)

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Ratings: 5.5/10 from 14 users  
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A New York photographer takes photos of various tenants in a posh apartment building while waiting for a nude pin-up model to show up for him at his studio.

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Title: She Should Have Stayed in Bed (1963)

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Cast

Cast overview:
Michael Barron ...
The Photographer
Terry Moore ...
The Model
Peri G. France
Jack Marino
Davee Decker ...
Woman with painting
Jane Day
Mary Will
Gigi Darlene ...
Blonde reading novel
Linda Woont
Nell Murray
Faith Gilbert
Irene Charles
Mary Hall
Linda Bell
Alice Denham ...
Woman in white corset (as Alice Stabb)
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Storyline

A New York photographer takes photos of various tenants in a posh apartment building while waiting for a nude pin-up model to show up for him at his studio.

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Comedy

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Release Date:

19 September 1963 (USA)  »

Also Known As:

She Didn't Stay in Bed  »

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(Eastmancolor)
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Connections

Edited into Twisted Sex Vol. 17 (1998) See more »

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User Reviews

Quality topless footage; zero content
14 November 2011 | by (New York, New York) – See all my reviews

The MST3K guys have nothing on Barry Mahon, who energetically embeds voice-over criticism of his own film in SHE SHOULD HAVE STAYED IN BED. Had I been old enough to attend Adult Cinemas in 1963, I probably would have enjoyed this nonsense, given the bevy of beauties going topless here.

Assistant director Sande Johnsen (a talented pornographer in his own right) is credited in voice-over as delivering the verbal barrage making fun of what we're watching. Mahon's better half Clelle is credited with "script" at the opening, but I suspect that means she was the script girl, as usual, though both IMDb and the Something Weird goof-ball shill give her authorship honors (not much of an honor).

Main gimmick is a guy (credited as "Mike Baron") chasing a pretty (fully clothed) girl down corridors for over an hour, as we see gals in various apartments disrobing or posing for still photo sessions. They're all glamor models, and the nonstop array of varied bare breasts has to be considered satisfying by 1963 standards. Attempts at comedy, notably a gag of a guy haplessly trying to deliver a wedding cake with slapstick results, all fall flat.

Highlight is clearly a pointless but arousing doling out of footage of Audrey Campbell endlessly combing her long, lovely hair, sprawled topless (her nipples jutting out) on a couch. Perhaps this served as audition footage for landing her the historic role of Olga in the definitive '60s S&M series of films.

Only other familiar femme is the beauteous Gigi Darlene, wasted in a brief scene with another girl trying on lingerie, with no implication of lesbian attraction included.


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