LIPSTICK & DYNAMITE
Directed & Produced by: Ruth Leitman.
Director of Photography: Ruth Leitman & Nancy Segler.
Edited by: Ruth Leitman & Connie Diletti.
Released by: Koch Lorber.
Country of Origin: USA/Canada. 83 min. Not Rated.
With: Gladys "Killem" Gillem, The Fabulous Moolah, The Great Mae Young, Ida May Martinez, Penny Banner & Ella Waldek.

In this candid tell-all of the female wrestling circuit of the 1950s and ‘60s, Gladys “Killem” Gillem, 81 at the time of filming, is just as up-front about who she has slept with as she is on her claim she never won a match (she wasn’t suppose to). In a deep, cigarette-stained voice, Ella Waldek admits that during a meet, “What the ref didn’t see was legal.” She also recounts a body slam she gave to a competitor, which resulted in the death of an 18-year-old up-and-coming star. All of the women here share a similar working-class background. The Fabulous Moolah rose from a dollar-a-day cotton picker to become the undefeated champion (the title, however, belongs to the promoter). Today she’s a successrful promoter and occasionally takes a turn in the ring. Now in her 80s, the former champion has been reduced to an object of scorn and ridicule for the crowd, according to her dismayed peers. Moolah’s relationship with her fellow wrestlers gives this documentary a touch of All About Eve. Waldek was one of her protégées until there was a falling-out involving Moolah’s husband, promoter Buddy Lee. Waldek is just one who Moolah feels betrayed her.

The women are too direct and sardonic to be called catty. Much of what they have to say will confirm doubts one may have regarding the integrity of professional wrestling. This unguarded documentary also provides a fascinating glimpse of the changing status of women out of the ring. It includes fascinating excerpts from the quiz shows What’s My Line, with wrestler Judy Grable, and To Tell the Truth, with The Fabulous Moolah as the mystery guest. And in a very ‘80s moment, there’s a face-off between Moolah and fellow promoter Cyndi Lauper. Kent Turner
March 25, 2005