Jill Banner - Film and Television Career

Film and Television Career

Banner made her film debut in Spider Baby with Sid Haig and Lon Chaney, Jr. Directed by Jack Hill (Coffy, Switchblade Sisters), the film was tied up in litigation from 1964 until 1968. Released under various titles, including Attack Of The Liver Eaters and Cannibal Orgy, Or The Maddest Story Ever Told, the four-year-old black and white feature quickly faded from view in the tie-dyed electric-Koolaid-acid Sixties. We know of Spider Baby today largely through the efforts of Los Angeles cult film resurrectionist Johnny Legend. The film tells the story of the Merrye family, a clan of bizarre cannibals who suffer from a deteriorating mental condition. They eat bugs, cats, and visitors under the watchful eyes of their caretaker, Lon Chaney, Jr. It was an extremely warped version of the 1960s television horror families The Addams Family and The Munsters. Jill was only 17 when Spider Baby was filmed.

While Spider Baby remained in legal limbo in the mid-1960s, Banner was featured in Deadlier Than The Male (1966), a British mystery about two female assassins, starring Nigel Green and European bombshells Elke Sommer and Sylva Koscina. She played Wendy, one of the wholesome teenagers in C’mon, Let’s Live A Little (1967) with singers Jackie DeShannon (What the World Needs Now is Love and Put a Little Love in Your Heart) and Bobby Vee (Take Good Care of My Baby), one of the last films of the fading "beach party" genre. In the psychedelically paranoid spy spoof The President’s Analyst (1967), Banner was a flower child named "Snow White", who temporarily rescues James Coburn (Our Man Flint, In Like Flint) from a combined conspiracy of the American CIA, the Russian KGB, and The Phone Company (referred to cryptically as "TPC").

Banner was featured in several episodes of Jack Webb's police-procedural shows, Dragnet 1967 and Adam-12, usually playing clueless teenagers and spaced-out daytrippers. In the Dragnet story "Forgery", she played a pot-smoking woman who is duped into a life of check fraud by two hippie dope dealers. In another episode, "The Hammer", Banner played a hardened but stupid juvenile whose sociopath boyfriend has murdered an elderly man for money and a ring. When she is captured, Banner's character shows no remorse, prompting Detective Sgt. Joe Friday to say: "I'll bet your mother had a loud bark."

Banner performed in several movies and TV shows in the late 1960s and early 1970s, including Shadow Over Elveron (1968) with Don Ameche and Adam-12 co-star Kent McCord. In The Stranger Returns (1968), a comic spaghetti western (aka Shoot First Laugh Last and Un Uomo, Un Cavallo, Una Pistola), Banner played the pretty daughter of a corrupt postal official who falls into the hands of banditos, only to be rescued by The Stranger. She was also featured in Hunters Are For Killing (1970), an early Burt Reynolds movie, also known as Hard Frame. In an interview, Reynolds once joked that such films were typically shown in prisons and airplanes because no one in the audience could leave. She also appeared in episodes of the television shows The Bold Ones and Cade's County (1972).

Banner had an uncredited bit part in Christian Marquand's frenetic movie Candy (1968), but the scene she appeared in was deleted from the final print. The psychedelic film also featured Ringo Starr, Richard Burton, John Huston, and Jill's co-star from The President's Analyst, James Coburn.

Read more about this topic:  Jill Banner

Famous quotes containing the words film and television, film, television and/or career:

    The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.
    Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)

    Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.
    David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)

    The television screen, so unlike the movie screen, sharply reduced human beings, revealed them as small, trivial, flat, in two banal dimensions, drained of color. Wasn’t there something reassuring about it!—that human beings were in fact merely images of a kind registered in one another’s eyes and brains, phenomena composed of microscopic flickering dots like atoms. They were atoms—nothing more. A quick switch of the dial and they disappeared and who could lament the loss?
    Joyce Carol Oates (b. 1938)

    A black boxer’s career is the perfect metaphor for the career of a black male. Every day is like being in the gym, sparring with impersonal opponents as one faces the rudeness and hostility that a black male must confront in the United States, where he is the object of both fear and fascination.
    Ishmael Reed (b. 1938)