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Erin Brown, the Actress formerly known as Misty Mundae - A Biography

by Mike Haberfelner

December 2006, updated April 2008

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I don't know what, but there's something about Erin Brown (the former Misty Mundae) ...

Sure she's cute, but so are tons of other girls, she's pretty but definitely of the girl-next-door, not the supermodel variety, her breasts are nice but rather small, her ass is ok but not sensational, and compared to other stars of the adult- and B-movieworld, she is rather tame in her performances.

... and yet there's something about Erin Brown that makes her stick out of the huge crowd of adult- and B-movie-actresses which might very well make her the one gem found in rubble, the one actress we'll still remember in 20 years time.

Maybe it's her natural acting talent and her ability to grow as an actress (something not found too often in the adult movie biz) that puts her above the rest, maybe it's her natural talent for comedy (in her comedies, she always seems to be in on the joke and make the best of it), maybe it's her intelligence which she also displays in interviews that keeps her from falling flat on the floor in even the corniest of her roles, maybe it's the fact that she doesn't look like a cheap slut like adult actresses tend to do, maybe it's her natural looks (no plastic surgery and very little make-up), maybe her innocent looks that still work after having seen her in dozens of sex-scenes, I don't know, I just know there's something about Erin Brown ...


Born Erin DeWright in 1979 in Illinois but later relocated to New Jersey, Erin's first steps in the movies were more than humble: from 1997 on, when she was tender 18, she starred in a bunch of films by William Hellfire [William Hellfire interview - click here], who was back then making videofilms that were barely above amateur level, concerning equipment, production values, actors/actresses and anything else - and Hellfire wasn't ashamed about it either: Back then he had a little production outfit called Factory 2000 that was modelled after Andy Warhol's Factory, that - like the original Factory - was be releasing alternative movies, movies that did not (necessarily) adhere the unwritten rules of moviemaking and that did feature controversial subjects - and consequently he would give ordinary people their 15 minutes of fame.

Unfortunately though, Bill Hellfire was no Andy Warhol and no Paul Morrissey (Warhol's ingenious head-filmmaker), and while the films of the original Factory often crossed the line between trash and art, the Factory 2000 were just trashy exploitation - and cheap exploitation, too.

Be that as it may though, Hellfire understood to sell his product, he always came up with sensationalist titles (often with the word Strangler in them, e.g. I was a Teenage Strangler [1997], Electric Cord Strangler, Vampire Strangler, Lesbos Slaughter: The Phone Sex Strangler [all 1999], International Necktie Strangler, Snuff Strangler [both 2000], and Silk Stocking Strangler [2002], ...) and a synopsis that made the film sound way better than it was, and he (almost) never forgot to show naked girls - even if most of the times the sex remained rather tame and did not live up to the ads' promises, and the violence implied in the ads was also disappointing on screen. And for some reason, Hellfire never accomplished (or maybe never even tried) to blend his films' main elements, sex and violence and a story to hold the two together, instead the audience is presented with a succession of scenes of gratuitious sex, gratuitious violence and a story that has little to do with either ...

Be that as it may, William Hellfire still seemed to have a talent to fascinate, which explains how he was able to attract a small group of stock-players, several of which since have made a name of themselves in the B-movie realm. Besides Erin Brown - who then acted under her adopted name Misty Mundae - these were Tina Krause [Tina Krause interview - click here], Ruby LaRocca - actually Erin's roommate at college for a time -, Daisy DeWright - Erin's sister who late adopted the name Chelsea Mundae -, Lilly Tiger and Joey Smack, among others.


Reportedly, Erin first hooked up with Hellfire and Factory 2000 because it was the cool thing to do in her hometown, because she wanted to be in the movies, and because she was infatuated with Hellfire. Her first film was I was a Teenage Strangler (1997, William Hellfire), one of Hellfire's typical no-budget sexploitation flicks that actually focussed more on Erin's (real-life) sister Daisy than on her, but Erin's lack of inhibitions, and her willingness to do (almost) anything to be in a film struck a cord with Hellfire, both on a professional and a private level - he and Erin soon became a couple and remained in a relationship for several years.

Soon, her lack of inhibitions made Erin go all the way (actually only almost all the way), when she starred in her only truly X-rated film Vampire Strangler (William Hellfire). Vampire Strangler was released in 1999, but when watching the film it's quite obvious that some of Erin's scenes were shot much sooner than others (and were indeed maybe part of an abandoned project about something very much different than a vampire, since the vampire only appears in the 1999-scenes of the film - my guess is the earlier scenes were shot around 1997, maybe shortly after I was a Teenage Strangler). Originally, Vampire Strangler was released in both a hardcore and a softcore version, the hardcore version however does show no actual penetration, however lots of fingering and (non-simulated) oral sex (with Erin both giving and receiving). However, not even the heaps of actual sex can save Vampire Strangler from being an utter disappointment: a story is almost non-existent, the dialogue is just bad, but worst of all, the sex-scenes are shot in such an unerotic, indifferent manner that they totally fail to impress. Somehow it seems, nobody even made the slightest of effort to make this at least a halfway decent film.


The question remains of course: How was Erin in this film ?

Unfortunately I have to admit, not very good, rather bad actually. In this one, and many of her early films, she doesn't even look good: She looks like a stocky country girl with a 1980's style hairdo that's nothing short of an actual turn-off, and a bad fashion sense. Also, her acting is rather bad, but that's at least partly due to the bad script that has her say increasingly bad lines. 

In a word, the film's nothing to write home about ...

However, all this would change for the better before the turn of the millenium, Erin would lose quite a few extra pounds (to a point where she looks almost too slim in some of her films), would trade in her atrocious hairdo for nice, natural long hair hippie style. And over the years she seems to have worked on her acting, too ...


And with Erin Brown getting more attractive, more versatile and more interesting, Factory 2000's films got better too, at least on a technical level. With late films of the production outfit one no longer (necessarily) had the feeling of watching a home-movie, a certain care was put into sound and lights, art direction and costumes ... and Erin as Misty Mundae began to melt the screen.

Films like Dead Girls Don't Say Good-Bye, The International Necktie Strangler (both 2000, William Hellfire), and Lust in the Mummy's Tomb (2001, William Hellfire) all had something going for them despite still being utter trash, and maybe this something was noone else than Misty Mundae ... 


The main problems of the Factory 2000 films remained the same though, the sex, the violence and the story as such had little to do with each other, at times the sex-scenes seem to be way too indifferently filmed - and every now and again the films featured scenes that nobody really gets (like Lust in the Mummy's Tomb, when Misty, after the actual story of the film is over, tries on lingerie for a full 5 minutes just to stretch the film to featurette length).


Most often, the role of Misty in these films was that of the victim, usually some excuse was come up with to make her lose her cloths and make out with primarily women, until at one point things get nasty ...


Notable exceptions to this rule might be Silk Stocking Strangler and its sequel Flesh for Olivia (both 2002, William Hellfire), in both of which she plays a manipulating bitch - who isn't always up to her own game though -, and of course Duck! The Carbine High Massacre (1999, William Hellfire, Joey Smack).

Especially taking into account Factory 2000's usual output, Duck ! The Carbine High Massacre was a very mature film, a non-judgmental satire on high school massacres, especially the Columbine High Massacre. Unlike most of Factory 2000's earlier films, this one has a coherent plot, only very little sex, and even something one could label as a message. And Misty doesn't play just another sexpot in this one but a devout Christian girl who leaves her cloths on during all of the film.


Misty's work in Factory 2000 films eventually caught the eye of the heads of Seduction Cinema, then a blossoming production company specialising in (mainly lesbian) softcore erotica.

Seduction's mother Company ei Independent had been around for years actually as a video distribution outlet for movies of various genres, but it wasn't until they struck gold with one of their titles, Caress of the Vampire (1996, Frank Terranova), a mix of (softcore) sex and vampires, that they realized they were onto something, and before long Seduction Cinema was born and jumped into production of their first movie, Vampire Seduction (1998, John Bacchus), a comedy that combined - you guessed it - sex and vampires. The film starred John P.Fedele as an incompetent vampire hunter and Factory 2000 regular Tina Krause as the vampire [Tina Krause interview - click here] ... and incidently it also starred Erin's sister Daisy DeWright (the later Chelsea Mundae) in a small role.


With Vampire Seduction, Seduction Cinema had already set the stage for things to come, but it was 1999's Erotic Witch Project (John Bacchus) that really put them on the map, and thanks to this highly erotic and very funny spoof of Blair Witch Project (1999, Daniel Myrick, Eduardo Sánchez), they became known for producing some of the best lesbian softcore sex-spoofs of current blockbusters around ...


Seduction Cinema and Factory 2000 were always closely related, and Misty had already had small roles in early Seduction-productions like TITanic 2000 (1999, John P.Fedele) and Poetic Seduction: The Dead Student's Society (1998, Peter Jacelone - actually produced by Seduction's sister company Shock-O-Rama, but the difference betwen the two companies is only in name), while several Seduction-regulars like John Link, John Bacchus (as Zachary Winston Smith) and even Seduction's president Michael Raso have made guest appearances in Duck ! The Carbine High Massacre.


Soon enough, Misty, thanks to her retro (or hippie girl) looks became the face of  Seduction's sub-label Retro Seduction, a company that - to the delight of vintage erotica fans like myself - specializes in re-releasing softcore sexfilms from the 1970's by the likes of Joe Sarno, Nick Philips [Nick Philips interview - click here] and Al Adamson on DVD, often in stunningly restored versions.


But Misty wasn't only the face on the company's logo, she could also be seen in (erotic) shorts in the early Retro Seduction-DVDs' extra sections. Mostly though, these shorts were torn from her Factory 2000-films that worked as little sex-stories of their own without the framing plot - like My First Female Lover, which was an excerpt from Dead Girls don't Say Goodbye (2000, William Hellfire) - which just proves my point how incoherently written most of the Factory 2000-films were. Eventually, a cut-down version of International Necktie Strangler entitled Misty's Secret (2000, William Hellfire) even made it on the DVD-re-release of Seduction Cinema's first hit, Vampire Seduction as a second feature - it ran about 50 minutes compared to International Necktie Strangler's 80 -, but this one was pretty much the pitts, it had most of what little plot there was removed, and now was nothing more than a series of sex-scenes starring Misty, Tina Krause [Tina Krause interview - click here] and Ruby LaRocca and a guy (William Hellfire) who eventually strangles Misty.

(Actually International Necktie Strangler was shot back-to-back with the more ambitious An Erotic Vampire in Paris [2002, Donald Farmer], a film produced in 2000 by Artschiv Productions and Video Vamp that was picked up for distribution in 2002 by Seduction and that also starred Misty, Tina Krause and Bill Hellfire).


However, Misty's association with Seduction was not limited to recycling her Factory 2000-films as shorts, she soon started to act in Seduction-films as well, starting with Gladiator Eroticus (2001, John Bacchus), a lesbian spoof of Ridley Scott's Gladiator (2000), which shows John Bacchus - then Seduction's head director - at the height of his game: By now he had established his very own brand of (erotic) spoof of whatever there is to spoof, and occasionally, his sexy parodies were better than the films they were based on - at least with Gladiator Eroticus that's definitely the case.

Misty's role in this fim wasn't too big, the star of Gladiator Eroticus was undenyably Darian Caine [Darian Caine interview - click here], and she makes the most of it, but Misty's role as the young sister of the Emperor (John P.Fedele), who spends most of the film lusting for her, left an impression, and she was soon back in in a larger role in Bacchus next spoof, Erotic Survivor (2001, John Bacchus), a parody on the silly Survivor-TV-series that was basically an ensemble piece also starring Darian Caine, Ruby LaRocca, Jade Duboir, Debbie Rochon, William Hellfire and Joey Smack.

In Erotic Survivor, Misty had more screentime and more opportunities to show off both her acting talents and her naked body, and ultimately it became apparent that it was only a matter of time before Seduction Cinema gave Misty her first lead ... which was to be Misty Mundae, Mummy Raider (2001, Brian Paulin), a cheaply made softcore spoof of Lara Croft, Tomb Raider (2001, Simon West) featuring mummies and Nazis and also starring Darian Caine and Ruby LaRocca that despite its obvious monetary restrictions and its very basic (or thin, if you may) plot is quite hilarious. And Misty is quite good as the gun-wielding action star - who along the way loses her top to the delight of the audience. Still, Ruby LaRocca steals this film as evil Nazi Doctor doing a phony accent and uttering lines like "Vat, have you never kissed a Nazi before ?"


Eventually, Misty Mundae, Mummy Raider led to the lead in Play-Mate of the Apes (2002, John Bacchus), one of Seduction's big projects, meaning an (almost) decently budgeted lesbian spoof of a current blockbuster (Tim Burton's Planet of the Apes [2001], but also taking a few hits at the superior originial 1968 version by Franklin J.Schaffner) that even features a few ok special effects. With this, director John Bacchus has delivered another hilarious parody, and Misty once again proved her talent to do comedy and to carry a film - despite able support by Darian Caine and both Debbie Rochon and John Bacchus in ape costumes, the film pretty much belongs to Misty.


Within just a couple of years, Misty has thus made herself a name as one of the most talented in Seduction's stable of performers, and since besides the above-mentioned films she had at least supporting roles in pretty much every other Seduction-film during that time - e.g. Witchbabe: The Erotic Witch Project 3 (2001, Terry M.West), The Erotic Mirror (2002, Peter Jacelone), Satan's School for Lust (2002, Terry M.West), My Vampire Lover (2002, George Freeway) - and has with time attracted a (relatively) huge fanbase, it hardly came as a surprise that in 2002 she was chosen to become Seduction Cinema's first contract player ...



Having Misty as a contract player, Seduction really took advantage of her and pretty much put her in everything they had got - but in all fairness, they more often than not at least tried to tailor her roles to fit her image ...

So over the next few years, Misty could be seen in Roxanna (2002, Ted W.Crestview), a remake of an old Nick Philips-film from 1970 (click here), Vampire Vixens (2003, John Bacchus), the long-awaited (?) sequel to Bacchus' Vampire Seduction, That 70's Girl (2004, Johnny Crash), a (hippie) sex comedy that was supposed to be the pilot for a TV-series that never happened, Sexy American Idle (2004, John P.Fedele), a pretty funny lesbian spoof of the pretty terrible American Idol TV-series, and New York Wildcats (2005, Johnny Crash), a rather pointless remake of Joe Sarno's Every Afternoon/Swedish Wildcats (1972).


Still, even through this immensely industrious time, there were some films that deserve extra mention:

The Lord of the G-Strings (2002, Terry M.West) and SpiderBabe (2003, Johnny Crash) were two more of Seduction's big projects, both once again lesbian spoofs, both once again decently budgeted and graced with some competent special effects work. But while the former film, a parody of Peter Jackson's Lord of the Rings-series, is still full of Seduction's trademark anarchic humour John Bacchus style (who served as a producer on this one), the latter film, a spoof of Sam Raimi's Spider-Man (2002), occasionally forgets to be funny, instead drowning in special effects and pop culture references (mainly of course to Spider-Man comics), and is thus rather disappointing.


Then there's Seduction's president Michael Raso's directorial debut, The Seduction of Misty Mundae (2005), also starring another Seduction-contract player, Julian Wells, an old-fashioned and very charming softcore film that was clearly intended as a loving hommage to legendary director Joe Sarno - and in this one, Misty proves she can still convince at playing a virgin after having been witnessed having sex in literally dozens of films.


The Girl who Shagged Me (2005, Thomas J Moose) is a Anglo-American co-production that took Misty to Great Britain to star in a sexy spy spoof. The outcome might be a bit uneven - but occasionally extremely funny. The main problem of the film is though that Misty's character does not make all that much sense concerning the proceedings.



With director Tony Marsiglia [Tony Marsiglia interview - click here], Misty worked on 5 projects (so far), and while Sin Sisters (2003) was nothing more than a straight-forward erotic thriller, the yet-to-be-released Chantal (2003, released in 2007), Doctor Jekyll and Mistress Hyde (2003), Lust for Dracula (2004) and Sinful (2006) all show Tony Marsiglia to be one of the most creative heads in the erotic horror subgenre, with Chantal being a borderline-surreal remake of a Nick Philips film from 1969, Doctor Jekyll and Mistress Hyde and Lust for Dracula being bizarre new takes on age-old stories and Sinful being an almost surreal horror tale, in which Misty (arguably) turns in her best performance to date.

Truth to be told, none of these films is perfect, and Marsiglia tends to try a bit too hard to imitate David Lynch at times, but once he finds his own style instead of copying Lynch and has scripts that do not sound like parodies (like Doctor Jekyll and Mistress Hyde and Lust for Dracula), he might just as well become the next big name of art-horror - if there even is such a genre.


Working on movie after movie eventually got Misty interested in directing, so she also worked behind the camera as well as in front on a couple of sex flicks and a surreal short.

Misty's sex films - the yet-to-be-released Confessions of a Natural Beauty (2003) and yet another Nick Philips remake, Lustful Addiction (2003) - might be nothing to write home about, but at times they are quite sensual all the same, and definitely no worse than Seduction's usual output. 

Her short though, Voodoun Blues (2004) - a project for college Seduction was nice enough to distribute on DVD - was a whole other matter though, a surreal film that is closer to Jan Svankmajer and early David Lynch than anything Seduction had produced or Misty had been in so far and that might prove her to be a filmmaker to look out for, shoud she ever choose that road (not that she made another film since, unfortunately) ...


Despite having made a name of herself in erotica, Misty's first love regarding films was always (B-)horror, so when Seduction decided to give their sister-horror-label Shock-O-Rama - which had co-produced and/or distributed the occasional film over the years - a good boost and get it up and running in 2003, Misty happily jumped the bandwagon, and soon enough she was in Brett Piper's Screaming Dead (2004) [Brett Piper interview - click here], a story about a self-absorbed artist (Joseph Farrell), who likes to torture his models - and Misty is the one who gets the worst of it - until an evil spirit shows up who turns the tables on the artist ... but unfortunately also on everyone else involved ...


In Bite Me (2004, Brett Piper), Misty is one of a bunch of strippers who suddenly find themselves confronted with a bunch of mutant bugs. And thanks to a bugbite, Misty mutates into a tough-as-nails bug-fighter.


And Shock-O-Rama (2006, Brett Piper) shows Misty as a B-movie actress fed up with her job (something not too far removed from the truth, but more of that later) ... until she finds herself confronted with typical a B-movie situation, a (tongue-in-cheek) zombie attack.

What sets the Shock-O-Rama-films apart from Seduction's usual output is that they are full-fledged (if at times self-ironic) old school horror films that feature only very little nudity (though Misty has nude scenes in all three of them) and a load of (mostly analogue) special effects, actually director Brett Piper's field of expertise.

Truth to be told, all three films are uneven and have their definite flaws, but all three are certainly among the better, more ambitious and original direct-to-video shockers that are currently released - which isn't necessarily saying much, though ...


As mentioned above, in Shock-O-Rama, Misty plays a B-movie actress fed up with her job who leaves the studio she's working for but has to realize the studio owns her name ... which is a case of life imitating art or vice versa, as aroung 2004 - when Shock-O-Rama was filmed, Misty, who by that time was cast for pretty much every other Seduction-sex flick (and had to show herself naked in all of them, more often than not repeatedly) felt burned out and decided not to extend her contract and to pursue her further acting career away from the studio and away from pure sexploitation - but she had to realize that her name - Misty Mundae - was actually owned by ei Independent (Seduction and Shock-O-Rama's mother-company), and since they over the past years have invested a fortune in making Misty Mundae a household name, they would not let her name go with her ... and so Misty Mundae became Erin Brown ...

(Truth to be told though, the split between Misty and Seduction was a lot more amical than the split shown in Shock-O-Rama, and to this day, Misty does the occasional publicity stunt for the studio.)


The split hit Seduction like a shock since much of the studio's success was indebted to Misty, and Seduction simply didn't have another girl in their stable to replace her as a versatile, funny, talented, good-looking and charismatic lead actress - but Seduction thus far bridged the gap by releasing Misty Mundae-films produced before the split, and the studio still has several unreleased Misty Mundae-films up their sleeves, including above mentioned Confessions of a Natural Beauty and Chantal as well as An Erotic Werewolf in London (2001, William Hellfire) and Girl Zombie (2001, Richard Hillian), plus they spiced up a film not starring Misty Mundae, The Sexy Adventures of Van Helsing (2004, Max Von Diesel), with stock-(sex-)scenes involving Misty lifted directly from The Lord of the G-Strings, and they took an old, unfinished cavegirl film by William Hellfire, tagged on some stop-motion-dinosaur animation courtesey of Brett Piper [Brett Piper interview - click here] and released it as Bikini Girls on Dinosaur Planet (2005).

And then ei Independent still has hopes to get Misty back for the occasional picture ...


And what about Erin Brown, the actress formerly known as Misty Mundae ?

She has gotten roles in a few higher-profile (but not necessarily better) productions compared to her ei Independent-output:

  • In the serial killer film The Lost (2005, Chris Sivertson), Erin plays no more than a supporting role and fails to impress just like the movie as a whole.  
  • Shadow: Dead Riot (2006, Derek Wan) is an ill-conceived mix of women-in-prison film and zombie flick that was created first and foremost as a vehicle for Tony Todd, who had seen better days as the title character of the Candyman series of films. Erin can be seen here as a female convict, along with frequent Seduction co-star Ruby LaRocca.
  • Erin's first post-Seduction lead was in The Rage (2006, Robert Kurtzman), the first film produced by special effects studio Precinct 13 Entertainment, which sounds like little more than your usual mad scientist/killervirus B-movie though.

The part that will boost Erin's recognition with the horror community the most though is that of Misty (sic !) in Sick Girl (2006, Lucky McKee), an episode of the (generally overrated) Masters of Horror-TV-series - not because the episode is particularly good - it's just a mediocre piece of insect-horror - or because Erin is so good in it - she has given better performances but at least she's way better than co-star Angela Bettis -, but because the series is for some reason (mainly namedropping) held in high esteem by (mainstream) horror audiences and a part in the series will no doubt  broaden her fanbase ...


Into a whole other direction goes All Along (2007, Robert A.Masciantonio), an independent comedy written by and starring Bill Page [Bill Page interview - click here] in which Erin plays a supporting role and which has won many awards on the festival circuit, including the Audience Choice Award at the Fairhope Film Festival, Best Romance Feature at the International Digital Video & HD Festival, Honorable Mention - Best Feature at the Myrtle Beach International Film Festival, and Best of Show at the Accolade Film Awards.

Where Erin Brown's career will go next noone can really say, she might go maintream (like The Rage or Masters of Horror - Sick Girl would suggest) and become another forgotten talent in faceless B-pictures, she might continue starring in horror from the weirder side of the spectrum (like one of her current projects, Camp Motion Pictures' Splatter Beach [2007, Mark Polonia, John Polonia] might suggest), she might shift to comedies like All Along, she might even eventually make another surreal movie of her own, who can say.


The one thing I'm sure of though is that we will hear (and see) a lot more of her - becasue there's something about Erin Brown ...


© by Mike Haberfelner

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