Born either in Poland or Israel as Lillian Wilczkowsky, as a young woman she found her way into the late 1960s burlesque scene. Working under the stage name of Chesty Morgan, Lilian's enormous, heaving 73-inch bustline served her well. By the early 1970s, news of this stripping phenom made its way to notorious roughie / nudie / exploitation director Doris Wishman who decrypted the numbers 73-32-36 and saw stardom in the wings.
This 1973 Doris Wishman film was Chesty's first foray into the world of celluloid. The plot centers on revenge: seeking revenge on gangsters who kill a loved one. Certainly, this is a common Hollywood plot, but Doris Wishman's take on revenge is far from her contemporary blaxploitation directors who served up revenge with soulful kung fu and is worlds apart from current thrillers where transgressors are dealt death by a gun.
In ‘Deadly Weapons,’ Chesty uses her natural assets to lure in the gangsters who killed her boyfriend, then smothers them with her bosom. Somehow, the Oscars overlooked this gem.
Double Agent 73
1974's follow-up film saw Chesty play the role of an American superspy, Agent 73, recalled from her vacation at a nudist colony for an important mission. That mission: collect evidence on a crime syndicate. The plot can truly be ignored; the important thing to note is that Chesty is ordered to collect photographic evidence and in a burst of Cold War-winning American know-how, some genius determines that the best way for Agent 73 to carry a hidden camera is to implant one into her left breast. Thus, every time she finds evidence, she has to take off her shirt and rub her nipples.
Not only that, but because Wishman is at the helm, the viewer is treated to long sequences in which nothing is on screen but Chesty's breasts. Well, treated is not the proper word to use; it is more of an assault. Speaking of being assaulted by breasts, Agent 73 uses her milk jugs as her arsenal- knocking out criminals with them and slaying them with her poisoned nipples.
After these two starring roles, Chesty faded from the scene. After making a brief appearance in the Federico Fellini production of ‘Casanova,’ the world has heard little from Lillian Wilczkowsky. Still, punk rock bands sing her praises. Trash culture hipsters collect her posters. Cult film aficionados still screen her films.