History of Sex in Cinema:
|Movie Title/Year and Film/Scene Description|
This R-rated, May-December romance story was directed by Clint Eastwood - it was his third directed film, and the first one that he also didn't star in. Besides being a story of an intergenerational, age-disparity love, it also contrasted the establishment with the counter-culture of the time. The film's tagline hinted:
Troubled hippie and liberal, guitar-strumming free spirit Edith Alice "Breezy" Breezerman (Kay Lenz) became involved in an intergenerational affair with Frank Harmon (William Holden), a cynical, insecure middle-aged, divorced businessman - and a conservative real-estate broker in the LA area. At first, he had found the dark-haired brunette sleeping on his front porch. When she found herself in trouble with the law, she claimed that Frank was her uncle, and moved into his home when he gave his permission. As she changed her clothes, they talked in their characteristic fashion:
During their time together, their friendship of opposite types became a sexual love affair when he unexpectedly fell in love with the big-hearted Breezy. There were only a few instances of polite and acceptable nudity in the film, when they undressed in the dark before sex. And the next morning, he explained what he felt for her: "Concern for another human being, awareness of life, fantastic excitement when I touch you, an interest, a genuine interest in someone other than myself." He admitted he hadn't mentioned the word 'love' but she felt he loved her without saying it.
By the film's conclusion, he was bound by convention and his own insecurities after he and Breezy attended a cinema showing High Plains Drifter. Confronted by two couples that he knew in the lobby, he soon after broke off the relationship fearing that he was a laughing-stock and that he might hurt her. In a tense scene upon his return the next evening, he refused to stay for a home-cooked dinner that she had especially prepared for him. She was confused by his sudden reticence about the two of them, before she tearfully left:
Appearing regretful about his decision after being alone for awhile, and realizing how precious life was, he was able to reconcile with Breezy and walk off with her in a park in the finale:
Breezy (Kay Lenz)
Breezy with Frank
After the success of the blaxploitation action film Shaft (1971), films targeted at inner-city black male audiences began to multiply on movie screens. This blaxploitation classic from writer/director Jack Hill was a soft-core, violent, female follow-up version of the earlier film. It was more palatable than Melvin Van Peebles' breakout film Sweet Sweetback's Baadasssss Song (1971).
The violent and sadistic film beat two competing films to the screen:
Pam Grier (in her first lead role and establishing herself as an African-American iconic figure) starred as Nurse "Coffy" Coffin, one of the first female action stars in this gritty yet formulaic film. [Note: Because of this film's enormous success, Grier's next film from AIP Foxy Brown (1974) was fast-tracked.]
She portrayed a sexy, anti-drug vigilante-heroine, vengeful against despicable Vegas drug-dealers because of the addiction of her 11 year-old sister. Coffy used her oversized revolver or sawed-off shotgun to kill drug suppliers and dealers. Coffy's "wildcat" character, often exhibiting immoral behavior to defeat her enemies, was advertised with the tagline:
This sleazy R-rated film included heavy doses of sex and nudity, low-cut clothing, and for some viewers a confirmation of the stereotyped societal perception that blacks were sexual animals. Coffy often used her sexuality, posing as a prostitute, to lure suspected mobsters and underworld figures, and she fought off various pimps, pushers and prostitutes who were also promoting and using illegal substances.
Director Quentin Tarantino judged it to be one of the top 10 greatest films ever made, and brought back Grier to star in his tribute film Jackie Brown (1997).
Don't Look Now (1973, UK/It.)
Director Nicolas Roeg's intense mystery/drama told the story of a vacationing married couple Laura (Julie Christie) and John Baxter (Donald Sutherland) who were in Venice after the tragic accidental drowning demise of their daughter in England.
The film was most known for an explicit, frank, and honest three-minute love scene for its time, with the couple in their Venice hotel room (bathroom and bedroom) expressing their intimate and honest love for each other and reconnecting emotionally.
The scene was creatively edited - intercut and juxtaposed with their showering-bathing-dressing and preparations for going out to dinner. As they relaxed languorously together, she stated: "You've got toothpaste all over your mouth" to which he replied: "Eat if off" - she responded with a kiss, but told him: "I can't get it off."
She also playfully stroked his naked backside as they both stretched out on a bed to make love. He opened up her nightgown, caressed her chest, and they began to have oral and actual intercourse.
The scene was so explicit (and seemingly real) that it had to be edited before the film's US theatrical R-rated release.
The Exorcist (1973)
Academy-Award winning director William Friedkin created a frightening, horror film masterpiece with The Exorcist (1973), about a young 12 year-old girl entering puberty and womanhood, who also became possessed.
Besides its sensational, nauseating, horrendous special effects involving Satanic-possessed Regan MacNeil (Linda Blair) and her 360 degree head-rotation, the projectile spewing of green puke, etc., it also included more sexually-grotesque scenes, such as a controversial and lengthy excruciatingly-torturous medical examination sequence with markedly sexual overtones, conducted as a deflowering of the young girl. Other scenes:
One of the film's most horrifying scenes was the notorious crucifix-masturbation scene, symbolically simulating the loss of virginity for the young teenager. The camera registered the horror on the face of Regan's mother as she saw her daughter's sacrilegious self-abuse. In an obscene gesture simulating masturbation, a horribly-disfigured Regan repeatedly thrust her bloodied hand clutching the crucifix into her vagina under her blood-splattered nightgown, as she bellowed obscenities in the Devil's voice: "Let Jesus f--k you, let Jesus f--k you! Let him f--k you!" [Note: The demon's voice was enhanced with various animal noises and other grotesque sounds.]
There was a struggle to get the cross out of Regan's super-strong arm and her mother tussled with her for control of the offending object. Regan held her mother's head down into her crotch and repeated: "Lick me!" - covering her mother's face in blood. Regan then punched her mother with a violent blow, sending her backwards across the bedroom floor. As a bloody-faced Regan sat on her bed, she spun her head backwards 180 degrees, threatening in a deep malevolent voice as she imitated the British accent of a dead family friend to taunt Chris about his murder: "Do you know what she did? Your c--ting daughter?"
In fact, one of the other most objectionable and blasphemous scenes was the sight on the Georgetown University campus of a white marble statue of the Virgin Mary. It had been desecrated with red paint and other materials, and taken on the appearance of a harlot. The defiled statue had long red-tipped breasts, red color on both hands, and an elongated, erect yet sagging penis-shaped clay protuberance also daubed in red.
The Grande Bouffe (1973, Fr/It.) (aka La Grande Bouffe, or "The Big Feast (or Blow-Out)")
Co-writer/director Marco Ferreri's decadent black comedy-drama was about group sex and unbridled gastronomic and sexual indulgence (as a satirical critique of the destructive nature of western capitalism and affluence). The theme has since been played out in two British films:
The notorious NC-17 rated film was the improbable tale of four middle-aged, over-privileged playboys in a secluded villa in the French countryside for a weekend:
At Philippe's residence, they decided to commit suicide by eating themselves to death (and overindulging in sex) during a bacchanalian feast (with extravagant gourmet food, flatulence and scatological implications from an exploding toilet). They began the festivities with a slideshow of vintage erotic porn-photographs while feasting.
They were accompanied by Andrea (Andrea Ferreol), a red-haired, debauched, corpulent, liberal-minded, and sexually-voracious local schoolteacher, who enjoyed gorging herself on both sex and food, and remained with them until the end.
The men also invited three prostitutes who briefly joined them, including Danielle (Solange Blondeau), a blonde who was stripped naked and pelted with pieces of cake. She also allowed herself to be stimulated in the crotch (with a car part) by Marcello. One of the others, who was soon to leave, called the four men "imbeciles, idiots, mental deficients."
In one of the profligate scenes of engorgement that succeeded in death, Philippe stuffed pate into dying Ugo's mouth as a weeping Andrea pleasured him through his pants' zipper - laid out on a kitchen table.
The Harrad Experiment (1973)
Director Ted Post's film was based upon Robert H. Rimmer's 1962 best-selling book published in 1966. Many versions of the film were severely edited and cut.
"The sex manifesto for the free love generation" was made during the sexual 'free-love' revolution of the 70s. It told about non-existent Harrad College run by Professor Philip Tenhausen (James Whitmore) and his liberated wife Margaret (Tippi Hedren) for "a controlled group experiment in pre-marital relations." (At one point, Margaret attempted to seduce one of the male students (Don Johnson) by stripping down to her underwear in front of the main administration building.)
This infamous R-rated film included lots of full-frontal nudity (including brief glimpses of a nude Don Johnson), outdoor 7:30 am nude yoga in a large circle, group indoor swimming pool skinny-dipping, drug use, and more.
For one year in the experimental co-ed institution, two incompatible and mismatched young student couples were encouraged to have "sexual intimacy." A male and female were paired together for a month (and afterwards free to change partners) - to practice what they had learned about pre-marital sex and anti-monogamous behavior.
This film was followed by the sequel Harrad Summer (1974) (aka Love All Summer) with only Victoria Thompson and Laurie Walters reprising their roles.
The Paired Up Couples:
(l to r) Sheila, Stanley, Beth, and Harry
Beth Hillyer (Victoria Thompson) During Yoga Class
The Naked Ape (1973)
This box-office and critical disaster (executive-produced by Hugh Hefner), directed by one-time Donald Driver, was an experimental, pseudo-docudrama and semi-animated Playboy magazine adaptation of the popular 1967 anthropological Desmond Morris book of the same name. The film's tagline was:
This PG-rated sex comedy cult film, often with the mild nudity edited out, attempted to explain, in hip 70s fashion, the history of man's sexual urges and mating rituals. It was actually considered a "deft mixture of anthropology, animation, fantasy, and romance."
It starred ex-Mousketeer (and the 1950s TV western The Rifleman young co-star) Johnny Crawford as Lee - an evolved college student who still had very base, animalistic desires. His prime interest was for a classmate in his "Erotic Poetry and Prose" class:
To the sound of applause of cheering classmates, they entered hand-in-hand through a door into the blackness of space, and together floated off as their clothes were inexplicably torn off - and then were making love in bed together, in a fantasy sequence. She asked Lee: "Do you know monkeys and apes don't fall in love?"
Nudity in Film's Publicity
Ricco, the Mean Machine (1973, It./Sp.) (aka Ricco, or The Cauldron of Death, or Some Guy with a Strange Face is Looking for You to Kill You)
This crime-action story by Spanish director Tulio Demicheli was released in the US (dubbed) in 1974 as a sleazy, exploitative, grindhouse film. Two of its taglines were:
It was a tale about a recent prison parolee (released a year early for good behavior), long-haired blonde hippie Ricco Aversi (Christopher Mitchum, Robert Mitchum's son), who was persuaded to seek revenge. He had been framed for assaulting sadistic Mafia head and drug lord Don Vito (Arthur Kennedy) after the brutal killing of his own chieftain father Gaspare (Luis Induni) (to take over the business), with a graphic shot to the head. Don Vito also snatched Ricco's sexy dancer girlfriend Rosa (Malisa Longo). Rosa (who frequently sunbathed topless) had become the traitorous moll of the mobster.
After Ricco's release, sister (Paola Senatore) didin't want him to seek revenge, but his still-suffering, wheel-chair-bound widowed mother did. First, Ricco confronted Rosa, who claimed that her new sex partner was "better than with you, a thousand times better." He slapped her back onto a bed, held her down, and asked: "Why, Rosa, why with Vito?" She barked back, "And why not? All of you are rubbish. My father, yours, all. At least he knows how to live." Ricco claimed he had spent two years thinking of her, and then kissed her - and she surrendered to him.
The often carefree and laidback Riccio went after the crime lord with the assistance of pretty, red-headed scam artist Scilla (Eurobabe Barbara Bouchet), the niece of one of his father’s old allies, a counterfeiter named Giuseppe (Angel Alvarez). She was introduced with T&A close-ups as she walked toward and then away from the camera, wearing skin-tight pants.
In one of the film's sensational scenes, Scilla performed a memorably dreamy striptease in the fog in front of the mobsters' car. She then climbed onto their car's hood, and tantalizingly kissed them through the windshield before posing. Her ploy worked to lure the bad guys out of the car before Ricco tossed them off a bridge. After the ambush, she comfortably remained topless as she and Ricco drove away.
One of the film's posters described Ricco's and Scilla's combined efforts: "He's mellow and mad, but she's just plain bad. Together, they're the Mean Machine."
The film's main controversial gore-scenes involved the retaliatory switchblade castration and murder of one of Don Vito's untrustworthy bodyguards-assistants after he was caught having sex with the seductive Rosa. After being stripped and held down, his genitals (a fake-looking prosthetic) were grabbed (in a split-second shot), bloodily severed with a crude switchblade knife, and then pushed down his throat.
He was then tossed in a gurgling acid-bath vat in the mobster's soap factory, where close-ups of his face floating to the surface showed his skin burned and disintegrated (shortly later, faithless Rosa joined him (off-screen)).
Rosa (Malisa Longo)
Punishment: Severe Castration- Dismemberment
Actor/director Woody Allen's science-fiction satirical comedy classic and screwball comedy Sleeper (1973) was about the dystopian future in the year 2173.
The brave new world contained prophetic instances of robotic sex substituting for or replacing human contact.
When nerdy jazz clarinet player and health food store owner Miles Monroe (Allen) woke up to the future 200 years later (after being cyrogenically frozen), and disguised as a domestic servant robot, he encountered two convenient devices for quick sex:
When asked by socialite Luna Schlosser (Diane Keaton), a greeting card composer, about using the Orgasmatron machine, Miles refused:
Later, when he hid in the machine from the Leader's orange-uniformed police guards, he was sexually-satiated when the door was opened.
The film ended with the famous "sex and death" line - his statement of beliefs after he declared that he didn't believe in science, political systems, or God:
Some Call It Loving (1973) (aka Sleeping Beauty)
Although this moody, pretentious and surreal, soft-focus art-house erotic film was savaged by US critics and was a complete flop, it actually gained a cult following (mostly in Europe) for its unique originality, bizarre nature and strangeness. It was written and directed by James B. Harris and based on John Collier's short story Sleeping Beauty. Its taglines were:
In the slow-paced, hypnotic story, a lonely but fabulously-well-off, passive, tossle-haired jazz musician named Robert Troy (Zalman King, a soft-core filmmaker known for The Red Shoes Diaries, 9½ Weeks (1986), Two Moon Junction (1988) and Wild Orchid (1989)) benevolently purchased a carnival attraction known as "Sleeping Beauty" (Tisa Farrow, Mia Farrow's younger sister) for $20,000 (along with a van - marked with a "Sleeping Beauty" logo).
He had visited a kissing-booth sideshow of a sleeping female (an orphan who was being exploited and had been dormant for 8 years) attended by a doctor (the attraction's barker (Logan Ramsey)) and model-nurse (Pat Priest), where attendees (who paid $1 dollar) could offer up a kiss for another $1 to see if she could be awakened or aroused. After becoming immediately enamoured and obsessed with the comatose female, he just wanted to stare and gaze dreamily at her sleeping figure, although the 'doctor' offered that he could do whatever he wanted (implying sex) for $50, as long as he didn't take too long.
Afterwards, Robert (a "kept" man) drove the liberated sleeping girl, named Jennifer, to an oceanside Los Angeles, California baroque-styled chateau that he shared with two other mysterious bisexual girlfriends: his wealthy mistress-wife? Scarlett (Carol White) and blonde companion Angelica (Veronica Anderson), who were his lovers who often engaged in fantasy role-playing or sexual game-playing as fetishistic nuns or domestic maids, and were not as subservient as they appeared. [In one of the film's most unusual sequences, Robert's fetish about role-playing was evident at his jazz nightclub where he instructed pretty blonde waitress (Brandy Herred in her sole film role) to do an uncoordinated cheerleading pom-pom dance on stage, first topless and then completely naked.]
Once Jennifer woke up (after not being given a sedative or doping medicine on a regular basis), he attempted to introduce her, as a social experiment, to his world of debauchery and free love with Scarlett and Angelica, but at first, she was too naive, childlike, vulnerable, and innocent to engage in their lifestyle. Jennifer admitted to Troy (she always called him by his last name) that after being asleep for so long, it was difficult to distinguish dreams from reality. She immediately fell into idealized 'romantic love' with Robert, believing that she was happy and not wishing for anything to change. Then, temptress Scarlett began to train receptive Jennifer into becoming another plaything who would join in their kinky exhibitionism and dominant/submissive role-playing - moving beyond Robert and his ability to have her in a conventional, normal loving relationship.
Awakened - or disillusioned - by his new acquisition who couldn't fit into his idealistic view of love, a frustrated Robert returned her to her sleeping state and became her new barker in the sarcastic and tragic conclusion.
The Sleeping Beauty Jennifer (Tisa Farrow)
Scarlett (Carol White) and Angelica (Veronica Anderson)
Terminal Island (1973)
Director Stephanie Rothman's violent action thriller - a Roger Corman-styled 'drive-in' film, was originally designed as an exploitation film (similar to the sub-genre of women-in-prison films or WIP), although it has become a cult classic since. Rothman was notable as one of the first female drive-in directors. Her film has become famous, mostly because of the early appearance of a young Tom Selleck in one of the lead roles, seven years before Magnum P.I..
The low-budget story was about San Bruno Island (dubbed Terminal Island) located 40 miles off the coast of California, where violent and dangerous criminals (all first-degree murderers and death-row inmates) were sentenced (as "legally dead") to live for the rest of their lives (after the US government had abolished the death penalty). It opened with a new African-American detainee named Carmen Sims (Ena Hartman) being transported by a guard boat to Terminal Island.
Dozens of prisoners lived together in a makeshift compound, cruelly run by Bobby Farr (Sean Kenney) aided by a brutal black sidekick named Monk (Roger E. Mosley). The day's routine involved hard work at construction, cooking and plowing-gardening, while at night, the few females serviced the men on a regular basis:
It soon became clear that a rival group of outcasts had developed and was hiding out elsewhere on the island, led by cop killer A.J. Thomas (Don Marshall). In a daring guerrilla-warfare plan, they kidnapped and liberated the females for themselves, although were more civilized in not forcing them to be sex slaves.
A bloody and lethal civil war between the two groups erupted, with A.J.'s heroic group intelligently devising poisonous darts and homemade explosive grenades. Although most of the inmates were killed in the conflict, including Bobby (who was burned to death in a fiery bunker explosion) and Monk who was blinded, the smaller rebel group was victorious.
In the final optimistic scene, junkie Dr. Norman Milford (Tom Selleck), convicted and imprisoned after illegally committing an assisted suicide (a "mercy killing"), decided to remain on the island (now hopefully more Utopian and less violent) even though he had been granted a retrial.
Bunny (Barbara Leigh) as a Sex Slave for Bobby
Joy (Phyllis Davis) Skinny-Dipping
Dr. Milford (Tom Selleck)
Thriller: A Cruel Picture (aka They Call Her One Eye, Hooker's Revenge, and Thriller - En Grym Film) (1973, Swed.)
This notorious and controversial Swedish violent revenge sexploitation film from writer/director Bo Arne Vibenius was advertised with the tagline:
It was the first non-silent era Swedish film to be completely banned in its own country. Reportedly, Quentin Tarantino based his own Kill Bill, Vol 1 (2003) and Daryl Hannah's one-eyed killing character Elle Driver upon this tawdry, grindhouse snuff film.
It was repeatedly edited, and censored (and banned outside of Sweden) for its controversial rape and revenge themes and hard-core sex. [Note: Allegedly, crude and explicit inserts of a body-double being penetrated vaginally and anally, and closeups of female genitalia and ejaculation were added to the film.] After this film, star Christina Lindberg ended her acting career, as she refused to perform hardcore sex scenes and expressed discomfort over the use of explicit, full-penetration inserts being used for her characters.
The main character was mute Frigga/Madeleine (Christina Lindberg) whose life was forever traumatized after a molestation-rape at a young age by a derelict elderly man in a park. Fifteen years later, her existence was overshadowed by sexual abuse, heroin addiction, and forced prostitution. [A similar story was first detailed three years earlier in Gustav Wiklund's roughie Exponerad (1971) (aka Diary of a Rape), also with Lindberg (in her third film).]
After missing her bus one day, Madeleine was given a ride by smooth-talking pimp Tony Dill (Heinz Hopf), who hooked her on heroin and forced her into prostitution. He also sliced her left eyeball with a scalpel (the mutilation was performed on a fresh cadaver) shown in graphic close-up detail, when she refused to service her first john and clawed his face. She was forced to wear an eyepatch that changed color (from pink to red to black) as the film progressed.
After learning that her parents committed suicide on account of her (after reading a faked letter), she turned to training herself for revenge (buying weapons, taking driving, shooting and karate training, etc.). Completely wordless, she resorted to graphic and violent blood-letting retaliation (often filmed in slow-motion) as long, dark leather coat-wearing "One Eye" (against Tony and other clients) with a sawed-off shotgun.
Revenge of "One Eye"
Turkish Delight (1973, Netherlands) (aka Turks Fruit)
Dutch director Paul Verhoeven's film (collaborating with cinematographer Jan de Bont in his debut film) was a frank, provocative, vulgar and controversial work about love, free-spirited sex, intimacy and loss/death.
It was Oscar-nominated as Best Foreign Language Film (defeated by Francois Truffaut's Day For Night), and in 1999 was voted as the "Best Dutch Film of the Century" in the Nederlands Film Festival.
This sexually-explicit yet non-exploitative psychodrama was told as a series of flashbacks. It opened with the main character lying naked on his bed and recalling two violent dream revenge fantasies involving his ex-lover and her new boyfriend. He pictured himself on two occasions angrily and brutally bludgeoning the man, and then shooting the female in the middle of her forehead - and also strangling her.
Raw and angry sexuality were exhibited when he searched in a box of sexual mementos, and stuck a photo of his ex-beloved nude girlfriend on a wall and then masturbated toward her, moaning: "I'll lick the s--t from your ass!" as he climaxed.Then, he sought a random woman for a rough bout of purgative sex in his unkempt studio, and after bruising love-making, he presented her with a hand-drawn line depiction of his large penis, to remember him by.
As a hitch-hiker, he forced himself to be picked up by Josje in a convertible, and when he took her back to his place for sex, the first thing he did was cut off a swatch of her thick pubic hair, and glued it into his book of sexual mementos. There were more lovers for quick sex, including a young mother with a baby in a carriage, and another who was thrown out into the street naked when she spitefully criticized his box of mementos under his bed.
It was then revealed that two years earlier, he had been in a fateful, tempestuous relationship involving himself and another star-crossed lover:
He met Olga when she was driving her father's Rolls Royce and she picked him up at the side of the road. They parked and immediately had sex, awkwardly honking the horn and activating the windshield washer. As he zipped up his fly after their roadside quickie, he experienced a painful, pre-There's Something About Mary incident that caught his penis in his zipper. She drove to a remote farmhouse to borrow a pair of pliers to separate him from his pants. They returned the bloody implement to the astonished farmer. Shortly later, he distracted her driving, and they had a serious car crash that injured both of them.
The remainder of the entire film surveyed his life and their relationship, much of which involved torrid sex.
There were many instances of sex and casual nudity between them, and she became the real love of his life, although she eventually tired of his sexual prowess, and his constant one-track mind and demands for sex. Erik was sex-obsessed and had boasted: "I f--k better than God." She rebelled by leaving him.
Controversial elements, with often harsh language, included:
Everything culminated with a brief reunion and tragic Love Story ending, when he attended the mentally unstable and dying Olga at the hospital (suffering from a brain tumor) and fed her turkish delight, his final gift.
Erik (Rutger Hauer)
Masturbation Toward Photo in Opening Scene
Random Sex with Pick-ups
Sexual Mementos Scrapbook
Olga (Monique van de Ven)
War Goddess (1973, It.) (aka The Amazons, or Le Guerriere Dal Seno Nudo, translated The Warriors with Naked Breasts)
The film's director was famed Terence Young (known earlier for Wait Until Dark (1967) and the director of three early Bond films). Young's film was an early, low-budget, exploitative campy Spanish/French/Italian sword-and-sandal feature and a costume drama (with superb production values). Its taglines included:
It was released in 1974 in the US by American International Pictures (AIP), and featured two Amazonian war goddesses (also lesbians) of the fierce all-female clan - both sisters and often unclothed (hence the film's title!):
The film featured two amazing wrestling scenes (the first topless, the second completely nude). The earlier topless fight was to determine the society's next queen leader - and Antiope won. [Note: Young featured another female wrestling scene in his earlier Bond film, From Russia with Love (1963).]
In preparation for their second bout that was to regain supremacy of the Queenship, Orytheia's naked lesbian hand-maiden assisted her with a liberal application of sacred "ceremonial oil." Then, she and Queen Antiope began their epic catfight, both completely naked and battling during a lightning storm.
Exhausted from their lengthy struggle, the two fell into each other's sweaty and oily embrace, became intimate and ultimately kissed.
Also in the story, to provide progeny for the tribe, tribe members would meet up with Greek soldiers for annual mating. Buxom, man-hating Queen Antiope was forced to dutifully mate with Greek king Theseus (Angelo Infanti), and as he stroked her bountiful breasts, she reacted nervously and they had this strange conversation:
Uncharacteristically, she was surprised when she enjoyed the experience and ultimately fell in love.
The First Match-Up (Topless)
Epic Wrestling Match-Up (Naked)
Antiope Love-Making with Greek King Theseus
The Wicker Man (1973, UK)
Director Robin Hardy's suspenseful, mysterious and erotic folk horror-occult film was an R-rated classic thriller. [Note: It was remade (with less sex but more violence) by Hollywood, starring Nicolas Cage in the role of the Scottish police officer, The Wicker Man (2006), directed by Neil Labute.] Its tagline described the double lure of sex and death:
It told about a sexually-repressed, self-denying, virginal and devoutly religious Scottish policeman Sergeant Neil Howie (Edward Woodward). He was engaged in a search for missing young 12 year-old schoolgirl Rowan Morrison (Geraldine Cowper) after an anonymous tip in a letter.
He believed that the alleged kidnapped victim was to be a potential virgin sacrifice (the May Queen) on May Day by openly-sexual pagan worshippers and inhabitants of the remote Scottish island of Summerisle, who worshipped the pagan teachings of leader Lord Summerisle (Christopher Lee).
The island was inhabited by townsfolk who worshipped older gods and practiced open sexuality:
The film included the much-discussed scene of the innkeeper's sensual daughter Willow MacGregor (Britt Ekland) attempting to entice Howie. At first as she laid in bed and pounded the wall behind her with her right hand, she sang about "the things I'll give to you...the things I'll show to you." Rising from the bed, she strolled to the door and pounded against it, as she writhed naked. [The full body scenes of Ekland seen from the rear were performed by body double Jane Jackson.] She also stroked a statue before going to her window and also striking its frame. She was soon striking other objects in the room such as furniture and the wall to further drive him insane.
He learned about virginal fire sacrifices inside a giant, hollow wicker-constructed figure of a man, where he suffered his own fate - after not having succumbed to the fleshly temptations provided by Willow.
Copulation in Graveyard
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