History of Sex in Cinema:
|Movie Title/Year and Film/Scene Description|
The Ages of Lulu (1990, Sp.) (aka Las Edades de Lulú)
Writer/director Bigas Luna's (known for his later film Jamon, Jamon (1992, Sp.)) explicit and erotic film caused great controversy and censorship. Censorship cuts were made to the film in various places to tone down its graphic nature in its tale of the sexual rites-of-passage odyssey of the title character Lulu (Francesca Neri).
The most controversial included the opening title-credits view of a young and naked Lulu as a baby being baptized (with a close-up of her female genitals), the S&M four-way bisexual orgy at the gay club, and some of the explicitness in the many unorthodox sex scenes.
She was engaged in a depraved journey from her naive teenaged high-school years onwards. In one of the film's earlier scenes as a 15-year old, she surrendered herself to her brother's much older best friend Pablo (Óscar Ladoire) and allowed him to shave her pubic region at the end of their first date. After removing her panties, she sat in front of him open-legged with her white dress pulled up, as he lathered her crotch with shaving cream and then used a men's razor to scrape away her pubic hair. Then he led her to a couch where he proceeded to take away her virginity.
Later, when she was still smitten with him, he gave her a gift of a phallic-shaped vibrating, battery-operated dildo, which she immediately put to use (with his assistance). And then after getting her excited, he forced her to submit to painful anal sex. In the next scene, they were married. After the ceremony, they had more bouts of wild energetic sex together during their honeymoon.
Her sexual cravings soon brought her to a darker underworld of experience, including a threesome with a trans-gendered or trans-sexual prostitute named Ely (Maria Barranco).
She also shared a blindfolded incestual threesome with her own brother Marcelo (Fernando Guillén Cuervo) (preceded by the scissors-cutting of her panties to open them). When she discovered the other male was her incestuous brother, she left Pablo, taking with her daughter Ines.
She eventually pursued/explored further kinky and increasingly dangerous sensual experiences after watching gay porno films. She lost control over her sexual addiction and appetite, and began to participate in group sex, gay sex, and S&M (fisting by a male prostitute) in a secret gay club.
When she was bound and gagged and on the verge of being violently assaulted (and Ely was tragically killed), Lulu was fortunately rescued, reunited and taken back by her estranged husband.
Bad Girls From Mars (1990)
Director Fred Olen Ray's (famous for Hollywood Chainsaw Hookers (1988)) kitschy "film-within-a-film" was a low-budget, fairly tiresome film shot in only 5 days. It was actually a spoof of its own B-movie origins, with original sound-effects to warn the audience of upcoming "sexually-explicit" scenes. Its tagline was:
The soft-core sci-fi film being shot, "Bad Girls From Mars," opened with leading-lady starlet Terry (Jasae), a female alien, complaining during a topless scene to her male prisoner from Earth: "There's no room on Mars for limp dicks" before she was killed in her dressing room (strangled by a roll of film) by a maniac who had delivered a non-rhyming poem to her: "You're mean and cruel right from the start. And now you really have nowhere to hide."
Costume/wardrobe girl Myra ("Scream Queen Brinke Stevens), the girlfriend of narcissistic leading man Richard "Dick" Trent (Jay Richardson), wanted the role but was denied by harried director TJ McMasters (Oliver Darrow) - who was often seen being seduced by his dark-haired secretary Martine (Dana Bentley).
Now that four female stars had been murdered, producer Mac Regan (Jeffrey Culver) encouraged TJ to bring busty, leggy and exotic blonde sex goddess/ author Emanuelle Fortes (Russ Meyer bimbo Edy Williams) from Europe to star in the picture, stating that she had "great tits." Once the breathy replacement actress arrived, and while dipping naked in a jacuzzi, Emanuelle was attacked from behind by the masked killer and kidnapped, although she escaped and ended up loosely draped in a robe in a convenience/liquor store during an inept robbery.
She threatened walking off the set to the director: "I want to live through the week," but then was turned into a "wild woman" by the smell of garbage on his clothes. Once filming resumed, with Myra off-screen cracking a whip, Emanuelle propositioned the director in his office: "You work way too long, too hard...I want to rehearse tomorrow's sex scenes with you...I'll show you how it goes," causing jealous Martine in the outer office to challenge her to a fierce, half-naked cat-fight. The struggle ended when the secretary's neck was broken by the killer (and later, Martine's bloody head was delivered in a box).
In the film's conclusion, Emanuelle was kidnapped again and taken to a warehouse where her hands were bound, when the film's unusual last-minute plot twist was soon revealed. She came upon the final murder in the studio where she found that the producer's neck was slashed. The black-garbed, masked serial killer was Myra -- actually Emanuelle's ex-boyfriend Victor Buntz ("Things were a lot less complicated then"), who had undergone gender reassignment surgery in Sweden. In the past, Victor had murdered Swedish surgeon Dr. Edward Wood, after his face had been altered during gender reassignment surgery. Emanuelle again confronted the killer, unmasking Myra, who confessed:
She explained that "in a round-about way," she was responsible for the killings that had given Emanuelle the opportunity to star in the soft-core film ("Once you were in Hollywood, things would start happening for you").
Myra's planned last act was to blow up the studio with a hand-grenade, but Emanuelle knocked her out, placed the grenade in her mouth, and pulled the pin - eliminating Myra in the ensuing explosion. The film ended with Emanuelle performing unscripted in the scene that opened the film - she stripped, then rubbed, squeezed, and shook her bare breasts, while the director yelled: "Cut!" and commented: "Will this movie never end?"
Longtime B-horror director Frank Henenlotter's blood-and-breasts spoof was one of the most notorious, silliest, and over-the-top horror/comedies ever made, and a spoof of the classic Bride of Frankenstein (1935).
Set in New Jersey, it told about electrician-mad scientist/engineer Jeffrey Franken (James Lorinz), obsessed with anatomy, whose pudgy blonde girlfriend Elizabeth Shelley (August 1986 Penthouse Pet of the Month Patty Mullen) was accidentally killed by his invention - a runaway remote-controlled lawnmower. Disturbed and grief-stricken, he then stole her head (the only part that could be salvaged), and refrigerated it in a purple preservative bath to later use for his "perfect woman" - stitched onto the body parts of other streetwalkers.
He had acquired the other body "parts" from hookers, one of whom was named Honey (December 1982 Playboy Playmate, Charlotte Kemp) who propositioned him in his car when he said: "I'm looking for a lot of good parts." She pulled down her blouse and dangled her breasts in front of him, bragging:
When he flashed a wad of money at her, she jumped in his car, excitedly exclaiming: "Now you're talking." The spoof was mostly noted for its "Exploding Prostitutes" scene - he murdered a group of bare-breasted prostitutes in a hotel by serving them "super-crack" cocaine - causing them to detonate (in the film's most memorable sequence), and then took their severed limbs and parts to his laboratory to sew together and re-animate with electricity.
The reconstructed purple-bikinied female monster, his resultant "Bride of Frankenstein", with purple patchworked, mismatched parts including purplish areola on her breasts, was dubbed 'Frankenhooker' since she only wanted to turn tricks on Times Square streets. She was a sexually-ravenous nymphomaniac and undead (but deadly) "hooker" who went on the prowl for johns (she propositioned various potential males: "Wanna date?", "Need some company, lonely?", "Got any money?", and "Looking for some action?"). Intimate sexual relations with her turned out to be literally shocking - any male client that she kissed exploded.
The film featured a famous, sickly-twisted surprise ending when Jeffrey himself was decapitated by a sadistic pimp named Zorro (Joseph Gonzalez). (There was a final disgusting revenge scene upon Zorro by the female body parts.) Jeffrey had his head grafted onto the body of a large breasted hooker's body in order to be rejuvenated. As he awoke on an uprighted table, he was astounded, and lamented to Elizabeth:
Jeffrey as a
Director Jerry Zucker's old-fashioned supernatural romantic fantasy was noted for its non-nude, seductive sequence (symbolic of mutual masturbation) of co-creating molding clay on a pottery wheel, between the shared, wet hands of Molly (Demi Moore) and shirtless Sam (Patrick Swayze) (with the playing of the Righteous Brothers' "Unchained Melody").
He wrapped his arms around her from behind, as they both morphed the grayish, oozing clay from one phallic shape to another. The sequence continued with their extended love-making and kissing ("hunger for your love") in their darkened apartment.
The Pottery Wheel
The Grifters (1990)
Director Stephen Frears' R-rated adaptation of Jim Thompson's novel of the same name was a seedy and tense film noir about three 'grifter' con-artists and their worlds of treachery and double-cross. The two females were engaged in a deadly power-struggle love-triangle for the male's attention:
Deceitful Myra was the romantic interest for Roy - she enticed and seduced him within a naked doorway to become his affectionate floozy girlfriend. She opened her door, standing there stark naked, ran by him in the dark hallway shouting: "Gangway," and then hid behind a curtain as she apologized: "I hope you don't mind, sir. I just washed my clothes and I couldn't do a thing with them." He chased after her and tossed her onto a bed.
In the film's conclusion, vengeful Myra was shot to death by Lilly, and then Myra's face-blasted and disfigured corpse was made to look like Lilly's. Roy was called upon, as next-of-kin, to identify his mother at the Phoenix morgue - he concealed that he noticed Lilly's right hand did not have its tell-tale cigar burn mark.
Then, Lilly was confronted by Roy as she appeared to be stealing his money in his place. She argued that she was on the run and needed his money, and claimed she might make a break to get out of the con games and grifting (although she'd never had a legitimate job in her life) - she desperately begged and begged for his money, to tide her over:
When she came close and seductively kissed him, he asked: "Lilly, Jesus, what are you doing?", she replied: "Nothing at all, nothing at all," but then in a bizarre twist, she swung a suitcase full of cash at her son's head as he was drinking water from a glass. The glass smashed and cut an artery in his neck - and he profusely bled to death on the floor in front of her! Red-dressed Lilly gathered up the strewn cash, descended in an elevator, and drove away.
Roy (John Cusack) With Deadly Mother Lilly (Anjelica Huston)
Henry & June (1990)
Director Philip Kaufman's frank and bold treatment of sex was based on the racy diaries of author Anais Nin. It was the first major studio feature film to be released with the new and revised NC-17 rating by the MPAA (due to an explicit yet simulated scene of lesbian oral sex) - a rating designed to distinguish erotic-and-serious adult films from pure hard-core X-rated pornography. The new rating remained a stigma. Thereafter, many directors/studios afraid of NC-17 released their films as unrated or reluctantly cut and re-edited them to receive R ratings.
It had the second highest box-office gross of all-time at $11.6 million, about half of the #1 NC-17 film of all time, Showgirls (1995) at $20.3 million.
The sexually-provocative biodrama with themes of voyeurism, partner-swapping, three-way sex, and both hetero- and homo-sexuality told about a love triangle between three individuals in 1930s Bohemian Paris:
The controversial film included these scenes:
In another scene, Anais described an hallucinatory "nightmare" dream-fantasy of sex with June (and with Henry's blonde whore) in an upper loft, experiencing 'abnormal pleasures' ("I begged her to undress. I asked her to let me see between her legs. As she lay over me, I felt a penis touching me..."). Anais also had a climactic love-making scene with Henry after he had finished his novel 'Tropic of Cancer' while Hugo was downstairs. [Note: "Tropic of Cancer" was published in 1934, and banned in all English-speaking countries for 27 years.]
In the concluding scene, Anais and June got together for love-making (while Henry was asleep in another room of the house) after which an accusatory June confronted Anais about her manipulative and self-serving affair with Henry:
Anais broke off her relationship with both Henry & June and returned to her husband Hugo. As she drove away with him, she lamented (in voice-over) her lost loves, although Henry and Anais remained "life-long friends and supporters":
Henry & June
Henry's blonde whore
Anais' & June's dance-kiss
Anais' (Maria de Medeiros)
Anais with June
The Hot Spot (1990)
Actor Dennis Hopper directed this contemporary, sexy film noir (based on Charles Williams' 1952 novel "Hell Hath No Fury"), and unfortunately, it turned out to be a financially-failing film.
Scheming bank robber/drifter-used car dealer Harry Madox (Don Johnson) engaged in a torrid affair with used car lot owner's hot-blooded wife Dolly Harshaw (Virginia Madsen in a sizzling performance as a Lana Turner-like femme fatale seductress).
One of the side plots told about troubled but sweet and soft-spoken 19 year-old Texas car dealership office secretary Gloria Harper (future Oscar-winner Jennifer Connelly). Gloria was being blackmailed over a dark secret. Her most memorable scene was a bare skinny-dip with friend Irene Davey (Debra Cole) as she was being spied upon.
Jours Tranquilles à Clichy (1990, Fr.)
French director Claude Chabrol's sexually-explicit, erotic drama in 1990 was the second film adaptation of controversial Bohemian author Henry Miller's biographical novel of the same name.
The colorful 1990 French effort, with Andrew McCarthy as youthful alter-ego Joey/Henry Miller - was about the expatriate and his best friend Alfred Perlès, aka Karl (Nigel Havers), who indulged in a variety of decadent sexual escapades in the 1930s in Paris' bordellos and fancy restaurants while Joey was struggling to establish himself as a serious writer. Both men became platonically involved with young underaged teenaged temptress Colette Ducarouge (Stéphanie Cotta), who the two protagonists simultaneously married.
Joey's true love was red-haired Nys (Barbara De Rossi), with a steamy sex and shower sequence. In his final scene as a young man, Joey was approached by a topless woman (uncredited) who asked: "What do you wanna do now, hmm, you old sex pot?" As he nuzzled between her breasts, he happily replied: "Suck up the last drop."
In many intercut sequences throughout the film depicting Joey's final hours, the aging, wrinkle-skinned and dying man was seen with fully naked, illusionary, perfectly beautiful adolescent (Giuditta Del Vecchio), 60 years his younger. While sitting at his desk with his books in front of him, he talked about fearing the coming of death, represented by a nightmarish group of black-shaped figures that arrived in a car and were approaching closer and closer to him: "Please, make them go away." He claimed he wasn't sick, but still "as strong as a bull" - and that he wouldn't write anymore. The camera panned up the adolescent's nubile figure, as he asserted:
In the next segment with her, he expressed: "I'm afraid of sleeping...This is the hour of Scorpio, the month of the jackal, and the army of despair." She replied: "You're a boor. I wish I could leave." He complimented himself: "Even in rejection, the old goat's full of spunk. In my next reincarnation, I'll be your age, and I'll meet you in Clichy. I'm a Capricorn. Time's on my side." He was pining for her, but she repeatedly refused to have sex with him: "The subject is closed, Joey."
When he told her: "If you feel afraid, you're damned," she showed him her bloody palm after cutting it with a shaving razor, emphasizing that she wasn't fearful ("Look, I'm not afraid"). She wondered why he was so insatiable and single-minded about having sex with her. He thought to himself: "Then why do you refuse me? Am I too old? Really, I'm only 60 years older than you. I'd get better from any Tenth Avenue whore. Your body's an empty shell. For the first time in my life, I'm in love with something that makes me sick." Later, he worried as death approached:
When she asked what he really wanted, he responded: "A fatal dose of the clap." That's how he told her that he wanted to die, but: "Before I pull the plug, I'd like to stop off in Clichy, just for a moment." In his final encounter with her, he was lying in bed with her - expired.
Yvonne (Eva Grimaldi)
Edith (Anna Galiena)
Nys (Barbara De Rossi)
"Suck up the last drop."
Longtime Companion (1990)
Screenwriter Craig Lucas and director Norman René's independent ensemble film told about the impact of AIDS (regarded first as a mysterious "cancer") on seven gay New Yorkers. It was the first major feature film to deal explicitly with AIDS - two earlier limited release films that also dealt with AIDS were Buddies (1985) and Parting Glances (1986).
The film's title referred to the way that obituaries would list a gay man's lover.
It featured the Oscar-nominated, poignant performance of homosexual, AIDS-stricken David (Bruce Davison, nominated for a Best Supporting Actor Oscar) and his 'let it go' speech to a dying friend.
The landmark film was also notable for the heartbreaking ending Fire Island beach fantasy, almost a decade later, in which three surviving loved ones reunited with all of the AIDS dead for a few moments.
Miami Blues (1990)
Director George Armitage's black comedy-drama (and action crime-thriller) was set in the Miami area, and told about the romantic struggle between two major characters:
She was also a student enrolled at Miami-Dade Community College, with dreams of acquiring middle-class stability by owning a Burger King franchise. The vulnerable female naively trusted Junior and played house and 'marriage' with him at Coral Gables during their ongoing love/hate relationship, without wanting to know or acknowledge his true nature and criminal activities. Junior stole middle-aged Detective Hoke Mosely's (Fred Ward) police badge and gun and began impersonating the cop. The film eventually ended tragically for Junior.
(Jennifer Jason Leigh)
Pretty Woman (1990)
Director Gary Marshall's very popular romance film, popular treacle actually, was Hollywood's morally-corrupt and sanitized version of what a Hollywood Boulevard hooker and prostitution would look like - with a fairy-tale Cinderella character and a My Fair Lady ending.
The fantasy romance was between a hooker and her wealthy john:
He engaged her services (her wish came true after she had said, "I want my fairy tale"), hiring her for $3,000 and additional amenities at the Regent Beverly Wilshire Hotel. The turning point in their relationship actually occurred when Vivian consented to being kissed on the mouth. Earlier when asked what she did as services for her clients, she stated that she did "everything" except kiss on the mouth.
Sorority House Massacre II (1990)
There wasn't much to this picture, directed by Roger Corman regular Jim Wynorski, other than lots of T&A and some violent bloodletting. Its tagline was accurate: "It’s Cleavage vs. Cleavers and the result is Delta Delta Deadly!"
It was a sequel only in name to the original film from 1986. The flashbacks at the beginning of the film were to a different film altogether - The Slumber Party Massacre (1982), which it more naturally followed.
The story was simple - five females bought an old dilapidated house for a sorority gathering place - the scene of the Hockstatter bloody slumber party massacre five years earlier. They moved in to spend the night, without phone or electrical service. Their creepy neighbor, Orville Ketchum (as Himself), told them all about the massacre that had previously taken place in the house. After showering and changing clothes (see pictures), the night-gowned girls consulted a Ouija board to contact the deceased murderer Hockstatter, and then found the house was haunted by a psychotic serial killer.
Most of the girls were stabbed or killed (mostly off-screen) (in the following order: Janey (Dana Bentley), Suzanne, Kimberly, and Jessica). Jessica was committing the murders (possessed by Hockstatter), but then when she was stabbed in the neck by Linda, the spirit passed into Linda, the sole survivor.
When the mover arrived at 5:30 am the next morning, he found a scene of bodies and a bloody massacre - five years after the original one. A police officer asked Lieutenant Mike Block (Jürgen Baum), "Isn't this the old Hockstatter place?" Suddenly, rustling in a pile of trash and papers brought forth the possessed Linda with a knife, who gleefully laughed, and in a man's voice stated: "It still is." The wounded Orville rose from the floor, grabbed a gun, and shot the killer multiple times. Two police officers retaliated and shot-gunned Orville to death with many blasts, although he was miraculously still alive and an ambulance was summoned! Later, a newscaster announced that suspected mass murderer Orville was released from the prison ward of the hospital (fully recovered), for lack of evidence to prosecute him.
(l to r): Janey, Suzanne, Kimberly, Linda, Jessica
The Twist Ending - the Killer Was Linda (possessed by the spirit of Hockstatter)
Linda: "It still is"
1001 Nights (1990, Fr/It/Swiss) (aka Sheherazade or Les 1001 nuits)
20 year-old Catherine Zeta-Jones made her film debut in director Philippe de Broca's obscure and low-budget Arabian nights fantasy, a retelling and weird adaptation of the original tale.
In a non-sexual performance, she appeared as semi-naked Sheherazade, falling from the sky and having her clothes blown off while she rubbed a genie lamp to deploy a parachute. She landed in the lap of a startled turbaned man, emerged from the ocean in a seashell bikini, and performed a seductive strip-tease dance down to a skimpy thong bikini.
Tie Me Up! Tie Me Down! (1990, Sp.) (aka ¡Átame!)
Writer/director Pedro Almodóvar's film was a dark, offbeat black comedy, sometimes accused of depicting the victimization of women via abduction, similar in part to William Wyler's film The Collector (1965).
It was the last film to receive the MPAA's X-rating due to its depiction of forced bondage and rape - however, it was re-rated and released as an NC-17 film.
It told of a strange courtship and bonding between:
Recently released from psychiatric treatment in a mental hospital, Ricky kidnapped, gagged and tied up his favorite actress Marina - an unusual attempt to win her affection. He snatched her after she had left the set of crippled director Maximo Espejo's (Francesco Rabal) last movie, The Midnight Phantom in which she was acting. She gradually loosened her resistance to being his captive, especially after freshly-wounded Ricky was beaten up by drug dealers as he attempted to procure strong painkillers for her. As they made love, and he was in pain, he asserted he could continue: "The only thing the bastards didn't touch was my cock." In the conclusion's stunning reversal, Marina asked to be tied up during a car trip, so she wouldn't be tempted to escape.
It was noted most for its controversial and infamous masturbatory bath scene with the aid of a vibrating toy diver that swam straight into Marina's crotch. There were also a pair of scenes of Marina and her sister Lola (Loles Leon) urinating on a toilet.
Ricky and Marina
Wild at Heart (1990)
Writer/director David Lynch's R-rated Wizard of Oz-referenced, neo-noirish road film was the winner of the Cannes Film Festival's Palme d'Or. Lynch's screenplay was based on the 1990 novel by Barry Gifford, part one of a series of Sailor and Lulu stories, entitled Wild at Heart: The Story of Sailor and Lulu. The violent, sex-drenched film, his follow-up Blue Velvet (1986), was originally threatened with an X-rating, until Lynch toned it down. Some of the most explicit erotic scenes were not included in the final cut, including an orgasm with Lulu describing it as being ripped open by an animal, and another in which she proposed oral sex on Sailor's face ("Take a bite out of Lulu").
It told about two sex-crazed, star-crossed lovers on the run:
Breaking parole and enroute westward to California, they were pursued by private detective Johnnie Farragut (Harry Dean Stanton) and gangster Marcelles Santos (J.E. Freeman) - both boyfriends and hired by Lula's crazed and obsessed mother Marietta Fortune (Best Supporting Actress-nominated Diane Ladd, Laura Dern's real mother) to either bring them back or kill Sailor. The film ended with an ironic, cliched happy ending, when Ripley had a change of heart after again being arrested and serving a prison term, and returning to be with Lulu.
In one early, classic scene in the back of a bar, Sailor recalled and described to Lula (in order to excite her) an especially memorable sexual encounter he once had with Irma (Charlie Spradling) when he was visiting his cousin, Junior Train, in Savannah:
In response, Lula urged him:
He responded: "Say no more, but go easy on me, sweetheart. Tomorrow we got a lot of drivin' to do"
Sailor and Lulu
History Overview | Reference Intro | Pre-1920s | 1920-26 | 1927-29 | 1930-1931 | 1932 | 1933 | 1934-37 | 1938-39
1940-44 | 1945-49 | 1950-54 | 1955-56 | 1957-59 | 1960-61 | 1962-63 | 1964 | 1965-66 | 1967 | 1968 | 1969
1970 | 1971 | 1972 | 1973 | 1974 | 1975 | 1976 | 1977 | 1978 | 1979 | 1980 | 1981 | 1982 | 1983 | 1984 | 1985 | 1986 | 1987 | 1988 | 1989
1990 | 1991 | 1992-1 | 1992-2 | 1993 | 1994-1 | 1994-2 | 1995-1 | 1995-2 | 1996-1 | 1996-2 | 1997-1 | 1997-2 | 1998-1 | 1998-2 | 1999-1 | 1999-2
2000-1 | 2000-2 | 2001-1 | 2001-2 | 2002-1 | 2002-2 | 2003-1 | 2003-2 | 2004-1 | 2004-2 | 2005-1 | 2005-2 | 2006-1 | 2006-2
2007-1 | 2007-2 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016
Index to All Decades, Years and Features