History of Sex in Cinema:
The Greatest and Most Influential
Sexual Films and Scenes

(Illustrated)

1992, Part 1



The History of Sex in Cinema
Movie Title/Year and Film/Scene Description
Screenshots

Bad Lieutenant (1992)

Director Abel Ferrera's gritty, audacious and excessive NC-17 rated crime drama was literally about a "bad lieutenant." The film's tagline described the title character: Gambler. Thief. Junkie. Killer. Cop.

The film was set in New York during the seven games of the World Series playoffs between the Dodgers and Mets as a religious structure for the infraction of seven deadly sins.

  • unnamed corrupt, alcoholic and debased NYC police detective (Harvey Keitel, in a tour de force performance)

The 'bad' title character had a reputation for:

  • excessive compulsive gambling on baseball games
  • alcohol and drug abuse (snorting and shooting heroin)
  • womanizing with prostitutes

He was seen with blonde prostitute Bowtay (Victoria Bastel), exhibiting full-frontal nudity himself with his arms outstretched. He also shot up with nameless, red-haired junkie girl friend dealer (co-scriptwriter Zoë Lund/Zoe Tamerlis). She delivered a foreshadowing soliloquy while helping him shoot up into his arm:

"Vampires are lucky. They can feed on others. We gotta eat away at ourselves. We gotta eat our legs to get the energy to walk. We gotta come, so we can go. We gotta suck ourselves off. We gotta eat away at ourselves 'til there's nothing left but appetite. We give and give and give crazy, 'cause a gift that makes sense ain't worth it. Jesus said seventy times seven. No one will ever understand why, why you did it. They'll just forget about you tomorrow, but you gotta do it."

It was noted for its pivotal scene - the notoriously graphic and brutal rape scene of a defenseless nun on a Spanish Harlem church altar by two neighborhood teens from the adjoining Catholic school, juxtaposed with the image of a suffering Christ on the cross. The cop glimpsed-peeped at the victimized Nun (Frankie Thorn) during her naked medical exam in a hospital room. He overheard the female doctor explaining how the virginal nun had been violently violated with a crucifix, causing trauma and multiple lacerations to her hymen and vagina ("Black pubic hair other than the patient was found during comb inspection. Here are the samples of that. There was trauma to the vaginal mucosa with multiple lacerations that appear to be made with a sharp object in which the hymen ring was broken. It was stated that this object was a crucifix...trauma consistent with multiple penetration"). He couldn't understand her forgiving and contrite nature when she later refused to identify her attackers - and prayed for them. The nun called them "sad, raging boys...they are good boys" - and then intended on bearing the child from the rape ("turn bitter semen into fertile sperm").

The Examination of the Victimized-Raped Nun (Frankie Thorn)

In another vile and disturbing scene immediately afterwards, he sexually exploited (verbally raped) two teenaged New Jersey females that he had stopped for a minor traffic violation (broken tail-light, and for driving without a license and registration) during a rainy night. He forced them to provide sexual favors in return for not reporting them, including listening to his obscene questions ("Did you ever suck a guy's cock?"), and watching him masturbate alongside their car door - while having the driver pantomime giving him fellatio (oral sex) ("Show me how you suck a guy's cock. Show me with your mouth") and the passenger showed him her ass.

The film ended with the detective's spiritual breakdown at the church crime scene that still showed signs of desecration, his own forgiveness of the two boys ("you f--king scumbags") by putting them on a Port Authority bus (with a box containing $30K in cash), and afterwards his own redemptive murder in a mob drive-by shooting (for a $120,000 debt) as he was parked beneath a huge banner advertising Trump Palace with the slogan It All Happens Here.



Harvey Keitel with Bowtay (Victoria Bastel)


The Car Incident

Basic Instinct (1992)

Director Paul Verhoeven's glossy erotic thriller Basic Instinct (1992) (with a script by Joe Eszterhas) was typical of the 90s. Womens' groups called the film misogynistic, and gay-rights groups in San Francisco called it stereotypically-homophobic and gay-bashing - they charged that the main murderess suspect in the film was a denegrating portrayal since she was a mentally-unstable, psychotic lesbian and bi-sexual.

The film was also criticized for permissiveness, steamy content (scene of cunnilingus), exploitative nudity, its depiction of lesbian characters, and its scenes of bondage (especially with reversed roles). Threatened with an NC-17 rating, and reduced to R rating (with cuts), this flashy film was then released with a more explicit 'Director's Cut' version for the video market, with the extra-steamy scenes.

Troubled, burned-out SF police detective Nick Curran (Michael Douglas) investigated seductive, bi-sexual mystery writer and brutal ice-pick murder suspect Catherine Tramell (a star-making and career-launching role for Sharon Stone) after a series of murders of males during intercourse and S&M sex. The film opened with views (from all angles, including a reflection in a ceiling mirror) of a couple making love - the unidentified female was atop rock star Johnny Boz (Bill Cable), and elements of S&M were revealed when she tied his arms to the bedpost - before stabbing him to death with an icepick.

The Infamous Leg-Crossing, Police-Interrogation Scene with Catherine Tramell (Sharon Stone)

The sexually-charged film featured a taunting femme fatale predator with an insatiable sexual appetite and possibly homicidal tendencies. She matter-of-factly flirted and manipulatively toyed with the libidos and sexual appetites of the middle-aged men in a police station room as she tersely revealed her past sexual activities with the victim and played sex games with their minds. After admitting to cocaine use with the dead Mr. Boz, she surprised the audience by directing a provocative, follow-up question toward Nick: "Have you ever f--ked on cocaine, Nick?" She smiled and revealingly uncrossed her legs (removing her left leg from atop her right leg), flashing her panty-less private parts at him. And then she re-crossed her legs in the opposite direction, crossing her right leg atop her left.

Catherine Trammel flaunted her bisexuality when she introduced her lesbian girlfriend to Nick. She kissed Roxy (Leilani Sarelle), fondled her nipple, and then stood with her arm around her, asking: "You two have met, haven't you?" Then came a provocative three-some dance at a crowded nightclub disco (between the lesbian lovers Catherine and Roxy) - and an aroused Nick voyeuristically watching them as they touched and French-kissed and then also watched them from outside the nightclub toilet stall. Detective Curran reinforced the notion of his voyeuristic tendencies when he watched Catherine undress from a distance.

Another controversial scene was one of forceful, animalistic sex between Curran and girfriend/police psychiatrist Dr. Beth Garner (Jeanne Tripplehorn). Back at Beth's apartment in her living room, Nick took out his sexual aggression against her. He immediately forced himself on her, pinning her arms up on the wall, kissing her forcefully, and ripping her dress open in the front. In the misogynistic, near-rape scene, he lustfully pushed his hands under her bra, scooped out her breasts, and kissed her even harder. Then he aggressively draped her over the sofa as she protested: "Nick, stop, no!" He pulled off his own pants and animalistically entered her from behind, climaxing quickly.

Detective Nick Curran (Michael Douglas) with Dr. Beth Garner (Jeanne Tripplehorn)

[Note: A sequel - Basic Instinct 2 (2006) - was released almost a decade and a half later with 47 year-old Sharon Stone reprising her sexy murderess role.]


The Ice-Pick Murder



Catherine and Roxy
(Leilani Sarelle)




Catherine Tramell
(Sharon Stone)

Belle Epoque (1992, Sp.) (aka The Age of Beauty)

Fernando Trueba's R-rated, Oscar-winning (Best Foreign Language Film) romantic comedy was an earthy, sensual 1930s story.

It told about young soldier Fernando (Jorge Sanz) who deserted the army and found himself in the country household of wealthy Don Manolo (Fernando Fernan Gomez) and his four beautiful daughters:

  • young and virginal Luz (Penelope Cruz)
  • playfully flirtatious Rocio (Maribel Verdu)
  • tomboyish, lesbian cross-dressing Violeta (Ariadna Gil)
  • lonely, widowed Clara (Miriam Diaz-Aroca)
The Beautiful Daughters
Rocio
(Maribel Verdu)
Luz (Penelope Cruz)
and Rocio
Violeta
(Ariadna Gil)

He experienced steamy, amorous and sexy encounters with each one of them - and eventually married Luz.


Bitter Moon (1992) (aka Lunes de Fiel)

This ultra-kinky, voyeuristic drama/thriller from Roman Polanski was rated R for its "depiction of a perverse sexual relationship." The dark film was set on a Mediterranean ocean liner on the Black Sea bound for Istanbul, carrying two couples - the film's main characters. The first couple was from England:

  • up-tight and married British passenger and Eurobond dealer Nigel Dobson (Hugh Grant)
  • Nigel's childless, stait-laced wife Fiona (Kristin Scott Thomas) of seven years

Nigel became acquainted with a second couple on ship-board:

  • crippled, sexually-deviant, wheelchair-bound, self-loathing writer Oscar Benton (Peter Coyote)
  • Oscar's sultry, mysterious, good-looking, French partner Micheline "Mimi" Bouvier (Emmanuelle Seigner, the director's own 27 year-old wife)

Oscar warned Nigel about his femme fatale companion: "Beware of her. She's a walking man trap." Nigel had earlier been attracted to the sight of Mimi in a black dress dancing solo in the ship's bar-lounge to Peggy Lee's classic love song "Fever." The dirty-minded Oscar boldly asked the flustered Britisher: "She gives you a hard-on, doesn't she?" In his private cabin, failed writer Oscar began to tell Nigel - his "listener" - the contents of his third great novel, about the development of his own sado-masochistic, increasingly-torturous and sordid relationship with Mimi - told in a series of depraved flashbacks (and voice-over narration) - after he first met her on a Paris bus ("a sorceress in white sneakers") and gave her his ticket. He wrote: "I'd been granted a glimpse of heaven."

Their first sexual encounter was in his apartment before a roaring fire, where he slipped her red dress from her shoulders to expose her breasts - he touched her nipple and kissed her before sleeping with her ("Nothing ever surpassed the rapture of that first awakening") - and they remained in the apartment making love for three days. In another scene during their whirlwind romance, Mimi performed a sexy dance for him in his candle-lit living room, wearing a thin gauzy nightgown.

Mimi's (Emmanuelle Seigner) Sexy Oral Games with Husband Oscar (Peter Coyote)

The film's most memorable scene was set at their breakfast table to the tune of George Michael's "Faith," where Mimi let creamy milk drip onto her naked chest, then massaged her breasts before Oscar licked the milk off her nude nipples and breasts - after which she delivered oral sex to him as the toaster suggestively popped out two slices. Later that morning, Mimi licked a spot of blood from Oscar's face during a close shave with a straight-edged razor.

During a shower together, he intimately described her to show how "enslaved" he was to her - body and soul:

"Her pussy was a neat, discreet little cleft, but as soon as the animal within was roused by my caresses, it would stir, draw aside the silken curtain covering its lair, and become a carnivorous flower, a baby's mouth greedily sucking my finger. I loved to tease her clitoris with the tip of my tongue and then abandon it, wet and glistening like a little duck dabbling in a pool of pink flesh."

During his second salacious yet mesmerizing lengthy conversation with Nigel over tea, "verbal exhibitionist" Oscar told how during a ski vacation, Mimi exhibited urophilia (narrated only) - she "spread her legs and pissed on the (TV) screen" and then urinated on him: "I was engulfed with this warm, golden cascade...I experienced the orgasm of a lifetime." When the decent Nigel was repulsed and called the perverted story-teller obscene, Oscar argued back:

"I'm trying to expand your sexual horizons...Have you ever felt real overpowering passion? Have you ever truly idolized a woman? Nothing can be obscene in such a love. Everything that occurs between you becomes a sacrament, don't you see?"

He recounted his disintegrating, depraved relationship with her as it evolved into darker practices: "That was our sexual Rubicon. It opened up all sorts of new possibilities." The sex-crazed couple bought kinky sex toys and engaged in S&M bondage experiences. Oscar was handcuffed and tied up with tape over his mouth as the beautiful Mimi "humiliated" him. She dominated him wearing a full-length black latex coat and slowly cut off his clothes with his straight-edged razor, before removing her coat and squatting naked atop his face. Difficulties arose when they flirted with other partners and became jealous of each other ("Our credit was running out. We were headed for sexual bankruptcy...the spell was broken at last"), and their sexual practices became even more deviant - he wore a pig mask as she whipped him.

As part of the bargain, pimping Oscar explained to Nigel, that if he continued to listen to his tale, he was promised to enjoy Mimi - to fulfill his voyeuristic and sexual pleasure ("You can have her, Nigel, with my blessings"). As he proceeded to tell the rest of the story, Oscar confessed that his life had been "demolished by a love that was too strong" and that he lost sexual desire for his voluptuous wife. They repeatedly broke up and reconciled during their amour fou affair, squabbled, and at one point the embittered and heartless Oscar physically abused her. When broken-hearted Mimi begged not to be sent away permanently, she offered to humiliate herself: "I'm willing to live with you on any terms, any at all." He agreed and then started treating her sadistically and making her life a living hell, including demanding an abortion of her when she became pregnant, and feigning illness to heartlessly abandon her on an airplane bound for a vacation in Martinique.

As the frequent sessions progressed between Nigel and Oscar, Fiona suspected that her husband - who had kissed Mimi by then - was interested in the sultry female: "You've got the hots for her, haven't you?" In another session, Oscar told about how he then sought sexual satisfaction for two years without Mimi through other hedonistic outlets, including prostitutes, drunken parties and "short-lived" one-night stands ("No more emotional entanglements"), but then he was struck by a vehicle in the street when drunk (and expecting to have an orgy with two party girls) and hospitalized with a fractured femur.

During a surprise visit to his hospital bedroom, Mimi suddenly reappeared and vengefully paralyzed Oscar from the waist down by dumping him from his bed - causing him to become a paraplegic, so that she could become his devotedly permanent caretaker/nurse. Turning the tables on him, she began to humiliate, torture and dominate him - keeping him mostly in solitary, and using dirty needles for his medication. The self-critical Oscar realized: "I know I deserve all I get. I treated you like a monster. I am a monster." Miserable, Oscar begged his cruel caretaker: "Why don't you just finish me off? Why don't you OD me, or push me down the stairs, or something?" She presented Oscar with a birthday present of a gun [later an integral part of the tragic ending], singing Happy Birthday to him with one candle. He thoroughly despised himself: "I hate myself worse than you could ever hate me," but she cruelly countered: "No one could hate you more than I do" - illustrated when she entertained feline black dancer Basil (Heavon Grant) in the apartment in front of him and had intercourse. But surprisingly, Mimi and Oscar were married ("...a bond between us shared by no one else in the world").

After hearing Oscar's entire story, and reminded of Fiona's daring and challenging encouragement to have a fling: "Anything you can do, I can do better," Nigel sought out Mimi on the dance floor at a shipboard New Years dress ball party. During a dance, he confessed to her: "I think I've fallen in love with you," but she replied: "That's why you will never have me."

The Shipboard New Years Dance & Lesbian Kiss Between Fiona (Kristin Scott Thomas) and Mimi

He was upstaged when previously-repressed Fiona ("I'm feeling dangerous tonight") and exhibitionist Mimi performed a sexy dance and passionate lesbian kiss in front of a crowd. Oscar commented to crestfallen Nigel: "Come on, stop sulking, man. You ought to be glad they're getting it on so well."

Later that night, Nigel found the two ladies in a naked embrace in Mimi's cabin, where Oscar had voyeuristically observed them: "Two nymphs sleeping off their amatory exertions. You really missed something, Nigel. Fiona was a revelation. All fire. I doubt if you've ever really made the most of her." In the surprise ending, the distressed Oscar shot Mimi in the back as she slept next to Fiona, and then suicidally blew off the back of his own head by placing the gun in his mouth, after remarking: "We were just too greedy, baby. That was all." The film ended with stretchers carrying their two bodies off the ship, as Fiona and Nigel sobbed during an embrace on the ship's deck, under a clouded moon.




The Whirlwind Romance
Between Oscar and Mimi



Kinky S&M Sex


Nigel (Hugh Grant)
with Mimi


The Double Murder-Suicide Ending

Bram Stoker's Dracula (1992)

Francis Ford Coppola lavish, R-rated vampire film, based upon Bram Stoker's novel, was eroticized and visually-opulent.

In the late 1800s, young law-clerk/solicitor-agent Jonathan Harker (Keanu Reeves), in one of the early scenes in Transylvania, was enticed and seduced by three surreal and alluring Brides (called "devils of the pit") of the dark and brooding Dracula (Gary Oldman):

  • Monica Bellucci
  • Michaela Bercu
  • Florina Kendrick

In Harker's bedroom as he was retiring for the night, one of the tempting undead Brides emerged from under his bed (Monica Bellucci) and proceeded to rise up (half-naked, bare-breasted) and stroke his inner thighs. A second bride (Michaela Bercu) surfaced up through the mattress. After he was surrounded by the three ravenous creatures, they tore at his clothes, fed upon him (by licking him), and then bit down on his crotch with fanged teeth. They drained him of his blood to keep him weak. They were interrupted by the sudden appearance of Dracula himself, who jealously and strongly cautioned:

"How dare you touch him! He belongs to me...Yes, I too can love. And I shall love again."

The Brides of Dracula

(Monica Bellucci)

(Michaela Bercu)

(Florina Kendrick)

The Crying Game (1992, UK)

Writer/director Neil Jordan's R-rated sleeper hit political thriller included an infamous, much-talked-about, erotic unveiling and shocking revelation. The film was advertised by the film's distributor Miramax, urging moviegoers not to reveal the secret twist, although some of the intrigue was softened when actor Jaye Davidson (playing a female) was nominated in the Best Supporting Actor (!) category.

Fugitive IRA kidnapper and guard Fergus/Jimmy (Stephen Rea) was on a mission to London. Deceased captive British soldier Jody (Forest Whitaker) had given him a message to deliver to his lover Dil (Jaye Davidson), a hairdresser and club singer.

Dil turned out to be both a provocative and exotic female, although her true identity as a transvestite male (rather than as a female) was revealed in the film's major surprise. It occurred with a slow camera pan down Dil's nude body to his genitals after he dropped his red kimono robe to the floor, causing Fergus to shortly thereafter vomit after the sight of his cross-dressing partner.

[Note: In the same year, Sharon Stone shockingly and visibly revealed her female sex in Basic Instinct (1992).]




Transvestite Dil
(Jaye Davidson)

Damage (1992) (aka Fatale)

Director Louis Malle's film, based on Josephine Hart's best-seller of the same name published in 1991, was a provocative and complex drama with an intimate exploration of obsessive, kinky and damaging passion and its disturbing results. Its taglines described the plot:

"With love comes risk. With obsession comes damage," and "Damaged people are dangerous"

The mostly unerotic film with urgent and desperate love-making caused a ratings controversy when released and cuts were enforced by the studio.

It told about an illicit and lustful sexual relationship - and a complex, troublesome threesome between:

  • middle-aged English politician, Parliamentarian Dr. Stephen Fleming (Jeremy Irons), married to Ingrid (Oscar-nominated Miranda Richardson)
  • melancholy, half-French, art-world follower Anna Barton (Juliette Binoche), enigmatic and pretty
  • Martyn Fleming (Rupert Graves), Dr. Fleming's newspaper-editor son, and Anna's fiancee

The complex threesome, including many sex scenes between the older doctor and Anna, including one seemingly non-erotic intertwining when Dr. Fleming banged his lover's head into the floor. She warned him how she was 'damaged' from a tragic incident earlier in her life involving the suicide of her obsessed, incestuous older brother who was distraught when he couldn't possess her: "Damaged people are dangerous. They know they can survive."

Sexual Damage: Stephen with Anna (Juliette Binoche)

Everything led to disaster, with Fleming's betrayed and angry wife Ingrid and with everyone involved. When she learned of Fleming's deceit, she stripped in front of him and asked: "Not enough?" In the film's most shocking scene, Martyn was stunned when he caught the two making love during one of their secretive trysts, stepped backward, tumbled and fell to his death many levels below. The death led to Fleming's public disgrace, the end of his marriage and Anna's departure, although he remained obsessed by her image years later.


Ingrid
(Miranda Richardson)



Caught: Dr. Fleming
(Jeremy Irons) and
Anna (Juliette Binoche)

Sex in Cinematic History
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

Index to All Decades, Years and Features


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