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

(Illustrated)

1982



The History of Sex in Cinema

1982 Academy Awards Nominees

There were an astonishing number of cross-dressing, gender-reversed, transvestite performances and roles with confused sexual identities among the 1982 Academy Awards nominees (all lost their bids), highlighted by the following:

  • Best Picture and Best Director-nominated comedy Tootsie (1982), was about struggling male actor Michael Dorsey (Best Actor nominee Dustin Hoffman) who landed a role on a daytime TV soap opera as feminist woman Dorothy Michaels

  • Julie Andrews earned a Best Actress nomination for Victor/Victoria (1982) as Victoria Grant, the title role singer who pretended to be gay Polish cabaret singer Count Victor Grezhinski, while co-star Robert Preston received a Best Supporting Actor nomination as her gay partner-in-crime Carroll "Toddy" Todd, who ended up in drag during the finale singing "Shady Dame From Seville"

  • John Lithgow was given a supporting nomination for playing a transsexual ex-football player Roberta Muldoon in The World According to Garp (1982)

  • In 1983, Linda Hunt won Best Supporting Actress for the male role of Chinese-Australian photographer Billy Kwan in the next year's The Year of Living Dangerously (1983)

Tootsie (1982)

Victor/Victoria (1982)

The World According to Garp (1982)
Title Screens
Movie Title/Year and Film/Scene Description
Screenshots

The Beach Girls (1982)

This silly,soft-core R-rated coming-of-age sexploitation comedy by director Pat (or Bud) Townsend of the early 80s (with a subplot about drugs) was typical of "drive-in" type films. Its tagline described the setting:

Look Who Just Invaded Uncle Carl's Beach House - The Beach Girls

Beach Shots During Opening Credits

The film was an excuse to exhibit numerous sexual innuendoes and slapstick plus glimpses of nudity (called T & A shots), mostly of the two partying college coeds - the "Beach Girls" of the film's title, in Southern California:

  • Ginger (Val Kline), a blonde
  • Ducky (Playboy Playmate Jeana Tomasina, or Jeane Keough), brown-haired
The Beach Girls - Naked Sunbathing: Ginger (Val Kline) and Ducky (Jeana Tomasina)

Along with their uptight, virginal, naive, and nice-girl friend Sarah (Debra Blee in her film debut), a UCLA pre-law student, they were staying at her Uncle Carl Purdue's (Adam Roarke) beach house for the summer. On the way, they picked up SoCal blonde hunk hitchhiker Scott (James Daughton). Ginger and Ducky immediately ran to the beach to sunbathe naked, while Sarah became acquainted with Scott. When a cute pizza delivery boy (Jordan Welch) arrived, Ducky moved closer and asked: "Is that a salami in your pocket or are you just glad to see me?" As part of the gag, he pulled an actual salami from his pants: "It's a salami."

The more sexually-adventurous Ginger and Ducky persuaded Sarah to hold a big beer and pizza party in order to attract handsome delivery men: ("School's out now, it's time to have some fun, you know?...We're not going to have an orgy, just a little party."). Soon, the beach house's driveway was crammed with workers' trucks and vans, and a dance party was underway. There were couples making out in the bathroom and on the living room sofa. A naked pool party also broke out, while Sarah nervously watched. A young police officer named Jay (Channing Clarkson) who was checking on a reported noise disturbance, was seduced by Ginger to join the fun. As the sun was setting, dozens of partiers stripped off at the beach for a swim. The beer-drinking bash ended with a beach bonfire and a sing-along - and the arrival of Carl to break up the party, although he promised Sarah that Ducky and Ginger could remain until the following day.

Ducky and Ginger schemed to get to know "fuddy-duddy" Carl better and "real friendly-like" (before they were thrown out) - and to convince him to change his mind about staying there. The sexy Ginger joined Carl in the sauna and spouted seductive lines such as: "There's nothing like cold water when you're really hot," and "It feels so good to sweat" - as her white tank top became more transparent as she perspired. She then removed her tank top and proceeded to offer to give Carl a back rub or get him a drink, but when he refused, she removed a joint from her panties and suggested he relax with a smoke: ("I've got just the thing, then") - and he obliged her. She instructed him: "Nothing can go wrong, now take a deep breath, hold it in" - and he soon feel asleep and collapsed. By dawn, the party attendees were crashed out in the beach house's living room, but they quickly sped off in their vehicles.

Ginger in Sexy Dope-Smoking Sauna Sequence with Sarah's Nerdy Uncle Carl

The teen sex comedy included other customary scenes, such as a dog perpetually stealing loose bikini tops, spying by the Brinker neighbors with a high-powered telescope on the nude sunbathers, half-naked chicken-fights at the pool party, the beach house gardener's (Bert Rosario) continuing spate of accidents, and Ducky's topless sunning on Carl's boat deck. Ducky fell overboard and had to be rescued by Carl and carried up onto the beach. While receiving CPR, Ducky revived and gratefully kissed him.

There was an uninteresting sub-plot about a shipment of smuggled drugs (marijuana) on a boat captained by near-sighted Captain Blye (Herb Braha). The boat was pursued by the Coast Guard and was forced to drop its load on the beach. Black plastic garbage bags of marijuana were found on the beach by Ginger and Ducky. They brought them back to the beach-house for a second night of partying that evening. As participants arrived, each one was handed a personal bag of marijuana by Doreen (Tessa Richarde). A mud wrestling fight developed in the over-watered garden area. Meanwhile, there was the slow development of a predictable relationship between Sarah and Scott.

At the film's end, the inept Coast Guard raided the party, confiscated the marijuana, and incinerated it on the beach in a bonfire. While everyone was inhaling the smoke, the prudish "50 year-old teenager" Sarah became loosened up and sexually awakened - and decided to go topless. Then, she fell into Scott's arms, and before she kissed him, explained her transformation: "I felt like it....I know what I want. I wanna be just like you!" Fireworks thrown into the bonfire ended the film, as Sarah referenced her orgasmic sexual experience with Scott: "Just like I thought it would be."

Prudish Sarah (Debra Bree) Loosening Up with Scott

[See other entries: "Raunchy Teen-Sex Comedies of the 1980s."]


Sarah (Debra Blee)

Hitchhiker: Scott (James Daughton)


Bikini Tops Stolen by Dog

Ducky's Salami Gag with Pizza Delivery Boy

Skinny-Dipping in the Beach Surf

Uncle Carl's Arrival at His Beach Home in the Midst of the Party - Greeted by Topless Redhead (Jeanette Linné)

Jaws-like Sequence in Pool





Ducky's Topless Sunbathing on Carl's Sailboat


Carl's 2nd Sauna Experience with Ducky and Ginger

The Beastmaster (1982)

This low-budget romantic fantasy sword and sorcery adventure by director Don Coscarelli soon became a revered cult film, and was created to capitalize on the trend for these films following Conan the Barbarian (1982). The taglines described the title character:

  • "Born with the courage of an eagle, the strength of a black tiger, and the power of a god"
  • "The epic adventure of a new kind of hero"

There were two sequels also:

  • Beastmaster 2: Through the Portal of Time (1991) (with female star Kari Wuhrer as Jackie Trent), unconnected and set in the present-day
  • Beastmaster III: The Eye of Braxus (1996) (TV)

Its main draw was not the handsome and muscular Beastmaster Dar (Marc Singer) but minor female star Tanya Roberts, TV's Charlie's Angels star (for one season) and future That '70s Show cast member.

[Note: Tanya Roberts' appearance was soon followed by a Playboy cover and nude pictorial in the October 1982 issue to publicize her role. See her similar starring role in the Tarzan-like Sheena (1984).]

She was introduced as sexy temple slave girl Kiri - viewed from afar by the Beastmaster in a nude swimming scene with a companion. He fell in love with her at first sight. He sent his ferrets (Podo and Kodo) to steal her top from the shoreline. She soon became his love interest as he went on a quest for revenge.



Kiri (Tanya Roberts) in Topless Swimming Scene

Butterfly (1982)

Writer-director Matt Cimber (the late Jayne Mansfield's husband) adapted his trashy film from James M. Cain's 1947 potboiler novel The Butterfly - a story of forbidden love, deceit, revenge, incest, and murder. The low-budget melodrama, made for $2 million, was financed by female star Pia Zadora's Israeli millionaire casino owner/husband Meshulam Riklis (who also bankrolled her appearance in her next film, The Lonely Lady (1983)). There was an amazing line-up of male stars in the sleazy film, including Stacy Keach, Ed McMahon, Stuart Whitman, James Franciscus and Orson Welles.

Butterfly was tauted with this tagline:

"From the author who gave you "The Postman Always Rings Twice"..."Double Indemnity"..."Mildred Pierce" ...Now, his most powerful and daring love story comes to the screen!"

One-time child actress Pia Zadora won two contradictory awards for this melodramatic drama:

  • the Golden Globe award as "New Star of the Year in a Motion Picture" (defeating Kathleen Turner in Body Heat (1981)!)
  • two Razzie awards (two of three wins from ten nominations) as "Worst Actress" and "Worst New Star" [Note: Zadora also won the next year's "Worst Actress" Razzie award for The Lonely Lady (1983).]

The film told about a "Lolita-esque" 17 year-old voluptuous, trampish, conniving sexpot named Kady (Pia Zadora in her first starring or lead film role). [Note: Zadora's motion picture debut was in Santa Claus Conquers the Martians (1964).]

In the opening scene - wearing a flimsy low-cut dress - Kady was hitchhiking in 1937 to Good Springs on the Arizona-Nevada border. The pouty, baby-faced female had seduced the truck driver (John Goff) into driving her to her destination, and then teased him (by hinting that she was promising him sex) before running off. She grabbed her belongings and ran up a hillside to the remote and isolated shack of desert hermit miner Jess Tyler (Stacy Keach), who was guarding and tending an abandoned Nevada silver mine ("keepin' it away from scavengers"). As she was sitting on his open front porch, Jess drove up.

Kady's Meeting Up with Jess Tyler (Stacy Keach)

When Jess asked: "Miss...somethin' you want?", she replied: "How can I tell 'til I know what ya got?" - and then added: "I'm lookin' for you." She stated that she already knew his name. She hinted that she was "just somebody you might like to know."

She followed him as he went to milk a cow, and drank the fresh creamy milk from a dipper, provocatively purring: "I like it warm with foam on it." He suspected that she was related to him - and was a "Morgan." He was referring to his alcoholic ex-wife Belle Morgan (Lois Nettleton) with whom he had allegedly fathered two long-lost daughters: the younger Kady and the older Janey (Anne Dane). With her hands on her hips, Kady stated her implied relationship to him:

You must have liked her more than once. You had two kids.

According to Jess, 10 years earlier when the mine closed, two-timing Belle had deserted him and taken the two girls with her, when she permanently ran off with her womanizing lover Moke Blue (James Franciscus), and raised the two girls in a boarding house for "lusty miners." There, she was forced to "grow up."

The barefooted waif Kady asked Jess about his lonely existence: "Don't it get lonely out here? Or is just milkin' that cow good enough for you?" He threatened her if she kept being provocative toward him: "You keep talkin' like that, somethin' just might happen to you." She snapped back: "Not unless I want it to." She then outright admitted:

I am a Morgan. I'm your daughter Kady.

Later that evening, she recounted how she had to forgo school when she became pregnant ("swelling"), and that she had delivered a child out of wedlock a month earlier (an infant son named Danny). She then decided to go looking for Jess - and boldly declared her intentions with him - as his daughter: "To keep you from being lonely. I come to stay with you." He refused to take her in, but then she tearfully told him as she hugged him: "I have nowhere to go." That evening, she enticingly undressed - silhouetted behind a sheet hung up as a room divider, as he restlessly tried to sleep on the couch, and he caught brief glimpses of her naked body.

The next morning before breakfast, he found her snooping around the entrance to the silver mine. He told her that there were only small chippings that remained - not enough for the silver mine owner Mr. Gillespie to keep a "full crew" working. She persistently asked: "Is there enough silver in there to make one, maybe two people rich?" He said there was, if it was accessible. She was hoping to become rich if she could entice or convince Jess to reopen the mine, locate chippings, and allow her to stay:

Kady: "You're the guardian, Jess. What's to stop us from gettin' it out?...Is all you want from life that miserable and a lonely closed-down mine to live with?...You got nothin' in this job and in this place. And havin' nothin' is bein' nothin'. Jess, I ain't got anythin' either. We could change that. If we had what's in there..."
Jess: "Is that all you came back for? Silver? You got more 'Morgan' in you than 'Tyler.'"

Then, Kady told Jess the identity of the father of her own illegitimate infant son - explaining even further why she felt entitled to a share of the now-abandoned Gillespie silver mine, in order to become rich:

  • Wash Gillespie (Edward Albert), a spoiled rich kid, a "mama's boy," the son of the rich mine owner Mr. Gillespie

She described how Wash Gillespie had impregnated and then abandoned her when she started to show her pregnancy - because he refused to marry a poor 'Morgan": ("I'm not as good as a 'Gillespie'"). She felt deserving of repayment:

They owe me and my baby. If I can get silver, that's payment, and that's right and it's good. Jess, the first time I ever had a paper dollar bill in my hand, I was twelve years old. I let one of the boarders spend the night with me. Maybe that was bad, but the things I bought with that money was good, and I want more for me and for my baby. I want good things for us, and if that's bad, then I wanna be bad!

While attending a local church with a brimstone and fire preacher Rev. Rivers (Stuart Whitman), who spoke pointedly about "lust and fornication" while delivering a sermon about the Prodigal Son, Kady felt insulted by his insinuations about her need for cleansing of her sins, and she stormed out of the church. The preacher even warned Jess about temptations of the flesh: "You can only be a Daddy to her Jess, nothin' more." Shortly later, to keep Kady around, Jess agreed to search for silver chips in the mine ("You stay here. I'm gonna work the mine - for silver"). She had successfully manipulated him into her point of view.

The film's most notorious scene was a bathtub scene in which Jess helped bathe his alluring "daughter" in a metal tub, to relax after mining all day - and finding nothing. As she dipped herself naked into the tub, she told him: "Feels good. Is it gonna be like this every day? Hurtin' all over and not a thing to show for it? My shoulders feel like somebody’s been minin' them."

Kneeling behind her, he massaged her shoulders (Kady: "You got good hands") and then moved both of his hands around her back and squeezed and cupped both of her full breasts. But then he pulled back: "It ain't right," although she reassured him as a grown woman: "What's wrong? It feels good to me. Does it to you?...It's right if it's good." When he protested, "You're my daughter, Kady," she added: "I'm a woman, too. Sometimes, I need..." She held his arm under the water to touch her sexually between her legs, but he further resisted.

Kady's (Pia Zadora) Notorious Bath-Tub Scene With Jess Tyler (Stacey Keach)

[Note: Although the film continually hinted at an incestuous relationship between Jess and Kady, it turned out - in the complex family tree - that Jess wasn't actually her father after all.]

After finding silver chips in the mine worth $210 dollars, two problems arose:

  • Ed Lamey (George 'Buck' Flower), a mine scavenger was later revealed to be the bearded, scruffy half-brother of Belle's womanizing lover Moke Blue; he overheard that the mine was producing results
  • Jess's jealousy over Kady's hyper-sexualized body language and 'jailbait' flirtations with two local cowboys in the town's White Horse Cafe led to a fight and an appearance of Jess and Kady in court with lecherous Judge Rauch (Orson Welles), who called for her to approach the bench for close inspection

Upon returning home, Jess' older daughter Janey (Kady's older sister) appeared at Jess' desert shack with Kady's infant Danny. It was noticed that young Danny had a tell-tale hereditary butterfly-shaped birthmark near his bellybutton. Janey informed Kady that the baby's father Wash had decided to marry her (within a few days), and then he arrived the next morning in an expensive convertible. At first, Kady played hard-to-get: "I got one baby suckin’ on me, I don’t need another," but then after he proposed, she accepted. Wash planned on taking her away as his bride.

Soon after, at nighttime, scheming womanizer Moke Blue arrived with his silver-greedy brother Ed Lamey, and tuberculosis-ailing Belle (Jess' ex-wife) - hacking and out of breath, she was suffering from a serious terminal condition. Belle was always thought to be Kady's and Janey's mother. Moke suggested to Jess that with silver prices rising, the closed mine might now be profitable to the Gillespies. When Moke went inside to attend to the frail Belle, she attempted to stab him with a long hat pin, and while defending himself, he killed her.


Kady's Older Sister Janey (Anne Dane)

Kady with Infant Son Danny

Danny's Butterfly Birthmark on His Abdomen

Wash Gillespie (Edward Albert) - The Baby's Father?

Moke Blue (James Franciscus)

Belle Morgan (Lois Nettleton) - Jess' Ex-Wife and Kady's Mother

After Belle's funeral service and burial, Jess caught the despicable shirtless Moke stealing silver ore from the mine, his real goal for being there. He glimpsed the same butterfly mark near Moke's belly-button, and concluded that Moke had fathered Kady's son:

Moke: "Oh yeah! Yeah, that mark, huh. All the boys in the family got that marking."
Jess: "You pig, you laid up with my daughter."
Moke: "I laid up with --- ha, ha, ha -- (hysterical laughter) (Jess shot Moke in the stomach)... it's burnin'."
Jess: "You'll burn in hell, both of ya, for markin' up a poor little kid like that."

In anger for the unauthorized theft of silver - and for having fathered Danny with Kady, Jess lethally shot Moke in the stomach in the mine. As he died, Moke explained even more implications regarding the mark that only afflicted men, and admitted that Danny was his son (or grand-son) - as well as the fact that HE was Kady's birth-father:

Moke: "Only the men get it. If the baby's a girl, it skips, skips to the next boy. You see, the women are carriers. Danny ain't your grand-son, you sob-singin' bastard, he's mine...."
Jess (in shock): "Kady's not my daughter."
Moke: "Belle and me - we didn't know it through 17 years, not till Danny come along and we seen the marking."
Jess: "She's not my blood?"
Moke: "There ain't a drop of ignorant 'Tyler' blood in either Kady or Danny. Belle tried to kill me, 'cause she thought I come here to claim him. Hell, I don't care about them. I want the silver!"

[Note: The incest theme was again emphasized, although displaced.]

Jess dragged Moke - as he died - deeper into the silver mine tunnel and buried him in rubble. Then, Jess decided to tell Mr. Gillespie (Ed McMahon, Johnny Carson's Tonight Show sidekick, who won the "Worst Supporting Actor" Razzie award) and his wife (June Lockhart), lodged in the town's Goldfield Hotel, about Danny's true heritage, and that Wash couldn't marry Kady. The wedding day between Wash and Kady came and passed due to the new revelations - although Kady thought she had been stood up. Kady now realized her true goal with Jess:

"I don't want nothin' from the Gillespies but what I came here for in the first place - the silver."

Jess obliged her and excitedly promised to resume digging, as he touched her leg under the table and moved closer to her crotch - with sexual innuendoes about finding the treasure - both in the mine and between her legs: "I'll get it for ya, we'll find it, I promise, only we'll go, farther back." She hinted at the forbidden promise: "It's dangerous," but he assured her: "But it won't be. I can fix it. Come with me and I'll show ya. Now!" They immediately ran hand in hand to the entrance of the mine. The two made passionate and sweaty love (an alleged 'incestual coupling') while Kady still believed that Jess was her father, although he knew that she wasn't his "blood." Afterwards, they filled bags and bags of silver ore.

The scandalous sex incident in the mine between Jess and Kady was witnessed by the devious Ed Lamey and reported, and the Sheriff drove up to arrest both Jess and Kady for incest. [Note: There were no repercussions for Moke's murder, however.]

A trial was held for their indecent "crime against nature" - punishable by 10 years in prison, for Jess, and reform school for Kady. On the stand, Ed Lamey claimed he had seen them hugging and kissing, and Jess had touched Kady's back, butt, under her skirt and then her "tits too" - as a prelude to sexual intercourse. When Jess appeared to want to take the blame for victimizing Kady and forcing himself on her, she objected and pleaded with Judge Rauch - claiming that she had actually encouraged Jess to have sex with her:

"It's not true. He never forced me to do anything...He didn't do anything to me that I didn't want to happen...He's the gentlest man I ever known. He ain't like any other men, grabbin', takin' what they want, takin' all. What we did was bound to happen from the first day we met, and when it did, it was good for both of us...He's a good man, best man I've ever known. He loves me...We wasn't like a father and daughter, not then...We didn't plan to have no baby. We were just a man and a woman. He wanted me. I wanted him. And we loved each other."

But it was to no avail until Jess objected vehemently: "Your honor, she ain't done nothin' wrong. Me neither. She's not my daughter." The court and Kady were both astonished by the revelation. Jess revealed Kady's true fathering by Moke Blue:

Moke Blue took up with my wife, Kady's mother...this was about a year before Kady was born...

When the Judge asked why Jess didn't simply tell her, Jess confessed his own true love for Kady before the court: "Because she never really had a father. Not for 10 years, and she needed that. And because I wanted to be everything I could to you, because I love you." Jess proved his assertions by showing off Danny's birthmark - and also having Ed Lamey (Moke's half-brother, with the same mother) show his related 'butterfly' birthmark. The Judge surmised again: "If Moke Blue is her father, why the hell didn't he tell her?" Ed responded simply: "The silver...Gillespie's silver. Moke was sure that after the weddin' when he come out and admitted that Kady was his daughter, that they come across the silver." The case was promptly dismissed and the two were freed.

Kady still decided to drive off with Wash (and Janey) in his luxurious convertible, even though she didn't really love him, as Jess suggested to her. Kady was setting herself up with Wash for a comfortable future: "But he can give Danny everything he needs or wants - and me, and make it right." She consoled forlorn-looking Jess on the steps outside the courtroom after he told her: "I don't want to lose you" - she kissed him:

"Jess, you'll never lose me. You're my Daddy - and you'll always be my Daddy, always."


Kady (Pia Zadora) Introduced in Opening Credits


Kady Hitch-hiking Toward Good Springs

While Hitchhiking, Kady Seduced a Truck Driver


Jess' First Look at Kady on His Front Porch

With a Dipper of a Cow's Fresh Milk: "I like it warm with foam on it"

Kady's Sexy and Pouty Pose


Kady Undressing in Silhouette


Brief Glimpses of Kady's Nakedness

In a Sheer Nightgown


Rev. Rivers (Stuart Whitman): "You can only be a Daddy to her Jess, nothin' more"



Kady Manipulating Jess to Work in the Mine



Kady's Sexy Dress and Flirtations with the Locals - and Jess' Resistance





Judge Rauch (Orson Welles) with Kady During Her First Court Appearance


Butterfly Mark on Moke's Stomach

Moke Lethally Blasted in the Stomach by Jess' Shotgun in the Mine


Mr. Gillespie (Ed McMahon) Was Told by Jess About Danny's True Parentage


Jess' Promise About Silver to Kady As He Touched Her Leg Under Table

Love-Making Between Jess and Kady At the Entrance to the Silver Mine

Alleged 'Crime of Incest' - Reported by Ed Lamey, Moke's Half-Brother

On Trial For Crime of Incest

The Revelation of a Butterfly Birthmark on Ed Lamey's Stomach


Kady to Jess: "You'll always be my Daddy, always"

Cat People (1982)

Director Paul Schrader's updated version of this horror classic was a kinky, moody remake of the Val Lewton classic Cat People (1942). It was advertised as "an erotic fantasy for the animal in us all."

Its main dualistic character was:

  • Irena Gallier (Nastassja Kinski) - a waifish, timid, green-eyed, pouty-lipped female who possessed a feline heritage and animalistic tendencies - she was also virginal and sexually-frustrated

The film remade the eerie 1942 swimming pool scene - now modernized with topless swimmer Alice Perrin (Annette O'Toole) in an indoor pool being terrorized by the cat-like Irena.

The feline Irena was often exhibited naked, especially during a nude nocturnal wandering scene in the woods, where her primal instincts were exhibited as she attacked a rabbit.

Irena (Nastassja Kinski) Realizing Her Animalistic-Feline Tendencies

34 year-old New Orleans zoologist Oliver Yates (John Heard) fell in love with Irena and was obsessed by her, although she feared what would happen if they made love, and asked: "Would you love me just as much, if we, if we could never sleep together?" She claimed: "I'm afraid for you." After making love for the first time with Oliver, Irena rose in the middle of the night from their bed and went to the bathroom, where she felt between her legs and discovered blood. Upon returning to bed, the blood flow had an effect upon her, and she turned leopard-like, with yellow-eyes and claws, and was transformed into a snarling black leopard.

When Oliver begged for his life: "Please, Irena," she jumped off the balcony into the woods, and saved him from certain death.

Later claiming that she loved Oliver, she begged for him to kill her - or free her, and then asked: "Make love to me again." She also added: "I want to live on my own." He lowered his gun after she stripped fully naked in front of him behind a window frame, and they engaged in a spread-eagled bondage scene. He tied her arms and legs to the bedposts so that her claws wouldn't injure him. He mounted her and they engaged in ferocious and ravenous out-of-control sex, as the scene faded to black.

Shortly thereafter, the film ended with Irena captive as a leopard in the zoo under the care of Oliver.




Alice Perrin (Annette O'Toole) in Scary Swimming Pool Stalking



Irena Gallier (Nastassja Kinski)

Deathtrap (1982)

Director Sidney Lumet's twisting and convoluted dark comedy contained one of the first openly-portrayed acts of homosexuality on screen - in a straight-on kissing scene between two homosexuals:

  • Sidney Bruhl (Michael Caine), a fading Broadway playwright
  • Clifford Anderson (Christopher Reeve), an ex-student and gay fledgling author

Reportedly, the producers claimed that a Time Magazine expose caused the film to lose a considerable amount of revenue ($10 million) due to negative publicity and spoiling the plot - therefore, the kiss was dubbed "the $10 Million Dollar Kiss." Christopher Reeve described the kiss:

"We kiss on the mouth. We handle it straight on. But I hope that audiences will not over-focus on the homosexual aspects of a thriller."


Homosexual Kiss Between Sidney and Clifford



Demon Seed (1982) (aka Dark Eyes, or Satan's Mistress, or Fury of the Succubus)

This low-budget, drive-in horror sexploitation grindhouse film from director James Polakof was the lesser precursor to director Sidney J. Furie's The Entity (1982) with Barbara Hershey in the lead role - both female leads in the two films were sexually-frustrated housewives. It was filmed in 1978, but not released until 1982 - with many title variations for differing audiences.

Demon Seed tried to draw in audiences by promoting its two Bond girls stars:

It was advertised with numerous taglines (one with a grammatical error, and others that gave away the entire plot):

  • "Man's oldest enemy. It's greatest lust"
  • "She was dead, but her lust lived on"
  • "Her wildest dreams are about to come true"
  • "When Erotic Dreams Turn Into a Nightmare Reality...There's Hell to Pay!"

In the film's opening with a dark bluish tone, an unidentified woman found herself running in a sheer negligee through California's Pacific Ocean beach waves, as she was pursued by a dark-clothed maniac with a hood. In the dreamy vision, her breasts bounced and flew out of her nightgown. She ran to her secluded beachhouse - where she awoke screaming and horribly frightened.

Title cards explained:

The story you are about to see is based on the unusual experiences of a Northern California woman. As passion and love, once the cornerstones of her marriage, eroded, this woman became desperately lonely.

There is a growing belief that in the world of psychic phenomena, the loneliness of a human being may be our direct link to...the Supernatural.

The Northern California female (and her husband) were identified as:

  • Lisa (buxom Lana Wood, the younger sister of Natalie Wood, second-billed behind Britt Ekland but actually the main star) - a sexually-frustrated, neglected and lonely housewife
  • Burt (Tom Hallick) - Lisa's alcoholic, workaholic architect-husband in an unhappy marriage; their teenaged daughter was Michelle (Sherry Scott)

Lisa often woke at night, totally naked and frightened, with the lights flickering. As she showered, she also saw visions of a ghostly, voice-less Satanic Spirit (Kabir Bedi) reflected in the shower-tile wall. Soon, she fantasized that she was engaging in nightly sexual/rape encounters or trysts that she actually began to enjoy after her initial carnal contacts.

Lisa (Lana Wood) Became Satan's Mistress

Lisa ultimately became obsessed with the supernatural lover and further distanced from reality. Her spiritual psychic medium Anne-Marie (Britt Ekland) and investigator, married to Carl (Don Galloway), attempted to help her. Eventually, Anne-Marie's husband Burt was decapitated with a guillotine located in the basement.



Lisa (Lana Wood) - Awakening and Screaming From Nightmares


Dark-Clothed Maniac With Hood


Reflection of the Satanic Spirit (Kabir Bedi) on Shower-Tile


Lisa Ultimately Possessed

Famous T & A (1982)

In the mid-80s, before the advent of the Internet, one of the most popular print magazines was titled Celebrity Skin. It specialized in exhibiting photos, screenshots (from movies and TV) and other images of nude and semi-nude celebrities. This film - with a similar goal to highlight famous T & A shots of famous individuals, was assembled by Charles Band and producer/director Ken Dixon.

The direct-to-video documentary compilation of famous nude scenes from cinema was advertised as: "Seductive Celebrity Skins Bared Beyond Belief!" It was subtitled: "A Rare Look at the Bare Beginnings of Today's Stars." However, it was hardly a quality film, with scratchy clips, off-putting narration, and some filler material of unidentifiable females.

It began with a scrolling list of the film's stars that would be exposed (plus many others), with notations here of which films were showcased for clips:

  • Ursula Andress (in The Mountain of the Cannibal God (1978))
  • Brigitte Bardot and Jane Birkin (in Don Juan (Or If Don Juan Were a Woman) (1973))
  • Jacqueline Bisset (in Secrets (1971))
  • Phyllis Davis (in Terminal Island (1973))
  • Ushi Digard (in Cherry, Harry & Raquel! (1970), and SuperVIXENS (1975))
  • Claudia Jennings (in Truck Stop Women (1974), and The Single Girls (1974))
  • Ornella Muti (in Flash Gordon (1980))
  • Joan Prather (in The Single Girls (1974))
  • Laurie Walters (in The Harrad Experiment (1973), and The Single Girls (1974))
  • Edy Williams (in Dr. Minx (1975))
  • D. D. Winters
  • and many more

The film's special guest hostess and narrator, Sybil Danning (scantily-clad in a shiny gold, gladiatorial outfit of tin-armor, and wielding a thigh-sheathed sword), introduced the objective of the film:

"I'm Sybil Danning, your Hostess for this all-star collection of famous personalities who have displayed their seductive charms for the camera. Here is a rare look at the bare beginnings of today's stars. We now present this scintillating segment for the appreciative eyes of all..."

Most of the footage was either from trailers, excised clips, or other archival footage, and some were seen multiple times (as different takes of the same scene).


Terminal Island (1973)
Screenshot
Phyllis Davis in Terminal Island (1973) (Outtakes not in original film)

[Note: The producers ran into trouble when they used unedited out-take footage from Terminal Island (1973) without Phyllis Davis' permission (including a full-frontal shot not in the film itself).]


Sybil Danning (Narrator)

Ornella Muti in Flash Gordon (1980)

Ursula Andress in The Mountain of the Cannibal God (1978)

Fast Times at Ridgemont High (1982)

Director Amy Heckerling's superior 80s high-school coming-of-age sex comedy (scripted by Cameron Crowe who went undercover in a San Diego high school for material) was originally rated X during the conservative early 1980s, before editing out a full-frontal male view in the poolhouse scene, and excising an abortion scene.

It was the frank story of Southern California (Los Angeles area) teens preoccupied by sex - with some scenes of unglamorous sex (especially for the female involved) and promiscuity. Some of the most notable characters were surfer-slacker Jeff Spicoli (Sean Penn) and his exasperated US history teacher Mr. Hand (Ray Walston). The film opened almost immediately with a controversial scene in a crowded school cafeteria between two high-school students:

  • Linda Barrett (Phoebe Cates), sexually-liberated and experienced
  • Stacy Hamilton (Jennifer Jason Leigh), Linda's 15 year-old freshman friend

Linda gave her friend Stacy a 'how-to' lesson with a carrot on the best way to deliver "blow jobs" to a guy:

"There's nothin' to it. It's so easy...Relax your throat muscles. Don't bite. And slide it in...Good. Push it slowly in and out. You got it."

The naive Stacy then asked: "When a guy has an orgasm, how much comes out?" Linda revealed her tendency to exaggerate: "A quart or so," but then claimed she was just kidding.

That night - to the tune of Jackson Browne's "Somebody's Baby" - Stacy snuck out for a date at the Point with 26 year-old home stereo salesman Ron Johnson (D.W. Brown). Once in a dilapidated baseball dugout, he asked: "Am I gonna get to first base?" and then wondered if the innocent-looking Stacy was really 19 years old as she claimed. From her realistic point of view during her painful and uncomfortable deflowering, she looked up at the graffiti-covered ("SURF NAZIS") concrete walls.

The next day at school, she told Linda that "it hurt so bad," and was advised: "Don't worry. Keep doing it. It gets a lot better, I swear." Although she received a bouquet of red flowers from Ron, he didn't keep in contact with her, and Linda comforted her friend at Perry's Pizza parlor where they worked in the Ridgemont Mall: "It's his loss."

As they sunbathed together at the start of the film's most memorable pool scene, Linda claimed she always climaxed with her older boyfriend Doug: "He's no high-school boy." When Stacy's brother, senior-year Brad (Judge Reinhold) came home, he experienced a fantasy dream-girl view of Linda at poolside as he masturbated in the pool-side bathroom.

In his mind, he saw sexually-liberated Linda emerging from the pool, speaking seductively: "Hi, Brad! You know how cute I always thought you were" before opening her bright red-bikini top from the middle in slow-motion as she walked over to him and toplessly kissed him (to the tune of The Cars' hit "Moving in Stereo"). In reality, however, she dove into the pool and embarrassingly interrupted his excitement by barging into the bathroom and catching him pleasuring himself ("Doesn't anybody f--king knock anymore?" he asked himself). The scene has regularly been voted as one of the sexiest scenes ever filmed in the 80s - and of all-time.

Fast Times... Pool Scene with Linda (Phoebe Cates): The Greatest and Sexiest Film Scene of All-Time?
 

Soon after, Stacy had a second awkward and quick sexual experience with smooth-talking Mike Damone (Robert Romanus) in her own pool's outdoor changing room. After he kissed her and she was complimented, "You're really a good kisser," she asked: "You want to take off your clothes, Mike?" He responded: "You first." She decided: "Both of us at the same time." After stripping off her top and her panties and lying down on a sofa, he laid on top of her and quickly climaxed during love-less sex, causing her to ask: "Are you OK?" He said he had come, then hurriedly left ("See ya!") as she sat up and looked bewildered, used, and hurt.

The next day, she unabashedly lied to Linda (as they both sliced a large phallic-shaped slab of salami) about how long Damone took: "15 to 20 minutes." She was assured when Linda said: "That's not bad for a high school boy." However, intercourse had resulted in Stacy's pregnancy, and Mike had no interest in taking responsibility: "It was your idea. You wanted to do it. You wanted it more than I did." Stacy arranged for an abortion at the Free Clinic for $150, but Mike reneged in splitting the fee and offering a ride. Eventually, Stacy discovered the truth about sex: "I don't want sex. Anyone can have sex....I want a relationship. I want romance" and she had the possibility of fulfilling her wish with nerdy Mark "Rat" Ratner (Brian Backer) by film's end, with whom she had a "passionate love affair --- but still haven't gone all the way."

[See other entries: "Raunchy Teen-Sex Comedies of the 1980s."]



Linda (Phoebe Cates) and Stacy (Jennifer Jason Leigh)



Linda (Phoebe Cates)

Stacy: Sex in a Dugout



Sex in a Pool House Also
With Stacy (Jennifer Jason Leigh)

Friday the 13th, Part 3 (1982)

This second sequel in the popular slasher/horror film series, Friday the 13th, Part 3 (1982), lived up to the premise that sex led to death. It was particular true about two lovers at a lakeside cabin called Higgins Haven near the notorious Crystal Lake:

  • Andy (Jeffrey Rogers)
  • Debbie (Tracie Savage), Andy's girlfriend

[Note: Tracie Savage later became a TV news-anchor in Los Angeles, and her revealing role in the film became a topic of conversation during the highly-publicized 1995 O.J. Simpson trial (when she was called to testify about her confidential news sources) and the Heidi Fleiss trial, also in the mid-1990s.]

The two had just finished making love in a hammock ("That was the best one yet...Was it you, me, or the hammock?"). Afterwards, Debbie took a shower behind a sheer plastic curtain, and Andy was walking on his hands in the hallway to get some "brew" for them, when he saw the hockey-masked figure of the killer (Richard Brooker) (never named "Jason Voorhees" in the film) in front of him, threateningly raising a thick-bladed machete above him.

Andy was split in half (from his crotch to his torso) with the machete and his mangled corpse was wrapped around the rafters. The killer entered the bedroom after Debbie had bathed, where she was lying on the hammock, reading a Fangoria Magazine. Blood splattered from Andy's body above her onto the magazine page.

Then, a hand grabbed Debbie's head from beneath the hammock and forced her head back, as a machete was thrust through her back, piercing through her chest. Downstairs in the kitchen, when Chuck (David Katims) was asked about the source of screaming that his girlfriend Chili (Rachel Howard) had heard in the house, he quipped: "It's probably Debbie having an orgasm" - he then asked her: "How come you never scream when we have sex?," to which she retorted: "Give me something to scream about."


Debbie (Tracie Savage) and Andy (Jeffrey Rogers)


Debbie (Tracie Savage)

Andy's Murder

Debbie's Murder

The Last American Virgin (1982)

Writer/director Boaz Davidson's above-average film in this teen film sub-genre was the American remake of his own Eskimo Limon (1978, Israel), although it was now set in Los Angeles. Its tagline: "There's only one thing left to lose," communicated that it was obviously about horny male adolescents looking for love/sex, although it also tackled the sensitive issues of unrequited love (in a love triangle) and abortion.

In the film's subplots, there were the usual hijinks for these kinds of juvenile films:

  • a dope (actually Sweet N Low) and necking-sex party was held at the home of virginal, naive Pink Pizza delivery guy Gary (Lawrence Monoson), attended by horny high school guys and gals including Brenda (Tessa Richarde), Roxanne (Gerri Idol), and ugly duckling Millie (Winifred Freedman) - it was broken up mid-way when Gary's parents unexpectedly arrived home
  • nerdy Victor (Brian Peck) peeped on girls in a school gym shower (to the tune of Devo's "Whip It" - one of the film's many great 80s songs)
  • during a homoerotic scene of ruler-measurement of erect penises to compare sizes, Victor's amazing manhood at 9" won the contest
  • two of Gary's friends had sex in consecutive order with older and lonely Spanish-accented, nymphomanical Latino customer Carmela (Louisa Moritz). She moaned loudly during intercourse (to the tune of KC and the Sunshine Band's "That's The Way (I Like It)") until her sailor boyfriend arrived home

The movie's main dramatic scenes involved cute, curly-haired, good-girl Karen (Diane Franklin) who had sex with shallow, hedonistic boyfriend Rick (Steve Antin) under the school's bleachers (to the tune of The Commodore's "Oh No"). Rick dumped her when he found out about her unexpected pregnancy.

Karen (Diane Franklin) Became Pregnant After Unwise Teen Sex with Rick

She had to seek a $250 abortion after a doctor's examination (in the nude), paid for by her nice-guy, socially-awkward, sensitive and infatuated good friend Gary. Unbeknownst to her, Gary had sold some of his possessions and borrowed money in a montage/abortion sequence (to the tune of U2's "I Will Follow").

The Doctor's Abortion Exam of Karen

In the downbeat, unexpected, tearjerking unhappy ending, after he had saved and taken care of Karen for the weekend in his grandmother's empty house and expressed how much he loved her and embraced her (and was planning on giving her a birthday present of a gold-heart locket with To Karen With Love inscribed on the back), she was back in Rick's arms at her own birthday party.

A stunned self-pitying Gary saw her passionately making out with him - but they just stared back blankly, leaving a heartbroken Gary crying at the sight as he left and drove away into the darkness in his pizza delivery station wagon - the film's sad ending!

[See other entries: "Raunchy Teen-Sex Comedies of the 1980s."]


Brenda (Tessa Richarde)

Roxanne (Gerri Idol)

Carmela (Louisa Moritz)

Karen (Diane Franklin)


Karen and Rick

Liquid Sky (1982)


The film's gender-fluid star Anne Carlisle in a posed model photo

This unusual science fiction cult-classic comedy from Russian emigre film director Slava Tsukerman became a popular midnight movie that ran for four years at New York's Waverly Theatre. The very successful independent film has often been called an updating of Andy Warhol's Trash (1970). Coincidentally, the film was released the same year as Spielberg's friendly alien film E.T.: The Extra-Terrestrial (1982).

It emphasized the pronounced and ugly connection between sex and death, in its story about a tiny space alien creature in a UFO or flying saucer (the alien was visually represented as a disembodied optical nerve or a bloodshot eye) that landed on the top of a NYC apartment building. The non-physical alien creature that was searching for heroin hid in a ceramic mask hanging on a penthouse's apartment wall.

In the film's opening, two models were introduced in a New Wave fashion show in a Manhattan dance nightclub - the models were one performer who was playing two roles of different genders. The film's main star, gender-fluid Anne Carlisle, was a young Connecticut-bred WASP before she became a fashionable New York model:

  • Margaret (Anne Carlisle), a bisexual (lesbian) yet non-orgasmic, androgynous, bohemian, face-painted coke-addict and aspiring 80s New Wave punk fashion model; Margaret lived with her lesbian lover-girlfriend - a heroin-dealing, performance-artist roommate named Adrian (Paula E. Sheppard) in a downtown penthouse apartment where the alien craft had landed on the roof
  • Jimmy (also Anne Carlisle in a dual role), Margaret's nemesis - an androgynous, arrogant, vampish, David Bowie-like, drug-addicted gay male model, who was indebted to his expensive heroin habit

Jimmy (also Anne Carlisle)
Margaret (Anne Carlisle)

A married couple were introduced in their apartment - they resided in the same building where Margaret and Adrian lived: failed heroin-addicted artist Paul (Stanley Knapp), who was preparing a spoonful of heroin to inject to stimulate and inspire him ("Everybody wants euphoria...I use it to open my blocked creativity"). He spoke to his short-haired wife Katherine (Elaine C. Grove) about heroin with its original slang term:

Liquid sky, the key to heaven, the milk of paradise.

Katherine called heroin "dangerous" and strenuously objected to his drug usage: ("I do not want heroin in my house").

After Margaret returned to her apartment with young soap opera actor Vincent (Jack Adalist) to do drugs, he abusively slapped her around and forced her to take quaaludes (instead of promised cocaine). When she realized his motives: ("You just wanna get laid. You'll say anything to get laid. Just like everyone else in California. What, do you have a cock for a brain, baby?"), he viciously attacked her and raped her from behind in the stairwell.

Meanwhile, the strange alien occurrences in Margaret's and Adrian's building were being witnessed (via telescope) by the film's narrator:

  • Johann Hoffman (Otto von Wernherr), a West German UFO astrophysicist-scientist who first observed the alien presence from the Empire State Building

Margaret expressed her belief to both Adrian and Paul that sexual identities were not static but fluid:

"I'm always curious about people who have to make those kind of sexual definitions...Homosexual, heterosexual, bisexual. Whether or not I like someone doesn't depend on what kind of genitals they have, as long as I find them attractive, don't you think?"

The tiny, shapeless alien (a color-shifting creature) originally fed off the pleasurable endorphins or pheromones that were produced by heroin drug use. But then there was an epidemic of unexplained "strange deaths" in the NYC punk rock community that were occurring during sexual intercourse. It was explained by the scientist Johann that the alien had discovered another food source that was more preferable -- the endorphin-pheromone chemicals created by the human brain during sexual orgasm.

On her rooftop, Margaret conversed with her older lover and former acting teacher Owen (Bob Brady) (aka "Professor"), who cautioned her about looking like a hooker and becoming self-destructive. After being criticized for her lifestyle and fashion choices, Margaret stated how she didn't want to behave or look like a slavish "sweet housewife" - and preferred the independence of a hooker appearance and lifestyle: "I'm nobody's victim. It's only fair that I warn them this pussy has teeth." Owen believed that Adrian's influence had turned Margaret into "a real mean bitch," and that she was living in a "freak show."

Owen expressed his interest in making love to the non-orgasmic Margaret. As he laid on top of her for intercourse, the alien observed (as explained later by Johann) that Margaret's male sex partner was providing a sexually-climactic substance, represented by 'animated' chemicals exploding in his brain during orgasmic stimulation. The alien realized that the sex pheromone was more powerful and available to more fully satiate its heroin-like addiction. Owen became Margaret's first sex victim.

The Film's Representation of Pheromones Chemically Exploding in Owen's Brain When Produced During Orgasm

When Owen expired after orgasming, a sharp glass crystal spike protruded from his skull or head. It evaporated or disappeared (or spontaneously combusted) when she removed it. Adrian was disturbed by the unexpected presence of Owen's naked corpse in their apartment: ("What the f--k is going on in here?"). She threatened to have sex with the corpse (by sitting on Owen's head), but then got into an argument and brief switchblade fight with Margaret, before the two decided to hide Owen's body in a cardboard box that they moved to the rooftop.

Meanwhile, Johann decided to move closer to the building where the alien craft had landed ("The alien craft is about the size of a dinner plate"), to conduct more telescope surveillance from the adjacent apartment of a horny Jewish female named Sylvia (Susan Doukas), Jimmy's youthful mother, who worked as a TV producer. She constantly made sexual advances toward Johann as he tried to conduct further research and spy on Margaret's apartment and the rooftop.

During the remainder of the film, Margaret's casual sex partners suspiciously died after intercourse or disappeared by vaporization (or spontaneous combustion). Her next victim was her neighbor - heroin-addicted and unmotivated Paul, who had just had a domestic quarrel with his wife Katherine in the midst of a party with her clients. She had demanded that if he had no self-respect for her as his wife, that he should leave. She claimed he was personally humiliating her and ruining her career, as he had ruined his own life: "You want to just prove to everybody that you're a failure, that you take dope, you take drugs, and you never made any money from any of your films or books or anything that you've ever done. But mainly, you want to humiliate me, that's your point. Then I'm such a fool to put up with you."

Paul arrived in Margaret's nearby apartment to forcibly seduce her (he called her a "dyke") and to teach her about sex: ("I'm gonna make you cum"), but she rejected him: "You make me sick, you wimpy junkie...You sick pig, I don't need your cock for anything" - although she deliberately let him have sex with her - and he ended up suffering the same fate as Owen. Confused, she yelled from the window to the unseen alien: "Hey you! What's with these glass arrows, Indian?...I can't have all these bodies....You did it for me, Chief? Why, who are you?"

In the film's most outrageous scene during an evening's drug-fueled get-together in Margaret's penthouse that also included a roof-top photo-shoot, Margaret and Jimmy - dubbed as "two Miss Americas" in a photographic essay, were challenged to have sexual intercourse together - and the chanting from the onlookers began: ("We want to see you f--k her. F--k her, f--k her. Get him Margaret, you whore. Do it, do it...")! As expected, when Jimmy orgasmed during stand-up oral sex, he died and his body disintegrated and disappeared. Margaret was apologetic: "You made me do it. Oh s--t. This pussy has teeth, no one should f--k me ever...I killed him." Margaret repeatedly warned Adrian:

Adrian, you should leave me alone. You should leave me alone...I killed him...I kill all the people that f--k me. That's it, if you f--k me, you'll die....I'm serious...Adrian, you should stay away from me, I'm a killer....I don't want you...Because I'm killing all the people that I f--k.

As a dare, a skeptical Adrian kept offering to make love to Margaret: "How many people want me to see, uh, see me f--k Margaret and not die?...I'll bet you $300 I can f--k Margaret and not die." Resistant, Margaret had to be held down during intercourse (with Adrian taunting: "Kill me, baby"), and after orgasming, Adrian also disintegrated. Margaret (a black widow of sorts) admitted and warned, in one of the film's most memorable lines, as her face floated in the dark, illuminated by a fluorescently-painted mask, that her vagina was a deadly killer:

"It's easy to explain. You wanted to know who and what I am? I'm a killer. I kill with my cunt."

And then in a memorable and devastating monologue (as she painted her masked face with bright fluorescent colors), she then chastized everyone in the audience for promoting her and for society's false goals and hypocrisy:

You can write about it in Midnight Magazine. Or National Enquirer. It's gonna be the new sensation. You wanted to know where I'm from? I'm from Connecticut, Mayflower stock. I was taught that my Prince would come. And he would be a lawyer. And I would have his children. And on the weekends, we would barbecue. And all the other Princes and their princesses would come, and they would say, 'Delicious, delicious.' Oh, how boring. So I was taught that I should come to New York, become an independent woman. And my Prince would come and he would be an agent. And he would get me a role. And I would make my living waiting on tables. And I would wait till 30, till 40, till 50. And I was taught that to be an actress, one should be fashionable. And to be fashionable is to be androgynous. And I am androgynous not less than David Bowie himself. And they call me beautiful. And I kill with my c--t. Isn't it fashionable? Come on, who's next?

I'll take lessons, how to get into show business. Be nice to your Professor. Be nice to your agent. Be nice to your audience, be nice. How to be a woman? Want them when I want you. Or how to be free and equal? F--k women instead of men, and you'll discover a whole kingdom of freedom. Men won't step on you anymore, women will. So come on, who's next? Who wants to teach me? Come on, teach me. Are you afraid? You're right, because they're all dead. All my teachers.

After the partiers left and disbanded to the nightclub, Margaret met up with Vincent, her previous rapist, who vengefully became her next lover (and victim). Through his telescope in Sylvia's apartment, Johann viewed Margaret zapping Vincent during intercourse, while he was also being propositioned by Sylvia. Fearing that Margaret was in "great danger," Johann went over to her apartment to warn her about the alien creature seeking the sex hormone 'opiate' that was causing death to her sexual partners. Meanwhile, Margaret spoke to the invisible alien: ("We killed them all, there's no one left. We can be together now"). When Johann arrived, she ignored his entreaties to escape from the deadly alien creature on her roof: ("It is killing to get this substance") and stabbed him in the back. Then, she begged the alien:

Come out, you can feed on me if you want to. It's okay, I don't mind. I know you care for me. We can be happy. I wanna make love with you.

She didn't want to be left behind when she saw that the alien craft was departing, and screamed out: "Don't leave without me!" She deliberately injected an over-dose of heroin into her arm to induce a wild, arm-flailing, autoerotic orgasm or convulsion. Like her other sex victims after orgasm, she was vaporized in a beam of light and taken aboard by the alien spacecraft as it hovered over the penthouse rooftop and then flew off.


Opening Credits - A Human Face Within a Sphere of Neon Light

Picture of Margaret as a 16 Year-Old WASP Before She Moved to NYC


Saucer-Shaped Alien Spacecraft Over NYC

The Alien Creature (Represented as Disembodied and Shapeless)


Adrian (Paula E. Sheppard) - Margaret's Roommate

Paul About to Inject Himself With Dose of Heroin, as Wife Katherine Objected

Margaret's Rape by Vincent (Jack Adalist) in Stairwell


UFO Scientist Johann Spying on Apartment Building

Paul's Injection of Heroin Into His Arm - Releasing Pleasurable Endorphins

Jimmy's Mother Sylvia (Susan Doukas) Living in an Adjacent Apartment


Deadly Sexual Intercourse Between Margaret and Paul


The Challenge to Margaret and Jimmy to "F--k" Each Other (Seen in Split-Screen)

Margaret's Stand-Up Oral Sex with Jimmy


Adrian's Dare to Have Sex with Margaret



Margaret's Confessions: "I'm a killer. I kill with my cunt."


Margaret's Monologue


Vincent's Disintegration During Sex with Margaret



Margaret's Orgasmic Overdosing on Heroin To Generate an Opiate Hormone

Making Love (1982)

Director Arthur Hiller's bold breakthrough R-rated film with mainstream stars in a pre-AIDS era was significant. It was the first non-exploitative, gay-themed Hollywood film produced and marketed for a general audience, without vilification, to address openly and directly the bi-sexual male character.

It was a courageous and honest attempt by 20th Century Fox to make a same-sex love story (or love triangle) commercially viable (as "one of the most honest and controversial films...ever released"). The trailer warned it might be "too strong" - and indeed it caused some audiences extreme upset and discomfort. The love story involved three major characters:

  • Zack Elliot (Michael Ontkean), a husband and LA doctor
  • Claire (Kate Jackson), Zack's loyal, ambitious and intelligent wife, a successful TV producer who was eager to have a child although the decision was often postponed
  • Bart McGuire (Harry Hamlin), a young, health-conscious homosexual writer and promiscuous, gay bar cruiser

The film opened with footage of the three main characters directly facing the camera and sharing recollections during interviews. It was presumably filmed just after Claire and Bart had broken up with Zack. In particular, Claire and Bart both explained how they first became involved with Zack.

The Three Main Characters in Opening Credits - With Matching Eye Placements

Zack (Michael Ontkean)

Claire (Kate Jackson)

Bart McGuire (Harry Hamlin)

The film told about how Zack, although married for eight years to Claire, began to express his long-repressed homosexual feelings for a young homosexual named Bart. Bart and Zack first met and became acquainted when Bart had a doctor's appointment in his office, to examine a mysteriously-enlarged lymph gland.

It included the following milestone scene, introduced when Bart seduced Zack with the line: "Physician, heal thyself":

  • a passionate male tongue-kissing (a revolutionary scene for a major studio feature film) - shadowed by venetian blinds, and then hugging and embracing each other in bed, and later ending up naked together
Kissing and Love Scene Between Zack and Bart

Inevitably, Zack's frequent absences caused Claire to begin to suspect that Zack was having an affair with another female. In a climactic sequence in their home, Claire deliberately dropped a plate onto the floor to command his attention, and then demanded that the increasingly-reclusive Zack be honest and share his obvious concerns with her:

We're gonna cut this out and we're gonna talk. You cannot do this to me. It's not fair. Now, I don't know what to do. I don't know what to say. I don't know how to hold you. I don't know whether I should even try to hold you. God, Zack! We've always gotten each other through, because we've never been afraid to share. You've closed yourself off and I feel helpless. I don't know what to do. You can't tell me. Are you sick? Are you in trouble? Look, whatever it is, I can handle it. I can handle it, no matter what it is. But I cannot handle the silence.

He walked off without responding, but then the next day decided to come clean with her, when he admitted his repressed homosexual urges (that were surfacing): ("I find that I'm attracted to men"), and his infidelities with another man: ("I have stopped denying it. I've been with someone"). She was blindsided and disbelieving, thought he had betrayed and used her, and called him a fraud in addition to slapping him twice: ("What are you telling me? That our whole marriage has been a lie?"). She compared his breakup news to an incident of childhood abandonment by her father: "It's a helluva way to say goodbye."

Meanwhile, Bart had become exasperated with the cautious, hypocritical and fearful Zack for being dishonest, cowardly and reluctant to entirely reveal his homosexuality and identify as gay, instead of just being "curious" about the life style. Zack and Bart's liaison was ultimately short-lived after just a few days.

Later in a motel room, Zack gave Claire a devastating ultimatum when he concluded that they couldn't just remain together in spite of his homosexuality: "I don't want a double life. One foot in one place, one foot in another, I don't want that." Claire realized her marriage was really over and that she should let go, and that he had sincerely chosen to not lead a double life any longer.

As the film came to a heart-wrenching close, Zack and Claire decided to separate and divorce. Zack ended up in a more permanent monogamous relationship with a handsome gay partner named David (John Calvin) in NYC, while Claire remained in Los Angeles, remarried a man named Larry (Dennis Howard), and had a child named Rupert. Although sad about their circumstances and obviously still in love, Claire and Zack were able to reconnect during his visit to LA a few years later, and he met her new family. She had met her pledge to Zack to call her first-born Rupert after their favorite obscure poet.


Happily Married Couple: Zack and Claire


Beefcake Shot of Sweaty Bart in Front of Full-Length Triple Mirror

First Meeting Between Zack and Bart in the Doctor's Office

A Shirtless Get-Together Between Zack and Bart

The Beginnings of Tension Between Zack and Bart


Claire's Demands for Honesty From Zack


Zack's Revelation of His Gayness to Claire


Zack's New Gay Partner David in NYC

Zack Meeting Claire's New Husband Larry and Child Rupert

An Officer and a Gentleman (1982)

Director Taylor Hackford's R-rated romantic blockbuster (chick-flick) told about a rough but appealing love affair between:

  • Zack Mayo (Richard Gere), an aloof, cocky Navy cadet trainee during his 13-week training at Naval Officer Candidate School
  • Paula Pokrifki (Debra Winger), a headstrong, husky-voiced local factory working girl

Their relationship was contrasted with the one between Paula's work friend Lynette Pomeroy (Lisa Blount) who was going out with Zack's buddy Sid Worley (David Keith), in the film's sub-plot - a more tragic but less emotional relationship.

Aspiring naval officer Zack's and Paula's relationship had its ups and down, especially when Zack believed she was husband-hunting and became frustrated and angered - and closed up about his past, and she desired some kind of loving commitment:

Zack: "What do you want? You want to f--k? Is that what you want? You wanna f--k? All right, come here. Get on the bed. Take your clothes off. I'll give you a good f--k."
Paula: "Where's that coming from?"
Zack: "Get on the bed."
Paula: "I wouldn't f--k you now if my life -- "
Zack: "Then get the hell out of here, because I don't need this s--t."
Paula: "I don't know who you think you're talking to, you know. I'm not some whore you brought in here. I'm trying to be nice to you. I'm trying to be your friend, Zack."
Zack: "Well, then be a friend. Get out of here."
Paula: "Fine. Fine. You know, man. You ain't nothing special. You got no manners. You treat women like whores. And if you ask me, you ain't got no chance of being no officer."

After he comforted her and apologized, they spent the night together. The next morning, she challenged him: "I dare you not to fall in love with me. I mean, how can you resist? I'm like candy." He assured her: "You're better than candy." She replied: "It's going to be very hard to get enough. Very hard. Very hard." He called her a "little cocky Polack," and they fell to the floor and kissed. She asked:

"So, Zack, what do you do with a girl when you're through with her, huh? Do you say something, or you just disappear, huh?"

Their relationship included a realistic and sexually explicit love scene, commencing with steamy kisses, in which she wriggled and straddled atop him and then eased herself off of him ("Bye, Zachary").

An Officer in Training With Local Town Girl Paula (Debra Winger)

It concluded with a cliched fairy-tale ending in which he rescued/saved her from her National Paper workplace and carried her away to the tune of the hit song "Up Where We Belong."


Paula (Debra Winger) and Lynette (Lisa Blount)






Paula (Debra Winger)

One From the Heart (1982)

Successful film director Francis Ford Coppola intended this R-rated stylized musical romance (from his newly-created Zoetrope Studios) to be a revolutionary film using experimental video equipment that included live, in-camera feeds that could instantly be edited. However, the price-tag escalated to the point that it ultimately bankrupted the studio and Coppola due to a negative reception from the media and public.

One of the major criticisms was that its re-created, artificial fantasy world of Las Vegas was entirely filmed on a soundstage (with painted backdrops and superimpositions), with no location shots or exteriors - including complicated lighting and sets that overwhelmed the humanity of its main characters.

Teri Garr starred with Frederic Forrest as an unappealing, one-dimensional and ordinary working-class couple who suffered a domestic breakup after exchanging gifts on July 4th. In a rare instance, she appeared semi-naked in a few of the film's scenes, as did Nastassja Kinski as an exotic circus acrobat/performer (in a distant shot).


Frannie (Teri Garr)

Leila (Nastassja Kinski)

Personal Best (1982)

Director/writer Robert Towne's groundbreaking directorial debut film was also Hollywood's frankest treatment of lesbianism up to that time. It celebrated female athleticism and sexuality, with the suggestive tagline: "How do you compete with a body you've already surrendered to your opponent?"

The bold sports film emphasized the naturally spontaneous relationship between two women track and field athletes who were in training for the 1980 Olympics:

  • Chris Cahill (18 year-old Mariel Hemingway at the time of filming, in her first lead role), a bisexual track star hurdler
  • Tory Skinner (real-life track star Patrice Donnelly), older pentathlete lesbian

The film was noted for frontal nudity, especially for its steamy 'steam-bath' sequences of naked female athletes. After a sweaty workout in a game of touch football, the athletes basked in a steamy spa, as the camera slowly panned from right to left, emphasizing their taut bodies. Bits of conversation were heard:

"So, well, how was Norman?"
"Well, actually, he's got a curved weenie."
"To the left or to the right?"
"To the left."
"That could be a problem."

Female Athletes in a Steamy Spa

One of the overweight black athletes Nadia "Pooch" Anderson (Jodi Anderson) proposed a lewd racist joke: "Do you guys know why Oriental men have slanty eyes and buck-teeth?" - and then made a gesture like a man masturbating with a scrunched up face.

The lesbianism between the two runners was sensitively portrayed. As they laid naked together, they took turns softly touching and pleasuring each other, as Chris noted: "I've never had this done before." Chris' experimentation was only a phase since by the film's conclusion, she went off with waterpolo player Denny (Kenny Moore).





Chris (Mariel Hemingway) and Tory (Patrice Donnelly)

Pink Floyd: The Wall (1982)

Alan Parker's film was based on Pink Floyd's successful rock album of 1979. The cultish, downbeat re-imagining of the Pink Floyd album, a musical "free form video" masterpiece - was a remarkable descent into madness and insanity through a series of rambling music video segments by burned-out and depressed rock singer Pink (Bob Geldorf) in a Los Angeles hotel room. He was mostly mindlessly watching TV - he had constructed a physical and metaphorical protective wall around himself after the death of his father as he experienced flashbacks of his life and attempted to tear down the wall.

It contained about 15 minutes of political cartoonist/illustrator Gerald Scarfe's adult-themed animated segments with symbolic, sexually-explicit, botanical Freudian symbolism that presented a misogynistic woman-as-destroyer/devourer motif); in the passionate "flowers" scene before the rock song "Empty Spaces," two flowers, one shaped like a male organ and the other like a female organ -- morphed into a couple having intercourse and then engaged in a bloody fight when the female flower revealed sharp teeth and devoured the male.

In the concluding trial sequence (with Pink on trial, and portrayed as a rag doll within his cinderblock wall), a giant creature named Judge Arse, who appeared to be a giant set of buttocks (topped with a wig) that talked out of his anus in a kangaroo courtroom scene; finally ordered and yelled out: "Tear down the wall" - and the brick wall exploded into many fragments to liberate Pink.


Judge Arse

Pink's Trial Within Circular Brick Wall

Pink Liberated by Exploding Wall



Gerald Scarfe's Botanical Act of Intercourse and Devourment



Porky's (1982)

The average US film of the 1980s seemed to be aimed at unthinking, moronic teenagers, as evidenced by crude slapstick teen comedies with little character development and poorly conceived jokes. After its surprise hit in 1982, sequels were designed to capitalize further on the surprise box-office smash of the youth market: Porky's II: The Next Day (1983) and Porky's Revenge (1985).

This vulgar and distasteful, often-reviled sex comedy by writer/director Bob Clark was about several Florida high school boys seeking to lose their virginity. All of the females in the film were objectified as sex objects or props for this comedy. It was responsible for ushering in a flood of similar teen-oriented material, some of it superb (Fast Times at Ridgemont High (1982) and The Last American Virgin (1982)). It was the ultimate precursor to the raunchy series American Pie (1999) almost two decades later.

[See other entries: "Raunchy Teen-Sex Comedies of the 1980s."]

The film's premise: set in the year 1954, several over-sexed boys in a South Florida high school (fictitious Angel Beach High) sought to lose their virginity - especially aptly-named gullible basketball player Edward "Pee Wee" Morris (Dan Monahan) who was always horny and obsessed with getting 'laid.' During the opening title credits, Pee Wee woke up every morning to check his penile length with a wooden ruler - always disappointed with the results.

In the opening scene, while students milled around at Angel Beach High, co-ed freshman Mindy (Jill Whitlow) was prompted by one of her girlfriends to strut over to muscle-bound Anthony Tuperello (aka 'Meat') for a question:

"Can I ask you somethin'?...Why do they call you 'Meat'?...Why do they call you 'Meat'? Because you're so big?"

He non-chalantly answered 'yes' and suggested showing her to prove it.

One evening, Pee Wee was pranked by his pals into stripping naked at Cherry Forever's (Susan Clark) dilapidated shack in the swamps - purportedly to prove he was "clean" (of VD). Pee Wee was the first to be nude and was joyously expectant ("I'm gonna get laid. Yes, Virginia. There is a Santa Claus"). When Cherry checked him out, she asked: "What do you use for a jockstrap, kid? A peanut shell and a rubber band? You know we'd better tie a board across his ass, or he's liable to fall in. Save your energy, needle dick. You're gonna need it."

The Prank with Cherry Forever
Pee Wee Stripping Down Naked: "OK, I'm ready"
Inspections by Cherry Forever (Susan Clark)
Expectantly Waiting

It was all a set-up to make it look like Cherry's black 'husband' (a drunken stranger who was part of the ploy) returned and jealously chopped up and bloodied Tommy Turner (Wyatt Knight) in the back bedroom with a machete. Pee Wee fled from the house and became stranded outdoors naked - totally embarrassed, when he was spotted running down the road by two cops in a patrol car.

Attack of Black Man with Machete
Pee Wee Running Naked Outdoors in Middle of Night

The film's title was derived from a sleazy, legally questionable, rowdy red-neck strip joint and bar in the Everglades named Porky's where five of the teens sought action one night. They negotiated with Porky Wallace (Chuck Mitchell), the owner of the bar/brothel, to have three prostitutes for half an hour for $100. They were deceived by being led into a dark room and dumped into the swamp through a trap door in the floor. When Porky's brother (corrupt Sheriff Wallace (Alex Karras)) arrived, the humiliated boys were cited for broken headlights (broken by the Sheriff himself) and told to never return; the boys soon plotted their revenge.

Pee Wee made a prank pay-phone call to Wendy (Kaki Hunter), a waitress at Deadbeat's - a roadside diner hangout, asking her: "Hello. Hi. I'm lookin' for a friend of mine. He's s'posed to be there....His name's Michael Hunt... uh Mike, Mike. Yes, Mike." The clueless Wendy turned to the patrons and asked in a loud voice: "Is Mike Hunt here? Is Mike Hunt here? Has anybody seen Mike Hunt?" When she turned and asked the guys at the counter: "Do you know Mike..." - she suddenly realized how she had been fooled: "Pee wee! I'm gonna get you! You little prick! And I mean that literally!"

There was a heated, insult-ladden show-down argument in a stairwell between gym teacher Ms. Lynn Honeywell (Kim Cattrall in an early role) and head gym coach Ms. Balbricker (Nancy Parsons), when she caught Honeywell flirting with Coach Brackett (Boyd Gaines). Ms. Balbricker complained: "Ms. Honeywell. Do you mind?...The two of you squirming around like a pair of eels in heat. You're a disgrace," and Ms. Honeywell retorted: "Yeah? Well I'm certainly not stompin and waddlin' around like a frilly hippopotamus, Beulah! Beulah Ball-breaker... Well, if I heard a herty-gerty playing, I'd think I was talkin' to the fat lady in the circus, but as it is, I guess I'm talkin' to a ton of bad news named Beulah, Beulah, BEULAH!" Ms. Balbricker threatened to have Ms. Honeywell fired for "moral turpitude" but Honeywell wasn't intimidated: "You can take your moral turpitude and you can stick it up the old gazoo, Beulah!"

In one of the film's more infamous scenes, in the equipment room, horny, turned-on Ms. Honeywell (nicknamed "Lassie") revealed the reason for her nickname (Coach Warren: "Just get her up in the equipment room, you'll find out. But beware of King Kong") -- after she and randy Coach Brackett both removed each other's underwear and her skimpy blue skirt was pulled off. She was in the midst of orgasmic love-making when she let out a loud, shrill dog-howl: ("Yes, yes, yes!"), heard echoing throughout the entire gymnasium. To stifle her screams, Brackett stuffed socks into her mouth to gag her. Shortly later, Brackett's excuse was that he had "a case of the runs."

The centerpiece of the film was the "Peeping Tom" scene in the girls'shower-room, in which one of the teens exclaimed after viewing through a peep-hole: (Tommy: "Jesus Christ! It's the mother lode." Billy (Mark Herrier): "I've never seen so much wool! You could knit a sweater." Tommy: "This has gotta be the biggest beaver shoot in the history of Florida"). The towel-clad girls discovered the boys ogling them after Pee Wee (with a mostly blocked and obstructed view) yelled out at obese Nola McNeil: ("Goddammit, will you move it, you lard-ass!"), revealing their hidden location.

The Notorious 'Peeping Tom' Shower Sequence in Porky's

One of the guys - Tommy - announced in a deep voice: "Don't be alarmed, girls. This is just your health department. We're here to check out all unlicensed pussies. Please step forward and spread your legs... Originality, neatness, and hygiene." Then, he first placed his tongue through the spyhole, and Wendy slapped soap onto it. To play along further, he stuck his member through the hole: ("I'll give you something to play with"), and Wendy reacted knowingly: ("Hey, wait a minute, I know that guy") just as head gym coach Ms. Balbricker appeared. She charged forward to make a painful two-handed grab and cried out in glee: "I've got you *NOW*, TOMMY TURNER! And I'm taking you to the principal!...Somebody get me the principal! Mr. Carter! Somebody get me the principal!...You disgusting, little, filthy, pervert!... (Tommy escaped from her grasp) You freak! You filthy little pervert. I know you're in there. You dirty little dickhead!"

Ms. Balbricker Grabbing Tommy's Member

After the shower room incident, there was an hilarious scene in the principal's office, when Ms. Balbricker implored the school's prudish principal Mr. Carter (Eric Christmas) to have a penis line-up to identify the boy who displayed his member through the peep-hole:

Now, Mr. Carter. I know this is completely unorthodox, but I think this is the only way to find that boy. Now that penis had a mole on it - I'd recognize that penis anywhere. In spite of the juvenile snickers of some, this is a serious matter. That seducer and despoiler must be stopped; he's extremely dangerous...I've got him now, and I'm not going to let him slip through my fingers again.

She was met with stifled laughter from the two male coaches in the room. Carter was nervous about using the word 'penis': ("Five young boys in the nude, a police line-up so that you can identify his tallywhacker. Please, please can we call it a 'tallywhacker'? Penis is so ppp... penis is so personal....Can you imagine what the Board of Education would say if you were granted a line-up in order to examine their private pa... their private parts for an incriminating mole?"). Coach Brackett offered a solution: "We, uh, call the police, and we have 'em send over one of their sketch artists. And Miss Balbricker can give a description. We can put up WANTED posters all over school -- 'Have you seen this prick? Report immediately to Beulah Balbricker. Do not attempt to apprehend this prick, as it is armed and dangerous. It was last seen hanging out in the girls' locker room at Angel Beach High School.'" Even Mr. Carter burst into laughter.

In the film's finale, the boys found revenge on Porky's, dumping him and some of his men into the swamp, pulling the entire bar apart with a tow truck, and eventually blowing it up and collapsing the building. And during the closing credits, Pee Wee finally lost his virginity to Wendy on a school bus, and pounded his chest like Tarzan through the window before she pulled him back in for more.


Pee Wee Measuring His Penile Length

Mindy: "Why do they call you 'Meat'?"


Porky's Bar/Brothel: "Get It at Porky's"

Strip-Joint with Dancers - and Underage Drinking

Negotiating with Porky For Girls in the Backroom

Boys Pranked at Porky's: Dumped Into Swamp Water

Run Off by Local Sheriff Wallace (Alex Karras)


Wendy: "Has anybody seen Mike Hunt?"



Ms. Honeywell vs. Ms. Balbricker




Ms. Honeywell's "Lassie" Howl

Lassie's Howls Heard Everywhere



Flabbergasted Principal Mr. Carter Listening to Ms. Balbricker ("I'd recognize that penis anywhere")


Destruction of Porky's


Pee Wee's Victory Over Virginity

The Seduction (1982)

In the early 1980s, one of the most popular stars was pin-up queen Morgan Fairchild (star of TV's Falcon Crest). Now, she appeared in her feature film debut, an early exploitational stalker-voyeur thriller written and directed by David Schmoeller.

It was part of the trend of the time to jump on the bandwagon of slasher films (such as Friday the 13th (1980), and specifically John Carpenter's TV movie Someone's Watching Me! (1978), Eyes of a Stranger (1981) and Visiting Hours (1982) which were similar films). Its tagline was:

"Alone ...Terrified ...Trapped like an Animal! Now she's fighting back with the only weapon she has...Herself!"

Attractive LA-TV news-anchorwoman Jamie Douglas (Morgan Fairchild), a stable and happily married female to Brandon (Michael Sarrazin), who was menacingly stalked and viewed narcissistically by obsessed peeping tom and psychotic photographer/neighbor and fan Derek (Andrew Stevens, son of actress Stella Stevens).

In this high-toned, glossily unreal, soap opera-like teasing film (with three Razzie nominations, including two for Fairchild as Worst Actress and Worst New Star!), there were many prurient opportunities to show the star in various stages of undress (with the 'guilty pleasures' camera stalking her somewhat voyeuristically, ironically):

Jamie's (Morgan Fairchild) Seductive Bath Scene
  • a slow-motion midnight nude swim in a lighted pool
  • various bathroom or bedroom scenes, including a lengthy one in which she undressed, pinned up her hair, and took a soapy bath soaking, as the sweaty-faced and creepy Derek watched her concealed in her closet

In the concluding titular seduction scene, the heroine redemptively shotgun-blasted her stalker.




Jamie Stalked and Spied Upon by Derek



Jamie (Morgan Fairchild) in Revealing Undressing Sequence

The Slumber Party Massacre (1982)

This early 80s horror film, released by Roger Corman's New World Pictures, came at a time when slasher films were the fad - following the success of Halloween (1978) and Friday the 13th (1980). Many reviewers noted the film was originally written as a parody of horror/slasher films, but then was released as a serious horror film - with more humor than most films of its kind. It was rife with lots of false and fake jump-scares and some satirical touches, including a corpse in a refrigerator that was not noticed.

It was part of a trilogy of films:


The Slumber Party Massacre (1982)

Slumber Party Massacre II (1987)

Slumber Party Massacre III (1990)

It was not to be confused with two other similarly-titled films: Sorority House Massacre (1986) and Sorority House Massacre II (1990).

It also had 'feminist' roots - it was written and directed by two women, writer lesbian activist and novelist Rita Mae Brown and director Amy Holden-Jones, although its simplistic tale was similar to other exploitational films (with nudity). It was also a very predictable and unremarkable story - about a power drill-carrying killer who was on the loose, described a few seconds into the film on a newspaper headline: "Mass Murderer of 5 Russ Thorn Escapes." He was also described in various radio broadcasts. There was no suspense about the identity of the mass murderer, who was wearing denim and cowboy boots.

The film opened in Venice Beach, CA as 18 year-old high-school senior Trish Deveraux (Michele Michaels) was left by herself in her family's home when her parents went away on a brief trip. In the film's first few minutes to prepare for school, she woke up, removed her nightgown and then dressed in her bedroom, and proceeded to discard her childhood play-things - a symbol of growing up. Trish's parents had arranged for their neighbor Mr. David Contant (Ryan Kennedy) to check in on Trish from time to time.

The first murder was a few minutes away - at the local HS, pretty blonde telephone repair work-person Mary (Jean Vargas) with a red bandana was dragged into her work van by a hand that grabbed her neck. She was slaughtered by a drill to the head (off-screen) by the murderer - identified as Russ Thorn - with his favorite weapon of choice (a power drill), and then her bloody corpse was deposited into the school's dumpster.

After basketball in the HS gym, the coed team players headed for the shower room - led there by a back view of Linda Dawn Grant (future scream queen Brinke Stevens, in her first credited screen appearance).

The Gratuitous HS Gym Shower Sequence

Linda (Brinke Stevens)

Trish (Michele Michaels)

After the shower sequence as a number of cliquish girls dressed in the locker room, plans were made for a weekend slumber party hosted by Trish in her empty house with fellow BB players, including Kim Clarke (Debra Deliso), Jackie Cassidy (Andree Honore), and Diane (Gina Mari/Smika Hunter). One girl talked about - and on the 'outs' - was Valerie Bates (Robin Stille), who overheard their nasty conversation about herself from the next locker aisle.

In a well-crafted and tense sequence, Linda was stalked as she went to retrieve a schoolbook from her locker in the closed-up school. She was pursued by the killer, slashed in the arm with a drill bit, and then chased through the hallways and other areas - and presumably murdered (off-screen) accompanied by a tremendous scream. Afterwards, the killer stole the van and drove off, and parked outside Trish's house..

The slumber party commenced, with smoking of a Maui Wowie joint, some beer, gossip, and a change of clothes to be more comfortable. As the young coeds undressed, they were spied upon by two male arrivals: Jeff (David Millbern) and Neil (Joe Johnson). In contrast, Valerie who was in the house next door babysitting her younger sister Courtney (Jennifer Meyers) throughout much of the film, and drinking sugary Kool Aid. Budding teenager Courtney was sneaking looks at a Playgirl Magazine (July 1981 issue), featuring shots of Sylvester Stallone.

The next to die was Mr. Contant who was outside near his woodpile, when he was impaled by the killer's drill through the back of his neck. Diane (in a red/white striped shirt) snuck away from the other girls to make out with her boyfriend John Minor (Jim Boyce) (nicknamed BooBoo) in his parked car inside Trish's garage (with breast fondling using a body double) until the killer approached, decapitated him when Diane momentarily left, and then confronted her with his drill when she returned. The spinning implement of death was positioned symbolically between Thorn's legs as a suggestive phallic symbol when he killed the vulnerable Diane (off-screen).

[Note: This same framing was repeated in Brian DePalma's Body Double (1984) a few years later.]

Diane's Breast Fondling Before Her Phallic Drill-Murder

At the same time, the girls who had supposedly wanted a 'girls-only' slumber party invited Jeff and Neil into the house to join them, after finding them messing with the fuses in the circuit breaker box in the garage to turn off the lights. The killer proceeded to eliminate a number of others, including the pizza delivery boy (Aaron Lipstadt) at the door, who was greeted by the ironic question: "What's the damage?" He fell forward with his eyes gouged out. The next to die followed this order:

  • Jeff, after finding Diane's body in the garage, was drilled through the back near the outdoor pool, but didn't die; the killer returned (after killing Neil) and drilled him to death in the back after he crawled to the back door
  • Neil, after racing to Valerie's front door nearby, was stabbed five times in the chest (intercut with the loud slasher flick that Valerie was watching on TV inside)
  • Jackie was eliminated as she opened the door to make a dash for help, and was slashed in the neck by the killer's drill
  • Kim (and Trish) fought off the killer in Trish's upstairs bedroom and knocked him out with a baseball bat, but he revived, grabbed a knife, and stabbed Kim in the stomach as Trish barely escaped and hid in a closet in a dry-cleaner bag; Kim's corpse was later stashed in the refrigerator
  • Coach Rachel Jana (Pamela Roylance) was murdered when disemboweled and slashed open with the drill bit in the living room

After killing the Coach, the murderer Russ Thorn confronted Trish (after she had beaten and stabbed him), and creepily told her that he loved her - and wished to rape her:

Russ: "You're pretty. All of you are very pretty.....I love you.... It takes a lot of love for a person to do this. You know you want it. You'll love it. Yes..."
Trish: "I-I don't even know you."

The Killer Russ Thorn Telling Trish: "I love you"

The horror film concluded with the killer facing Valerie, who rushed in to save Trish. She chased after Thorn into Trish's back yard where she cornered him against the swimming pool. With swings of a machete during lightning flashes, she emasculated the killer by cutting off the end of his drill bit (he looked down at it in dismay) and severing his left hand. As he looked down on his bloody stump, she gutted his stomach with another swing and propelled him backwards into the pool. Although the killer was resurrected and fought back from his 'castration' against all three females, he was impaled on his own machete as he charged at Valerie - as the film ended. There were only three survivors: Trish, Valerie, and Courtney.

Valerie Slashing, Emasculating, and Ending the Life of the Killer with a Machete

There was a body count of 12 people - 6 males and 6 females (including the killer) by the film's conclusion.



Opening Scene Introducing Trish Deveraux (Michele Michaels)


Mary - Telephone Repair Person Dragged into Van and Slaughtered

News Headline

Valerie Bates (Robin Stille) - Uninvited Female

Linda Attacked by Killer Inside School

Girls Smoking Weed at the Slumber Party


Trish and Kim Clarke (Debra Deliso) Undressing While Spied Upon


Mr. Contant's Death

Diane (Gina Mari)

Mixing Drinks in the Kitchen (l to r): Jackie, Kim, Trish


The Crazed Killer in Trish's Upstairs Bedroom - Approaching to Kill Kim

Kim's Corpse Discovered in Refrigerator by Courtney and Valerie


The Symbolic 'Castration' of the Drill Bit with a Machete

The Dismemberment of the Killer's Left Hand


Impalement Through the Abdomen

Summer Lovers (1982)

Writer/director Randal Kleiser's idyllic film (coming after his The Blue Lagoon (1980)) was enhanced with sun-drenched nude sunbathing on the 'fun in the sun' Greek island of Santorini. The beautiful-to-watch film was supplemented with pop hits, including the Pointer Sisters' "I'm So Excited."

It told about an uninhibited summer love triangle and menage-a-trois sensual odyssey between a vacationing couple - who were soon joined by a third French woman for a few months:

  • Michael Pappas (Peter Gallagher), a sexy young American
  • Cathy Featherstone (Daryl Hannah), a blonde photographer
  • Lina Broussard (Valerie Quennessen), a young brunette French archaeologist
The Two Female Summer Lovers
Cathy (Daryl Hannah)
Lina (Valerie Quennessen)

The Menage-A-Trois on the Beach

Xtro (1982, UK)

Director Harry Bromley Davenport's poorly-reviewed, low-budget sci-fi horror film was a mean-spirited, strange, trashy and grotesque thriller, and sub-par monster movie from New Line Cinema. Its timely release coincided with Ridley Scott's Alien (1979) and John Carpenter's The Thing (1982), and was the horror-genre version of Spielberg's E.T.: The Extra-Terrestrial (1982) and Close Encounters of the Third Kind (1977). It was criticized in the UK and incorrectly labeled as a "video nasty," although it was given an uncut video certificate by the BBFC.

The cult film's taglines were:

"Not all aliens are friendly"
and
"This Alien is Pure Evil"

About the only claim to fame in this bizarre, psychosexual, incoherent, and exploitative film was the nude (and film) debut of spritely English actress Maryam d'Abo, who would go on to appear as a Bond girl in the film The Living Daylights (1987).

As the gory film began in Britain, monsters (or aliens) landed in a spaceship accompanied by a bright light near a country farm cottage. They kidnapped and took over the body of Sam Phillips (Philip Sayer), the father of a young son named Tony (Simon Nash). It was assumed that Sam had deserted his family.

Three years later when the aliens returned in a UFO, they deposited goop (actually a seed) in the woods that emerged into a half-human, extra-terrestrial Monster (Tim Dry) - Sam's alien form. The slimy, deformed, crab-walking alien hybrid and quadruped (that appeared to walk backwards) had a deadly tentacle tongue.

In one of the film's most repugnant and gory scenes, the face-grabbing alien creature raped and impregnated a blonde woman (Susie Silvey) in a cottage, who almost immediately and graphically gave bloody vaginal-birth on the kitchen floor to a full-grown man from her enlarged and ballooning abdomen - it was a reborn and matured Sam (an exact duplicate of the missing man), who then gnawed through his own umbilical cord as his host 'mother' died. The strangely rebirthed Sam sought to find his home and his son Tony.

Meanwhile, Sam's son Tony Phillips - suffering from nightmares, was now living in a London condo with:

  • Rachel Phillips (Bernice Stegers), Tony's mother, a professional photographer
  • Joe Daniels (Danny Brainin), Rachel's new American boyfriend, her work colleague and Tony's step-dad
  • Analise Mercier (Maryam d'Abo), a pretty French au-pair/nanny

Sam was reacquainted with his son and moved in to live with Rachel and Joe - he was suffering from amnesia and recalled nothing of the previous three years. Strangely, Sam ate Tony's pet snake's eggs, and gave him telekinetic powers after a sucking shoulder-neck kiss (to suck his blood and also to pass on infectious alien microbes), to help him biologically invade Earth.

The infected boy with new powers mentally enlarged his toys (an Action Man GI Joe soldier and a teddy-clown) and brought them to life as full-sized, murderous creatures: a giant plastic soldier Commando (Sean Crawford) and Clown (Peter Mandell) with a razor-bladed Yo-Yo. Tony also animated a toy tank that could fire live rockets, and summoned a live prowling black panther - to kill others.

Bizarre Impregnation and Egg Production Using Analise's (Maryam D'Abo) Body
Tony Mouth-Impregnating Analise's Belly
Analise with an Alien
Egg-laying Ovipositor
Analise Cocooned

There were a few scenes of a very-naked Analise making love with her boyfriend Michael (David Cardy), before she was knocked unconscious by the Clown wielding a rubber hammer. After Tony sucked her belly with his mouth (to impregnate her), she became a human incubator, womb or breeder for the alien eggs. Analise became pregnant with his alien-human hybrid offspring - which were first laid as eggs within the bathroom. She was soon cocooned to death, and her boyfriend was assaulted by the black panther. Joe was killed when Sam used his horrifying alien scream, causing Joe's ears to explode with blood.

The nihilistic film ended cheerlessly and hopelessly. The skin of both aliens Tony and Sam decomposed as they approached the bright triangle-shaped lights of the mothership near the original farm cottage - and thereby returned to the alien world. When Rachel returned to her London apartment (full of Xtro eggs), she was killed by the face-grabbing alien hybrid creature.



The Graphic ReBirth Scene of Sam






Analise Mercier (Maryam D'Abo)

Young Doctors in Love (1982)

With his feature film debut, director Gary Marshall's silly and raucous comedy was an example of a pre-Farrelly Brothers film (a cross between Airplane! (1980) and the ABC-TV soap General Hospital), with wall-to-wall jokes. Marshall was producer/director of three TV sitcoms in the 70s: Happy Days, Laverne and Shirley, and Mork and Mindy.

The theatrical poster warned about the raunchy laugh-fest:

Warning: This Movie May be Dangerous to your Health. You May Never Stop Laughing.

The R-rated ensemble film included many reputable stars with cameos from lots of daytime soap stars (Michael McKean, Sean Young, Harry Dean Stanton, Hector Elizondo, Dabney Coleman, and Pamela Reed). The young doctors "in love" were phobic Dr. Simon August (Michael McKean) of Beverly Hills and Dr. Stephanie Brody (Sean Young).

The setting was LA's City Hospital filled with horny young interns, residents, and nurses, looney doctors, confused staff members, etc, with lots of bodily function, hospital-related humor, topical and referential nods to other medical shows, sight gags, and funny scenes mixing blood and death.

One of the best scenes was madly crazed scientist Doctor Oliver Ludwig (Harry Dean Stanton) instructing a class on Pathology about body fluids and orifices.

Buxom Kimberly McArthur (Playboy Playmate January 1982) provided some of the nudity quotient as Jyll Omato - a barely-costumed Santa Claus from the gift shop - "a Chrismas present from the staff" to egotistical senior surgeon Dr. Joseph Prang (Dabney Coleman).

And at Dr. Prang's Christmas party, guests were greeted at the door - not by "chest-nuts roasting on an open fire," but by a topless, pretty Christmas Elf (Peggy Trentini). Doctor Simon immediately pointed at a dark mole between her breasts and suggested its removal.



Christmas Santa - Jyll Omato (Kimberly McArthur)



Christmas Elf (Peggy Trentini)
Action-Driven, Classic Macho Films in the 1980s and early 1990s

Quintessential male action heroes, including Sylvester Stallone, Steven Seagal, Arnold Schwarzenegger, Chuck Norris, Jean Claude Van Damme, and Bruce Willis, were the muscle-bound 'beefcake' stars of a number of predictably violent and formulaic films (often presented in series).

The macho films glorified the male physique and their overwhelming physical power and prowess - their films included, to name just a few:

  • Chuck Norris:
    Good Guys Wear Black (1978), The Octagon (1980), An Eye for an Eye (1981), Lone Wolf McQuade (1983), Missing in Action trilogy (1984-1988)
  • Sylvester Stallone:
    First Blood (1982), Rambo: First Blood Part II (1985), Cobra (1986)
  • Arnold Schwarzenegger:
    Conan the Barbarian (1982), Conan the Destroyer (1984), The Terminator (1984), Red Sonja (1985), Commando (1985), Raw Deal (1986), Predator (1987), The Running Man (1987), Red Heat (1988), Total Recall (1990)
  • Steven Seagal:
    Above the Law (1988), Hard to Kill (1990), Marked for Death (1990), Out for Justice (1991), Under Siege (1992)
  • Claude Van Damme:
    Bloodsport (1988), Cyborg (1989), Kickboxer (1989), Double Impact (1991), Universal Soldier (1992), Hard Target (1993)
  • Bruce Willis:
    Die Hard (1988), Die Hard 2: Die Harder (1990)

Buddy cop films were a derivative, such as 48 Hrs. (1982), Lethal Weapon (1987), and Tango & Cash (1989).


Stallone

Schwarzenegger

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 | 1985-1 | 1985-2 | 1986-1 | 1986-2 | 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 | 2017 | 2018 | 2019 | 2020

Index to All Decades, Years and Features


Previous Page Next Page