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

(Illustrated)

1986



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

About Last Night... (1986)

Director Edward Zwick's R-rated romantic comedy-drama (his directorial debut film) was based on David Mamet's 1974 play "Sexual Perversity in Chicago." It starred two celebrated members of Hollywood's 'Brat Pack' at the time. The perceptive relationship drama was noted for its frank and often vulgar sexual dialogue, four musical montages, a pop-rock soundtrack, sensual love scenes, and the emotionally-honest ups and downs of sexual politics.

Its lengthy tagline was:

  • "It's about men, women, choices, sex, ambition, moving in, no sex, risk, underwear, friendship, career moves, strategy, commitment, love, fun, breaking up, making up, bedtime, last night..."

Set in the summer of 1980, the story told about the hot relationship between two Windy City twenty-somethings in a singles-crazed world, who flirtatiously met at a softball game, and then at Mother Malone's bar on Chicago's Gold Coast:

  • Deborah or "Debbie" Sullivan (Demi Moore - an up-and-coming young star, pre-implants), a 24 year-old advertisement agency art director, sensual and with a deep voice
  • Danny Martin (Rob Lowe), a 24 year-old grocery wholesaler who sold restaurant supplies, and whose dream was to own a restaurant

[Note: They were two of Hollywood's infamous 'Brat Pack' who had starred together as Billy and Jules in the earlier pre-Generation X 1980s flick, director Joel Schumacher's St. Elmo's Fire (1985).]

The two entered into a torrid relationship that began with a passionate one-night stand after becoming briefly acquainted at the bar after the ball game. He invited her to his place to listen to his new stereo, to kiss, and then to have sex (off-screen). She left in the middle of the night after excusing herself: "It's been a slice of heaven, I just have to go home. It's a habit of mine." She admitted to her roommate Joan when she arrived back at her own place that she felt an intense physical attraction to Danny:

"I crawled away in shame...I can't believe that I slept with him on the first date!... I couldn't help myself, because he is so gorgeous."

Debbie vowed to herself never to repeat the experience, and called up Danny the next morning at work to facetiously apologize: "Listen, I was pretty drunk last night. Did anything happen?...It was a fluke. Last night was a fluke." Meanwhile, in the film's messy love triangle arrangement, Debbie was also involved in an affair with her sleazy boss Steve Carlson (Robin Thomas) - against Joan's wishes: "It's really stupid to f--k your boss." Debbie put off Steve's invite: "Are you busy for lunch? How about a nice long one at my apartment?"

However, she couldn't resist meeting up with Danny again at Mother's that night. This second time in two days, she returned with him to his place for another round of sex. She coyly and jokingly admitted that she had experienced an orgasm: "Couldn't you tell?...We figure we'll just keep you in the dark and that way maybe you'll work a little harder....It's a conspiracy." She decided to spend the entire night with him. Sheena Easton's "So Far, So Good" played under the film's first montage of the development of their relationship the next full day (a Cubs ball-game, walking hand in hand, lunches, etc.) when both of them didn't show up for work (and later caught flack), and ignored their friends.

However, the two often confided and spoke honestly with their best friends, who were prone to sabotage their fragile relationship with negative attitudes (and the film's 'comic relief'):

  • Danny with Bernie Litko (James Belushi), a loud-mouthed and vulgar boaster (whose initial scene about a fantastical kinky sex episode was the film's opening highlight); he described himself as: "The swarthy type. A man's man. The kind of guy who oozes testosterone"
  • Debbie with Joan Gunther (Elizabeth Perkins in her film debut), a kindergarten teacher, Debbie's quick-tongued, single roommate, awkward, embittered, uptight and shrewish; Debbie claimed she had a talent for "unsolicited attacks"; eventually it was revealed she was having an ongoing affair with a married man named Gary (Robert Neches)

Debbie did sleep one more time with Steve in the midst of her growing infatuation with Danny, but decided on her own that her affair with Steve was finished: "I don't think I can see you anymore...I think you're terrific. It's, it's just that, well, I'm-I'm seeing someone else...It was kind of sleazy. And now, it's kind of over," now that she was permanently seeing Danny.

When Debbie again met up with Danny (after not seeing him for a few days), she didn't want to appear too eager: ("Dan, I may be easy, but I'm not stupid"), but he charmed her and soon they were ripping off each other's clothes. They made love together (the first on-screen explicit sex between them) - clenched together and seated in a bathtub as the shower water drenched them from above, as she told him: "You're so good...you're the best...I love making love with you too." Soon after, on the train, Bernie asked Danny: "Does she give head?...Does she give head to you?" but Danny refused to answer.

The relationship between Danny and Debbie became more intense as they saw more of each other. And after two months, Danny asked if she could move in with him: ("I think maybe you ought to have a drawer over here"). It was a "pretty big step," but they both decided to proceed, although Joan's first reaction was one of hurt and abandonment, and she predicted it wouldn't work out ("I give you two months"). A second musical montage, to the tune of Sheena Easton's "Natural Love" accompanied Debbie's move.

Almost immediately, they realized the monumental upheaval in their lives: ("We talked about this once for what, 10 minutes in bed?...This changes everything"), and how they would have difficulty balancing their personal lives with their shared lives. Danny summarized: "Look, you're gonna have your life and your friends. I'm gonna have mine," but then they made up and agreed to work things out realistically and to deal with their new commitment: (Danny: "This is our place. You're not an overnight guest anymore").

Both of them became very distracted at work and their job performances suffered. During their first days, they had difficulty openly sharing their personal problems and career issues, and were often incompatible in their tastes, attitudes, and opinions. Debbie became very uneasy with the initial arrangement - and asserted that she wanted more of a shared life: "It's wrong that I don't know you very well....Everything is wrong...I don't want to be your roommate anymore....I wanna be a couple...I just want to know you better."

A third musical montage played as they struggled together, to the tune of Bob Seger's "Living Inside My Heart" - and then made love - the film's most explicit sexual sequence between them. Afterwards, they walked down their hallway naked, opened the refrigerator door and kissed. Danny admired her in the light, called her "so beautiful," while Debbie professed her love for him.

Love-Making During Third Musical Montage

However, the two immature 20-something young adults often argued, frequently fought, and failed to really connect as both friends and lovers after their initial passion, although there were moments of true tenderness. They ignored talking about marriage or even future plans: ("We just don't talk about things"). He was relieved that her pregnancy test was negative, although she was slightly upset about his reaction. Bernie noticed that Danny was no longer happy-go-lucky: ("You're as much fun as a stick") and wondered if his home life was the cause ("Is she pushing you to get out?"). Debbie also expressed her dissatisfaction to Joan about settling down with Danny: "It's official. I've become my mother....I feel like we're a couple of kids playing house."

At Debbie's office Christmas holiday party, Danny became jealous of her association with Steve, and their estrangement was even further accentuated. And then at a New Years' Eve party at Mother's, things became even more divided between them. Ultimately after five months, there was the inevitable breakup when they confronted each other back in their apartment. Danny proposed: "I think one of us should move out....I'm sorry that it didn't work out." She sarcastically responded: "What, two people committed to screwing until they get sick of each other? That's so great. That's really special." He elaborated with a hurtful denial of their time together: "Look, I don't want marriage. I don't want kids. I don't want to be tied down. I'm not happy. I don't love you anymore." She agreed to split from him - and pack her bags to leave for good:

"I'm gone. It's done. And you can go back to doing whatever you want to do, with whoever you want to do it, and whatever orifice you want to do it in."

After both played the field, they found only disappointment and dissatisfaction with dating and were unable to forget each other. Danny realized he had made a mistake and told Bernie: "She was the best thing that ever happened to me!...I loved her!...I still love her." He phoned Debbie and confessed how miserable he was: "These last couple weeks have been miserable. I can't stand going out. I can't stand being at home because it reminds me of you. I can't work. Everything is falling apart, because I miss you. I need to see you again" - but she refused to give him a second chance since she had moved on.

When the two eventually met on St. Patrick's Day, Debbie explained how their sex life was great, but that he rarely told her that he loved her: "Five months we were together, and you couldn't say it!...We had nothing. We had good sex." She denounced him for his selfishness, narrow-mindedness, and spoiled nature:

"You don't know what love is. You've gotten everything you have always wanted, and now you're feeling sorry for yourself because there's something you want and you can't have it. But you had it! I gave you love. But you asked me to leave and I left....Get on with your life. It's over."

The film's fourth and final musical montage played, to the tune of Michael Henderson singing "'Til You Love Somebody." As the film came to its conclusion, after Danny quit his job and bought his dream diner ("City Diner"), Debbie and Danny apologized to each other at the ballpark for their mutual roles in ruining their relationship, by being too naive and expecting too much at first.


Debbie to Danny: "You don't know what love is"

Reconciliation - in Their Future?

There was the possibility of their reconciling over dinner in his new "old joint" diner, when Danny left the ball-game prematurely and chased after Debbie as she rode off on her bike.


(l to r): Bernie (James Belushi), Danny (Rob Lowe)

(l to r): Joan (Elizabeth Perkins), Debbie (Demi Moore)


Kiss Before One-Night Stand Sex (Off-Screen)

The Next Day - Debbie to Danny: "I was pretty drunk last night"


Debbie's Sleazy Boss Steve (Robin Thomas)


Debbie's 2nd Night With Danny



Debbie and Danny with Friends Joan and Bernie


Debbie's Break-Up Scene with Steve


Debbie In the Bathtub with Danny





Danny and Debbie Struggling with Being Roommates (Third Montage)


Debbie's Dissatisfaction: "Maid service is not included in the package"


Danny's Jealousy Over Debbie's Ex-Lover/Boss Steve


Debbie Regarding Their Breakup: "I'm gone. It's done."

Amazons in the Temple of God (1986, Fr.) (aka Les Amazones du Temple D'or, or Golden Temple Amazons)

Director Alain Payet's jungle adventure/action film, a tale of vengeance, was from the Eurocine studio (famous for trashy cheap fare). It was not to be confused with Amazons (1986, Argentina), a fantasy adventure film directed by Alejandro Sessa. Jesus Franco (aka Jess Frank) was the source for both the original short story and screenplay.

[Note: This was a follow-up film to Franco's Diamonds of Kilimandjaro (1983, Sp.) (aka El tesoro de la diosa blanca, or Treasure of the White Goddess). See earlier write-up.]

Due to its subject matter, many scenes included topless 'native' all-white Amazonian women warriors.

[Note: Strangely, the film was set in Africa, not in the Amazon, and all of the Amazonians were Nordic white women!]

Its tagline referred to its plot - an expedition in search of a secret golden temple:

  • If you find the mysterious fortress, will you live to tell the tale?

The film's pre-titles opening sequence (shot in slow-motion) was of a group of topless females in skimpy gold outfits riding by on horseback, carrying spears. They rode to a mission where a family lived:

  • Mr. Simpson (Jean-René Gossart), a greedy and racist missionary, bald
  • Mrs. Simpson, the wife
  • Liana Simpson, their young daughter

The group of female Amazonians arrived at the mission. When Mr. Simpson appeared on the porch with a shotgun and threatened them to leave, he was lethally shot in the chest with a poison-tipped arrow, and so was his wife. After the group departed, Liana ran onto the porch and found the dead bodies of her parents.

The Deaths of the Simpsons, Discovered by Young Liana

The tale of exactly what had happened that led to the deaths of the parents of young and illiterate Liana was described by the head of the mission, a family friend named Father Johnstone (Olivier Mathot/Matthew). He arrived to speak to the orphaned Liana, who had been raised by servants for 10 years. He told her about the fate of her parents from her father's diary read to her.

According to the diary (in flashback), her father had discovered that a neighboring, hostile Amazonian tribe, led by an animal skin-wearing priest-king known as The Great Uruck (William Berger), had built a secret mountain kingdom over a cave to hide a cache of gold - and had enslaved workers to extract the valuable mineral. He had stolen some of the treasure from the Gold Temple. Although Liana's father had been warned to depart by a topless warrior woman and leave behind the stolen gold, he refused. The group returned and murdered the two missionaries.

Now 15 years later, Liana (Analía Ivars as adult, credited as Joan Virly) - after hearing the account of the deaths of her parents, vowed vengeance ("I must find the killers of my parents").

Liana (Analia Ivars) in a Fur-Enhanced Tribal Costume

With clownish witch doctor/shaman Koukou (Stanley Kapoul) and her pet chimp Rocky, Liana joined an expedition to the Blue Mountains with:

  • Harvey (Emilio Linder), an archaeologist
  • Bella (Alicia Príncipe), Harvey's girlfriend/wife
  • Bud (Antonio Mayans), their bearded jungle guide

During their trek, Bella went skinny-dipping in a lake formed by a waterfall and afterwards spotted a cave where gold treasure was located - she was taken captive by the Amazonians. Soon after, the rest of the group was also captured and held in the same cell.

Eventually, the group came face-to-face with Rena (Eva León), introduced as the one-eyed captain (with a black eyepatch) of the Amazon honor guard - she was Uruck's cruel, sadistic mistress, although he also maintained a harem as the procreating patriarch of the clan.

An epic struggle, duel or female catfight was set to occur between Rena and Liana in the film's conclusion, over who would take over Uruck's harem. Rena challenged Liana: "I warn you. Don't you dare try to seduce my lord and master." Their contest was to see who could draw "first blood."


Duel: Liana vs. Rena

Rena with Black Eye Patch

After vanquishing Rena by scratching her face and drawing blood, Liana was led away by Uruck to his chamber. As he slept, she remembered the murder of her parents. She unleashed a long knife - shown next to a huge close-up of her right breast - she raised it and stabbed Uruck to death. However, Rena was close behind - she shot a poison-tipped arrow at Liana, and the jungle girl was bound up with the captured others.

Restrained in stocks, Rena declared to them: "I am the master now - and we are going to have fun!" She decided to cruelly torture them, beginning by whipping Harvey and Bella, roped together back-to-back next to a bed of spikes. Meanwhile, pet chimp Rocky rescued everyone, but they were too late to save Harvey and Bella. They witnessed their deaths on the spikes. Witch-doctor Koukou threw some powdery explosive at Rena and killed her.

In the undramatic ending after Rena was dead, Liana released other enslaved mine workers and led everyone out of the temple cave. She threatened the remainder of Rena's honor guard of female warriors, warning them to leave by nightfall. And Koukou began bragging and shouting: "Koukou kill evil!"

In the final scene, Liana was riding an elephant with surviving bearded jungle guide Bud, telling him: "My parents died so long ago, I'm used to my freedom." He replied that he was interested in a relationship: "But whether lover, husband, or father, time will help....Whaddya say?" She responded with the film's last line: "I don't own this jungle."





Pre-Titles Opening Sequence

Flashback - Rerun of Deadly Confrontation with Mr. Simpson





Bella (Alicia Príncipe) Skinny-Dipping and Exploring a Cave



Rena (Eva Leon)


Liana With a Knife to Stab Uruck to Death


Liana Bound But Not Defeated


Liana Victorious

Back to School (1986)

Director Alan Metter's comedy of manners and 'fish-out-of-water' tale was eye-popping, stand-up comedian Rodney Dangerfield's more popular follow-up comedy film, after Easy Money (1983). Its main plot was about a grown-up Italian immigrant who decided to return "back to school" to receive the education he felt he had missed but deserved. The un-PC comedy did very well at the box-office ($91.3 million), in the same year that Crocodile Dundee (1986) was the top comedy.

The main characters in the "guilty pleasure" film were:

  • Thornton Melon (birthname Tony Meloni) (Rodney Dangerfield), a self-made, uneducated, wealthy, leering, millionaire corporate tycoon who had made his fortune through the establishment of a chain of plus-size clothing stores ("Fat and Tall" shops); he was often slobbish, lacking class, vulgar, and cracking off-color jokes
  • Vanessa Melon (Adrienne Barbeau), Thornton's new adulterous, critical and despicable 2nd wife (who was caught cheating with Giorgio (Robert Picardo)), with mostly "suck-up" art-show friends, and soon to be divorced: (Thornton: "We were doomed from the start. I'm an Earth sign. She's a Water sign. Together, we made mud")
  • Jason Melon (Keith Gordon), Thornton's serious-minded son, an insecure college student at Grand Lakes University, known as The Hooters (actually a composite of The University of Wisconsin-Madison, USC, and Cal-State-LA), unhappy and feeling unpopular due to brutish treatment by other students on the dive team, mostly by blonde pretty-boy rival Chas Osborne (William Zabka); Jason lied that he was on the dive team (he was actually the towel boy), but then proved himself; he became interested in pretty and sweet classmate Valerie Desmond (Terry Farrell) in his Astronomy class

Thornton was an enterprising businessman, who advertised his unique clothing stores on TV commercials:

Are you a large person? Pleasantly plump? A little on the hefty side, perhaps? Well, let's face it: Are you FAT? When you go jogging, do you leave pot-holes? When you make love, do you have to give directions? At the zoo, do elephants throw YOU peanuts? Do you look at a menu and say 'OK'? Well, now, you can eat all you want, because at Thornton Melon's 'Tall & Fat' stores, we've got ya covered....

In the opening minutes of the film, Thornton divorced his promiscuous wife, and then ordered his bearded chauffeur Lou (Burt Young) to drive him via limousine to his son's campus. Thornton's first stop was the Π N sorority house - where he took a wrong turn into a sorority shower-room and startled sorority Co-ed #1 (Leslie Scarborough (aka Leslie Huntly)). When her nudity was mistakenly revealed behind the shower curtain, Thornton stated: "Take it easy, honey, I didn't see a thing," then opened the curtain a second time for another look: ("You're perfect").

Thornton on Campus: in Business Class With His Son Jason
and During Hot-Tub Party in Dorm

Soon after, the wise-cracking Thornton bribed Dean David Martin (Ned Beatty) to attend school as "the world's oldest living freshman" by offering a generous philanthropic donation to build a campus building - the Melon School of Business Administration. Thornton's intention by improbably attending school at his age was to host beer parties and find romance as the BMOC ("big man on campus"), rather than go to class ("These classes could be a REAL inconvenience").

Immediately, he took a romantic interest in blonde English literature professor Dr. Diane Turner (Sally Kellerman), the girlfriend of the stuffy Business School Dean Dr. Philip Barbay (Paxton Whitehead). In her class, he was turned on by her erotic rendition of the ending of James Joyce's novel Ulysses - and imagined making love to her:

...And then I asked him with my eyes to ask again, yes. And then he asked me would I yes to say yes, my mountain flower. And first I put my arms around him, Yes. And drew him down to me so he could feel my breasts all perfumed, Yes. And his heart was going like mad and Yes, I said yes, I will, Yes.

To pass his classes, Thornton hired a professional expert (including a stenographer) to take notes and to write his papers (including Kurt Vonnegut (as Himself)) and ultimately was accused of "academic fraud". He was forced to submit himself to a difficult oral final examination by a panel of professors, beginning with a difficult 27-part question on global business organization.

Three of the film's highlight sequences included Thornton's wild dance-and-song rendition of "Twist and Shout" with a band in a bar, the climactic championship dive meet with Thornton's display of a "Triple Lindy" dive off the higher and lower diving boards with a somersault (a dive off the pier at Atlantic City that he had performed in the water show in his younger days), and the final obligatory commencement address at the end of the school year delivered by Thornton. He offered words of advice in a short speech:

I have only one thing to say to you today. It's a jungle out there. You gotta look out for Number One. But don't step in Number Two. And so, to all you graduates, as you go out into the world, my advice to you is - don't go! It's rough out there. Move back with your parents. Let them worry about it.


'Twist and Shout'

End of Thornton's Triple-Lindy Dive

Thornton's Short Graduation Speech

As the graduates threw their caps into the air, the closing credits began to play, to the tune of Aretha Franklin's version of "Respect."


Thornton's TV Ad for "Fat and Tall" Shops


Thornton's Wife Vanessa (Adrienne Barbeau) Caught Cheating with Giorgio



Co-Ed # 1 (Leslie Huntly)


(l to r): Dr. Philip Barbay and Dean David Martin



Jason's Romantic Interest - Valerie Desmond (Terry Farrell)


English Literature Professor Dr. Diane Turner (Sally Kellerman) Reading Erotic Quote from James Joyce

Thornton Imagining Making Love to Dr. Turner

Dr. Turner's Stuffy Boyfriend Dr. Barbay

Betty Blue (1986, Fr.) (aka 37°2 Le Matin)

Director Jean-Jacques Beineix's erotic arthouse drama of tragic, doomed love was a big commercial hit in France. Its title referred to a body temperature of 37.2 degrees (Celsius) (or 99 degrees Fahrenheit) - at the time of ovulation when a woman was most apt to become pregnant. It had a sole Oscar nomination for Best Foreign Language Film. It was based upon the 1985 novel by Philippe Djian. There was a longer running time (185 minutes) for the original Director's Cut release compared to the North American release length (119 minutes).

The emotional French sex drama was noted for its opening - an ardent, extended thrusting love-making scene set in a borrowed beachside shack on southern France's Mediterranean coast (in the town of Gruissan) - filmed with a two-minute slow-zoom toward a couple who were lying sideways having sex on a bed beneath a portrait of the Mona Lisa:

  • Betty (Beatrice Dalle in her film debut), a 19 year-old, free-spirited, beguiling, sexually-aggressive, pouty-lipped and emotionally unstable, gap-toothed, restless, vulnerable, reckless manic-depressive who was unfortunately on the verge of insanity
  • Zorg (Jean-Hugues Anglade), a 30-something, a lonely and slovenly drifter, a peace-loving aspiring novelist and menial laborer-repairman/painter (handyman) for a series of beach-bungalows
The Film's Opening Sequence - A Slow-Zoom Toward Betty (Beatrice Dalle) and Zorg During Sexual Intercourse

The subtitles translated Zorg's first ominous, film-noirish words (in voice-over): "I had known Betty for a week. We made love [or screwed] every night. The forecast was for storms." The next time he saw her, she arrived at his elevated beach-house. She was first viewed at foot level, where she had deposited her one suitcase and purse at his doorstep. As the camera presented her in full-view, she was wearing only a bra-less black apron fashioned into a halter dress. She climbed the steps where he greeted her:

Betty: "First time we've met in daylight."
Zorg: "You're much too early!"
Betty: "So what. How do I look? What do you think? Do you like it?"

Film's Opening: Betty's Sexy Return to Zorg

Betty's Purse and Suitcase at Her Feet

"First time we've met in daylight"

"Do I please you?"

Although he kissed her, he wasn't pleased to see her so unexpectedly. She called men "all bastards" and pushed him away. Often used and abused by men, she was planning to move in with him after her previously failed job, and now she was broke:

No wonder a girl ends up splitting...Wait, explain, I don't get you. Why don't you ever listen to me?...I don't just want a guy to screw me. To think I spent a year in that dump wiping tables and dodging drunks just to get felt up one morning by the boss! I've got to start all over again now. I'm dead. Anyway, I left. Can't even buy a train ticket.

He brought her things in from the door and put them on the bed, causing her to smile. He described her (voice-over): "She was like a flower with translucent antennae and a mauve plastic heart. Not many girls could dress as casually as she did." She soon told him when they got drunk: "I'm happy being with you. I'd like to stay with you if I can."

Zorg's boss demanded that he must paint all exteriors of the 500 bungalows, and she had to earn her way to stay there with him ("I don't think you can keep that girl here and do your job right"). As they were playfully together painting the beach houses in bright pink and turquoise colors, she took Polaroid photographs of them. But when the boss came by to complain, she tossed a full can of pink paint onto his car hood. Zorg vowed his steadfast love for her - and that he would do anything to keep her: "I’ll paint the whole town pink just to stay with you, kitten." She fought back: "Look what s--t we're in with that asshole! You let him screw you and for what?!...How can I love you if I can't admire you? We're only learning how to die here."

Then, during the couple's fierce argument, she discovered a box of his manuscripts and notebooks, and her demeanor changed. She read them with intense interest, and believed that he was a genius writer, although she emphatically stated: "To think you paint shacks drives me crazy!" When he was out painting, she became very devoted and loving and turned to traditional domesticity (housework and shopping) - she cooked a fancy meal for them and became very loving. She detested his boss who called her a "hellcat," and became angry about the boss' meddling in their lives. One day after again clashing with his boss, she became furious and displayed her volatile temper. She emptied Zorg's shack by tossing everything out the window. A bystander noted: "Your pad will look very Zen now." Then, Betty burned it down and asked Zorg: "Are you coming?"

Their idyllic beach-times ended when the two fled to Paris to live in a small, mostly-unoccupied bohemian hotel with 13 rooms, the Hotel de la Marne, owned by her widowed best friend Lisa (Consuelo de Haviland) (and her husband Frank before he died). Lisa described the dilapidated residence: "It's no 5-star hotel." They were given the top floor's Room #13 to rent, in exchange for Zorg's odd-jobs work. Betty set about to support Zorg and help him publish his masterpiece novel (a cop story with lots of sex) by typing up his various writings and manuscripts and expectantly hoping for a reply from publishers ("Not even a masterpiece gets read unless it's typed"). She insisted to him: "You're a writer, not a plumber! What did I type? A novel!" Betty mailed off his typed work to all the publishing houses in town.

Living and Loving Together in Paris and Southern France

Throughout the film, there were many sequences of uninhibited and explicit sexual activity between Zorg and Betty - and full frontal nudity for both sexes, especially in the longer version, including when she unabashedly coerced her lover to provide her with oral sex by pushing his head down to her genital area.

Zorg and Betty formed a close-knit 'family'-like friendship (often fueled by alcohol, music, dancing and good times) with Lisa and her new boyfriend Eddy Sayolle (Gérard Darmon), restaurateur of Pizza Stromboli. Zorg and Betty took part-time jobs as waiters in the "madhouse" pizza parlor, but it wasn't very well suited for Betty's short-fused personality. She stabbed one persistently-rude and demanding female customer (Dominique Besnehard) in the arm with a fork, causing havoc.

Increasingly after moving away from the beach, Betty was exhibiting signs of erratic violence, irrationality, self-destructiveness, and mental illness. Eddy was upset by the incident in the restaurant: "She almost killed that woman." Zorg admitted that Betty was stressed due to her obsession with his novel: "Keeps waiting for publishers to reply. That drives her nuts." Zorg was trying to hide nasty rejection letters from publishers to avoid upsetting her. He realized, in voice-over, her increasing madness (as she stood on an overhead train bridge - looking down):

Betty was a wild horse that had cut her hamstrings jumping over a wall and was trying to get up. What she thought was a meadow was a gloomy pen. She couldn't bear immobility. She was not made for that.

She had a violent hysterical outburst toward one editor (Philippe Laudenbach) at his home with a metal comb across his cheek (that required eight stitches) when the submitted writings were harshly rejected by him. Zorg began to realize she had mental issues: "You're totally nuts," and then rationalized it was due to her monthly periods. To defend Betty, Zorg pressured the editor to not press charges. Zorg remained dedicated to Betty: "You're the best thing that ever happened to me." Betty replied: "If I'd written that book, I'd have a meaning in life." Zorg was less optimistic: "It's only bringing us trouble." He admitted he was suffering from writer's block.

After the death of Eddy's mother, Zorg and Betty were fortuitously invited to move into his mother's house in the Southern French provincial town of Marvejols, and run her piano shop. Although life began anew for the couple, and Betty took to scrubbing the floor on her hands and knees. Again, she began to have variable mood swings, including self-harm when she punched through a window pane, and then ran away from Zorg (as he yelled: "You're out of your mind") who was trying to stop the bleeding.

Over time, Zorg had become desperate to please Betty and to make her happy, and he improbably promised to move to the country with her, own a house and buy some land ("Everything you see here is yours"). He produced a birthday cake with lit candles from the car's trunk, and then they watched the sunset while drinking wine. She told him: "It's the best present I ever had."

Their love was eventually to be destroyed by their instability, possessiveness and literal amour fou (all-consuming love). She was still hoping for his book to be published: ("I dreamed your book was published"). One night while making love before a burning fire, he realized she was taking sleeping pills. When a home pregnancy test was at first positive, Betty was jubilant (although Zorg was worried), but then after it was revealed to be a false positive with an official test, she went into a deep depression ("Life is against me. If I want anything, it's denied me"), and defaced her beauty with excessive makeup. Zorg obliged and severely cropped her hair: ("Even bald, I'd love you"), and surmised: "Betty wants something that doesn't exist. The world's too f--king small for her." She admitted to Zorg: "I hear voices in my head, I'm going insane. It's all over now."

Betty's Mental Depression After Negative Pregnancy Test

Betty's Acting Out Madness with Makeup

Sitting Alone Naked

Zorg: "My Betty, come back, it's me"

To Zorg: "I hear voices in my head"

"I'm going insane"

Unwisely, Zorg (in-drag) stole cash at gunpoint from a clerk in the office of an armored delivery van company. When he returned home, he found Betty in a cemetery hoping: "If I was dead. I'd like people to come to see me." He showed her the stolen money, hoping it would cheer her up, but she was underwhelmed: "What's it for?" His drag outfit caused her more enjoyment and she laughed. To get away, they visited the sunny seaside, where Zorg hoped for a recovery: "There must be a paradise somewhere for you and me." However, when Zorg went to buy ice-cream, Betty inexplicably walked off with a young boy and took him to a toy-store, where Zorg found them sitting in a teepee on the second floor. He ran off with her to rescue her from incrimination.

In the film's concluding moments, Zorg returned home and found blood splattered around and learned that Betty had gouged out her right eye. She was hospitalized and declared stable, but she was heavily sedated and catatonic. Simultaneously, word arrived that the publisher had accepted Zorg's manuscript and it would be published. He again visited the unresponsive Betty to tell her the good news, and was shocked she was strapped down in bed. He held her in his arms and caressed her breasts, as he told her he would write another novel dedicated to her.

Zorg blamed her medications for her conditions, and refused to accept the diagnosis that she was seriously in "a state of shock" without any guarantee that she would fully recover. Totally insane, he was told that she might require electroshock therapy. He resisted the doctors ("You're making her sick"), and was thrown out for being unruly.

After considering the situation, he realized that his insane, self-wounded, and broken-down heroine was doomed. He returned to her hospital room in his drag-disguise, and promised her: "We were meant for each other. No one can ever separate us, no one ever" - he mercifully committed euthanasia by pillow smothering. He returned home to sit in silence and remember her. He was now free to proceed with his next novel (as he heard Betty's happy voice in his head asking: "Are you writing?").








Betty (Beatrice Dalle) with Zorg (Jean-Hugues Anglade)


Beachhouse Set on Fire



Oral Sex





Frequent Casual Nudity



Crazed Betty Punching Through Window





Zorg and Betty



Results of Pregnancy Test - Positive at First


Zorg's Reaction to Betty's Eye-Gouging

Betty Hospitalized and Lifeless

Pillow-Smothering: Euthanasia

Blue Velvet (1986)

Director David Lynch's polarizing, bizarre and nightmarish film of the dark-side of life Blue Velvet (1986) was an original look at sex, violence, crime and power under the peaceful exterior of small-town Americana in the mid-80s. Beneath the familiar, peaceful, 'American-dream' cleanliness of the daytime scenes lurked sleaziness, prostitution, unrestrained violence, and perversity - powerful and potentially-dangerous sexual forces that might be unleashed if not contained.

It was considered controversial, shocking, and lurid when released. The compelling film was often criticized for its depiction of aberrant sexual behavior, as well as highly ridiculed and disdained as an extreme, dark, vulgar and disgusting film, especially for its cinematic treatment of Isabella Rossellini - director Lynch's wife at the time.

The town's clean-cut, innocent, All-American returning college student Jeffrey Beaumont (Kyle MacLachlan) set out on an odyssey with small-town, virginal and wholesome girlfriend Sandy (Laura Dern), who both found out: "It's a strange world." The voyeuristic Jeffrey became intrigued by fragile nightclub singer Dorothy Valens (Isabella Rossellini) performing "Blue Velvet" - and ultimately found himself attracted to Dorothy and the dark side of life.

Hiding in her apartment's closet, Jeffrey watched as Dorothy disrobed to a black bra, black panties, and red high-heeled shoes. She stripped naked in the rear bathroom, and then reached for her blue velvet robe from the closet. He heard a drawer open in the kitchen as she reached for a large knife, and then suddenly flung open the closet door where he was caught hiding. She threatened him at knife-point into intimidation and forced him to get on his knees. She cut his face with the knife blade, turned the tables on him, made him her voyeuristic prey, and forced him to undress in front of her, all the way down to his underwear and socks.

Jeffrey's First Confrontation with Dorothy (Isabella Rossellini)

She pulled down his underpants to his knees, then began touching, fondling, and kissing (and fellating?) him, and forced him to remain motionless. She asked: "Do you like that?" and then asked a question combining domination, pain, power, pleasure, and humiliation: "Don't touch me or I'll kill you? Do you like talk like that?" Responding with nervous ecstasy, arousal, but defenseless fear, he was led to the couch to lie down where she straddled him and kissed him.

Three loud knocks at the door frightened Dorothy. Frantically fearing the man's arrival and with the knife gleaming above Jeffrey, she told him to head back into the closet. Jeffrey watched in horror, hiding behind a wardrobe closet door, as Dorothy was terrorized by her visitor - evil, psychotic, blackmailing, perverse and depraved villainous kidnapper Frank Booth (Dennis Hopper).

The scene was disturbing, cruel, sadomasochistic, and kinky. Demanding and condescending to her, Frank quickly established an abusive master/victim relationship over Dorothy as she accommodated his depraved preferences. The 'dark' scene was intercut with a frightened Jeffrey surreptitiously viewing the shadowy, broken images between the slats of the distasteful ordeal from his hiding place in the closet:

Frank: Spread your legs. Wider. Show it to me. (She slowly opened her legs wider and adjusted her robe, while Frank stared at her crotch and drank his bourbon.) Don't you f--kin' look at me!

Traumatized, Jeffrey watched Dorothy being tormented as foul-mouthed Frank's sexual slave/whore. He repeatedly demanded that she look away from him - denying her the sight of his 'dark' nature.

[In a symbolic sense, Dorothy was "Mommy" and Frank was "Daddy" or "Baby."]

The abusive scene was heightened when the leather black-dressed Frank reached for a portable, plastic gas-inhaling mechanism and mask on his belt. While he placed the mask over his mouth and nose, he snorted and inhaled (helium or nitrous oxide?) gas to heighten his sexual excitement, exhibiting infantile-regressive, animalistic/reproductive, and compulsive-addictive behavior. He debased her as a prostitute, mother figure, and copulatory partner in the natural world:

Frank: Mommy. (He moved toward her, kneeling in front of her.) Mommy. Mommy. Mommy.
Dorothy: Mommy loves you.
Frank: Baby wants to f--k. Get ready to f--k. You f--ker's f--ker. You f--ker. (He slugged her in the face.) Don't you f--kin' look at me!

After another gasp of gas, Frank begged and whined menacingly: "Baby wants blue velvet." Dorothy stuffed part of her blue robe into his mouth to satisfy his obsession with textured fabrics. As he began to feel her breasts, he sucked, chewed, and bit the velvet cloth. Then he seized her and threw her down to the floor, spewing vulgar words. Frank removed a pair of scissors, menacingly snipping with them in mid-air above her face and body:

Don't f--kin' look at me. Don't f--kin' look at me. Don't you look at me. Daddy's coming. (He stuffed the end of her blue robe belt into her mouth and the other end into his own mouth.) Daddy's coming home. Don't you f--kin' look at me. Daddy's coming home...

And then after forcefully touching her genitals, he mounted her and started humping her with his unbuckled pants still on. He moved frenziedly faster and faster until climaxing in a brief and brutal f--k. After getting off of her, he slugged her again in the face, hideously threatening her again: "Don't you f--kin' look at me." Standing astride her on the floor before he left, he warned: "Stay alive baby. Do it for Van Gogh." Then he marched out of the apartment, shutting the door behind him and leaving her crumpled on the floor.

Subsequently, a consoling Jeffrey took Dorothy into his arms. She opened her robe to reveal her left breast, tempting him. She added:

"See my breast? You can feel it. My nipple. Still hard. You can touch it. You can feel it."

Jeffrey responded, touching her. She asked: "Do you like the way I feel?" He whispered: "Yes." Then she requested: "Feel me. Hit me," but Jeffrey refused and told her to "stop it," even though she kept pleading: "Hit me!"

In a later scene, Jeffrey was lured back to Dorothy in her bedroom, with a rendition of Bobby Vinton's "Blue Velvet" playing in the background - and the sonic signature of a cavernous howling in his ear was heard. In close-up, their naked bodies made love on the blue-silky sheets of her bed. She asked: "Are you a bad boy?" Then, the masochistic Dorothy demanded to be hit: "I want you to hurt me...Go on, hit me. Hit me!" Jeffrey obliged by slapping her in the mouth as he overcame his resistance to abusing her after she begged him to please her - her moist red lips appeared, with sparkling white teeth. Again, he hit her - as the flames grew and the animalistic howling sound intensified during their violent, erotic love-making in the darkness. She told him: "I have your disease in me now."

Dorothy Found Naked and Vulnerable by Jeffrey and Sandy

One of the often criticized scenes of gratuitous nudity was a later scene in which a naked, vulnerable and battered Dorothy shockingly appeared on the Beaumont's front lawn, and entered into Sandy's house with her odd declaration:

"He put his disease in me."

Sandy was terribly pained and distraught by the sordid, distasteful accusation, hurt in learning that Jeffrey had a sexual relationship with the nightclub singer.

Film critic Roger Ebert Ebert criticized how she was misogynistically depicted in the film: "degraded, slapped around, humiliated and undressed in front of the camera. And when you ask an actress to endure those experiences, you should keep your side of the bargain by putting her in an important film."



(l to r): Sandy (Laura Dern) and Jeffrey (Kyle MacLachlan)

Dorothy Valens (Isabella Rossellini) Singing "Blue Velvet"



Frank Booth (Dennis Hopper) with Dorothy (Isabella Rossellini)




Jeffrey Consoling Dorothy After the Incident with Frank: ("Do you like the way I feel?...Hit me!")





Jeffrey's Later Abuse of Dorothy



In Sandy's House, Dorothy's Declaration: "He put his disease in me."

Caravaggio (1986, UK)

Writer/director Derek Jarman's cinematic achievement was an artful, R-rated, flashbacked biopic, involving a love triangle between:

  • Michelangelo Merisa da Caravaggio (Nigel Terry), a 17th century, church-funded, iconoclastic, homosexual Renaissance-Baroque artist-painter, with Vatican connections, who painted blasphemous works of art
  • Ranuccio Thomasoni (Sean Bean), a streetfighter, hired to be hunky model and muse for Caravaggio; bi-sexual, with whom Caravaggio was lustfully obsessed
  • Lena (Tilda Swinton in her debut film role), Ranuccio's androgynous lover

Lena also served as Caravaggio's Mary Magdalene model. Although the film had little explicit sexuality, the most striking scene involved Ranuccio kissing Caravaggio in order to claim his gold coin payments for having posed.

When Lena was found murdered by drowning, suspect Ranuccio was arrested. Carvaggio went to the Pope to get him exonerated and Ranuccio was released. Afterwards, he admitted to Caravaggio that he had murdered Lena to bring them together. Caravaggio angrily sliced Ranuccio's throat and killed him.


Lena (Tilda Swinton)

Lena and Thomasoni

Thomasoni and Caravaggio

Castaway (1986, UK)

Director Nicolas Roeg's dramatic, and erotic adventure film (a Robinson Crusoe tale with a male and female) was along similar lines of his previous film Walkabout (1971, UK/Australia). (It was not to be confused with Cast Away (2000) with Tom Hanks, or director Vitaliy Versace's Cast Away (2019) with a single cast member, although it was somewhat similar to Lina Wertmuller’s Swept Away (1974, It.), and was part of a trend of films about sexy desert island survival, such as Emanuelle on Taboo Island (1976, It.), and The Blue Lagoon (1980).)

The beautifully photographed film included stunning underwater photography and nature scenes (filmed in the Seychelles in the Indian Ocean off the E. African coast). It was based upon and adapted from the memoirs written by Lucy Irvine of her real-life 13-month experience on an idyllic, remote desert island. She dedicated Castaway to her island partner Gerald and it was published in 1983. The film was also partially based upon Gerald's later memoir The Islander (The Man Who Wanted to Be Robinson Crusoe), published in 1986.

There were basically two main characters in the film set in the early 1980s:

  • Lucy Irvine (Amanda Donohoe in her first major film role), a resourceful, intelligent but dissatisfied 25 year-old Inland Revenue tax clerk and waitress, seeking an escape from city life
  • Gerald Kingsland (Oliver Reed), a middle-aged, 50-ish, scruffy-bearded, divorced Londoner - a dissatisfied, chauvinistic writer with a beer belly, with two teenaged boys and ready to change his circumstances to escape British civilization

She answered his classified ad in Time Out magazine - for a woman who would join him for a year on a deserted, paradisical tropical island, located on Tuin Island (in the Torres Strait between New Guinea and Australia) - the subject of his next book. Gerald had already attempted to be an island castaway two times - Cocos Island in the mid-Pacific, and Robinson Crusoe Island off the coast of Chile. (In all, he attempted to live on three islands in seven years.)

He told her over a dinner interview that she was pretty much the right companion: "The most important thing is enough money, right sort of island, proper water supply, right sort of companion." She joked: "In that order?" He continued: "Give me a woman that can cook, sew, put up a tent, fish, like oysters, those could be useful. Think about it." They were forced to marry in order to receive long-term visas from Australian immigration officials.

For her role as the uninhibited Lucy, Donohoe was required to be naked (or nearly nude) for about 22 minutes of screen time (after the first half hour). Once they were alone on the island, she immediately stripped down stark naked from her two-piece black bikini - causing Gerald to rush at her - although she blocked him by holding up a large water bottle, asking: "Tea?" For much of the film, she withheld sex from Gerald.

Lucy with Gerald on the Remote Island

As the ill-matched pair spent more time together, they squabbled as any dysfunctional married couple might in isolation - about different work habits and their survival against the elements, starvation, insect stings, dehydration, foul water, sunburn and infections - and they engaged in acrimony and a continual power struggle, although usually made up afterwards.

With his constant brooding, anger issues and their many disagreements, they ultimately separated after 13 months. When they finally parted, they realized their real love for each other. Gerald remained on a different island to live with the natives.


Classified Ad in Time Out Magazine

Interview Between Gerald and Lucy




Rampant Nakedness

Children of a Lesser God (1986)

Randa Haines' directorial debut film was about communication and opening up. It told about the slow developing romance between:

  • Sarah Norman (Oscar-winning Marlee Matlin in a debut performance), bitter, hearing-impaired
  • James Leeds (William Hurt), an unconventional deaf school teacher

He asserted to her:

"You are the most mysterious, beautiful, angry person I have ever met."

During a notable swimming pool scene, there was a graceful nude underwater swim and embrace between them. James literally 'fell' in love with her and into the pool:

"I am falling into the pool with you!"



Sarah (Marlee Matlin)

Class of Nuke 'Em High (1986)

This cheesy, B-film, low-budget high-school horror sex-comedy by director Lloyd Kaufman was produced by Troma Entertainment - the studio responsible for such classics as The Toxic Avenger (1984) (the unofficial lead-in to this film), Zombie Island Massacre (1984), The Toxic Avenger Part II (1989), and many other forgettable films. Its taglines were:

  • "Readin', Writin'...And Radiation!"
  • "It rotted their bodies. It corrupted their minds. And that's the good news."

It was followed by two sequels, all classic drive-in pictures:

  • Class of Nuke 'Em High Part II: Subhumanoid Meltdown (1991)
  • Class of Nuke 'Em High Part 3: The Good, the Bad and the Subhumanoid (1994)

Class of Nuke 'Em High (1986)

Class of Nuke 'Em High Part II: Subhumanoid Meltdown (1991)

Class of Nuke 'Em High Part 3: The Good, the Bad and the Subhumanoid (1994)

The film's absurd high school antics (resulting in instances of blood, gore, and boobs) revolved around a nuclear utility power plant that polluted Tromaville High School (in New Jersey) nearby, causing adverse reactions on the students and faculty.

There were many side-effects, one of which was contaminated marijuana grown around the power plant (called "Atomic High") that was being sold by the feared gang of Cretins (formerly the Honor Society), led by Spike (Robert Prichard). Various results after smoking included horniness, mutant pregnancies and growths, and super-human strength.

The main characters were two clean-cut, innocent preppies who were sexually stimulated by the weed:

  • Chrissy (Janelle Brady)
  • Warren (Gil Brenton)
Chrissy Feeling the Effects of Smoking Grass

Turned on after smoking grass, Chrissy became irresistibly horny and "hot" and began rubbing her entire body as she reclined on a bed. Warren arrived and after he realized how receptive she was, the two virgins began making out in an upstairs room during a beach-themed party. She removed the straps on her blue bikini top and exposed her breasts to him, and he couldn't resist having sex with her - with minimal conversation:

Warren: "What's the big deal about smoking grass anyway, Chrissy? I mean, I don't even feel anything. I mean, how about you, Chrissy? You don't feel anything." (He looked over at her moaning on the bed)
Chrissy: "Warren... I want you."
Warren: "Chrissy, are you-- ? Are you okay?"
Chrissy: "I feel just wonderful...."
Warren: "...I mean, you look a little hot."
Chrissy: "Warren, I am hot....Warren, I want you now."
Warren: "Here, now? Chrissy, we can't. There's a party going on downstairs."
Chrissy: (removing her bikini top) "We can't? Oh, yeah."
Warren: "Well, maybe I was wrong. Ooh!"

Soon after, that night, he developed an "atomic erection" - in a dream. Speedily, Chrissy became pregnant and then during cheerleader practice, she coughed up her greenish, mutant, tadpole-like baby creature into the toilet.

In the film's ending, the mutant offspring set off on a bloody rampage from its location (inside a barrel of radioactive goop) in the school basement.








Chrissy (Janelle Brady) and Warren (Gil Brenton)

Devil in the Flesh (1986, It./Fr.) (aka Diavolo in Corpo, or Diable Au Corps)

Rebellious and provocative Italian film director Marco Bellocchio made this controversial X-rated erotic film (also available in a toned-down R-rated version) with a heavy dose of politics. It was reportedly one of the first X-rated art films to be distributed in the US by a mainstream studio (Orion) after the notorious Emmanuelle (1974). It arrived in theatres when two other highly-acclaimed X-rated arthouse films were still in recent memory: Last Tango in Paris (1972), and In the Realm of the Senses (1976, Jp.).

It was a very loose updating of Raymond Radiguet's 1923 romantic novel about star-crossed lovers, set during World War I about the passionate affair of an adolescent boy with an older woman who was married to a French soldier at the front. The novel had already been filmed in 1947, with 25 year-old Gerard Philipe in the role of the 16 year-old teenager. It was also remade by director Scott Murray as the M-rated Beyond Innocence (1989, Australia), and by director Steve Cohen as the R-rated (direct-to-video) exploitational psycho-thriller Devil in the Flesh (1998) starring Rose McGowan.


Devil in the Flesh (1947, Fr.) (aka Le Diable au Corps)

Beyond Innocence (1989, Australia) (aka Devil in the Flesh)

Devil in the Flesh (1998) (video)

The three major roles (composing an amour fou love-triangle) in this second filmed version of the story were in present-day Italy (the 1980s):

  • Andrea (Federico Pitzalis), an innocent younger, male, 18-year old Italian high school senior student who was instantly infatuated with Giulia when he first spotted her outside his classroom window
  • Giulia Dozza (Maruschka Detmers, a Dutch-born French actress), unstable, reckless and mentally unbalanced, possibly schizophrenic (or a nymphomaniac) and often giggling; she had just lost her father Mario Dozza to a terrorist attack in Rome in 1979; she was engaged to marry Giacomo
  • Giacomo Pulcini (Riccardo de Torrebruna), Giulia's leftist, Red-Brigade-type radical terrorist/fiancee on trial in courtroom; he was actually a turncoat who had competely recanted and betrayed his fellow terrorists

Andrea (Federico Pitzalis)

Giulia Dozza (Maruschka Detmers

Giacomo Pulcini (Riccardo de Torrebruna)

Giulia's fiancee Giacomo was imprisoned and on trial for terrorism: sabotage and murder. She dutifully attended his trial in a courtroom, where he was held in a large white cage with bars. Andrea had already become intrigued by her when he was in a classroom and first spotted her wearing a slip on her balcony (during the opening scene of a threatened suicide on a rooftop), and followed her on his motorbike. He joined her in the courtroom, after which she invited him to her apartment - it was rented by her prospective mother-in-law Mrs. Pulcini (Anita Laurenzi) for her to stay in during the trial - and was intended as her future home with Giacomo. An afternoon of rowboating led to the beginnings of a passionate lustful affair between Giulia and Andrea in the apartment.

In one of the film's many twists or subplots, it was revealed early on that Andrea's father was Giulia's ex-psychologist. He was tempted to have sex with her - she emerged from his therapeutic couch naked, and aggressively approached him in his office (begging: "Give me a kiss, what will it cost you?"), although he diagnosed that she was "completely mad." She even admitted: "Because I was born this way, I'm crazy."

Andrea's Freudian Psychiatrist Father With Patient Giulia Rising From His Therapeutic Couch and Approaching Him

Giulia and Andrea unsuccessfully attempted to keep the affair secret from Mrs. Pulcini and from Andrea's Freudian psychiatrist father.

Extremely Passionate Love Affair

It was one of the first major films to feature an international, well-known mainstream actress (Maruschka Detmers) performing an unsimulated oral sex act of fellatio on screen (almost 20 years before the same kind of scene in The Brown Bunny (2003)). In the scene, Giulia was lying with her head in Andrea's lap as she unzipped his fly to deliver oral sex as she asked: "I want a nice story." In contrast to the bold sex that was occurring on-screen, the pleasured Andrea was relating the political story of Lenin's return arrival to St. Petersburg in the spring of 1917.

The Infamous Fellatio Scene

Pressure mounted on their heated affair as the trial was coming to an end, and she would be forced to make a choice between the two males.



Giulia Attending Trial of Her Fiancee Giacomo - With Andrea

First Passionate Kiss: Giulia and Andrea After Rowboating

Giulia Giggling with Andrea When He Told Her: "I'm in love with you"

Almost Caught by Mrs. Pulcini, Giulia's Future Mother-In-Law




Giulia's First Love-Making Sequence with Andrea





Giulia Holding Up Apartment Keys to Andrea


Naked Dance with Knife


Ending Lengthy Image of Tearful Giulia

8 Million Ways to Die (1986)

Director Hal Ashby's last under-rated film was this R-rated edgy, unconventional and believable police-crime thriller, boasting a screenplay co-written by Oliver Stone and adapted from Lawrence Block's 1982 crime novel of the same name (although Stone reportedly disowned the film for its many improvised lines and revisions).

The film opened with an ambitious tracking shot filmed from a helicopter over Los Angeles. The central character in this neo-noir referred - in voice-over- to the film's title with a line of dialogue taken from the Naked City TV show (with four seasons of episodes from 1958-1963) - it always concluded with the narrator's iconic statement (in italics):

There are 8 million stories in the Naked City. Remember that old TV show?...What we got in this town, we got eight million ways to die.

Budgeted at $18 million, it was a monumental flop (at $1.3 million) - one of three film disasters that forced its independent production-distribution company Producers Sales Organization (PSO) into bankruptcy (the other two films were The Clan of the Cave Bear (1986) and 9 1/2 Weeks (1986)).

Its taglines were:

  • He's already failed as a cop. If he fails again, it's her life.
  • Death comes to all except those who deserve it most.

The first tagline referred to the main character:

  • Matthew J. "Matt" Scudder (Jeff Bridges), an ex-LA Sheriff's Dept. narcotics cop who lost both his job and his family (wife and daughter) - and his basic health - due to his ever-present drinking problem; he was struggling as a recovering alcoholic and attending AA meetings (now six months sober); he was forced to free-lance jobs as a rogue cop/PI

An unnamed female member of the AA meeting, following Matt's 6-month sobriety award, invited him to a private gambling club party at a luxurious hill-top mansion (with a miniature train elevator tram from the parking level), after telling him: "Someone wants to meet you. I think you'll want to meet them, too." There, Scudder was initially approached by a tall and lanky female in a white dress who was aggressively sexual toward Scudder for unknown reasons, and claimed she was "an old friend." She even called him: "My guy!"

  • Sunny (Alexandra Paul, a Baywatch star) - a thin, naive, and pretty prostitute

She introduced him to three other central characters:

  • 'Chance' Walker (Randy Brooks) - the mansion owner, a black boxer turned after-hours pimp and club owner (with hostesses); he was one of Scudder's ex-vice busts when he was a criminal known as "Willie Walker"
  • Angel Maldonado (Andy Garcia) - a pig-tailed, debonair and sleazy Cuban crime boss/drug lord pusher living in Beverly Hills (playing a role similar to Pacino's Scarface); with a volatile temper, and a love of sno-cones
  • Sarah (Rosanna Arquette) - Angel's moll, and Sunny's blonde co-worker, a high-priced hooker who was originally an aspiring dancer from Minneapolis before coming to LA to make "easy money" in "the life"

Later, Sunny wished to entice him away ("You wanna go for a ride"), and met him later at a local bar (to order banana daiquiries). She asked: "What are you doing in a bar if you are trying not to drink? Do you like making it hard on yourself?" She then invited herself to his apartment closeby, and revealed she knew he was a cop (or ex-cop). She offered him $5,000 for access to influential people he might know. After stripping naked in his bathroom and high on cocaine (and booze), she offered him her full-frontal nudity and the bold line:

"I wanna show you something. The street light makes my pussy hair glow in the dark. Cotton candy, the glow. I'll show you."

Sunny in Scudder's Apartment

But he was intimidated by her and refused her typical come-ons for drugs and sex, unsure of her motivations: ("You're not only a whore, you're a dumb whore"). He lectured her: "What in your experience tells you a man is more reliable because he's going to f--k you?...Predictable is not reliable...Whether it's for money or not, getting f--ked is usually getting f--ked."

When she expressed desperation and fears of being harmed by her pimp 'Chance' for wanting out of the hooker business, she asked for Scudder's protection. Scudder returned to the mansion and negotiated with 'Chance' to release Sunny from her obligations to him for $2,500, but was refused since he insisted that he wasn't her pimp: ("Sunny may be a high-priced whore, but who, when and for how much it's strictly her business....I am not her pimp, I'm nobody's pimp and if I was a pimp, I'd be the most pussy-whipped pimp in this town. No one pays me for the privilege of being a whore. Anybody around me wants to sell themselves, they do it strictly on their own"). Sunny still didn't trust that she was freed from 'Chance' ("Can't you see through him? It's all an act. He's gonna hurt me, I know it").

Sunny's Desperation Before Her Murder

On the way to the airport after provided with a ride by Scudder, Sunny was kidnapped in a van and savagely killed (shot in the back and thrown off a bridge onto a storm drain below). After Sunny's death, Scudder went on a harmful drinking binge and blacked out for three days. He had been admitted unconscious for two days to a drug detox-rehabilitation hospital ward.

After recovering, he temporarily vowed to seek revenge for Sunny's killer. He was left with some of Sunny's possessions in his trunk, including her zippered duffle bag with:

  • a PoBoys Market brown paper-wrapped package (containing $250,000 of drug cash)
  • another rumpled bag with Sunny's address-telephone book inside (with evidence of various drug deals or payoffs)
  • a diamond necklace (with green sapphire cat charms, although one was missing)
  • a paper-wrapped ounce of cocaine with a name and phone number on it - identifying Jaime as the manager of a PoBoys Market

All items pointed to Sunny working as a drug-runner/pusher for Angel, and she was in the midst of fleeing town with his drug money.

In the rear warehouse of a local PoBoys Market, Scudder watched as Hispanic workers piled up compressed wooden logs. They were ordered to move them and stack the logs upstairs and out of the way (so they would not be sold) - a major clue. Scudder learned that 'Chance' was the owner of the store (possibly used for laundering drug money and for pushing drugs), and had ordered the move.

Scudder befriended Sarah to find out about Sunny's past and her criminal associations. At first, she was wary of him: "I think you're a f--kin' freeloader, a lush and you got Sunny killed," and was being closely watched by Angel. Scudder realized that Angel had the tell-tale missing jewel cat-charm from Sunny's necklace on his ring - marking him as the prime suspect. He extracted Sarah from Angel's control by "roughing" her up and kidnapping her, and they ended up at his apartment while he was interrogating her. She became so intoxicated after drinking Stolli vodka that she threw up into his groin area after telling him: "I'm gonna f--k you so good." He helped her take a cold shower followed by a chaste night's sleep.

Sarah in Scudder's Apartment

Drunk and Nauseous

After a Chaste Night's Sleep

After Cleaning His Kitchen

The next day, she cleaned his kitchen and the two became better acquainted - and inevitably more romantically interested in each other. He had convinced her that Angel was imminently dangerous, and the two began to work against him. In a tense face-to-face meeting at the Coliseum, while eating shaved ice sno-cones, Scudder accused Angel of murdering Sunny for stealing his $250,000 of drug money (now in Scudder's possession).

Scudder also suspected that Angel was moving drugs through 'Chance's' supermarket operation (without his knowledge), since 'Chance' had refused to get into the drug-pushing business with him. 'Chance' was completely unaware that Angel's drug-shipments were already being moved through his chain of PoBoys supermarkets. Scudder coordinated with 'Chance' to set up a drug deal by providing $250,000 in funds (added to the other drug money) to meet Angel's demand of $500,000 - it would also serve as a bargaining ploy for Sarah's release.

Scudder visited with Angel again - this time at his recently-purchased, uniquely-designed 12-room Beverly Hills home in the midst of renovations. Uncaring, cold and heartless, Angel explained how Sunny's death sent an example:

What happened to her, is people think that if you have to kill somebody in the course of doing business, sometimes it pays to advertise. You know, make it messy. Remind people they bleed when they die. It might even prevent some more killings.

As the film-noirish story wound to its complex conclusion, it became clear to Scudder that Sunny hadn't been afraid of her pimp 'Chance,' but fearful of Angel. He explained to 'Chance' why Sunny had earlier sought Scudder's protection - and how Angel had already infiltrated with drug shipments and workers, not into 'Chance's' club, but into 'Chance's' chain of supermarkets:

It's a hell of lot easier to get somebody to protect you against a pimp than a bunch of whacked out drug dealers that hack you up.....Chance, you might not be in business with him. He's in business with you...Not your club, the markets, your vans, your managers, the box boys. That's how he was using Sunny. She was getting his guys into your operation.

'Chance' was unaware that Angel's stored logs in his supermarket warehouse were concealing cocaine. He was flabbergasted when he was shown the logs holding bags of white cocaine powder worth thousands of dollars. 'Chance' and Scudder loaded up their cars with 150 of the logs, to use as a bargaining chip against Angel. As expected, Angel turned on Sarah. He suspected that Sarah had allied herself with Scudder and had told him about the cocaine. The film's tagline came into play: "He's already failed as a cop. If he fails again, it's her life."

The film concluded with two shootouts:

  • At Pier # 20 in San Pedro inside Warehouse #154 (a precursor of the same scene in Tarantino's Reservoir Dogs (1992)), Scudder had demanded an exchange - that Angel swap Sarah (who was blindfolded and leashed) for the stolen stash of his own 150 logs filled with cocaine; the confrontational stand-off turned ugly with lots of threats, expletives, accusations, and repeated shouts of "Cut her the f--k loose"; Scudder increased pressure by burning bags of drugs one at a time; in the end, the cocaine was incinerated as 'Chance' was killed by Angel, although Sarah was rescued, and Angel was able to escape
  • A second shoot-out occurred at 'Chance's' mansion on the elevator tram-trolly between Scudder and Angel, that ended with the crime lord's death

2nd Shootout on Tram-Elevator

Lethal Shoot-Out with Angel

Beachside Happy Conclusion

In the film's unusual happy ending, Scudder was again sober (now for five weeks) and happy to be in love with Sarah. He addressed a beach-side AA meeting with a newfound realization - and then walked along the water's edge with Sarah in his arms:

"I didn't really believe this stuff. I didn't think any of it would really work. I wanted to believe it, but I couldn't. I, uh, I live in a world I didn't make. I know that now. It took me a long time to come to that realization. I had to be really beaten into that reasonableness....This time, I may do it for good. I feel a new strength now...When I put my head on that pillow at night, man. When I fall asleep, I don't pass out. When that sun comes up, I wake up. I don't come to. I'm in love, what can I say. It's a great feeling, man."


"Matt" Scudder (Jeff Bridges)

(l to r): Sunny (Alexandra Paul), Matt

Sunny

(l to r): 'Chance' (Randy Brooks), Sarah

Sarah (Rosanna Arquette)

Angel (Andy Garcia)



Scudder Waking Up in a Detox Ward After Sunny's Death


Sunny's Diamond Necklace with Green Sapphire Cat-Charms

Scudder's Discovery of Sunny's Absconded Drug Money ($250,000)

The Compressed Logs in The Back of a PoBoys SuperMarket Warehouse


Scudder Questioning Sarah

Sarah - Angel's Moll

Telltale Clue: Angel's Ring with Sunny's Cat Charm on It

Scudder Kidnapping Sarah on the Tram Elevator



Angel Explaining the Reason for Sunny's Murder to Scudder


The Stacks of Angel's Drug-Stuffed Logs in Chance's PoBoys Supermarket Warehouse






The Tense Standoff in San Pedro Warehouse

52 Pick-Up (1986)

Director John Frankenheimer's sleazy neo-noir crime-thriller was produced by the notorious pair of Cannon Pictures honchos Menahem Golan and Yoram Globus. 52 Pick-Up was the second attempt to adapt crime writer Elmore Leonard’s best-selling novel - the first attempt was the less faithful The Ambassador (1984) by director J. Lee Thompson that starred Rock Hudson and was set in Tel Aviv, Israel.

The film, set in mid-1986 in the Los Angeles area, contained copious amounts of violence, sex, and witty dialogue, and the Death Wish styled vigilante theme popular at the time. Its taglines were:

  • "Greed, Extortion. Revenge"
  • "His Wife... His Mistress... His Career... A Deadly Trap"

The film's main embattled hero was:

  • Harry Mitchell (Roy Scheider), a Korean War veteran and a successful and rich (yet amoral) LA businessman and construction manufacturer at Ranco Steel; currently living in the suburbs; although Harry had blue collar roots, he became rich when the US government bought his steel patent to use in manufacturing spaceships

Harry Mitchell (Roy Scheider)

Harry's Wife Barbara Mitchell (Ann-Margret)

Cynthia ("Cin") (Kelly Preston)

There were two women in Harry's life:

  • Barbara Mitchell (Ann-Margret), his attractive wife of 23 years who was running for a Councilwoman seat in LA County (in the 13th District), and a senior member of the "Clean Air" Commission
  • Cynthia or "Cini" Frazier (Kelly Preston), a 22 year-old topless model/dancer, who was a part-time worker in an LA Skid Row "live nude models" salon; she was also going to secretarial school during nights; Harry was having a mid-life affair with Cini on the side

Harry's life was completely altered when he left work and drove to a secretly rented apartment (on Crenshaw Blvd.) to have an extra-marital affair with Cynthia. There, he was confronted by three masked gangsters inside the apartment:

  • Alan Raimy (John Glover) - a cold-blooded blackmailer, and a maker of amateur porno films; he was a XXX-porn theater manager-owner (of Gold Coast Enterprises in San Francisco) on Western Ave., and also owned a 'LIVE NUDE MODEL' salon; a twice-convicted rapist; also a financial whiz with a business degree from Northwestern
  • Leo Franks (Robert Trebor) - the manager of Raimy's 'LIVE NUDE MODEL' salon; a simpering, nervous and cowardly wimp
  • Bobby Shy (Clarence Williams III), a sociopathic black pimp with dreadlocks; with a past criminal record; a coke-addicted killer; often with stripper-model and part-time girlfriend Doreen (Vanity)

The blackmailers forced Harry to watch an incriminating videotape and then demanded hush money of $105,000 for a year. It showed Harry on summer vacation in August for five days at the Las Palmas Hotel in Palm Springs with Cynthia: ("Your wife thought you were in a convention in Miami! You rascal! Now, here you are shooting the broad. Nice little body. Mmm. Great tits. What do ya think?"). Raimy narrated most of the short amateur film, including describing how Cynthia was a "LIVE NUDE MODEL" - "She told you she was a model, right? What, did you think it was for Vogue?" He ended the first section of the videotape with:

"As the sun sets slowly in the west, we say goodbye to beautiful Palm Springs, Oasis of Intrigue and extracurricular games of Hide the Salami, and we return to real life."

Harry was also seen renting a cheap motel room for sex with Cynthia at the Chalet Lodge Motel in Los Angeles (Raimy: "You know, you start chasing that young pussy - you got to stay in shape. I bet she drains you dry"). The blackmailers, led by Raimy, demanded $105,000 for one year, and insisted on an initial payment of $10,000 in two days.

At work, Harry met with his attorney Jim O'Boyle (Lonny Chapman), and described his predicament, revealing that he was going to break off his affair that day: ("I must have thought I was falling in love. What an asshole!"). Harry resisted O'Boyle's strong recommendations to not pay the ransom and notify police, fearing that his personal scandal would ruin Barbara's run for City Council. When he asked: "Do I pay them and just forget it?", O'Boyle reminded him: "That wouldn't end it."

He took things into his own hands by first painfully confessing to his wife about his 3 1/2 month infidelity. [Note: If Harry was first with Cynthia in August of the previous year, and now it was mid-May 1986, he was lying about the affair's duration, or this was a film discontinuity.] He admitted: "I must have thought I was falling in love. What an asshole." She claimed that she had known about his indiscretions for about a month, and asked with tremendous hurt in her voice:

"Was the sex that good? Lots of kinky things? Is that it?...Our marriage has lasted for 23 years. That's longer than she's been alive...Did you play Daddy? Is that it?"

The sleazy activities of Raimy were seen in the next sequence - at a party that he was hosting, he was live-filming (with a monitor) two naked girls emerging from a hot-tub, who complained to him: "Enough is enough, we're leaving." One of the busty blonde attendees (real-life porn star Amber Lynn) teasingly flashed her boobs for Raimy's video-camera: "You wanna see my tinkies? You wanna see my tits?...Say please."

Raimy's Sleazy Party with Porn Stars

Two Females Videotaped and Broadcast on Live TV

Party Goer (porn star Amber Lynn) Being Filmed by Raimy

Leo, one of the blackmailers, was also in attendance at the party and was impressed by the "big time porno star" - and added "She won best actress last year at these awards, like the Academy Awards for f--k films." Looking depressed, Cynthia was speaking to one of her friends/co-workers Doreen (80s pop star Vanity), the part-time boyfriend of Bobby Shy. She was upset that her affair was over with a married man, and now she was responsible for paying the rent ("I'm really tired of my life"). Plans were made that evening in Raimy's demented mind to do away with Cynthia.

At an LA Dodgers night ball-game, Harry passed an envelope stuffed with paper and a note to a peanuts vendor, who delivered the envelope to Bobby Shy for compensation. When the three blackmailers opened the envelope, the note read: "Bag Your Ass!" - Harry had stubbornly refused to pay the ransom to the blackmailing extortionists.

Another frightening and creepy incident followed. In their home, Barbara was confronted and intimidated by Raimy who had entered without permission. He posed as an insurance salesman for his company, Silver Lining Accounting Service (with the improbable motto: "We satisfy or we eat it") - a business that provided personalized monthly accounting services. She threatened to call the police on him: ("You walk into my home and you refuse to leave"). She didn't realize that Raimy had been upstairs and had stolen one of Harry's sportcoats, shirts, ties, and his P9 Automatic with a box of shells.

Harry was forcibly kidnapped by Bobby Shy and directed to drive in his Jaguar to a deserted factory, where he was forced to watch a "snuff" videotape of Cynthia's murder, shot by Raimy as the director with a running commentary. As the "second feature" started, starring Cynthia, Raimy interjected:

Uh, this is where the credits would be. Slick Entertainment Incorporated presents: 'Tit in the Wringer, or How Harry Mitchell Agreed to Pay A Hundred and Five Thou a Year and Found Happiness.'

The blackmailer upped the demands - now asking for $105,000 per year. The topless dancer/mistress Cynthia was videotaped being tied up with a rope (her arms were handcuffed behind her back, and her shirt was ripped off to render her topless). Raimy creepily spoke: "Some people, you gotta tie down to convince 'em they can act....This is to keep your interest, or whatever, up. It's a little skin." Then as Raimy proudly bragged about the lighting and announced he used two cameras for the shoot, she was brutally and senselessly murdered (with five bullet shots) behind a wooden board placed on her chest - using Harry's stolen gun (rigged with a rope tied to the trigger to avoid fingerprints) to frame him. The crazed Raimy praised Cini's performance: "You know, the thing that makes Cini a star is that she not only lives her part, she dies it, too." Raimy's blackmail demands were then repeated: "You pay us 105 grand a year for the rest of your life, and no more f--kin' around! That's 10 grand day after tomorrow, 10 grand next week. 30 Gs in good faith. You got it? That'll give you time to get the rest together."

The Second Videotape - The Snuff Murder of Stripper-Dancer Cynthia (Kelly Preston)

After Harry was released, he had just a few days to clear his name from the "airtight case" against him. Harry sought plans to avenge Cynthia's murder. He visited Raimy's 'Live Nude Model' salon to speak to her friend Doreen. He rented a Polaroid camera to take pictures of her ($25 for half an hour, $10 for the camera, and $5 for the film), plus showed off (but didn't deliver) the first $10,000 payment to Leo. At first, Doreen thought he was a regular customer: "So tell me, are you a tit man? Or, do you want the whole show?"

During a long drawn-out interrogation scene, while he took photos, she stripped off some of her lingerie down to a black thong, and coyly answered his questions. She proposed that they leave and go to her apartment (in the same building where he used to meet Cynthia), for $100 (including "tea, a smoke, maybe a chance for seconds"). Once there, she said she knew that he was snooping for information about Cini: ("You're after somethin', aren't you, and it ain't my pussy, is it?") - and accepted $800 (8 $100 dollar bills) for discreetly answering questions about Leo and his pals - the suspected blackmailers.

Meanwhile, he confronted the chief blackmailer Raimy working in his upstairs porno theater office (and projection room), with slaps to his face: ("Something about your face makes me want to slap the s--t out of it"). Harry promised that he would deliver the first $10,000 installment (to buy some time) that evening at the Ranco Steel plant at 12:45. During their meeting, Harry proved through his accounting books that he could only raise $52,000 a year due to taxes, and would pay that amount in a few days - to keep his compatriots in the dark, Raimy kept news of the revised deal to himself.

In a severe torture scene, Bobby Shy threatened to suffocate Doreen with a giant stuffed white teddy bear toy - he rightly suspected her of colluding with Harry and divulging names, but believed her when she said she didn't betray him. Eventually in the twisting and turning ending, Harry was able to identify all three blackmailers, and trick them into becoming suspicious and turning against each other. Raimy and Bobby decided to split the $52K between themselves and eliminate Leo. Meanwhile, Harry convinced Leo to testify on his behalf to the cops, and betray his fellow kidnappers who were allegedly plotting against him. Things turned violent and unpredictable:

  • Harry learned from Leo that Cynthia's body and the videotapes had been dumped in the river and couldn't be used as evidence
  • Raimy kidnapped Barbara (while she was swimming in her pool) and held her as a hostage; [Note: This was the third break-in into the Mitchell's home!] - he forced her into the trunk of his car, took her to the adult-oriented El Royale Motel, and shot her up with "scag" (a slang term for heroin) before raping her (off-screen)
  • Bobby Shy killed Leo (by shooting him in the back and neck) in the front office of the "Live Nude Models" salon, because he was planning to leave town
  • in his warehouse, Raimy murdered both Bobby Shy and Doreen when she dropped him off at 7 pm just before the scheduled rendezvous with Harry; he first shot Bobby point-blank in the heart, and then shot Doreen through the windshield of her car as she attempted to flee

In the exciting and tense conclusion set at 8 pm at the Old Terminal Island Railroad Bridge in Long Beach, Harry was set to deliver the remainder of the $52,000 cash payment to Raimy and turn over his restored 1965 Jaguar XKE sports-car, in exchange for Barbara unharmed. During the trade, Raimy ordered Barbara and Harry off the bridge while taunting them: "Beat it! You got a fine bitch there! There's a lot of mileage on her, but, she still cooks!" His original plan was to kill both of them, but Harry informed him that his financial ledger had Raimy ’s fingerprints all over it and his lawyer would turn it over to the authorities if he didn't report back within an hour.

As Raimy was about to drive off with the booby-trapped getaway vehicle, he turned on the ignition and the stereo radio, and received a warning by Harry's recording - before the car's doors locked automatically, the end of "Stars and Stripes Forever" played, and explosives blew up the car:

"Hi Alan. This is the first and last ten seconds of the rest of your life."

Harry's words ended the film: "So long, Sport!" - using the nickname Raimy had often called him. He had successfully rescued Barbara and smartly disposed of all of the bad guys.


Incriminating Videotape Played for Harry in Cynthia's Apartment by Blackmailer(s)


Cynthia (Kelly Preston) On Videotape: "Great tits! What do ya think?"

The First Videotape of Harry's Affair with Cynthia


Harry Confessing His Affair to Barbara


Lead Blackmailer and Sleazy Pornographer Raimy

Live Nude Model-Stripper Doreen (Vanity) - Friend of Cynthia's and Bobby Shy's Girlfriend


(l to r): Bobby, Leo, and Raimy - The Three Blackmailers


Harry's Note: "BAG YOUR ASS!"










Prostitute - "Live Nude Model" Doreen (Vanity)

Harry - Seated and Taking Polaroids of Doreen at Club

Harry's Interrogation Of Doreen in Her Crenshaw Apartment


Bobby Shy (Clarence Williams III)


Doreen Threatened by Bobby Shy With Suffocation (via Her Large White Teddy Bear)


Final Exchange: Raimy Trading Barbara For the Money and Harry's Booby-Trapped Jaguar Car

Harry to Raimy: "So long, Sport!" As the Car Exploded

Henry: Portrait of A Serial Killer (1986) (released in 1990)

Director John McNaughton's highly-controversial, low-budget, notorious 82 minute film was a realistic, disturbing "fictional dramatization" - and his directorial debut film. It was shot in 4 weeks on a budget of about $100,000. It was so controversial that it was given an X-rating, and had very limited release in the US. Due to a ratings controversy with the MPAA, its release was held up for a few years. Its release was delayed until 1993 in the UK and even then, two minutes of the film's violent content was spliced out. An uncut version of the movie was eventually allowed for video release in 2003.

The shocking film was based on the confessions of famed, pathological, 'real-life' convicted serial killer Henry Lee Lucas (played by Michael Rooker in his feature film debut), who ended up on death row in Texas and eventually died in prison in 2001. Henry's background partially accounted for his murderous streak - his abusive mother (who Henry claimed he had stabbed to death on his 14th birthday) was a "whore" who forced young Henry to wear a dress and watch her having sex with her many customers in their house.

The film's tagline referred to the soft-spoken loner who cooly mass-murdered many victims during an intense, random killing spree:

  • He's not Freddy. He's not Jason. He's real.

The grisly horror-slasher film's detached and amoral documentary style and tone of filming enhanced each brutal, gory and violent killing (over a dozen in the film) in the random crime spree by psychotic murderer Henry, often viewed as a series of grotesque tableaux still shots. Death poses of many of the murder victims (killed off-screen) in Henry's trail of carnage in Illinois in the five opening still images were sometimes accompanied by the sounds of their screams or death struggle:

Still Image Victims
Death
Young woman (Mary Demas) Lying bloodied (disemboweled?) in a grassy area (the first still image of the film!)
A storeowner couple (Elizabeth and Ted Kaden) Shots-in-the-head
Prostitute # 1 (Mary Demas) Murdered in a bathroom with a broken soda bottle stuck into her face
Female corpse (Denise Sullivan) Partially-clothed and lying face-down and floating in a body of water
Female Murdered in her living room, strangled with a power cord wrapped around her throat and cigarette burns on her chest and face

Henry was later joined by a partner-in-crime:

  • Otis (Tom Towles) - his own paroled, dim-witted room-mate-prison buddy whom he had taught how to commit serial murders

Otis first witnessed Henry's cold-blooded dirty-work when they picked up two Chicago prostitutes (Mary Demas and Kristin Finger) and he murdered them in their car by snapping their necks, and then dragged their bodies into a dark alleyway. (Henry later rationalized about his killings: "It's always the same and it's always different... It's either you or them, one way or the other.")

Henry also repeatedly stabbed a smart-alec TV salesman/fence (Ray Atherton) with a soldering iron and smashed a cheap $50 B/W TV over his head, after which Otis plugged in the set to end his life by electrocution.

Smashed TV Set Into Head of Salesman

Especially gruesome and disturbing was the beating, torture, sexual assault, and videotaped killing of a helpless family of three (a couple and their son) (Lisa Temple, Brian Graham, and Sean Ores) in their suburban home - and then afterwards, the viewing (and re-viewing) by the two killers (sitting on their sofa) of the grainy, unfocused, and poorly-photographed account of the crime shot on videotape.

The film ended with Henry discovering Otis strangling and raping his sister Becky (Tracy Arnold) - Henry's 'girlfriend' (who shared with Henry many broken aspects of her childhood upbringing). Henry murdered Otis after finding that Becky had just stabbed him in the eye with the sharp end of a hairbrush, and then cut off his head in the bathtub. Otis' body parts were dumped in the river.

Henry fled with her, and the two spent the night in a motel. The next morning, Henry left the motel by himself (had he killed Becky in the room and dismembered her body?) and deposited Becky's heavy blood-stained suitcase in a roadside ditch (was Becky inside?)


Henry Lee Lucas (Michael Rooker)





Still Image Victims

Videotaped Murder of Family


Otis Stabbed in Chest by Henry and Then Beheaded


Becky in Suitcase?

Howard the Duck (1986)

This George Lucas executive-produced sci-fi comedy, directed by Willard Huyck, was about a 27 year-old humanoid duck (based upon the Marvel Comics' character). Overall, the film was both a commercial and critical disaster - one of the worst films ever made. At the box-office, it was also a major failure with a budget of $37 million, with $16.3 million (domestic) and $38 million (worldwide).

Its main taglines were:

  • More adventure than humanly possible.
  • Trapped in a world he never made.

In the clever opening credits sequence, a parallel "duck-version" of Earth (Duckworld) was briefly viewed. The duckworld included copies of Playduck Magazine (with 'my hair-brushed beauty' - a female duck in the centerfold). A topless female duck with feather-covered boobs in her bathtub was also quickly seen. The white-feathered Howard T. Duck was expelled in his armchair to Earth and landed in Cleveland. The interstellar duck Howard saved the life of:

  • Beverly Switzler (Lea Thompson), a musician in a struggling punk rock band known as Cherry Bomb

Howard declared: "That's it, no more Mr. Nice Duck", and fought off mean street thugs with strange martial arts: "Let the female creature go! Every duck's got his limit, and you scum have pushed me over the line...No one laughs at a master of quack-fu." Afterwards, Howard had a "brewski" at Beverly's apartment, and admitted that he was having an identity crisis:

"What I don't know is what the hell I'm doing here! It's like a bad trip. I mean, talk about an identity crisis."

Then when he fell asleep, Beverly peeked into his wallet (with more duck-versions of everything) where she found his ID, photos, credit cards (MallardCard and Bloomingducks), cash bills with a duck President, and a miniaturized duck-sized condom!

There was also a strange sexual come-on seduction scene between Beverly and Howard in her apartment after Howard complimented her figure: ("I have developed a greater appreciation for the female version of the human anatomy"). The furry duckie joined her in bed to watch David Letterman on television:

Beverly: "I just can't seem to find the right man."
Howard (suggestively): "Maybe it's not a man you should be lookin' for."
Beverly (wondering): "Aw, do you think I might find happiness in the animal kingdom, duckie?"
Howard (proposing): "Like they say, doll, love's strange. We could always give it a try. Hmm."
Beverly: "OK, let's go for it, Mr. Macho." (She removed an item of clothing.)
Howard: "Whaddya mean, OK? It was a joke. Listen, I'm pretty tired."
Beverly: "It's just that you're so incredibly soft and cuddly." (She started unbuttoning the front of his pajamas, as he became increasingly nervous.)
Howard: "Bev, let's be realistic. I mean, my apartment is zillions of miles from here. You're freaking taller than I am."
Bev: "I just can't resist your intense animal magnetism."
Howard: (The crest of feathers on Howard's head rose up as he worried) "Whoops! Anyway, where will it all lead? Marriage, kids, a house in the suburbs?"
Beverly: "Let's just face it. It's fate." (She started to remove her blouse top.)
Howard: "No, it's not. I've got a headache."
Beverly: "And I've got the aspirin."
Howard: "Be gentle." (He covered his head with the blanket to hide. He shied away from intimacy - but they shared a few short kisses.)
Beverly: "Just one goodnight kiss, sweet duckie. (She removed the blanket.) Come on, Howard, I was just kidding. Goodnight."

Then, in silhouette after turning out the light, she placed a few short kisses on his extended duck bill. When caught in the act, the two were startled as intruder Carter (Miles Chapin) witnessed them and exclaimed:

"My god, this relationship defies all the laws of nature."



"Playduck" Magazine

Topless Female Duck





Seduction Scene

Manon of the Spring (1986, Fr/It.) (aka Manon des Sources)

There were two parts to director Claude Berri's version of the Jean de Florette tale, a French historical drama based upon filmmaker/novelist Marcel Pagnol's 1952 rural romance:

  • Jean de Florette (1986)
  • Manon of the Spring (1986, Fr./It.)

Part two of the tale, a sequel set 10 years later, was about pretty blonde shepherdess Manon Cadoret (Emmanuelle Beart). She was the offspring daughter of parents living in the Provencal of France:

  • Jean de Florette (Gerard Depardieu) a hunchbacked, physically-deformed man
  • Aimée Cadoret (Élisabeth Depardieu), Jean's pretty wife

In this second part of the story, Manon was determined to take revenge upon the two men indirectly responsible for the death of her father in the first film. Two co-conspirators were involved in the death of Manon's father, Jean de Florette, when he died from an explosive charge while searching for water on his newly-inherited property, after his well spring had been deliberately plugged up. The two schemers then bought the land from Aimée, Jean de Florette's widow, for a very cheap price - and both profited from Jean's death. They were:

  • Ugolin Soubeyran (Daniel Auteuil), ugly, half-witted, in the carnation business; nephew to his uncle Cesar Soubeyran
  • Cesar Soubeyran (Yves Montand), a cruel, wealthy landowner, Ugolin's uncle

In one of the film's most powerful, innocently erotic scenes, lithe blonde shepherdess Manon Cadoret (Emmanuelle Beart), deceased hunchback Jean de Florette's young daughter, playfully danced or frolicked fully nude in a spring or grotto while playing her dead father's harmonica.

Meanwhile, smitten and vile Ugolin Soubeyran lustfully spied upon her by crawling on rocks above her to get a glimpse of her body, after she bathed nude and then cavorted around. Later, Ugolin suicidally hanged himself from a tree because of his unrequited love for her, after she rejected his request for marriage.


Manon Cadoret (Emmanuelle Beart)


Manon (Emmanuelle Beart)

The Name of the Rose (1986, Fr/W. Germ/It.)

Director Jean-Jacques Annaud's murder mystery-thriller set in the early 14th century was adapted from Umberto Eco's best-selling novel, about the solving of a deadly incident in the medieval Benedictine abbey involving a hidden library with priceless, forbidden books of knowledge. The film was told as a flashback, narrated by the elderly character of Adso, with the tagline describing the plot:

Who, in the name of God, is getting away with murder?

It was noted for an explicit seduction scene in a barn between:

  • Adso of Melk (a young Christian Slater), the naive young assistant of intellectual Franciscan monk William of Baskerville (Sean Connery)
  • Girl (Chilean co-star Valentina Vargas), an unnamed mute (or feral) local peasant

She had snuck into the abbey to exchange sex for food. She encouraged him to nuzzle his face between her bare breasts, and then goaded him further to experience sweaty, down-on-the-ground sex. She had him get on top of her, helped him remove his garments, and showed him how to proceed. In the film's closing narration, Adso remembered the girl fondly:

"And yet, now that I am an old, old man, I must confess that of all the faces that appear to me out of the past, the one I see most clearly is that of the girl of whom I've never ceased to dream these many long years. She was the only earthly love in my life, yet (pause) I never knew, nor ever learned, her name."



Peasant Girl (Valentina Vargas)

Nine 1/2 Weeks (1986) (aka 9 1/2 Weeks)

Director Adrian Lyne's (and writer Zalman King's) sensual, soft-porn melodrama was about sexual experimentation - a blockbuster hit only after being released to video (to include some of the scenes removed for the film's R-rating), and a precursor to the Fifty Shades of Grey trilogy of films (from 2015-2018). An "uncut, uncensored version" 117 minutes in length was released on DVD in 1998.

Although filmed in 1984, it wasn't released to theaters until 1986. In its original form before severe editing, it was five hours in length. The film performed better internationally (in a less-edited version), but still lost money. With a budget of $17 million, it took in gross revenues of $6.7 million.

The semi-autobiographical film was based on the memoirs of Austrian-American author Ingeborg Day (published with the pseudonym Elizabeth McNeill) that were published in 1978. The dark affair that the author referenced occurred in Manhattan when she was an editor at Ms. Magazine.

Two inferior successors to the original film appeared: a sequel in 1997 (direct-to-video) and a prequel in 1998 (straight-to-video):


Nine 1/2 Weeks (1986)

Another 9 1/2 Weeks (1997) (aka Love in Paris)

The First 9 1/2 Weeks (1998)

Its taglines were:

  • "They broke every rule."
  • Desire. Infatuation. Obsession.

The main characters were:

  • John Gray (Mickey Rourke)- an enigmatic, aloof and handsome Wall Street executive arbitrageur
  • Elizabeth McGraw (Kim Basinger who had just recently posed for Playboy) - a divorced, naive, and vulnerable mid-20s NYC art gallery assistant (on SoHo's Spring Street)

The two first met at an outdoor street fair. Soon after, he impressed and surprised her by buying an expensive $300 scarf as a gift. The story was about their bizarre romance that included endlessly creative, obsessive, sado-masochistic and experimental ways that the two erotic but kinky adventurers-lovers in New York City aroused themselves during foreplay (often in his luxury apartment), including submissive sexual power games initiated by John.

Elizabeth McGraw (Kim Basinger)
With John Gray (Mickey Rourke)

After an ultimatum request that she accept being blindfolded, he caressed Elizabeth's half-naked body with melting ice cubes, and asked the thematic question:

"Does this excite you?"

He also presented Elizabeth with an expensive gold watch in a red box - and instructed her to hopefully use it for self-stimulation: "Elizabeth, each day at 12 o'clock, would you look at that watch and think of me touching you?" Elizabeth became aroused while watching art slides in her office. She touched herself all over and then masturbated. As the slide projector automatically clicked through the pictures with increasing intensity, she extended her legs outward onto a wall.

Elizabeth Masturbating While Watching Slide Show

The most talked-about segment of the film was the long sequence of John's sensual sex games with food in front of a refrigerator, while spoon-feeding her many items (with her eyes closed), to the tune of the Newbeats' "Bread and Butter."

[Note: The scene was parodied in Hot Shots! (1991) between Charlie Sheen and Valeria Golina but with vegetables and olives.]

Montage of Sensual Food-Sex Games
One Olive
Spoonfuls from Bowl of Maraschino Cherries
One Cherry Tomato
A Pint of Strawberries
One Glass of Champagne
Two Spoonfuls of Vick's Cough Syrup
Forkful of Cold Spiral Pasta
A Spoonful of Cherry Jello
Four Jalapeno Peppers
One Glass of Milk
Spray From A Shaken Bottle of Sparkling Water
Dripped Gobs of Honey

Liz was caught snooping through his apartment's closet, clothes, and his personal items (where she discovered a picture of him with another woman, April Tover). Afterwards, John sexually assaulted and punished Liz, by spanking her, overpowering her and forcing her onto a dining room table to have sex ("pretend" rape?) with him. She eventually pleasurably succumbed to him and remained for the night.

Snooping in John's Closet
Sexual Assault (Rape?) As Punishment

The two had steamy and wild sex on his apartment's roof-top behind a giant clock-face - to the tune of Bryan Ferry's "Slave to Love." Next was a sequence of gender-switched, cross-dressing Elizabeth (wearing a mustache, tuxedo and top hat) smoking a cigar and meeting John in a hotel lobby. Then, after a violent skirmish in an alleyway against two homophobic guys who accused them of being gay (Elizabeth stabbed one of the thugs in the butt with a knife), they had steamy sex on a brick stairway as rain poured down on them. He ripped her tight leotard in two and then fondled her bare breasts.

Elizabeth also performed a slow sensual striptease for John's satisfaction on the outer roof balcony (to the tune of Joe Cocker's "You Can Leave Your Hat On"). Another scene of dominance was introduced by John's question:

"Elizabeth, we're gonna play a little game. I'm a man with a very big problem. Because, you see, I can't get excited. I can't get excited unless I see you get on your hands and your knees and crawl across the floor. And I'm willing to pay a lot to see you do that. Would you do that for me?"

Although she thought his request was "stupid," he repeatedly commanded her to "Get on all fours and crawl...Elizabeth, I don't want to negotiate with you. Now crawl...Pick up the money." As she reluctantly crawled across the floor and picked up bills, he brandished a horse-whip in front of her.

The most controversial scene was set in a dingy hotel room where John had hired a black hooker (Cintia Cruz) to fondle, caress and sexually arouse the black-blindfolded Elizabeth - and then in Elizabeth's presence, he also began touching the semi-naked prostitute to make her jealous during the threesome. Incensed by John's insensitivity, Elizabeth violently slapped the two of them and fled from the hotel.

In the film's ending, the desperately-unhappy Elizabeth challenged John after one final night at his apartment. He vowed that although he had been with lots of women, she was different:

"I want you to know somethin'. I want you to know that there's been lots of other girls. There's been lots of women. But I never felt anything like this before. You know, when I just hold you in my arms, it's just the way you feel. Somethin' I didn't count on. I never counted on loving you so much."

She questioned his mysterious lack of commitment after 9 1/2 weeks by asserting: "You knew it would be over when one of us said stop. But you wouldn't say it. I almost waited too long." In the film's final moments, she walked out on him. After she shut his door and was out of hearing range, he whispered that he loved her and expected her to return within 50 seconds:

"Elizabeth. Elizabeth. I love you. Would you please come back by the time I count to fifty? One..."

She kept walking - with tears in her eyes.


Elizabeth Blindfolded by John for Sexual Game



Tantalizing Ice Cubes


Sex Behind Clock-Face on Rooftop

Gender-Reversed Cross-Dressing Rendezvous




Rainy Stairwell Sex




Complete Striptease on
Outdoor Roof Balcony



Degradation and Sado-Masochistic Whipping


Elizabeth Blindfolded and Touched by Hooker

John With Black Hooker to Anger Elizabeth


Ending: "You knew it would be over when one of us said stop"

"Would you please come back by the time I count to 50? One..."

Reform School Girls (1986)

Director Tom DeSimone's exploitative, soft-core and low-budget women-in-prison (WIP) film was reportedly a black comedy satire of the sub-genre. It was reminiscent of the classic b&w WIP film Caged (1950).

DeSimone had previously directed adult gay porn films (with the pseudonym Lancer Brooks) before his cross-over film - the talking-vagina sexploitational Chatterbox (1977), and two other more significant films: the horror slasher film Hell Night (1981) (with Linda Blair) and another WIP film The Concrete Jungle (1982).

This film was reportedly part of a campaign by New World Pictures to release 11 films to capitalize on the youth audience at the time, including such films as: Black Moon Rising (1986), The Aurora Encounter (1986), Mountaintop Motel Massacre (1986), No Retreat, No Surrender (1986), Jake Speed (1986), Vamp (1986), and Return to Horror High (1987), amongst others.

It featured the tagline:

  • "Some Get Tough. Some Go Insane. Some Will Die..."
  • "So Young...So Bad...So What?"
  • In Here, the Only Law Is Desire.

The trashy, campy film had some classic lines of dialogue, such as:

  • "The last thing we need around the dorm is another pussy."
  • "You're just a s--t-stain on the panties of life."

The "reform school" (Pridemore Juvenile Facility) was basically run by two individuals:

  • Edna Dawson (Pat Ast) - a despicable, domineering, overweight, red-haired sadistic matron, the predatory, chocolate-eating head of the ward, who treated the inmates with cruelty unless they'd "play nice," and was in perverse cahoots with the warden and a butch inmate named Charlie
  • Warden Sutter (Sybil Danning) - the black-jacketed, dominatrix chief officer of the 'reform school', a dictatorial, Bible-thumping and Bible-quoting character who strutted around the prison with a riding crop, leather boots, and padded shoulders [Note: Uncharacteristically for Danning, she was never naked in the film.]

Fat Ward Matron Edna Dawson (Pat Ast)

Warden Sutter (Sybil Danning)

Jennifer Williams (Linda Carol) On the Prison Van

Blue eyed blonde Jennifer Williams (Linda Carol) - a first-time offender, was sentenced to a 3 year reform school (or prison) term (and eligible for parole in 14 months) for serving as the getaway driver during a late-night robbery with her boyfriend (the film's pre-title credits sequence). She was charged as an accessory to armed robbery and murder.

Another new inmate was shy, fragile, intimidated, weak and mentally-unstable Lisa Stewart (Sherri Stoner) - a captured runaway who fled from cruel and abusive foster parents (they had murdered her brother). She cradled a small, gray stuffed rabbit ("rag doll") for comfort (that was quickly confiscated by Edna) and was fearful of everything.

When the new group of inmates ("fresh meat") arrived, including Jennifer and Lisa, one guard announced for the females to prepare for a shower:

"Strip down! Showers to the left! Physical in ten minutes. Get undressed ladies."

As another Shower Matron (Dharvi Darrell) snapped on a latex glove for personal inspections, she added:

"You're gonna be inspected inside and out, so get it clean."

A returning offender named Nicky (Laurie Schwartz) whispered back: "Happy hunting, pig." The five girls huddling together were sprayed with a big canister of delousing DDT, as the guard announced a major cavity check: "Shake out your hair. Turn around. Bend over, spread 'em wide!"

New Inmate Jennifer Showering After Induction into 'Reform School'
New Inmates Sprayed with De-Lousing Repellent DDT

During her first interview with the school's well-meaning, do-gooder psychiatrist and guidance counselor Dr. Norton (Charlotte McGinnis), Jennifer confessed that she had been sexually-molested by her father. After meeting the despicable Ward Matron Edna, the new inductees Jennifer, Lisa, and Nicky (with drab blue uniforms) were led to their assigned bunk beds in Dorm 14. There, they met the acknowledged pack leader:

  • Charlie Chambliss (36 year-old Wendy O. Williams, ex-Plasmatics punk rock band member in the 80s) - hard-bodied, often seen in a stained bra, fingerless gloves, and a black thong bikini bottom

Her lingerie-wearing, Sapphic dyke gang members (branded with a circular tattoo on their butts) included two exceptionally slutty females: dark curly-haired "Knox"/Karen Charmin (Darcy DeMoss) and "Fish"/Andrea Eldridge (Tiffany Helm).


Charlie Chambliss (Wendy O. Williams)

Knox/Karen Charmin (Darcy DeMoss)

"Fish"/Andrea Eldridge (Tiffany Helm)

Charlie immediately marked her territory with Jennifer and they engaged in a cat-fight, broken up by Edna who unfairly sided with Charlie: "The name of the game ladies, is control, complete control," and penalized Jennifer by denying her two privileges. Later as the girls were bedding down for the night, Edna reminded everyone:

"Keep your fingers above the sheets. We only change them once a week!"

In the first of a pair of cruel sequences, during her first night, Lisa snuck into Edna's office to retrieve her beloved stuffed toy bunny in her desk. She was caught and her comfort toy was burned, as she was dragged screaming back to the dormitory.

While showering (a requisite scene for WIP films), Jennifer noticed that each of Charlie's groupies had around-mark on their butt. Charlie tried to intimidate the new-comers by warning them, speaking directly to one of her rivals - black girl Paula (Andrea Darnell):

"You butt-hole bitches better wash your 'things' real good. 'Cause we don't want none of your crotch-rot in our dorm."

One night during dinner in the mess hall, Warden Sutter was addressing the girls when they collectively revolted by banging silverware. She was forced to leave the room, and then reprimanded Edna: "I want this bulls--t stopped, and I want it stopped now. You're losing your charisma, Edna. You're too easy. It's time you put on your 'f--k you' boots and start kicking!"

After Jennifer found a cute stray kitten while on outdoor field work duty, Lisa began sleeping with the adopted pet named "Joey." Lisa was placed into Isolation after being blamed for a fight that began when Charlie and her followers kidnapped Lisa to brand a circle into her flesh in the toilet area, and Jennifer came to her defense.

A flirtatious Jennifer allowed herself to be seduced in a van outside the prison by a male prison transport truck driver-worker (James Staszkiel). She had sex with him in exchange for help in escaping. At the start of the sex scene, he suggested: "Let's play carnival." Jenny asked: "What's that?" He replied: "Sit on my face, and I'll guess your weight!" Once he enjoyed taking advantage of her, he drove to the exit gate and turned her in to the authorities. Knowing that Jennifer had been detained, Charlie's group again attacked the unprotected Lisa and brought her to the toilet area where Charlie fondled her ("I'm all the stud you need") and made her "one of my girls" by branding her with the circle mark using a red-hot coat hanger. Meanwhile, Jennifer was punished with two weeks in an Isolation cell.

In the most cruel and merciless sequence, the adopted dormitory kitten was discovered by Edna. She chased it and stomped it to death with her oversized, white crepe-soled shoe. Afterwards, an upset Lisa broke out of the dormitory and attempted to escape by climbing a ladder up the side of the wooden loudspeaker tower, but suicidally fell to her death while being pursued by Edna.

In retaliation for Edna's cruelties, the rebellious Jenny (with others) instigated a major nighttime prison riot in which all of the girls revolted against the tyrannical staff. Mayhem, chaos, and destruction of property commenced, as well as numerous skirmishes and fights between Charlie's gang and Jennifer's followers. The conflict was soon broken up by the Warden with a shot-gun. Charlie and Jennifer were singled out for blame. As punishment, Jennifer was forced to strip and sadistically sprayed with a high-intensity water hose held by Edna until she fell down unconscious.

After Dr. Norton was fired from the facility, she complained to the Youth Authority Commission and made numerous serious accusations about the torturous disciplinary treatment of the reform school girls (specifically by Edna), and was able to convince Jenny to bravely testify to the committee about "child abuse." Learning of Jenny's role, Edna again targeted her and brutalized her inside the isolation cell, to silence her and make her unable to appear before the board and corroborate the accusations. At the meeting held in the prison, four other girls were brought in to testify, but no one was courageous enough to tell the truth. Meanwhile, Jenny escaped from the infirmary and fomented a second major revolt throughout the prison. En masse, Jenny led a massive march of a group of inmates to the commission meeting, challenging Edna's rule and chanting: "Killer, killer!"

Edna grabbed a pump-action shotgun from one of the guards and shot one of the girls, Claudia (Denise Gordy), in the shoulder and then climbed the guard's spot-light and loudspeaker tower, to continue firing randomly. The girls grabbed hoes, rakes, shovels and any available garden tools to use as weapons. Charlie ended up fatally shot by Edna, but was still able to ride atop a driverless Pridemore school bus and ram the vehicle into the structure, causing a massive explosion. The fat matron, laughing hysterically, fell from atop the tower's fiery conflagration. Charlie crawled from the wreckage and delivered her infamous last words: "See you in hell, Edna!"


Charlie Atop Bus

Edna Pumping Shotgun

"See you in hell, Edna!"

Soon after, in the final scene, Jenny was released, and as she was leaving the facility gate - bidding goodbye to Nicky and Paula, and entering a taxi-cab, it was implied that Dr. Norton would now be in charge of Pridemore and would bring more humane conditions. The end credits scrolled to the tune of Wendy O. Williams singing "It's My Life" (written by Gene Simmons and Paul Stanley of KISS).


Reform School Guidance Counselor Dr. Norton (Charlotte McGinnis)




Lingerie-Clad Dorm 14 'Reform School Girls'


Charlie Chambliss (Wendy O. Williams)


Shower Girl (Michelle Bauer)

Unidentified Shower Girl


Shower Girl (Leslie Bremmer)

Jennifer in Shower



Round Brands on Charlie's Gang Members


Charlie to Paula: "You butt-hole bitches better wash your 'things' real good"




Jennifer Having Sex with Prison Worker-Driver in Back of Transport Truck


Lisa Stripped and Branded by Charlie and Her Gang





Punishment: Jennifer Stripped and Hosed Down

She's Gotta Have It (1986)

Writer/director Spike Lee's R-rated, Rashomon-like comedy/drama, a low-budget independent film, was his first feature-length film - a black and white feminist comedy - with abundant female sexuality and nudity.

The breakout film, a "seriously sexy comedy," was revolutionary when it first screened at the Cannes Film Festival for its portrayal of a black woman as sexually-liberated, self-assured and free-thinking, who was juggling three sex partners:

  • Jamie Overstreet (Tommy Redmond Hicks)
  • Greer Childs (John Canada Terrell), a self-obsessed model
  • Mars Blackmon (Spike Lee), a bicycle messenger
Sexually-Liberated African-American Nola Darling (Tracy Camilla Johns) with Greer

It starred Tracy Camilla Johns (in her debut film) as successful African-American Nola Darling, a good-looking, independent-minded Brooklyn graphic artist who was engaged in a love triangle. The most memorable sexual encounter was early in the film when she had sex by candlelight with one of her beaux.

She simultaneously handled three disparate male lovers, who each wanted her commitment despite her resistance to belonging to one man ("I'm not a one-man woman. Bottom line"). One of her suitors eventually demanded: "Whose pussy is this?"




Sex by Candlelight


Nola (Tracy Camilla Johns) Touching Herself

Something Wild (1986)

Jonathan Demme's offbeat, black comedy told about a developing relationship between two very opposite individuals. It starred fearless actress Melanie Griffith, appearing again after her eye-opening role as porn actress Holly Body in Body Double (1984). The film was a screwball road odyssey about two mismatched individuals who were also attracted to each other:

  • Charles Driggs (Jeff Daniels), staid and married, yuppie, NYC tax consultant and bond trader
  • Audrey Hankel (Melanie Griffith), free-spirited, kooky, black-wigged, nicknamed Lulu - after sexy actress Louise Brooks' femme fatale character in Pandora's Box (1929)

She took off with Charles to New Jersey, where she engaged in kinky sex with him during the early part of their road trip - handcuffing him to a motel bed and making love to him (and calling his office), before they attended her high school reunion together. She claimed her name was Audrey when she introduced Charles to her mother.




Kinky Sex with Lulu
(Melanie Griffith)

Sorority House Massacre (1986)

Writer/director Carol Frank's R-rated slasher film (her only directorial effort) was a tedious horror film - capitalizing on the slasher-film craze of the time period. It was followed by a sequel titled Sorority House Massacre II (1990). It was not to be confused with another series of similar films - The Slumber Party Massacre (1982) and its sequels in 1987 and 1990, although Carol Frank was assistant to the director on The Slumber Party Massacre. It was also unrelated to Slumber Party "57" (1976).

This horror-thriller told of a disturbed, amnesia-suffering young woman named Beth (Angela O'Neil) with a short haircut who arrived at an LA sorority house after the death of her aunt. She was experiencing nightmares and hallucinations of psychopathic killer Robert Henkel (John C. Russell) stalking her.

[Note: The sorority girls and their boyfriends watched Slumber Party Massacre on TV during part of the film.]

There were only three girls, plus Beth, left in the house over the weekend. During the film's sole scene of nudity in an MTV-style musical montage, the trio of Tracy (Nicole Rio), Linda (Wendy Martel), and Sara (Pamela Ross) - with Beth watching - took advantage of rich sorority girl Cindy's absence and raided her closet - trying on various outfits.

Musical Montage During "Dress-Up" Scene
Sara (Pamela Ross)
(l to r) Tracy (Nicole Rio), Linda (Wendy Martel)

The predictable twist in the film was that Beth was the killer's younger sister. He had murdered the rest of their family years ago and was bent on revenge against her as well. He had escaped from an asylum and was targeting the LA sorority house - the same house that his murdered family had lived in.

Tracy and her boyfriend Craig (Joe Nassi) were making out in a teepee on the lawn of the sorority house - and when the killer struck, she ended up with a knife stuck between her bare breasts, while he fled into the house naked.

The film ended with Beth waking up with a scream from her hospital bed - with another vision (?) of her brother (with a bloody face) calling out her name.


Beth (Angela O'Neil)

Craig and Tracy (Nicole Rio)



Tracy Stabbed In Chest


Sex in Cinematic History
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