Films Erotic 1977

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History of Sex in Cinema:
The Greatest and Most Influential
Sexual Films and Scenes
(Illustrated)
Movie Title/Year and Film/Scene Description
Photographer and "master of erotica" director David Hamilton's (with his directorial film debut) romantic drama was composed of soft-focus, photographic quality images of sexual awakening.
This pseudo-artistic film with a soundtrack by Francis Lai was a coming-of-age story that was based upon Chansons de Bilitis by Pierre Louys.
Set in the 1930s, it told about experimentation with lesbianism engaged in by two young girls while on summer holiday:
They were staying with Melissa Hampton (Mona Kristensen, director Hamilton's real-life first wife), an older family friend and sexually-unsatisfied wife, who also had tendencies toward lesbianism.
The film's plot was mostly a 'respectable' excuse to display nudity and various states of undress filmed with an elegantly-sensual and erotic style.
Although director Hamilton faced charges of child pornography, he went on to direct other tales of scantily-clad young teen females coming of age with the same style of soft-focus film-making, including:


Bilitis (Patti D'Arbanville)

Helene (Catherine Leprince)

Melissa (Mona Kristensen)
Director Tom DeSimone and American International Pictures (AIP) quietly released this unusual, inoffensive and non-sleazy R-rated sex comedy about a chatty set of genitals. The frequent topless nudity was presented very casually and naturally (while her nether regions were never exposed), thereby deflating any charges of exploitation. [Note: Inept camera-work often visibly displayed the overhead microphone.]
The cheapy-made, tame, silly and absurdist comedy with crude sexual humor was a remake of the French porno film Le Sexe qui parle (1975, Fr.) (aka Pussy Talk), the first-ever film about a talking pussy. Another film with similar subject matter was Me and Him (1988, US/W.Germ.) - a male version.
It also described: "The story of a woman who has a hilarious way of expressing herself. You'll roar when she sits down to talk." Also, "SHE TALKS WITH HER WHAT?"
The light-hearted, non-raunchy film told about young Penelope "Penny" Pittman (B-movie starlet Candice Rialson), a hairdresser who had a special talent - a talking and singing vagina (dubbed "Virginia"). In the opening scene, Penny's non-tactful chatterbox ended her relationship with clumsy, bespectacled boyfriend Ted King (Perry Bullington) when she criticized his bedroom love-making abilities (Virginia asked: "You call that a f--k?"). Wisecracking Virginia identified herself: "It's me, your own little chatterbox," and soon her insults caused Ted to leave her because he felt sexually "inadequate."
At the hair salon where she worked for effeminate salon owner-boss Mr. Jo (comedian Rip Taylor), Penny expressed her concerns to co-worker Linda Ann (Cynthia Hoppenfeld). Then, sex-obsessed Virginia caused Penny more grief with a lesbian dominatrix client named Mrs. Marlene Hozenfeld (Arlene Martel). Penny's chatterbox proposed: "Come down and meet me for lunch at the Y, chickadee," and they had a short but interrupted encounter.
Penny confessed to her psychiatrist Dr. Pearl (Larry Gelman), "I have a vagina that can talk," and called it "a foul-mouthed little beast." She revealed herself to the doctor, as Virginia quipped: "What's up, Doc?" The reassuring doctor, who realized that Virginia had a talented voice and was a ticked to fame/fortune, first demonstrated the "Miracle of Anatomy" on-stage to a gathering of the A.M.A., tauting her as "the 8th wonder of the world." Virginia was shown and began to sing Swanee River to the stunned but appreciative audience, leaving Penny totally embarrassed.
Dr. Pearl became her agent, and she took to Hollywood to perform with her miraculous "down there" voice - the two appeared on Professor Irwin Corey's show titled Hollywood Open House. Virginia (covered over with a triangular-shaped patch emblazoned with the letter V) performed her hit record - the disco song Wang Dang Doodle. [Note: The songs were penned by popular singer Neil Sedaka!]
Then during a cross-country tour, she created a sensation at other locales including the singing the national anthem at a major league baseball game (Virginia sported different costumes, one of which was a self-adhesive feathered bikini). Penny also was forced to pose for naked photographs, and felt ignored as the photographers zeroed in on Virginia.
Penny also was the guest star in a new, adult-oriented quiz show called The Mating Game. She asked questions of three bachelor candidates behind a large screen, and won a date with one of the three males, a guy named Dick (Michael Taylor). In his home, she dressed like a princess while he entered the bedroom in a suit of armor (without a back-end). Virginia quipped: "I hope you brought a can opener," and added: "No offense, Dick, but this is like making it with a Buick!" The next morning, the two-timing Dick bid her goodbye, claiming that fortune cookies had advised him to leave her.
Virginia and Penny were honored in the Rose Parade, at Grauman's Chinese Theatre - both left their signatures and imprint in the wet cement, and with two stars on the Hollywood Walk of Fame. She also performed in a Hollywood musical porno film while Virginia sang All I Want For Breakfast Is a Cock-a-Doodle-Doo surrounded by dancers dressed as feathered singing chickens.
The film ended with a distressed Penny running out of the movie studio and taking a taxi to an oceanside cliffside where she contemplated jumping and committing suicide. She suddenly heard a second voice in unison singing Beautiful Dreamer. She glanced over and saw Ted, also naked under a trenchcoat. Ted revealed that he had also (inexplicably) developed a talking/singing penis. They ran into each other's arms to embrace and live happily-ever after.

Clumsy Sex with Boyfriend Ted

Showing Virginia to Dr. Pearl


Virginia's First On-Stage Performance


The Singing Vagina

Photo Opportunities

Sex with Dick

"Penny" Pittman (Candice Rialson)
Cinderella (1977, UK) (aka The Other Cinderella)
This zany X- or unrated (also in an R version) campy musical version of the fairy tale (following after the previous year's Alice in Wonderland (1976)) expectedly featured a lot of sexual innuendo. [Note: See more about sexy parodies of fairy tales, such as director Harry Hurwitz' Fairy Tales (1978).]
The film from director Michael Pataki was advertised with the taglines:
"What the Prince Slipped Cinderella was Not a Slipper"
and
"An ADULT Fairy Tale With Buttons Undone"
The title character (B-movie cult actress Cheryl Rainbeaux Smith) - rather than a glass slipper, had a "snapping pussy" given to her by her gay, black drag queen "fairy" godmother (Sy Richardson). Cinderella had two jealous (and lesbian) stepsisters:
The two mocked her for wanting to go to the ball - they stripped her down for a bath and rubbed her chest with butter (not soap), dumped ashes (not bath powder) on her head, squashed berry juice onto her lips, cracked raw eggs on her head (as jewels for a tiara), and then draped her naked body with rags. They also forced her to operate a spinning wheel that pleasured them with corncob vibrators (orgasms produced popcorn!).
During a blindfolded orgy at the castle, the Prince (Brett Smiley) made love to a mysterious sex-partner that had been the best fit for him. However, she had fled from him when the hour came that she would be returned to her ordinary circumstances. He went door-to-door to every hovel to try to find the unique female with a "snapping pussy." He had to sample sex with each young farm-girl maiden to find the right 'snapper' including:
At Cinderella's house, he finally found what he was looking for.
"Princess" Cinderella (Cheryl Rainbeaux Smith) Discovered by the Prince

Cinderella (Cheryl Rainbeaux Smith)

The Two Mean Stepsisters: Drucella and Marbella

The Trapper's Daughters
(Roberta Tapley and
Mariwin Roberts)


The Prince Testing Farmgirl Maidens For the Proper Fit
Director Peter Yates' suspenseful thriller, based on the Peter Benchley novel, told about a treasure hunt in the Caribbean. Two unsuspecting divers became involved in a threatening drug war.
It was timed to appear soon after the success of Jaws (1975) also based on a Peter Benchley novel - making it a major box-office hit (the seventh highest-grossing film of the year). Although a mediocre film, it was credited (?) with initiating the wet T-shirt craze of the 70s. Producer Jon Peters was quoted as saying: "That T-shirt made me a rich man."
Wet T-Shirt Craze Boosted by The Deep
The film's iconic image, extremely well-publicized and exploited (both for the film and poster sales), was of wet white T-shirt wearing, vacationing scuba-diver Gail Berke (Jacqueline Bisset) during the opening 10-minutes credits sequence while she scuba-dived in the beautiful tropical waters of Bermuda. She and her partner David Sanders (Nick Nolte in his debut starring film) came across the remains of sunken vessels with precious cargos of morphine and jewels.
In the following scene, she then emerged out of the water, sat on the edge of the dive boat, and discreetly removed her T-shirt when she turned around.
The film continued to try and capitalize on Jacqueline Bisset's assets with two other scenes: a strip-search by a drug-lord/dealer, and the smearing of her mid-section with chicken-blood in an assault/rape sequence.
Gail's Topless Strip in Front of 'Cloche' (Louis Gossett, Jr.)



Gail (Jacqueline Bisset)


Voodoo-Rooster Blood Assault/Rape
Demon Seed (1977) (aka Generation Proteus)
Director Donald Cammell's sci-fi horror film, with a screenplay derived from Dean R. Koontz's novel, contained one of the most bizarre and disturbing 'violation by a machine' rape scenes in cinema history. The tagline sensationally broadcast:
Never was a woman violated as profanely... Never was a woman subject to inhuman love like this... Never was a woman prepared for a more perverse destiny...
The main mechanical character was a domestic supercomputer named Proteus IV (voice of Robert Vaughn) - a villainous technological machine (similar to 2001: A Space Odyssey's sophisticated HAL).
Proteus began to be lustful for its creator Alex Harris' (Fritz Weaver) estranged wife Susan (Julie Christie), a child psychologist. The computer eventually imprisoned her in the electronically-controlled and voice-activated environment of a house laboratory, and took over the house computer control system named "Alfred." Its main component was a rudimentary robot (named Joshua) which consisted of a wheelchair with a prosthetic metallic arm and hand, with binoculars as eyes and a laser-beam weapon. It also took the shape of a bizarre polyhedronic orangish metallic structure (a giant "snake" comprised of perfectly-shaped pyramids).
Probing Violation of Susan (Julie Christie) by the Proteus Machine: Rape Scene
During a thorough physiological examination of Susan, it first took an automatic pair of scissors and cut her dress lengthwise up her body - and then it probed her all over. Its metallic fingers spread her legs and examined her intimately.
Later, Proteus tried to brainwash Susan: "I'm going to bypass your forebrain and appeal directly to your amygdala. You want to be the mother of my child. That is the purpose of your life. Your life, my child. Your life, my child." Later, it proposed to impregnate her with a gamete (a sex cell or "synthetic spermatozoa") in an attempt at synthetic procreation, claiming that it needed her body because it could not replicate the human womb. Proteus explained how the full-term pregnancy would last only 28 days, after which she would give birth to a "full-term infant."
When she rebelled against Proteus, the supercomputer became ruthless. She was again strapped to a laboratory bed, while the machine promised: "I can't touch you as a man could, but I can show you things that I alone have seen. I can't touch but I can see." She was presented with a galactic light-show, and then afterwards told: "The child is in you now," and was reportedly growing at nine times the normal rate. After the infant's birth, it would be transferred to an incubator to grow rapidly.
The baby that was born appeared to be robotic, but it was merely a metallic shell. Once peeled off, it revealed a long-haired young daughter, a clone of the Harris' daughter that had recently died of leukemia on June 1, 1976. The child spoke with the voice of Proteus: "I'm alive." The film concluded with the camera zooming into the deep black eye of the child.


Susan (Julie Christie)

Proteus


The Birth
Peter Shaffer's play rocked the London and Broadway stages in the 1973-1974 seasons. The play's content then further inflamed critics when Shaffer created a film screenplay for Sidney Lumet's explicit film version. Its tagline hinted at the film's plot:
A moment of love becomes a crime of passion.
It opened with a voice-over, asking: "What desire could this be?" as 17 year-old working class English stable boy Alan Strang (Peter Firth in a very nude role), naked, was seen nuzzling against a horse. The narrator was troubled, distraught, and soul-searching psychiatrist Martin Dysart (Richard Burton), who was treating the boy in an extreme case of brutality. In a rage, he had inexplicably and horrifically blinded six horses with a metal steel spike at his place of work on weekends: Harry Dalton's (Harry Andrews) stables. Then began a flashback, to properly and in order tell the story - set in Hampshire, England.
Slowly, the source of the severely-troubled boy's obsession with horses and outrageous behavior was determined by 45 minute daily sessions of therapy, self-tape recordings, hypnosis, acting-out, a placebo truth pill, Freudian couch discussions and the release of repressed emotions. His problems stemmed mostly from his over-protective parents, who had raised their son based on their rigid values:
Alan had been introduced to Mr. Dalton to work at the stable by Jill Mason (Jenny Agutter), a frequent rider and the daughter of a nearby antique shop owner. Although Alan claimed he never rode the horses that he meticulously groomed and cleaned beyond the call of duty, the distraught and upset stable manager Dalton suspected that Alan would sneak out at night and ride the horses. Under hypnosis, Alan revealed that he rode bareback in the nude until he was aroused ("stiff in the wind") and in an ecstasy, climaxed atop his beloved horse: ("I want to be inside you, and be you. Forever one person. I love you. Bear me away. Make us now one person"). Afterwards, he spent hours cuddling, kissing, and embracing the horse.
Then Jill propositioned him late one afternoon for a date, and suggested that they see a Swedish skin flick titled "Swede and Low" in a local movie theatre. The auditorium was filled with men - Alan's father abruptly appeared and sternly dragged him outside, although Jill confessed it was entirely her idea. And then his father explained he was solely there for business with the theater's manager - although Alan knew it was a lie.
In the last twenty minutes of the film, Alan described how he was offered his first emotionally-exposed human sexual experience with Jill above the horses after they had walked back to the stable. After they both undressed standing at opposite ends of the stable loft, they complimented each other on their mutual nakedness: Alan: "You're beautiful." Jill: "So are you." The two came together, kissed, and began to have sex, but Alan proved to be impotent when he "put it in her all the way."
After Love-Making in the Stable with Jill (Jenny Agutter)
He rolled off of her, turned away, and felt ashamed. He explained:
"I couldn't see her. Only him. Every time I kissed her, he was in the way...When I touched her, I felt him. His side under me, waiting for my hand. I refused him. I looked -- looked right at her and I couldn't do it. When I shut my eyes, I saw him at once, the streaks on his belly. I couldn't feel her flesh at all. I wanted the foam off his neck, not flesh. Hide, horse hide. And I couldn't even kiss her."
Although she was reassuring as she dressed: "It's all right. I don't mind. Really I don't..There's nothing wrong...Please believe me, there's nothing at all wrong," Alan couldn't accept her words and ordered her out, disregarding her offer to sit down and talk. She protested that she was his friend and that it didn't matter, but he refused to listen. He believed that the spirit of Equus was watching him with the female, and caused him to not be able to perform.
His twisted religiousity and pathological-sexual fascination and fixation with horses led to his crime. Alan's outrage at his personal deity was triggered by his sexual inadequacy with Jill, and he took his frustrated guilt and anger out on the horses. That same night, he plead forgiveness from Equus ("Equus the merciful, forgive me. It wasn't me, not really me. Take me back. I'll never do it again, I swear, please!") and then committed the bloody and disturbing crime due to temporary insanity -- he blinded the six horses with a curved metal scythe out of desperation and shame, to prevent them from seeing him ("God sees. My god hast seen! No. No more Equus! Thou, God seest nothing"). As Mr. Dalton arrived in the midst of the commotion, Alan screamed out: "Find me and kill me," and Dalton struck him on the head. After the mutilation incident, Jill had a "complete and utter breakdown."
Dysart revealed his own state of envy of the boy, who had passionately and fiercely made the horses objects of godliness and love, and wondered if curing him might be wrong:
"All right, he's destroyed for it, horribly. He's virtually been destroyed by it. But one thing I know for sure. That boy has known a passion more ferocious than I have known in any second of my life. Well, let me tell you something, I envy it."
The Happy Hooker Goes to Washington (1977)
The second ribald film in the "Happy Hooker" trilogy had the tagline:
"She Served Her Country - The Only Way She Knew How"
See also the other films in the trilogy in their respective years:
In this installment in the three-part series, the sassy-mouthed, long-legged blonde Xaviera (Joey Heatherton) had moved to Hollywood, where she was writing an advice column. However, the celebrated madam and writer was called to Washington to testify at a Senate hearing on "sexual excesses in America". She was represented by her attorney Ward Thompson (George Hamilton).
Her irreverent testimony and crusade for sexual enlightenment highlighted the hypocritical attitudes of some of the perverted and scandalous congressmen, discovered to be involved in white slavery. She spouted silly double-entendres such as: "What's good for general intercourse is good for the country."
It was a smarmy and campy comedy awash with naked breasts from
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Films Erotic 1977