Hedy Lamarr Sex Scene

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Hedy Lamarr Sex Scene
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After fleeing the Nazis Hedy Lamarr became and overnight sensation on screen - but also was a brilliant inventor, responsible for a radio breakthrough that changed the world
WHEN Hedy Lamarr turned to the camera in her Hollywood movie debut and the audience saw her face for the first time, their shock was audible.
“Everyone gasped,” one of those in the cinema that day in 1938 later recalled. “Lamarr’s beauty literally took one’s breath away.”
But when the Austrian actress was not up on the big screen earning her reputation as the most beautiful woman in the world, she was in a laboratory making scientific breakthroughs that changed history.
She dreamed up the revolutionary radio-frequency science which is the basis of wifi, cordless phones, Bluetooth and spy-proof military satellites.
And among her inventions that never went into production were an improved traffic light, a better design for Concorde, and “a skin-tautening technique based on the principle of the accordion”.
Yet Hedy is still best known for just her looks — and for being in the world’s first blue movie.
Now her astonishing life story is being told in the new documentary Bombshell, produced by actress Susan Sarandon, 71, who said: “This is the story of a Hollywood actress, defined by her appearance, who is secretly a brilliant inventor and changes the course of history.”
Not that Hedy, who died at the age of 85 in 2000, ever seemed too upset about the focus on her sex appeal.
Married six times, she was matter-of-fact about spending a lot of time thinking about sex appeal herself.
Talking about her flings with womanisers including President John F Kennedy and businessman Howard Hughes, she once declared: “I liked oversexed people. I’m oversexed.”
Right from her early years as Hedwig Eva Maria Kiesler, growing up in a well-to-do Jewish banking family in Vienna, she turned heads with her looks and defied convention.
She proudly described herself as an “enfant terrible” and at 16 posed topless for a photographer.
Acting roles quickly followed, and in 1931, aged 18, she appeared in notorious Czech film Ecstasy, which features scenes of her running and swimming in the nude.
It also showed her in close-up having an orgasm, a movie first.
She later said she had not known it was going to be edited to look like she was having sex.
The film was banned in Germany and denounced by the Pope, but the worst reaction for the teenager was the one waiting for her at home.
She later said: “When I came back to Vienna it was horrendous. My father wanted to kill me, practically.”
The real threat, though, was from Adolf Hitler.
Although the Nazi Party was on the rise in Austria, Jewish Hedy initially seemed safe after marrying the politically powerful Fritz Mandl, the country’s biggest arms manufacturer, in 1933.
Mandl was 14 years her senior and his jealousy soon made his young sex-siren wife’s life a misery. In 1937, months before Austria became part of the Third Reich, Hedy fled.
Son Antony, from a later marriage, later explained: “She put jewellery in the lining of her coat, gave her maid sleeping powder, put on the maid’s costume, got on her bicycle and rode off.”
Hedy went to Paris and then, fearful of the Nazis, travelled on to London, where she met Hollywood studio boss Louis B Mayer.
The mogul immediately signed her — having first got her to change her surname to Lamarr.
Her first LA movie was Algiers — the film which made audiences gasp. Her looks were such a sensation that immediately, other actresses copied her centre-parted haircut and cool-eyed style.
Her look even inspired Forties comic heroine Catwoman.
Free-spirited Hedy enjoyed her effect on uptight America, revelling in statements like: “If you use your imagination, you can look at any actress and see her nude. I hope to make you use your imagination”. Soon she was shooting so many movies that she began taking amphetamines to keep her awake. Hedy was also busy on the home front. In 1939 she married screenwriter Gene Markey and had a son, James, now 79, but he soon cheated on her and they divorced in 1941.
She then began dating reclusive millionaire Howard Hughes, who she later described as: “The worst lover I have ever had.”
But the aviation buff’s passion for engineering reminded her of her father, who used to love explaining the workings of everything “from printing presses to streetcars”.
Armed with some know-how picked up from the military work of her first husband, she was soon helping Hughes with his aircraft designs. Then she turned her attentions to ways of destroying German U-boats — which led to her breakthrough in radio frequency technology.
Inventing became her hobby for the rest of her life, with a lab set up in her drawing room.
LOOKING back at the piece of military equipment that had made his name during the Vietnam War, its creator declared: “I want to express my sincere admiration and belated thanks to Hedy Lamarr.”
In 1954 this Army contractor, Romauld Scibor-Marchocki, had found the actress’s 1942 patent for a revolutionary method of wireless communication, deep in the US Patent Office’s archives.
Keen inventor Hedy had become fixated on the idea of finding a way to make it easier for the Allies to destroy German U-boats in World War Two.
She realised that if you could rapidly change the frequency of the radio signal directing Allied torpedoes, they could not be jammed by Nazis.
But while her intricate workings-out for the system were granted a patent, the US Navy turned down the idea.
It was not until Scibor-Marchocki realised its incredible potential that it became a vital weapon of war – and then the basis of all wireless communic-ations today.
He used her methods for his “Sonabuoy” system, which let information pass from military aircraft to ships without being intercepted, because the frequency kept changing.
Scibor-Marchocki later built the tech into surveillance drones for the Vietnam War.
And while he thanked Hedy for her designs, her patent had run out in 1959 so she never received any money for the invention.
A third marriage, to British-born actor John Loder, came in 1943 and produced two more children, Denise, now 72, and Antony, 71.
They divorced in 1947 and Hedy then wed jazz musician Ted Stauffer, in 1951. Hedy claimed he beat her and it lasted less than a year.
Next to tie the knot with the actress, in 1953, was alcoholic Texan oilman William Howard Lee.
This marriage lasted until 1960, when their divorce proceedings hit headlines because Hedy did not want to give evidence and instead sent her body double to court. That so angered the judge that he halved her divorce settlement.
Hedy later admitted: “I must quit marrying men who feel inferior to me. Somewhere, there must be a man who could be my husband and not feel inferior. I need a superior inferior man.”
After a brief fling with JFK, with whom she had sex in a bathtub, she wed her sixth and final husband — her divorce lawyer — in 1963. They split in 1964.
By then, despite film hits including Samson and Delilah with Victor Mature, Comrade X with Clark Gable and Come Live With Me with Jimmy Stewart, she was skint.
Much of her fortune had been lost in backing her 1954 flop movie Loves of Three Queens. She also squandered cash on “vitamin pills” from a dodgy doctor. They were actually amphetamines.
She was twice arrested for shoplifting, taking £60 worth of tights from a department store in 1960, and laxatives from a pharmacy in 1991.
She never saw a penny from her radio frequency breakthrough, whose patent had expired long before it changed the world.
But in 1997 she did receive two awards honouring her genius.
Finally, it was recognition for something truly important to her.
Because, as she once said: “Any girl can look glamorous. All she has to do is stand still and look stupid.”

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Gary and Lisa in Team America: World Police. Photograph: c Paramount/Everett/Rex Features
Gary and Lisa in Team America: World Police. Photograph: c Paramount/Everett/Rex Features
Thu 2 Dec 2021 13.25 GMT Last modified on Fri 3 Dec 2021 12.52 GMT
Original reporting and incisive analysis, direct from the Guardian every morning
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Lady Gaga and Adam Driver give us animal grunting in House of Gucci and Agathe Rousselle mates with a car in Titane – but that’s tame compared with some of the sexual themes cinema has found to explore
In 1933, the Austrian star Hedy Lamarr (who also had a remarkable parallel career as an inventor) appeared in the Czech erotic drama Ecstasy playing Eva, who gave us the first female orgasm in movie history. This is simply an extended closeup on her face, after her lover’s head has disappeared from the bottom of the frame, as she abandons herself to pleasure and rapture. There were some telling cutaways – to her hand, fondling some material, and also one of her pearl necklace dropping to the floor. Afterwards, Eva languorously smokes a cigarette, doing her bit to establish one of cinema’s great post-coital tropes.
John Cameron Mitchell’s sexually diverse hardcore comedy of kink is inspired by the adventurous soirées that the director experienced in New York in the early part of the century – and it revolves around “Shortbus”, a club which its host describes as “a salon for the gifted and challenged”. The opening scene of this film is one of the great moments of auto-eroticism: a gymnastically achieved self-blowjob, complete with happy finish which as well as everything else renders obsolete the joke about why dogs lick their balls.
Perhaps dogging has been underrepresented in erotic cinema, but Albert Serra’s award-winning historical fantasy gave the whole subject a touch of class. In the years before the French Revolution, a group of bewigged libertines – aristocrats expelled from Louis XVI’s court – gather in their carriages in a forest to watch other aristocrats doing pervy things in a moonlit clearing, and occasionally participate themselves. Like vampires, they murmur Sadeian thoughts to each other while one of their number eagerly submits to being horribly thrashed.
Disney isn’t well known for eroticism, but one moment from this classic frankly alluded to the sex life of its hero, Simba. After being tricked and made an orphan by the wicked wiles of his evil uncle Scar, Simba escapes into exile where he grows into lionhood and is reunited with his childhood pal Nala, who is now a comely lioness. They fall in love and romp to the song Can You Feel the Love Tonight. That’s a resounding yes. At one point, Nala reclines in an obviously sexual come-hither pose.
The tricky subject of human-animal relations has been dramatised in various movies, including in Woody Allen’s Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) (sheep), Nagisma Oshima’s Max Mon Amour (chimp) and Robinson Devor’s Zoo (horse). But the most purely outrageous depiction had to be in The Beast by arthouse-erotic master Walerian Borowczyk. A young American woman inherits a fortune on condition that she marries a strange French aristocrat and horse breeder whose forebears had a strange relationship with an enormous priapic beast that lives in the forest. This creature’s sexual needs soon become horribly apparent.
The concept of sex with cars has cinephile connoisseurs nodding thoughtfully over David Cronenberg’s Crash and the Palme d’Or-winning Titane by Julia Ducournau. But Ridley Scott outdid all those Cannes snobs with the gobsmacking scene in his thriller The Counselor. In this, Cameron Diaz has sex with a sports car – a yellow Ferrari California – belonging to Javier Bardem’s character while Javier looks on stunned from the driving seat, as she spreads herself intimately across the windshield without underwear. Bardem later ungallantly describes it as resembling “one of those bottom feeders you see going up the side of the aquarium”. The scene was shot at Stoke Park golf course in Buckinghamshire.
As 007, Roger Moore returned to Earth in triumph after saving the planet from the evil intergalactic plans of Hugo Drax, played by Michael Lonsdale, and so the assorted bigwigs of American and British intelligence were patched through to what was going on in his spacecraft via a live video link – to find Bond having celebratory zero-gravity sex with Nasa scientist Dr Holly Goodhead, played by Lois Chiles. “My god, what’s Bond doing?” splutters a top diplomat. “I think he’s attempting re-entry, sir” says Q – one of the most cringe-making final gags in Bond history.
This film was always far more bizarre and satirical than sexy (although it is said to have popularised the risky practice of autoerotic asphyxiation in the US). Food sex plays a big part. Innkeeper Kichi (Tatsuya Fuji) begins an obsessive affair with servant girl Sada (Eiko Matsuda), raises the subject of food being moistened with each other’s bodies and then prevails upon her to insert an egg intimately and then “lay” it again like a hen. This is part of the surreal and strange theatre of sexuality that is enacted by the two of them.
Here it is: what many believe to the finest puppet sex scene in history, or simply the finest sex scene in history, and easily one of the most explicit. In this puppet drama, Gary (voiced by Trey Parker) is a sensitive Broadway actor recruited to the elite special forces group, Team America, so that he can infiltrate an international criminal cell using his powers of thespian empathy. Lisa (voiced by Kristen Miller) is the beautiful psychologist who masterminds Team America’s sophisticated counter-terrorist strategies. The two have wild sex, in a scene which brutally exposes how coyly and evasively Hollywood shoots non-puppet human sex scenes. Lisa’s resemblance to Thunderbirds’ Lady Penelope has made it even more popular in the UK.
A genuinely chaotic, romantic, comic and affectionate sex scene. Two young guys Tenoch and Julio, played by Diego Luna and Gael García Bernal, head off on a crazy road trip in the company of a glamorous, free-spirited older woman, Luisa, played by Maribel Verdú, who has secret troubles of her own. They are enamoured of her, and she has sex with them individually in an attempt to relieve the hormonal atmosphere of tension and competition. But she senses that there might be something else going on as well and in the showstopping scene, they gather for a threesome in a motel room during which she ducks out – leaving the two boys passionately kissing and having sex.

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