History Sex Film

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History of Sex in Cinema:
The Greatest and Most Influential
Sexual Films and Scenes
(Illustrated)
(Norman Lindsay's)
Age of Consent (1969, Australia)
UK director Michael Powell's last theatrical feature
film (after he was scandalized and blacklisted for his voyeuristic
film Peeping
Tom (1960) )
was this erotic, escapist romantic comedy-drama that was similar,
in part, to Shakespeare's play The
Tempest .
The screenplay by Peter Yeldham was based upon Norman Lindsay's 1938
autobiographical novel of the same name.
With gorgeous cinematography, including some stunning
underwater photography, the film was shot on the small, remote
and peaceful Dunk Isle in Australia's Great Barrier Reef area in
North Queensland. It was advertised with the taglines:
The film appeared at a time when a new MPAA ratings
system had just been adopted, and the floodgates were opened to more
liberated cinematic works. During the opening credits, a nude painting
of an island girl (identified later as Cora) stood in for Columbia
Pictures' familiar lady with a torch logo.
The plot was about bearded oil painter Bradley Morahan
(James Mason) who had become disillusioned and unfulfilled in New York
City and decided to return to his native Australia to paint and
live an idyllic life in a shack on an offshore island. [Note:
Morahan was modeled after real-life, sexually-frank Bohemian artist
and writer Norman Lindsay who was the subject of the later film Sirens
(1994) . Mason's positive role here with an underaged female was
in sharp contrast to his appearance as a perverted older man opposite
a young nymphette in Stanley Kubrick's Lolita
(1962) .]
The main co-star was young Helen
Mirren (22-23 years old at the time of filming) who was appearing
in her first major film role. She took the
role of teenaged, full-bodied, free-spirited orphan and granddaughter
Cora Ryan. The non-pornographic film was not the first major studio
feature film to have nude scenes (with full-frontal female nudity),
but it was definitely one of the earliest examples.
[Note: In
the closing credits, Helen Mirren was rightfully identified as a "member
of the Royal Shakespeare Company" - she had appeared in its
earlier 1968 film production of A Midsummer Night's Dream .]
The film's distributor Columbia Pictures edited out most of the
topless nudity, and also replaced Peter Sculthorpe's original score,
although the film was restored to its original form in 2005 (and
released on DVD in 2009).
The half-wild, conniving, uninhibited Cora met Bradley
at his shack - and offered to sell him fish she had caught. Later,
he caught her stealing (from him and others) and compelled her to
promise not to steal anymore ("I want you to promise not to steal
anymore!...If you stick to your word, I'll try to help you...I might
even get you to pose...half a dollar an hour, take it or leave it")
- by suggesting that he would pay her to be his artistic model. His
first creative work with her was a sand sculpture of Cora, complete
with reddish seaweed pubic hair and coral-shell nipples.
The
unabashed Cora posed as his inspirational
artistic muse, and was featured in several revealing nude scenes. When
she was swimming with her dress on in
the ocean - snorkeling (and spear-fishing), Bradley bargained to
increase her pay to "a
dollar and a half an hour" to strip down while swimming. He
painted her nude figure as he watched her from the boat through a
square glass viewing box.
Later, when she was standing in waist-deep
water first with her purple dress on, he was dissatisfied with her
pose and commanded: "It's the dress. Take it off" - she stripped
off her dress to comply and was completely naked as she posed for
him. He responded: "That's better. That's good." He was very pleased
with the finished painting: "It's better than good, it's alive -
and it's all you. You're a great girl, Cora. It's all on account
of you." He claimed it was the "best work" he ever did.
In the story, Bradley ran into trouble with Cora's
controlling and often gin-swilling, drunken and witchy grandmother
Ma Ryan (Neva Carr-Glyn), who accused him of posing the 'underage'
Cora in the nude and secretly having Cora prostitute herself. He
rightly claimed that it was all innocent: "She posed for me and nothing
else" although she threatened blackmail and vowed to turn him into
the authorities. Cora's ultimate dream goal was to finance her escape
to Brisbane to become a hair stylist, but then found that her grandmother
had located her cache of money's hiding spot and stolen it. As Cora
struggled with her drunken grandmother to get her money back, Ma
Ryan fell off a cliff and broke her neck. Her death was officially
regarded as an accident.
Now without her guardian and believing that Bradley
was broke, Cora offered him her entire savings ("You need it, it's
for you, you've got none left"), but he rejected her liberal offer
of both herself and the money: ("You earned it, you're the best model
I've ever had - it's got to be the best work I ever did too"). She
was upset: "You only want me for the pictures!" - and ran off. He
pursued her as she dove into the nighttime surf and screamed out
to her:
Bradley: "You've given me back my eyes. You've taught
me to love things again, how to be part of life... I'm alive. I'm
a part of - it's all because of you, Cora! Cora! And it's all
because of you. Don't you understand? Don't you?"
Cora: "What are you going to do about it? (laughs) Aye?"
She popped out of the water, lunged at him to embrace
him, and took him under the water with her, as they rolled around together
- the film concluded.
(Andy Warhol's) Blue Movie (1969)
(aka F**k)
During Andy Warhol's heyday in the 1960s and early
1970s (an era sometimes dubbed as "The Golden Age of Porn" and known
for the rise of 'porno chic'), this controversial film was a prime
example. The low-budget feature (at about $3,000) was the first erotic,
adults-only film with explicit, unsimulated sexual scenes that played
in mainstream US theatres. When it was projected in mid-1969
in Warhol's own Garrick Theatre in Greenwich Village for its debut
theatrical release, it was seized by police authorities (and charged
with being obscene), and three of the staff were arrested.
"Blue Movie"
was followed by a second erotic adult film, producer Bill Osco's Mona
(1970) (aka Mona: The Virgin Nymph) (see later entry) with a
more distinct storyline. Warhol considered his film an inspiration for Bernardo
Bertolucci's Last Tango in Paris (1972) , another controversial
film with a similar plot about a couple who often met for dialogue
and sexual intimacy.
The film's title "Blue Movie" had two connotations:
The basically plotless film (with improvised dialogue
interrupted by sex scenes) was shot in one locale (a NYC apartment's
bedroom, bathroom, and kitchen during one afternoon). It starred
two of Warhol's followers, playing themselves:
Random topics discussed by the two protagonists included
the on-going Vietnam War, air pollution, President Nixon, the police,
campus reform, NYC's mayor John Lindsay, and even obtuse subjects
such as the use of strychnine in drugs, Franz Kline's paintings,
oral sex, praying mantises, vivisection, termites, stamp collecting
and the causes of athlete's foot (and gonorrhea).
The heterosexual
sex scenes were undoubtedly considered a form of political (and cultural)
protest - a sign of the times. They also showered, shared a hamburger
meal, horse-played in a bathtub, and watched TV.
The film
ended with a profile of Waldron repeating an affirmation of love
to Viva (who was in the background): "I
love you, I love you, I love you."
Bob & Carol & Ted
& Alice (1969)
Co-writer and director Paul Mazursky's social comedy
(his directorial debut film) with witty dialogue reflected the 'free
love' era of the late 60s sexual revolution. The satirical film was
noted for its publicity - a view of couples in bed together readied
to experience group sex. Budgeted at $2 million, it was both a critical
and commercial success at the box office. Its four non-winning Academy
Award nominations were Best Supporting Actor (Ellio
Alura Jenson New Xxx
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