Real Sex Scene In Movies
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Real Sex Scene In Movies
Real Sex in the Movies
When What You See Is Not An Act
Sometimes the flesh-to-flesh contact onscreen looks so real, you might wonder if the actors are really doing it. No one can ever be absolutely certain whether they are (or aren’t) except for the participants themselves, of course. But sometimes we have more than an inkling. Here are several examples through the years.
Viewers watching the hit romance An Officer and a Gentleman back in 1982 might have felt there was a certain authenticity to the lovemaking between Richard Gere and Debra Winger. And indeed, rumors circulated about actual sex happening during filming. They were never confirmed, and Winger, to the contrary, often complained about the animosity on set between her and her costar and director, Taylor Hackford. You be the judge:
There was a precedent for such did-they-or-didn’t-they speculation—Nicolas Roeg’s sizzling hot horror movie Don’t Look Now in 1973. Rumors that the sex scene between the onscreen husband and wife played by Julie Christie and Donald Sutherland was authentic spread even before the movie was released. Roeg denied it, but in recent interviews, Christie—though she could be joshing—acknowledged that the rumors were true. In any case, the scene’s erotic charge is extraordinary, and it’s beautifully filmed:
The ’70s were a wild time sexually—it was the era of “porno chic”—and it’s only natural that the movies would reflect that freedom. Even so, it was still shocking when Penthouse mogul Bob Guccione reputedly added real sex scenes to an orgy depicted in Caligula (1979), an epic spectacular of ancient Roman debauchery. And when Melvin Van Peebles allegedly had sex onscreen with real prostitutes in the black-power fable Sweet Sweetback’s Badassssss Song (1971), it just added to the movie’s street cred. Perhaps the most familiar example to art-house audiences at the time was Nagisa Oshima’s period Japanese romance In the Realm of the Senses (1976): it’s two leads are visibly having intercourse in at least two scenes.
In most people’s eyes, the proof of honest-to-God sex was an erect penis and penetration, so it’s not surprising that films catering to the gay male audience were pioneers. Jean Genet included some unsimulated male-to-male fondling in his avant-garde 1950 short film Un Chant d’amour (“Song of Love”). In John Waters’s trailblazing no-budget indie Pink Flamingos (1972), the drag queen Divine gives the actor playing her son a very demonstrative blow-job. The ultra-liberated German gay film Taxi Zum Klo (1980) contained a scene that openly showed anal sex between two men and ejaculation. And John Cameron Mitchell’s light-heartedly unsimulated Shortbus (2006)—which has sex of all stripes: hetero, lesbian and gay—features an all-male threesome in which one guy memorably hums “The Star-Spangled Banner” while rimming another.
Two recent gay and lesbian films from France add real sex to heighten the drama, and the effect is tantalizing. Stranger by the Lake (2014) is a Hitchcockian thriller that shows gay men cruising at an isolated lakeside, hooking up, and killing one another; though the sex acts are real, body doubles are subbed in during close-ups. The ineffably romantic lesbian drama, Blue Is the Warmest Color (2013), amps up the emotional intensity of its three-hour length by shooting entire scenes in close-up, including the sex. The filmmaker and actresses claim that prosthetic genitalia covered the real thing, but what’s onscreen looks anything but simulated.
Two notorious instances of real oral sex in art films ended up being more of a distraction than an enhancement to the films in which they were included. In the sexually subversive Devil in the Flesh (1986), the Dutch actress Maruschka Detmers very publicly (in court) fellates her young paramour, and movie audiences and critics couldn’t seem to talk about anything else. Likewise, in Vincent Gallo’s moody indie The Brown Bunny (2003), Chloë Sevigny—Gallo’s real-life girlfriend at the time—swallows his erect penis onscreen and that became the movie’s claim to fame. Here are the moments leading up to it:
In art films, it’s all about the filmmaker. Catherine Breillat, a French director with an intellectual bent, had an eye for Rocco Siffredi, an amply endowed Italian adult-film actor. In two of her films, Romance (1999) and Anatomy of Hell (2003), Siffredi appears impressively hard in sex scenes. Other than Siffredi’s performance, Breillat says, the sex in her films is simulated or body doubles are employed. In a similar vein, Danish provocateur Lars Von Trier obsesses on female sexuality—both ecstatic and masochistic—in his two-part marathon Nymphomania (2013), which stars, among others, Shia LaBeouf and Charlotte Gainsbourg. And when the sex gets graphic, Von Trier resorts to body doubles and prosthetic penises. Whatever the intended effect, the explicitness of these movies comes off as more of a political statement than a turn-on.
Sometimes real sex can actually make storytelling more sensuous and tactile. The 2015 film Love is a case in point. Its director, the always-provocative Gaspar Noé, usually deals with extreme violence and sexual depravity, but this time out he plays nice. The male lead, Karl Glusman, performs a few scenes visibly hard and even ejaculates, and the scenes he shares with two very beautiful women have genuine heat. Less hot but unusually intimate, the British relationship movie 9 Songs (2004) unfolds like an improvisational exercise. Young and attractive actors Kieren O’Brien and Margo Stilley make love in their flat—and it’s clear that they really do it—then go out to a rock concert, over and over again. Since it’s shot like a documentary, in such a way that the “acting” and the camera are invisible, we get incredibly close without really knowing the characters well. It’s all intuitive.
The addition of real sex can shatter the illusion a movie is trying to create: it can force you to think about the actors as actors, and not the characters they are playing. But for a talent like Mark Rylance—a trained British theater actor, currently in Spielberg’s Bridge of Spies and on TV in Wolf Hall —that’s not a problem. In the remarkable movie Intimacy (2001), he plays a man having an affair with a married woman (Kerry Fox) he barely knows. She enjoys the feral sex they share, and the oral sex we actually see her perform and the real erection he displays only underline the nature of their connection. It transforms Rylance’s character, and the movie, directed by Patrice Chéreau, will leave a powerful imprint on anyone who sees it.
© 2022 PROVOKR. All Rights Reserved.
Be the first to get steamy
insider stories from
Entertainment and the Arts
Real Sex in the Movies
When What You See Is Not An Act
Sometimes the flesh-to-flesh contact onscreen looks so real, you might wonder if the actors are really doing it. No one can ever be absolutely certain whether they are (or aren’t) except for the participants themselves, of course. But sometimes we have more than an inkling. Here are several examples through the years.
Viewers watching the hit romance An Officer and a Gentleman back in 1982 might have felt there was a certain authenticity to the lovemaking between Richard Gere and Debra Winger. And indeed, rumors circulated about actual sex happening during filming. They were never confirmed, and Winger, to the contrary, often complained about the animosity on set between her and her costar and director, Taylor Hackford. You be the judge:
There was a precedent for such did-they-or-didn’t-they speculation—Nicolas Roeg’s sizzling hot horror movie Don’t Look Now in 1973. Rumors that the sex scene between the onscreen husband and wife played by Julie Christie and Donald Sutherland was authentic spread even before the movie was released. Roeg denied it, but in recent interviews, Christie—though she could be joshing—acknowledged that the rumors were true. In any case, the scene’s erotic charge is extraordinary, and it’s beautifully filmed:
The ’70s were a wild time sexually—it was the era of “porno chic”—and it’s only natural that the movies would reflect that freedom. Even so, it was still shocking when Penthouse mogul Bob Guccione reputedly added real sex scenes to an orgy depicted in Caligula (1979), an epic spectacular of ancient Roman debauchery. And when Melvin Van Peebles allegedly had sex onscreen with real prostitutes in the black-power fable Sweet Sweetback’s Badassssss Song (1971), it just added to the movie’s street cred. Perhaps the most familiar example to art-house audiences at the time was Nagisa Oshima’s period Japanese romance In the Realm of the Senses (1976): it’s two leads are visibly having intercourse in at least two scenes.
In most people’s eyes, the proof of honest-to-God sex was an erect penis and penetration, so it’s not surprising that films catering to the gay male audience were pioneers. Jean Genet included some unsimulated male-to-male fondling in his avant-garde 1950 short film Un Chant d’amour (“Song of Love”). In John Waters’s trailblazing no-budget indie Pink Flamingos (1972), the drag queen Divine gives the actor playing her son a very demonstrative blow-job. The ultra-liberated German gay film Taxi Zum Klo (1980) contained a scene that openly showed anal sex between two men and ejaculation. And John Cameron Mitchell’s light-heartedly unsimulated Shortbus (2006)—which has sex of all stripes: hetero, lesbian and gay—features an all-male threesome in which one guy memorably hums “The Star-Spangled Banner” while rimming another.
Two recent gay and lesbian films from France add real sex to heighten the drama, and the effect is tantalizing. Stranger by the Lake (2014) is a Hitchcockian thriller that shows gay men cruising at an isolated lakeside, hooking up, and killing one another; though the sex acts are real, body doubles are subbed in during close-ups. The ineffably romantic lesbian drama, Blue Is the Warmest Color (2013), amps up the emotional intensity of its three-hour length by shooting entire scenes in close-up, including the sex. The filmmaker and actresses claim that prosthetic genitalia covered the real thing, but what’s onscreen looks anything but simulated.
Two notorious instances of real oral sex in art films ended up being more of a distraction than an enhancement to the films in which they were included. In the sexually subversive Devil in the Flesh (1986), the Dutch actress Maruschka Detmers very publicly (in court) fellates her young paramour, and movie audiences and critics couldn’t seem to talk about anything else. Likewise, in Vincent Gallo’s moody indie The Brown Bunny (2003), Chloë Sevigny—Gallo’s real-life girlfriend at the time—swallows his erect penis onscreen and that became the movie’s claim to fame. Here are the moments leading up to it:
In art films, it’s all about the filmmaker. Catherine Breillat, a French director with an intellectual bent, had an eye for Rocco Siffredi, an amply endowed Italian adult-film actor. In two of her films, Romance (1999) and Anatomy of Hell (2003), Siffredi appears impressively hard in sex scenes. Other than Siffredi’s performance, Breillat says, the sex in her films is simulated or body doubles are employed. In a similar vein, Danish provocateur Lars Von Trier obsesses on female sexuality—both ecstatic and masochistic—in his two-part marathon Nymphomania (2013), which stars, among others, Shia LaBeouf and Charlotte Gainsbourg. And when the sex gets graphic, Von Trier resorts to body doubles and prosthetic penises. Whatever the intended effect, the explicitness of these movies comes off as more of a political statement than a turn-on.
Sometimes real sex can actually make storytelling more sensuous and tactile. The 2015 film Love is a case in point. Its director, the always-provocative Gaspar Noé, usually deals with extreme violence and sexual depravity, but this time out he plays nice. The male lead, Karl Glusman, performs a few scenes visibly hard and even ejaculates, and the scenes he shares with two very beautiful women have genuine heat. Less hot but unusually intimate, the British relationship movie 9 Songs (2004) unfolds like an improvisational exercise. Young and attractive actors Kieren O’Brien and Margo Stilley make love in their flat—and it’s clear that they really do it—then go out to a rock concert, over and over again. Since it’s shot like a documentary, in such a way that the “acting” and the camera are invisible, we get incredibly close without really knowing the characters well. It’s all intuitive.
The addition of real sex can shatter the illusion a movie is trying to create: it can force you to think about the actors as actors, and not the characters they are playing. But for a talent like Mark Rylance—a trained British theater actor, currently in Spielberg’s Bridge of Spies and on TV in Wolf Hall —that’s not a problem. In the remarkable movie Intimacy (2001), he plays a man having an affair with a married woman (Kerry Fox) he barely knows. She enjoys the feral sex they share, and the oral sex we actually see her perform and the real erection he displays only underline the nature of their connection. It transforms Rylance’s character, and the movie, directed by Patrice Chéreau, will leave a powerful imprint on anyone who sees it.
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TV and Movies · Posted on Dec 5, 2020
2.
Robert Pattinson, when called on to simulate masturbating in the 2008 film Little Ashes , felt his efforts weren't coming off realistic enough, so he went ahead and did the deed on camera.
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Most people when watching these movies: "How was this allowed?!"
The experimental movie is about a motorcycle racer (Gallo) who is haunted by tragic memories of a former girlfriend (Sevigny), but it's most known for that scene and its reception at the Cannes Film festival (more on that later).
Gallo, who also wrote and directed the movie, told Film Freak Central that he pitched the project to Sevigny (with whom he'd had a previous relationship of sorts) by saying, "Remember that night in Paris when I did that thing to you but you didn't do it to me because you weren't so into it? Well, you might have to do that. On film." He went on to say that, to his eyes, the scene was needed to demonstrate the connection between male sexuality and self-loathing.
That Sevigny agreed to be in a sure-to-be-notorious scene was surprising, considering that she was a well-known, Academy Award–nominated actor, but she stood by her decision over a decade later.
“I’d probably still do it today. I believe in Vincent as an artist, and I stand by the film,” she told Variety in 2016, adding, “It was a subversive act. It was a risk."
Unfortunately, the risk didn't quite pay off. The debut screening of the film at the Cannes Film Festival ended in massive boos, with famed film critic Roger Ebert calling it the worst film ever shown at the festival.
If masturbating on the set of a major motion picture sounds surreal, perhaps it's fitting that Pattinson was playing surrealist painter Salvador Dalí.
In a 2013 interview with Germany's Interview magazine, Pattinson revealed that his authentic orgasm face is captured in the film. When asked why he didn't simply pretend, Pattinson replied, "Try it. I can tell you right now, no chance. It just doesn’t work." He went on to say that he was worried the scene might ruin his career, but very shortly after production wrapped, he got the call telling him that he'd been cast in Twilight .
Fortuitously, it seems that Pattinson's acting chops have improved since those early days of his career. He has since successfully simulated masturbation in four movies: High Life , Damsel , The Devil All the Time , and The Lighthouse .
Gaspar Noé's film about a young couple whose relationship takes a turn when they invite a third person into their bed didn't make a huge splash upon its release. But five years later, it hit Netflix's Top 10 after the TikTok challenge — where people filmed themselves watching the opening scene without knowing anything about the film — took off. (Sorry, folks, Love is no longer on Netflix, but the film starts with the couple totally naked in bed, pleasuring each other to climax with their hands. It's no Indiana Jones entering a Peruvian temple to retrieve a golden idol, but it's still a helluva a way to start a film!)
Noé told Esquire that despite all the unsimulated sex, the actors did not prepare by having practice sex. "They kissed for the first time on the first day of shooting. And in the movie, most scenes are real, but some are simulated. We don't want to promote what is what."
Producer Louise Vesth explained to the Hollywood Reporter prior to the film's release that the production had the stars simulate their sex scenes, then brought in body doubles to film the same sex scenes unsimulated. Later, in postproduction, they used digital effects to combine the two. “So above the waist, it will be the star, and below the waist, it will be the doubles,” Vesth said.
The production originally presented itself like a straightforward, albeit sexy take on Roman history, but once production wrapped and director Tinto Brass and his acclaimed stars went home, Guccione sneaked back onto the set with a crew of Penthouse pets and filmed a bunch of orgiastic scenes featuring real, unsimulated sex and added them throughout the final film.
The released film — now bloated to nearly three hours — did very well in Italian theaters before it was confiscated by authorities for being obscene. In America, the film grossed $23 million (making it the highest-grossing independent film ever at the time) but faced many obscenity lawsuits.
This film by Mitchell — the co-creator and original star of Hedwig and the Angry Inch — was about a diverse group of young people trying to find their place in New York. Mitchell told Medium, "I wanted to work with real sex as part of the story, as it is in our lives — we don’t cut away the first time we have sex with someone we are in love with. ... So Shortbus was an experiment, and the actors would have to be very special actors who’d want to go there with me and trust me. We worked with them for two and a half years before we filmed it."
The film's stars, Margo Stilley and Kieran O'Brien, do almost everything that can be done in the film. Beyond the foot job, they masturbate with and without a vibrator and perform fellatio, and O'Brien even ejaculates onscreen.
In the end, though, all the sexual fireworks didn't impress critics or viewers. The critics' consensus on Rotten Tomatoes is, "The unerotic sex scenes quickly become tedious to watch, and the lovers lack the personality necessary to make viewers care about them."
Today Warhol is best remembered as the revolutionary pop artist behind iconic silk-screened paintings of Campbell's Soup cans and Marilyn Monroe, but he was a prolific filmmaker. His films, however, rarely looked anything like what most people imagine a film to look like. His five-and-a-half-hour film Sleep , for example, was entirely made up of footage of his boyfriend asleep.
The plot of the 133-minute Blue Movie was a little more involved, but pretty simple: A couple (played by Viva and Louis Walden) hang out in their New York apartment. They chat about things like the Vietnam War, cook, shower, and, finally, have unsimulated sex.
The movie debuted
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