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sexpositions
Dec. 3, 2014
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Welcome to Sexpositions, a weeklong Vulture celebration of sex scenes in movies and on TV.
Sex scenes have a rich, varied tradition in the cinema. They’ve gone through periods of near-ubiquity, as well as scarcity. In the 1960s and ‘70s, they were often used for shock value and to shake viewer complacency. In the 1980s, they were commodified in startling ways. These days, they tend to be relatively rare. But sex scenes have also been important — whether in the development of the cinematic idiom, or sparking controversy, or just plain helping break new ground in depicting intimacy. Some of the scenes on this list are seminal moments in film history (for better and for worse). Some are flash points that wound up changing our culture in interesting ways. Some came to represent nefarious, exploitative trends. And some are just unforgettable scenes that informed what came after them. It’s a mixed bunch. Here are the 30 Most Important Sex Scenes in Movie History .
In this 1933 Czech film, the great Hedy Lamarr plays a young, frustrated bride who flees her marriage to a wealthy, impotent older man and finds love and lust in the arms of a virile engineer. This may have been the first documented sex scene in cinema. But interestingly, although the film itself contains copious nudity (including a famous, extended scene of Lamarr skinny-dipping) the sex scene itself is largely demure. That’s not to say it’s not erotic, however. Indeed, by focusing largely on the characters’ faces (and by showing Lamarr’s character achieving orgasm — probably another first for cinema), director Gustav Machaty conveys the thrill of intimacy.
This 1988 film, released at the height of perestroika , made waves in both the USSR and the West for being (reportedly) the first Soviet film to feature a naked sex scene. It’s a drab little melodrama of two star-crossed young lovers whose families do not approve of their relationship, but the scenes of intimacy between star Natalya Negoda and Andrei Sokolov are earthy and lived-in — a far cry from the slick sex scenes of Hollywood. (That didn’t keep star Negoda from posing in Playboy , of course.)
Hey, remember The Brown Bunny ? Back when it was released, Vincent Gallo’s arthouse provocation was known for two things: Being blasted at Cannes by critics (particularly by the late Roger Ebert, who would later praise Gallo’s final, shorter cut) and for its allegedly unsimulated, lengthy scene of fellatio by Chloë Sevigny. Was it unsimulated? Who can say. Some say Gallo was using a prosthetic; Gallo (of course) claims he was not. The film wasn’t exactly a smash, but the scene, though explicit, is both creepy and touching — a fantasy of a sad, final encounter that haunts the tormented, silent protagonist.
William Friedkin’s 1980 crime thriller, in which undercover cop Al Pacino infiltrates New York’s underground S&M scene to uncover a serial killer and — being Al Pacino — goes in too far, generated a lot of controversy. Many in the gay community felt the film was homophobic and were worried about the portrait of homosexuals in the film. Even though the film was based on a real case and was mostly a genre movie, Friedkin himself understood their concerns. In an interview last year , he told us: “[T]he timing of it was difficult because of what had been happening to gay people … Cruising came out around a time that gay liberation had made enormous strides among the general public. It also came out around the same time that AIDS was given a name … But many critics who wrote for gay publications or the underground press felt that the film was not the best foot forward as far as gay liberation was concerned, and they were right.”
This politically engaged, borderline experimental Swedish film seems rather tame by today’s standards. But in the late ‘60s, it became the biggest foreign hit on U.S. shores, thanks to its somewhat explicit scenes featuring the film’s protagonist, Lena Nyman, a sexually liberated student. The film is a docu-narrative hybrid, so it’s rarely clear if what we’re seeing onscreen is real or staged. But what really intrigued audiences (and outraged censors) was a scene where Lena kisses a boyfriend’s limp penis. Full-frontal male nudity was not something one saw in mainstream theaters in the U.S. at the time. (If you’re curious to learn more, we wrote about it here .)
True, much of the controversy over Stanley Kubrick’s final film centered on the infamous orgy sequence (and the digital images inserted at key moments to mask potentially NC-17-inspiring nudity). But it could be argued that the early, looking-in-the-mirror sex scene between Tom Cruise and Nicole Kidman was more significant. First, it’s beautiful, and it elegantly captures the film’s through-the-looking-glass atmosphere. But it’s also important because this scene also served as the film’s trailer, and by foregrounding the sex to such a degree, it may have (along with unfounded and inaccurate rumors from the set) helped raise expectations that Kubrick’s final work would be some kind of mythically explicit fuck-fest. That then set up many critics and audiences for inevitable disappointment, when they discovered that the film was, indeed, a curiously old-fashioned thriller that was uninterested in titillation or breaking taboos. Still, this scene’s kind of great. Cruise and Kidman never particularly had much chemistry, but here, Kubrick seems to play off that idea: She’s more interested in seeing herself than she is in him, and the look of urgency on his face is more that of a man in desperation than it is one of arousal or love. This scene helps unlock the movie’s many mysteries.
Philip Kaufman’s erotic, literary drama about the love affair between Henry Miller (a comically bald-capped Fred Ward), his wife June (Uma Thurman), and Anaïs Nin (Maria de Medeiros) isn’t exactly thought of as one of the director’s strongest films. (Remember, this is the man who made The Right Stuff .) But its historical significance cannot be denied: This was the film that earned the MPAA’s first NC-17, a rating that was created after they realized that the X rating, which had been appropriated by the porn industry, just wasn’t cutting it. The film has several lengthy sex scenes, but the one that reportedly flipped the MPAA out was a scene in a brothel where Anaïs Nin, after falling for June Miller, selects two girls who look like her and June, and makes them have sex with each other. At one point, the blonde girl looks up and asks Anaïs if she wants something different. “Yes, stop pretending to be a man,” Anaïs responds, at which point the girl starts to go down on the other one.
Let’s face it, this is a terrible movie. But the infamous “food scene” — in which Mickey Rourke makes Kim Basinger close her eyes and makes her taste various suggestive foodstuffs, strawberries, honey, etc. — is really kind of unforgettable. And totally devoid of nudity or anything explicit. So, is it a sex scene? Well, ask yourself this: Could it possibly be anything else?
This much-acclaimed, and occasionally quite reviled, drama about the relationship between a tough deputy prison warden (Billy Bob Thornton) and the widow (Halle Berry) of a convict whose execution he oversaw is steeped in fear, desperation, and tragedy. The two characters are brought together by profound grief, with one bottling it in and the other letting it out. That’s one reason why the film’s pivotal, controversial, drunken sex scene — with Berry’s character repeatedly moaning, “Make me feel good!” — might be its most powerful moment. It might also be why so many people find the scene offensive and debasing. Of course, the character is debased at this moment — debased, vulnerable, needy. It’s a troubling scene, to be sure. But credit where it’s due: Berry plays it perfectly and won a well-deserved Oscar for the role.
When Michael Biehn’s soldier from the future and Linda Hamilton’s victimized party girl stop for some hot ‘n heavy action right in the middle of fleeing from indestructible killer robot Arnold Schwarzenegger, it feels at first like a moment of gratuitous sex tossed into the middle of a typical ‘80s action movie. And maybe it is, to some extent. But The Terminator didn’t turn out to be any old ‘80s action movie, and director James Cameron wasn’t your typical action director. The film became a massive hit that spawned a decades-old franchise (with a new one coming out next summer) and a fairly elaborate, time-hopping mythology. Most of that mythology involves one John Connor, leader of the human resistance against the machines in the future. And this sex scene turns out to be the moment of John Connor’s conception — meaning that the entire Terminator universe somehow revolves around it.
Derek Cianfrance’s tormented indie romance starring Ryan Gosling and Michelle Williams is passionate and tragic, intercutting the highs of young love with the pathetic despair of divorce; the sex, which alternates between exciting and depressing, helps to punctuate the characters’ journey. But even though nothing in this movie is explicit, the film was originally slapped with an NC-17 for a scene of Gosling going down on Williams, which serves to highlight just how insanely hypocritical the MPAA often is. (Gosling himself lashed out at the ratings board, noting that men receive oral sex in films all the time, and that this double standard over a woman being on the receiving end of such a scene was outrageous.)
As a mildly corrupt but fundamentally decent New Orleans cop and the repressed district attorney investigating him, Dennis Quaid and Ellen Barkin were the last word in romantic chemistry in the 1980s, thanks to the intensely erotic sex scene in Jim McBride’s wild, atmospheric crime thriller. Fascinatingly, the scene also turned Barkin’s image around virtually overnight. Previously, she had been cast mostly in mousy, repressed roles, in part because execs and agents didn’t find her pretty or sexy enough. Such was the power of The Big Easy that right afterwards, Barkin wound up getting typecast as a sexpot.
John Cameron Mitchell’s notorious celebration of New York’s outsider/alternate sexual culture — a communal world of changing partners, mutating genders, and fluid sexual preferences — is a libertine cri de coeur , full of scenes that thumb their noses at propriety and conservatism. As such, it’s also a deeply political film: “It’s everything you need to get through the next two years of Bush,” Mitchell said about it at the time. But the film isn’t meant to titillate or outrage; it’s distinguished by the generosity with which it depicts even its most inhibited characters. But we can’t just pick one scene; the whole film kind of qualifies for this list.
In classic film noir (such as The Big Sleep , To Have and Have Not , and Double Indemnity ), sex was confined largely to innuendo and subtle wordplay. To some extent, that was a response to the conservative production codes of the era, but it also lent the films a kind of latent sexual tension: We couldn’t see the characters having sex, so we imagined them having sex for the whole film. But in the ‘70s and ‘80s, we got to see the sex. And in Body Heat , we got to see a lot of it, as William Hurt’s lawyer and Kathleen Turner’s alluring, married socialite found themselves having a torrid, fatal, James M. Cain–ian affair. Indeed, it’s hard to pick one particular sex scene among the many featured in this film, but we’ll go with the mostly clothed one in which Turner, playing vulnerable but never taking her eyes off him, strangely seduces Hurt into breaking into her own house. After 1981, whenever anyone referred to a “steamy legal thriller” — and, curiously, people often did — visions of Body Heat began to dance in everyone’s heads.
The sped-up, long-take threesome set to the William Tell Overture is one of the great extended sight gags in Stanley Kubrick’s oeuvre, and scenes like this helped fuel the film’s controversy. But oddly enough, the sex scene is one of the few non-disturbing elements in this dystopian masterpiece — a film that is otherwise steeped in cruelty, rape, and violence. This might be Kubrick’s darkest film, but it’s also one of his most strangely effervescent. Reportedly, one of the great regrets of the director’s life was that he never got to direct a musical. But watch A Clockwork Orange — and particularly this scene — closely, and you may start to realize that he kind of did.
The silhouetted “blue light” sex scene was pretty much a staple of action and/or thriller movies in the 1980s and 1990s. These scenes didn’t involve much nuance: They were essentially an excuse to watch beautiful people and/or their body doubles get down in the most generic ways imaginable; undistinguished sex was one of the great perks of being a hero in an ‘80s movie. And what better scene to represent this than the one between Kelly MacGillis and Tom Cruise in Top Gun , which now plays almost like a self-parody? As our own Adam Sternbergh put it recently : “[The scene] that notoriously ticks all these boxes is the famous sex scene in Top Gun — no, not the one involving sweat-sheened boys with aviator sunglasses cavorting on the beach playing volleyball. I mean the more traditional sex scene, in which Maverick finally gets busy with Kelly McGillis, among softly billowing curtains in a bedroom that’s backlit like the VIP lounge at a bordello. The song, of course, was ‘Take My Breath Away,’ a soundtrack choice that would feel only slightly less subtle if the track were titled ‘Look at Us, We’re Finally Doing ‘It’ (and ‘It’ Feels Great).’”
Martin Scorsese’s dream project, an epic adaptation of Nikos Kazantzakis’s novel about Christ, was always going to be controversial. Much of the story revolves around Jesus (Willem Dafoe) realizing while on the cross that he isn’t the Messiah, stepping down, and proceeding to lead a normal life and growing old — before it’
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