Vintage Movies Incest
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Vintage Movies Incest
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Date
08.06.2012
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03:03 mins.
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They are brother and sister. And they are lovers. Many historians believe the relationship between expressionist poet Georg Trakl and his sister Grete was more than just platonic. In his new film, 'Tabu', director Christoph Stark takes the incest rumors as given to tell a story of forbidden love.
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“It Felt Good, Didn’t It?”: 8 Vintage Sex Ed Films
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Watching these vintage sex education movies, it would be easy to feel a little smug. Most of them are badly acted, strangely staged, and full of outdated language.
But some people would argue that our contemporary take on sex ed isn't all that much better.
On Wednesday, July 24, Eve Ensler, the writer and activist who created 'The Vagina Monologues' and 'V-Day', is in the red chair .
She'll talk to George about the current state of sex ed, and share her belief that it's letting young people down and contributing to feelings of shame and confusion.
"I interview so many young teenagers, and so many boys have no idea what sex is. They don't have a clue. Girls don't know," she tells George.
"So they get together in sexual misery, right? Somebody jumps on somebody, and the girl goes 'that's what sex is? Oh my god, that's a nightmare, I don't want it.' And it begins the pattern."
Catch the full interview with Ensler tomorrow at 7 pm on CBC Television , and enjoy a squirm-inducing trip down memory lane below.
It's hard to say whether this is a sexual education film or a short horror movie. Either way, it's off-putting.
This is a post-war instructional film on menstruation that mainly focuses on teaching girls about how to use sanitary pads, but also gets into some odd advice: don't get your feet wet while you have your period. Make sure not to catch a chill. And look around for a nice hot drink if you're feeling out of sorts.
It may be a little dated, but one of the most interesting aspects of this film (a sequel of sorts to 'Boy to Man', another educational film released three years earlier) is hearing young women talk informally about their lives. Styles may change, but people are still people.
A Girl's Guide To Menstruation: Go Easy On The Square Dancing
This is the second part of a documentary about menstruation from the 1950s, and it's well worth watching for the pipe-smoking, fight-watching '50s dad (he shows up around the 0:30 mark) and the chart of what kinds of things you can and should do while menstruating (that starts around 5:38). Hair washing? Sure! Square dancing? Maybe not.
Masturbating: It Feels Like A Crime!
You've got to feel a little bad for the young guy who kicks this video off by talking directly to camera about his masturbation habits. It's just the beginning of a very frank and open three-and-a-half-minute odyssey through the sexual insecurities of teenage boys. Watching it in a classroom full of teenage boys must have been tons of fun for everyone.
Sex Outside Of Marriage: It's Irresponsible, And Possibly Disastrous
This circa-1960s video from the UK draws on some pretty questionable "science" to make its point: which is that "sexual intercourse outside of marriage" is "irresponsible, and possibly disastrous." The narrator goes on to say "we're not trying to influence anyone. Facts are our business just now."
Imagine what Dan Savage would have had to say if he was around back then.
Early 1960s Instructions On "Drawing The Line"
It's a little unclear what's going on at the beginning of this video, as two young people sit behind picture frames talking about how attracted they are to one another. It looks a little like an early episode of 'Star Trek', especially when "the line" from the title appears out of nowhere. And then it turns into a heated, and kind of self-aware ("don't get upset! It's only a movie"), round table discussion.
Daniel Reynolds , the YouTube user who uploaded this video, points out that one of the most interesting things about it is that "it reveals what dating used to be like: talking it over with the parents, putting on a suit." In fact, the whole video offers more instruction on how not to screw things up with a girl than on sex itself. An interesting window on another time.
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Jonathan Glazer’s criminally misunderstood second feature Birth combines a sedated surrealism with a powerful meditation on belief and its connection to love and the result is a confrontational and compelling pièce de résistance.
Nicole Kidman is Anna, a Manhattan widow who slowly comes to believe the claims of a ten-year-old boy named Sean, who repeatedly tells her that he is the reincarnation of her late husband, also named Sean, who died suddenly ten years hence.
There’s something histrionic about the emotional insecurity that Birth boldly emblazons, and it makes for something of a malefic love letter, a lamentable billet-doux from a gifted director. Way ahead of its time, Birth is, as A.O. Scott writing for The New York Times puts it, “both spellbinding and heartbreaking, a delicate chamber piece with the large, troubled heart of an opera.”
French New Wave luminary Louis Malle’s controversial coming-of-age story embraces accidental incest in the town of Dijon. Despite its racy and sensational subject matter Murmur of the Heart is a shockingly sensitive, remarkably tender, and tellingly melancholic film that ranks with Malle’s finest work.
15-year-old Laurent Chevalier, played brilliantly by Benoît Ferreux, is in many ways an avatar for Malle –– both suffered from heart murmurs and both opposed the First Indochina War, for starters –– and is often compared favorably to François Truffaut’s likewise autobiographical film, The 400 Blows.
An affectionate and nostalgic tale, full of affection and warmth for its characters and it somehow manages to be virtuous even when it is taboo, Murmur of the Heart beats resolutely.
Of course Stanley Kubrick’s take on Vladimir Nabokov’s incendiary novel was going to make this list of forbidden love films, how could it not? Middle-aged Humbert Humbert (James Mason) becomes obsessed with teenaged Dolores Haze (Sue Lyon), the titular Lolita –– here she’s a 15-year-old, as opposed to the 12-year-old she was in the novel –– and the results, depending on who you ask, are one of Kubrick’s most satisfying films, at least of his early period.
“How did they make a movie out of Lolita?” queried the print ads back in ‘62 and the answer, one supposes, is with pathos, black humor, and tragic transgression. The satire is sticky, as it should be, and while this film is occasionally confused and uneven, it’s still a minor masterpiece from a major talent.
A landmark of fabulist cinematic storytelling from the legendary avant-garde artistic polyglot Jean Cocteau comes the ultimate romantic tragedy, La Belle et la Bête.
A reimagining of the classic fairytale Beauty and the Beast, Cocteau’s version was written by Jeanne-Marie Leprince de Beaumont and focusses on Belle (Josette Day), who’s father (Marcel André) is sentenced to death for plucking a rose from a garden that belongs to Beast (Jean Marais). To spare her father’s life Belle offers herself to the Beast and from their Beast soon falls in love with her.
Astonishing effects, stunning costumes, overpowering visuals, Henri Alekan’s exemplary lensing, dreamy editing techniques, all pulsing and vibrating to its own fevered, weird, and electrical cadence, it’s a frequently nightmarish and ghoulish tear-jerker. And the chemistry between the two leads is beyond question. La Belle et la Bête is one for the ages.
Kazuo Ishiguro’s dystopian sci-fi novel is elegantly adapted into an agonizingly exquisite and hauntingly poetic film of dangerous and unrequited love from director Mark Romanek. Set in an alternate history, a messy love triangle develops at Hailsham, an English boarding school involving orphans Tommy (Andrew Garfield), Ruth (Keira Knightley), and Kathy (Carey Mulligan).
Without giving too much away, a terrible and inescapable fate awaits our protagonists, and their love is more susceptible than any of them know. The twisted, dark, and rancorous world they live in will consume them all, in one way or another, and rarely do tales of lost youth and overwhelmed innocence resonate with such weighty magnitude.
Not only does Romanek do Ishiguro’s book great justice, it gives the audience enough charitable comprehension, sumptuous visuals, and pretty provocations to last a lifetime. Wonderful.
Sexual repression and passionate sympathetic connection lay at the heart of Kimberly Peirce’s award-winning film of real-life trans male Brandon Teena (Hilary Swank, brilliant in an Oscar-winning role).
Brandon’s budding and delicate relationship with Lana Tisdel (Chloë Sevigny) is forbidden in the puritanical Nebraska town where they live, and the abuse, rape, and tragic murder that lays in the shadows of their short-term revelry will break your heart.
While much of Boys Don’t Cry reads as a scathing indictment of American intolerance, as well it should, the stirring emotional heft at its core will stay with you. It is a luminous, tender film, and while it shows horror and tragedy, it also shows great mercy and generous compassion.
Hal Ashby’s heartfelt Harold and Maude is a taboo smashing work of bravado and pitch-dark humor. Bud Cort’s cherub-like visage as Harold Chasen, a death-obsessed young man in his twenties, is a revelation, but Ruth Gordon’s eccentric 79-year-old Maude Chardin, is the free-spirited tour de force that all but steals the show.
The absurd and offbeat love story that follows is melancholic, profound, and happily risqué all the way. Initially a box-office bomb –– like so many movies that are ahead of their time –– that got mixed reviews from critics and audiences, thankfully has received much reassessment over the years, rightly establishing it as something of an underground phenomenon.
Cat Stevens’ memorable score certainly helped authenticate the cult following that now joyously celebrates it. Ashby’s film, much like Maude herself, has overcome uptight contempt and misunderstanding while aging remarkably well. A prize.
Shot in a scant fifteen days, Rainer Werner Fassbinder’s Ali: Fear Eats the Soul is a timeless classic, and a love story of great unshakeable power. Deceptively simple, spare and yet artful, Fassbinder’s film is technically flawless, and 42 years on, has proven to undoubtedly be a cinematic monument.
As with many films on this list, Ali: Fear Eats the Soul is indebted to and pays homage to Douglas Sirk, particular All That Heaven Allows (1955) and Imitation to Love (1958).
Gaining its rich texture from the minutiae of working-class life the film stars Brigitte Mira as a sixty-something German cleaning lady living in Munich and El Hedi ben Salem as Ali, a Moroccan guest worker twenty some years her junior. Their love affair germinates amidst a climate of hostility, racism, ageism, and societal lassitude, but they stay the course, knowing that their happiness will conquer all.
This is a film that fearlessly takes huge risks, is incredibly courageous, and, when all’s said and done, attempts nothing less than to romanticize life’s rich mystery. It will surprise you in delightful ways and you’ll carry it’s warmth with you forever.
Author Bio: Shane Scott-Travis is a film critic, screenwriter, comic book author/illustrator and cineaste. Currently residing in Vancouver, Canada, Shane can often be found at the cinema, the dog park, or off in a corner someplace, paraphrasing Groucho Marx. Follow Shane on Twitter @ShaneScottravis.
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This is common knowledge that parenthood is a very different thing for a man and a woman. “While a woman becomes a mother when she becomes pregnant, a man becomes a father when he looks at his child for the first time.” Though it is said that parents love their children equally, a lot of people will agree that fathers usually favor their daughters. Even if there is no favoritism, fathers are very influential figures in their daughters’ lives in many cases. The complexity of their relationships may arise due to the polarity in their personalities. There is love, and sometimes, there is resentment, too! In any case, one cannot deny that the nature of this relationship is always strong.
With such a complex relationship comes good subject matter. Hollywood has used this theme to create some powerful stories. Following is the list of top father-daughter relationship movies ever made. You can watch some of these best father-daughter movies on Netflix, Hulu, or Amazon Prime. These films deal with both the good and bad of the dad-daughter relationship.
This film might not be an ideal example of how a father-daughter relationship should be. However, it does show how a father influences his daughter’s actions. Jack Slavin lives with his daughter Rose on an isolated island. Jack’s sole reasons for giving up the city life are his heart condition and his environmentalism. He is there for nature but wants to be in contact with other people. His daughter, however, has now gotten used to living alone and doesn’t want anyone else to enter their lives. Things take a complicated turn when Jack invites his girlfriend and her two sons to live with them.
Professor Allen King has hit rock bottom. He has plagiarised his student’s work which means the death of his professional life. In order to pay for his ex-wife’s expenses, he has to find something that can bring him the money. So, he decides to shuttle illegal Mexican immigrants. Sailing goes smoothly for a while until one certain trip threatens to make things worse for him. He is traveling with his teenage daughter, has four illegal Mexicans in his car, and is being chased by US Border Patrol officers.
Rachel Hamilton has a very successful career, mainly because this is the only thing that she is wholly dedicated to. Somehow, she juggles a relationship and is engaged. But, when her fiancée leaves her at the altar, she is forced to take a step back and think about her life. In order to gain control of herself, she decides to go on the honeymoon that they had planned. And her estranged father, unexpectedly, becomes a part of this trip.
Matthew King is a trustee of a very valuable piece of land that his cousins want to sell. In addition to facing the pressure from his cousins, Matthew also has to deal with a very complex situation at home. After meeting with an accident, his wife has been rendered comatose, and her affair with another man has recently come to light. Now, Matthew is left with his two daughters, who are dysfunctional in their own way. The three of them travel together to settle with his wife’s past before they pull the plug on her.
This film tells the story of a man with an intellectual disability who tries hard to raise his daughter when his wife abandons them both. As his daughter grows up, she realizes that her father has a condition and is teased by other kids for it. When his parenting abilities are questioned, Sam gets embroiled in a legal process and his daughter is put in a foster home. Sam tries to get his daughter back with the help of a lawyer and his friends.
If there is one thing that troubles/bothers/worries a father, it is the day of his daughter’s wedding. While most fathers look forward to this day, they do struggle with the idea of sharing their daughter with someone else. And then there are a few who just can’t deal with the idea! Stanley Banks faces a similar situation in this film when his daughter, Katherine, tells him about the man she has decided to marry. While
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