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The cheeky British sex comedy, French erotica, the Japanese ‘pink’ movie – all flourished during a time of relaxing morality. Films from Hollywood’s erotic cycle of the 1980s and 1990s (Nine ½ Weeks, 1986; Wild Orchid, 1989) feature scenes of almost absurd abstraction: full of floating white curtains, bad saxophone music and lots of unconvincing heavy panting, they’re some of the most neutered sex scenes in recent cinema.Despite the widespread feeling that we’re all now desensitised to sexual imagery, the media attention for films such as Nymph()maniac in 2014 or Fifty Shades of Grey in 2015 proves there’s still something about sex in the cinema that gets us all a bit hot under the collar.
The films he directed were made with a keen eye on what was permissible at the time, ranging from glossy but softcore adaptations of the classics (Carmen Baby, Camille 2000) to what are still regarded as the artistic high points of the mid-70s ‘porno chic’ explosion (especially The Opening of Misty Beethoven).19 – are closer to contemporary Gainsborough melodramas than to other, more sober, state-sponsored health warnings of the 1940s, which were invariably directed at male soldiers serving on the front.From his very first, surrealist short, Un chien andalou (1929), Luis Buñuel worked to strip away the idea of a concrete, objective reality, preferring to show how our dreams and subconscious desires overrun and erupt out of the everyday.But when they entice her back to their ostentatious château to show her the film, the actress’s face is no longer visible, while her double proceeds to seduce everyone (including the wife’s grown-up son) in turn – most memorably in a library whose floor is decorated with dictionary definitions of sexual terms.Dubbed ‘the godfather of gay porn’, Peter de Rome began his erotica career in the 1960s shooting Super 8 films for private viewing.One client in particular is a source of enduring mystery: the Japanese businessman who brings along a small box.
Mischievously, Buñuel never shows us what’s inside (a creature? ), but whatever it is appears to help bring Séverine to delirious orgasm.Here are 10 of the most illustrious notches on the bedposts of film history.“It couldn’t happen to me,” shrieks Joan in stunned disbelief on learning from her doctor that she has contracted syphilis.In this postwar short for the Ministry of Health (available on the BFI Player and on the BFI DVD The Birds and the Bees), director J. Holmes, who was instrumental in the development of the story documentary, draws on the quintessential ingredients of ‘women’s films’ to ram home the message that marriage and motherhood are the right path to follow.What’s curious here is that while contemporary commercial features would have necessarily deployed a clever euphemistic device to skirt around the unsavoury medical issue at hand, this pithy but potent family drama addresses it head-on, much to the dismay of poor wayward Joan.Its Italian star, Lucia Modugno, was not quite the sylph-like maiden beloved of the glossies at the time and she struggles to convince as the innocent abroad who falls into the hands of the corrupt and corrupting media.