Sex in Cinema: 1968 Greatest and Most Influential Erotic / Sexual Films and Scenes The History of Sex in Cinema Movie Title/Year and Film/Scene Description Screenshots Barbarella (1968, Fr./It.) This 'adult' sci-fi fantasy sex-capades comedy from French director Roger Vadim (featuring his new wife Jane Fonda) with a screenplay by Terry Southern was edited to receive a PG rating. Based on the French comics by Jean-Claude Forrest, it contained many sexual references, and numerous instances of Barbarella's interstellar love-making. The story set in the 41st century involved Barbarella's journey to a distant galaxy to save humanity. There was a teasing joke about Barbarella experiencing traditional or "old-fashioned" physical-penetrative copulation instead of the latest virtual sex (consumption of exaltation transference pills). The cult film opened with an infamous credits sequence that teasingly stripped French comic-strip heroine Barbarella (Jane Fonda) of her black space-suit outfit in zero gravity. Her gloves, leggings, and then helmet were gradually removed, before she became completely exposed and nude, although often obscured by floating and jiggling white letters.

Barbarella (Jane Fonda): The Opening Credits Sequence The title character also made love with the aid of a gigantic 'orgasmatronic' type machine (an organ of love) - and was sentenced to death by multiple orgasm (delivered by the 'Excessive Machine'). Durand Durand/Concierge (Milo O'Shea) attempted to torture and kill Barbarella with pleasure by orgasmically "playing" her with the euphemistic pipe organ (with the tune "Sonata for Executioner and Various Young Women"). He promised a swift but pleasurable death, as he began playing, and her clothes were expelled: Barbarella: "Oh, oh, what is this thing?" Durand: "You will soon see, my dear. 'Sonata for Executioner and Various Young Women.'" Barbarella: "Hmm. Oh, it's sort of nice, isn't it?" Durand: "Yes, it is nice, in the beginning. Wait until its tune changes. It may change your tune as well." Barbarella: "Oh goodness, what do you mean?" Durand: "When we reach the crescendo, you will die - of pleasure.

Your end will be swift, but sweet, very sweet." To his amazement, she completely enjoyed the lethal experience, exasperating him even further by orgasming. He was aghast at the sexually self-determined female for defeating the machine and causing it to smoke and burst into flames: "I don't believe it. It couldn't be. Wretched, wretched girl. What have you done to my excessive machine. You've undone it. You've undone me. Look, look! Energy cables are shrinking. You've turned them into faggots. You've, you've burned out the excessive machine! You've blown all its fuses!...You've exhausted its power! It couldn't keep up with you. Incredible. What kind of girl are you?! Have you no shame?!...Shame, shame on you!

You'll pay for this!" Barbarella (Jane Fonda) in the Excessive Machine Candy (1968, It./Fr.) Director Christian Marquand's semi-vulgar, hip, 'psychedelic', anti-establishment sex farce was created by scriptwriter Buck Henry from Terry Southern's updated, racy (and supposedly 'unfilmable') 1958 novel (originally based on Voltaire's 18th century Candide). Voltaire's story about Candy was later the basis of two other "adult" porno films by writer/director Gail Palmer, starring Carol Connors: The Erotic Adventures of Candy (1978) and Candy Goes to Hollywood (1979). Nubile, vacuous and sexy nymphet Swedish blonde Ewa Aulin (a former Miss Teen Sweden in 1965 and Miss Teen International in 1966) starred as the title character, high-school student Candy Christian. The naive waif experienced a series of bizarre sexual exploits, misadventures, experiments, and strange erotic encounters with a succession of men.

The big-budget, sexist, and crude film flopped miserably with its misogynistic subplot (now badly dated) that starred big names in mostly embarrassing roles within vignettes, such as: Grindl (Marlon Brando), a fake Hindu mystic guru MacPhisto (Richard Burton), a drunken eccentric Welsh poet Emmanuel (Ringo Starr), a Mexican gardener Brigadier General R.A. Smight (Walter Matthau), a patriotic, sex-starved military general Dr. A.B. Krankheit (James Coburn), a mad New York surgeon Dr. Arnold Dunlap (John Huston), hospital administrator Candy (Ewa Aulin) The Detective (1968) Director Gordon Douglas' frank and adult-oriented crime drama was based on the Roderick Thorpe novel. The film was controversial for its portrayal of homosexuality, star Frank Sinatra's use of the words "penis" and "queer," and the character of Sinatra's sexually-promiscuous ("nymphomania") and estranged wife Karen (Lee Remick). It starred Frank Sinatra as dedicated police sergeant Joe Leland working within a homophobic police force.

It told about his underground investigation of murdered/mutilated wealthy homosexual man Teddy Leikman (James Inman) (due to a dispute between two gays, that led to a wrongful confession and execution of an innocent man). In one overwrought sequence (narrated with a cynical voice-over) now seen as repugnant, a middle-aged tormented homosexual Colin MacIver (William Windom) went to the grungy and dark waterfront docks in search of homosexuals, where he found sinister-looking individuals lounging around and snuggling: "The thought of turning, turning involuntarily into one of them frightened me and made me sick with anger. I went down there. I had heard about the waterfront. People giggle and make jokes about it. I had had only two experiences before, once in college and once in the Army. I thought I had gotten it out of my life, but I hadn't. I looked at them. Is this what I was like? Oh God, twisted faces, outcasts, lives lived in shadows always prey to a million dangers. People don't realize what we go through. I was raised in a family that would not even admit that there was such a thing as a homosexual in this world.

And here I was and I couldn't do anything about it. I couldn't stop." As in a number of similar films in the 60s, the homosexual character met a terrible fate. In a violent scene, after MacIver was picked up at a bar by Leikman, his detestation of homosexuality caused him to kill Leikman and then take his own life. Homosexuals at Dock Flesh (1968) Director Paul Morrissey was responsible for this avante-garde low-budget experimental film from pop artist Andy Warhol. It was one of a trilogy of Morrissey films produced by Andy Warhol: Flesh (1968) Trash (1970) Heat (1972) This cult film was an explicit, X-rated underground film with non-chalant, frequent male nudity (including one of the earliest instances of an erect penis in a non-pornographic film). It also featured transvestite drag queens (i.e., Candy Darling and Jackie Curtis in their film debuts), exotic strippers (including sexploitation actress, "super groupie" and stripper Geri Miller - before breast implants), fellow hustlers and johns.

The film was essentially a candid chronicle of one day in the life of handsome, heroin-addicted bisexual hustler Joe (Joe Dallesandro) in New York City. His objective was to make $200 to pay for an abortion for the pregnant lover-girlfriend Patti (Patti D'Arbanville) of his wife Geri (Geraldine Smith). He also spoke to ex-girlfriend Terry (Geri Miller), a stripper who announced that she was considering breast implants to help get more customers ("I know they're too little, especially for dancing topless"). She also wanted Joe to become more interested in her breasts ("Joe, you don't seem to like them like you used to. Are you turning gay or something?...Well, if you want it, you got it"). Joe (Joe Dallesandro) with Ex-Girlfriend Terry (Geri Miller) In the film's final sequence, Joe was in bed with Geri and Patti when they undressed him, but then they became intimate with each other - while Joe became bored and fell asleep (mirroring his sleeping in the opening scene).

Joe (Joe Dallesandro) with Geri and Patti Greetings (1968) Director Brian DePalma's third feature film (and his first major film) was an episodic, improvisational anti-war (and anti-military) satire of late-1960s events, manners and mores among the 'under-30' counter-culture. It was originally rated X (it was the first film in the US to receive the 'new' X rating, predating I Am Curious - Yellow (1967) by a few months) but later was re-rated to R. Topics in a series of NY based sketches included draft-dodging, free love and computer dating, voyeuristic and amateurish 'peep art' film-making, the JFK assassination and conspiracy theories, Vietnam and politics embodied by LBJ. In one of the film's episodes, JFK conspiracy nut Lloyd Clay (Gerrit Graham) drew diagrams of bullet paths on the nude body of his sleeping girlfriend, a Bronx Secretary (Ashley Oliver) to prove that the doctors provided the Warren Commission with false information.

In another scene after viewing her shoplifting in a bookstore, shy amateur film-maker Jon Rubin (Robert De Niro in his debut film) was able to persuade aspiring actress Linda (Rutanya Alda) to disrobe down to her see-through underwear in front of the camera, for one of his filmed "peep art" shows (to record "a private moment"). She was pretending to be in her apartment - viewed (and filmed) entirely from the perspective of someone watching her undress on her bed through her window. The scene ended when Jon stepped into the frame and joined her in bed. Bronx Secretary (Rutanya Alda) Hugs and Kisses (1968, Swe.) (aka Puss och Kram (1967)) Director Jonas Cornell's notorious parody of Swedish sex comedies was noted for breaking more nudity barriers in its story of friendship - a love triangle between a woman, her husband, and one of his friends. It told of a young, middle-class bohemian couple, Eva (Agneta Ekmanner) and Max (Sven Bertil-Taube), and eccentric young writer John (Hakan Serner) who lived with them.

In the plot, Eva slept with John as a ploy to rid John of his girlfriend - typing instructor Hickan (Lena Granhagen). It included the first extended full frontal view of female genitalia (actually pubic hair). In the 'celebrated' scene, the film's heroine Eva undressed in front of a full-length mirror, wandered around the room and looked at her reflection. Eva (Agneta Ekmanner) if... (1968, UK) This British coming-of-age social drama from Lindsay Anderson was one of the first films to mix color and black-and-white footage in an impressionistic way. It was notorious and controversial for its frontal male nudity (in a shower scene) (excised by censors), female nudity, sex, violence and homosexuality. It was originally X-rated (but subsequently edited and re-rated as R) and most noted for its controversial finale - a violent, vengeful bloody revolt, uprising and shoot-out from the roof of the school building at a conformist British public school (a symbolic microcosm of a repressive Establishment-oriented society) during Founders' Day.

The rebellion was led by anti-authoritarian anarchist Mick Travis (Malcolm McDowell in his debut film role) accompanied by his girlfriend - earlier, he had said: "one man can change the world with a bullet in the right place." In one scene, reportedly the first instance of a full-frontal female nude passed by the British Board of Film Classification, the wife of the House Master Mrs. Kemp (Mary MacLeod) walked down a hallway stark naked (seen in long-shot), and entered the washroom area where she was seen naked from a side-view. In exchange for the stark nudity, the male frontal nudity in the shower scene was excised. In another questioned scene, Mick and friend Wallace (Richard Warwick) went joyriding on a stolen motorcycle during a truant day from school. In a graphic scene in a coffee-shop, Mick rudely flirted with the waitress (Christine Noonan). After she slapped him for stealing a kiss, she came up behind him at the jukebox and animalistically taunted him: "Go on, look at me. I'll kill you. Look at my eyes. Sometimes I stand in front of the mirror and my eyes get bigger and bigger.

I'm like a tiger, I'm like a tigress." Animalistic Sex Between Mick (Malcolm McDowell) and The Girl (Christine Noonan) Their ritualistic mating (using the metaphor of two tigers) was accompanied by growls, sniffs, clawing, hissing, and biting - and suddenly they appeared naked as they rolled around and wrestled each other on the floor (in a ten-second sequence). Mrs. Kemp The Violent Finale Inga (1967, Sw., US release in 1968) (aka Jag - en oskuld (I, a Virgin)) Director Joseph Sarno's daring, X-rated soft-core film (and box-office smash) for the late 60s was a pretentious foreign film art-house import that was a milestone in erotic cinema, although most of its sexuality was implied through facial expressions and cut-aways to off-screen. It was a sexual coming-of-age, soap opera tale that starred beautiful ex-ballerina and star Marie Liljedahl (in her film debut) as an orphaned, nubile 17 year-old virgin named Inga Frilund.

The film told how the orphaned teenager was forced to live with her scheming 36 year-old Aunt Greta Johansson (Monica Strömmerstedt) in Stockholm - and eventually stole away her expensive, live-in young lover Karl Nistad (Casten Lassen) for her own love-making. Its scenes of nudity, masturbation, and intercourse are considered tame today. Liljedahl also starred in the erotic drama Ann and Eve (1970), and in director Jess Franco's Eugenie (1970) (aka Eugenie...the Story of Her Journey Into Perversion), based on one of Marquis de Sade's novels titled Philosophy in the Boudoir, in which she was systematically degraded (drugged, raped, and tortured) and corrupted by her father's mistress/older lover Madame Marianne de St. Ange (Maria Rohm). Due to the successful exploitation of the sex star, a color Inga sequel was made by Sarno, The Seduction of Inga (1971) (aka Inga 2), and released in the US in 1972. Soon after, Liljedahl retired from making films.

[Another young Swedish actress, buxom Christina Lindberg made her film debut in a similar film, titled Maid in Sweden (1971).] Other Films With Marie Liljedahl Ann and Eve (1970) Eugenie...the Story of Her Journey Into Perversion (1970) The Seduction of Inga (1971) Inga (Marie Liljedahl) The Killing of Sister George (1968, UK) Director Robert Aldrich's milestone 'lesbian' film was noted as the first X-rated film by a respected director and actors, and the first film to openly depict a lesbian love scene in a mainstream feature film. [Note: Before this film's release, the German Maedchen in Uniform (1958) was the only lesbian film seen publicly in America, although it wasn't released in the US until 1965).] This film was re-rated a few years later as "R," like most X-rated films in the late 60s.

Two of its scenes brought controversy and demands that the film be banned in several locales: a lengthy scene in a real-life lesbian bar (the Gateways Club in London) a notoriously raw, extended lesbian love-making scene The encounter took place between: closeted TV producer/executive Mercy Croft (Coral Browne) younger, doll-collecting and passive, girlish-acting Alice McNaught (Susannah York) (nicknamed 'Childie') Alice was the live-in lover of aging, often drunk, bull-dyke actress June 'George' Buckridge (Beryl Reid) (she played the 'killed-off' BBC soap-opera character of Sister George in the film's title). In the scene in Alice's apartment bedroom, Mercy opened Alice's blouse to expose her breasts, further caressed and played with her left nipple, then kissed her neck and moved down to her nipple to kiss it, and had her experience an orgasm - until they were both discovered in a mutually-seductive position by an enraged June who argued with Mercy: "The 'poor child' you've got there is a woman. She's 32 -- she had an illegitimate child at 15.

She's got an abandoned daughter who's almost old enough to be of interest to you, Mercy dear." Mercy Croft (Coral Browne) with Alice McNaught (Susannah York) Romeo and Juliet (1968, UK/It.) The Franco Zeffirelli-directed Shakespearean adaptation Romeo and Juliet (1968) appealed to the youthful, counter-cultural generation of the late 60s with its realism, the passion of the lovers, the brief nudity of the couple on their wedding night (morning), and its contemporary feel. Filmed on location in Italy, it was the most commercially successful Shakespeare film and its most entertaining, refreshing and natural rendition - a passionate celebration of young love. It featured the unequivocal sexuality of young teens and star-crossed lovers: Romeo (17 year-old Leonard Whiting) Juliet (16 year-old Olivia Hussey) The two spent one honeymoon night together in the nude in this updated version.

Romeo (Leonard Whiting) And Juliet (Olivia Hussey): Honeymoon Nude Scene There were a few long-held shots of Leonard Whiting's nakedness as he lay in bed with Juliet and then stood by a sunlit window, and a split-second scene of Juliet hastily rolling out of her shared bed. Rosemary's Baby (1968) Polish director Roman Polanski's definitive first American feature film Rosemary's Baby (1968) , his second, scary horror film told about a young newlywed couple who moved into a large, rambling old apartment building in Central Park West, and began a loving, post-honeymoon period. After a nightmarish dream of making love to a Beast, the paranoid, haunted, and hysterical bride believed herself impregnated so that her baby could be used in evil cult rituals.

The young, newly-married 60's couple was: unemployed, struggling actor Guy Woodhouse (Oscar-nominated director and actor John Cassavetes) frail, waifish wife Rosemary (22 year old Mia Farrow) "Dizzy," woozy and disoriented after eating some tainted chocolate mousse (laced with sleeping powder), Rosemary hallucinated a Black Mass, imagining herself on a mattress drifting on the ocean, and then as a passenger on a presidential yacht. Undressed, shivering and naked, and then abruptly wearing a bathing suit, various images assaulted her: the Birth of Man paintings on the Sistine Chapel ceiling, a typhoon at sea, and a naked descent into the hold of the ship, where a fire burned and Rosemary was lying on a mattress. She was surrounded by many chanting, overweight, elderly naked figures (of the Satanists' coven), including Guy and neighbors Roman (Sidney Blackmer) and Minnie (Ruth Gordon) Castevet. A bloody-red liquid was painted with rune designs on Rosemary's bare chest. A person resembling Mrs. John F.

Kennedy (Patricia Ann Conway) who wore a white diaphanous gown descended a staircase and suggested tying her legs down in case of convulsions. Attendants spread her legs apart and bound them. In her dream-like sleep, Guy began making love to her, but then his appearance changed into a grotesque beast-like figure resembling the Devil, with yellowish eyes and clawed, scaly hands. He stroked the length of her body with his hairy claw. While being 'raped' during this horrific ritualistic copulation scene, as everyone watched her having intercourse with the Beast, she realized: "This is no dream, this is really happening." The next morning, Rosemary questioned mysterious scratches she found on the side of her body. She was appalled that Guy admitted making love to her while she was passed out - supposedly from mixing alcohol - "It was kind of fun in a necrophile sort of way." She remembered something quite different from Guy's recollection - a demonic, inhuman rape: Rosemary: "I dreamed someone was raping me, I think from someone inhuman." Guy: "Thanks a lot.

Whatsa matter?" Rosemary: "Nothing." Guy: "I didn't want to miss the night." Rosemary: "We could have done it this morning or tonight. Last night wasn't the only split-second." Guy: "I was a little bit loaded myself, you know." Rosemary (Mia Farrow) The Sergeant (1968) Director John Flynn's controversial, R-rated, sexually-frank and socially-relevant debut film provided an insightful view of repressed homosexuality, in an era when intolerant views were rampant. It was set on a US military base (a petroleum supply depot) in rural post-war France in 1952, where strict Master Sergeant Albert Callan (Rod Steiger) was in charge of the camp. The self-despising, predatory closeted homosexual Sergeant Callan (with "just one weakness, just one" as the trailer put it) became attracted (almost subconsciously) to one of the recruits - handsome young heterosexual PFC Tom Swanson (John Phillip Law).

To keep him close, the self-loathing and tormented Sergeant made Swanson his private orderly room clerk, and jealously refused him passes to date his French girlfriend Solange (Ludmila Mikael). He also was insulting to Swanson about his relationship: "If you want to get laid, why don't you get one of the whores in the meadow?" At one point, half-drunk in a public bar, the Sergeant came up to Swanson, begging: Sergeant: "I need you. I need you. You're everything that counts. You're mine." Swanson: "No, you're wrong." Sergeant: "I'm not wrong. I've been through hell, Swanny, and I'm not gonna go through it again. You're mine." Swanson: "No, you're wrong. Now you listen to me. Now I'm leaving. And I'm asking you please, Sergeant, just leave me alone. Don't follow me and don't come around me." As Swanson departed the bar, the Sergeant grabbed him in a bear hug and boldly and forcefully kissed him on the lips. Swanson punched him in the stomach and pushed him to the floor.

The rejection led to the tortured and miserable title character's further alcohol abuse and suicide with a bullet to his head (with a rifle) in the woods, after he was relieved of his duties. Tom Swanson (Rod Steiger) Therese and Isabelle (1968, W.Ger./Neth./Fr.) Radley Metzger's atmospheric, soft-core, black and white German language tale of self-discovery was based on the racy memoirs of French author Violette Leduc, an admitted lesbian. The film was composed of flashbacks by an older Therese to twenty years earlier during a visit to the school. This was the first and still one of the most realistic treatments of an adolescent lesbian love relationship - between two French boarding schoolgirl classmates (two adult females): Therese (Essy Persson), brunette with pouty lips Isabelle (Anna Gael), blonde with big eyes, older and more confident In addition to the love-making scenes between the two of them, there was one auto-erotic scene and one unpleasant heterosexual experience, both for Therese.

The girls' first sexual experience together occurred clothed in a toilet stall and then in the school chapel, where Therese remembered how they clutched at each other's uniforms, sobbed and grabbed at each other on the floor: "I hugged her with all the strength of my repentance, I breathed her in, I pulled her tight against my belly and made a loincloth for myself. She was melting my ankles and knees into delicious decay. I had burst with warmth like a fruit. I was running with the same liquid sweetness. There were pincers softly tearing at me, oh so softly. I was following everything inside her. I could see with my inner eyes the light in her flesh. In my head, I had a Therese with opened legs straining up to the sky, who was receiving all that I was giving. We hugged to our hearts all the Thereses and Isabelles who would make love to one another later with other names. We rolled intertwined down a slope of shadows. We held our breath so that life and death should come to a halt. I stormed her mouth as one storms a beleaguered city. I was hoping to plunder and destroy both her entrails and my own.

Isabelle cried in panic, but I persevered. Isabelle called for help." Isabelle described her own rising passion before experiencing an overwhelming orgasm and confessing "I love you" to Therese. They also made love naked in bed (when Isabelle delivered oral sex to the reclining Therese) which the narrator described (in voice-over): "She applied herself with such concentration that suddenly, everything became unreal. I thought how much I wanted to give her what she was giving me. My mind focused on her tongue. I didn't know if it was a good thing or a bad thing from her point of view, but if the pearl slipped away from her, she found it again. She was silent, intent on her own sensations. I was receiving what she was receiving. I was Isabelle's. Her efforts, her rhythms were exciting me. The pearl was what she wanted. She was discovering the little male organ all of us have - the eunuch taking hard again. I felt stigmata open my entrails. I gripped Isabelle with a scissor movement of my legs. She became short of saliva. She created more. Suddenly, three fingers entered me. Three guests for the pleasure to cling to.

I had a maddening eel battering itself to death against my inner walls. My eyes heard. My ears saw. Isabelle was injecting me with her own brutality. The rubbing was burning and painful. My limitations were even more painful still. The stubborn finger wakened my flesh. Each of its blows made my pleasure sharper than before. I drew it into myself. I forced it out again. I transformed it into the sex of a dog, red and naked. I was a maddened sun whirling through my flesh. My calves were ripening now that they had drunk their fill. I was wholly softened into an effable pique." Outdoors in the woods, when they both vowed their steadfast love and undying devotion to each other, Therese's voice-over recalled their "irresistible forces." "We sank into unconsciousness, but we remained a single block, opposed to the darkness around us. There was no end to it as I crumbled from bliss to bliss, until I was all dust. Crushed her to me, quivering like the tips of brittle grass in winter. We did it from memory as though we'd caressed one another before we were born.

She was reflecting me, I was reflecting her - two mirrors making love. I listened with her finger to the song my fingers were singing to her. I rocked her, sharpened her, I restored her confidence. Seeping streams of langour, cracks of sweating sweetness, washes of secret delight, walking on the water. I knew what that meant as my thighs glowed in that great river." (l to r): Therese (Essy Persson) and Isabelle (Anna Gael) The Thomas Crown Affair (1968) Director Norman Jewison's caper plot abounded with sexual chemistry, completely overshadowing the modernized remake by director John McTiernan that was attempted in 1999 with Pierce Brosnan and Rene Russo.

The original film was noted for its over 6-minute, erotic, sophisticated, almost wordless chess game (a metaphor for seduction) between the two main characters: Thomas Crown (Steve McQueen), bank heist mastermind and Boston millionaire-playboy insurance investigator-sleuth Vicky Anderson (Faye Dunaway), wearing a sexy backless dress The game began with the lines: Thomas: "Do you play?" Vicky: "Try me." With long pauses between moves during the heated and exciting game (with obvious sexual imagery), they both touched their lips (in close-up), capped with a closeup of her slow fingering of the length and tip of the phallic-shaped bishop chess piece (he smiled knowingly at her). When she had him cornered and in "check," he stood, hesitated, considered his next move, then grabbed her arm and proposed: "Let's play something else." After-Chess Seduction Between Thomas Crown (Steve McQueen) and Vicky (Faye Dunaway) Their seduction scene was filmed with a circling and overhead camera (representing her investigative circling of him), ending with a 70 second kiss that dissolved into a blur of colors, although they eventually double-crossed each other.

[Note: The original film was explicitly reshot in 1999, with art thief Thomas Crown (Pierce Brosnan) and a renamed Catherine Banning (40+ Rene Russo) - but without the chess game. It was replaced with a sexy society ball scene between the two as they danced to a rumba. Catherine appeared in a slinky, black see-through cocktail dress with a red sash. The scene merged into a montage of their sweaty love-making in locations (including in the hallway, on the marble staircase and on Crown's book-covered office desk) throughout Crown's luxurious townhouse.] The Chess Game Vixen! (1968) This over-the-top, definitive Russ Meyer ("King of the Nudies") soft-core sexploitation skin-flick was typical of his independent underground films with aggressive, big-breasted starlets. It was the first of Meyer's films with Vixen in the title, followed by SuperVIXENS (1975), and Beneath the Valley of the Ultravixens (1979). Its various themes included incest, lesbianism, promiscuity, violence, inter-racial rape, and racism - all in one film.

This highly profitable, low-budget film from the independent film producer/director was one of the first US films to receive the newly-formed MPAA's 'X' rating, for its many sex scenes (including Vixen's erotic dance with a dead fish). The film asked about Vixen: "Is She Woman...or Animal?" and provided the tagline: "No trap can hold her...this predator on the loose," while the trailer described its plot: "The story of a girl who loves the joy of being alive, and gives herself innocently to the merry chase of life..." Erica Gavin as Vixen Lesbian Sex with David's Wife Janet It featured dark-haired brunette Erica Gavin as the sexually-voracious, racist, bisexual title character Vixen Palmer, married to naive Canadian bush pilot Tom Palmer (Garth Pillsbury) and living in a remote cabin.

In her first sequence on-screen, she was frolicking in the woods with a Royal Canadian Mountie (Peter Carpenter), and complaining to him as she ripped off the top of her yellow bikini: "Come on, you're taking too damn long." After they had sex and she had to run off, he called her a "cold bitch." When asked what he would do to her if he had the freedom, he replied: "I'd turn you over my knee and spank your bare butt." Illustrative of her sex-crazed, promiscuous, frustrated and incestuous character, Vixen also seduced husband David King (Robert Aiken) who was visiting with his redheaded wife Janet King (Vincenne Wallace), one of the couples who came to their cabin in the woods. On a fishing trip, Dave also had sex with Vixen in the great outdoors after she urged him on: "Well, what are you waiting for?", followed by a nude romp through a stream and more coupling in the water. Later, a drunk, unhappy and depressed Janet (knowing that she was being cheated upon) was also one of Vixen's conquests.

When Janet viewed Vixen undressing, she remarked: "So that's what my husband was after. Not bad, not bad, I gotta admit, that’s not bad at all." Vixen replied: "What you need is some cheering up." As Vixen massaged Janet's breasts, she remarked: "Your skin is so soft. How do you keep it that way?" Janet replied: "I don't use anything special." Vixen was becoming visibly aroused: "I know it's strange, but your body really turns me on" - a prelude to them having lesbian sex. She also showered with her own motor-cycle riding younger brother Judd (Jon Evans) and dared him to have sex with her. But she expressed derogatory attitudes toward his black friend Niles (Harrison Page), a Vietnam War draft-dodger, by often calling him "Rufus" and refusing sex with him. The film ended with an action-packed hijack attempt to Cuba (using Tom's plane) involving communist Irishman O'Bannion (Michael Donovan O'Donnell) and Niles, although it was aborted.

Vixen (Erica Gavin) - Sex with Mountie Janet King Barbarella (1968) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Barbarella, an astronaut from the 41st century, sets out to find and stop the evil scientist Durand Durand, whose Positronic Ray threatens to bring evil back into the galaxy.

Director: Roger Vadim Writers: Jean-Claude Forest (comic "Barbarella") (as Jean Claude Forest), Claude Brulé (collaborating writer) (as Claude Brule) | 7 more credits » Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 33 titles created 29 Aug 2012 a list of 23 titles created 25 Oct 2012 a list of 25 titles created 20 Aug 2013 a list of 23 titles created 04 Jul 2014 a list of 44 titles created 19 Jul 2014 Search for " Barbarella " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Storyline The year is 40,000. After peaceful floating in zero-gravity, astronaut Barbarella lands on the frozen planet Lythion and sets out to find renowned scientist Durand Durand in the City of Night, Sogo, where a new sin is invented every hour.

There, she encounters such objects as the Excessive Machine, a genuine sex organ on which an expert artist of the keyboard, in this case, Durand Durand himself, can drive a victim to death by pleasure, a lesbian queen who can make her fantasies take form in her Chamber of Dreams, and a group of ladies smoking a giant hookah which dispenses Essence of Man through a poor victim struggling in its glass globe. You can not help but be impressed by the special effects crew and the various ways that were found to tear off what minimal clothes our heroine seemed to possess. Written by alfiehitchie See All (230) » Taglines: Who seduces an angel? Who strips in space? Who conveys love by hand? Who gives up the pill? Who takes sex to outer space? Who's the girl of the 21st century? Who nearly dies of pleasure? See more » Genres: 10 October 1968 (USA) See more » Also Known As: Did You Know?

Trivia Dildano's password, "Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch", is the name of a real village in Wales, UK. It's also the UK's longest place name. See more » Goofs When the Earth President greets Barbarella, he raises his left hand palm outward. Barbarella responds with her right hand palm outward. However, when the President farewells her, he does so with his right hand palm outward, and Barbarella responds with her right hand palm outward as well. See more » Quotes [first lines] videophone: Stand by for a message from Dianthus, President of Earth and Rotating Premier of the Sun System. See more » Crazy Credits In the opening credits, the letters in the words move around in an attempt to obscure Barbarella's nudity. See more » Connections (Buffalo, NY) – See all my reviews This is eye candy from start to finish-- *including* one of the most baroque title sequences ever concocted (long before digital technology made this kind of playful titling standard).

It's Franco-Italian design all the way through, a celebration of petroleum products and the best of the lava lamp aesthetic. Hard to tell if it's a parody of sci-fi or a parody of porn, or same difference is probably the point. There are some very stylized, sadomasochistic uses of Jane Fonda's long legs, at the same time that Fonda delivers the wittiest lines, in a very witty screenplay by Terry Southern (of Doctor Strangelove fame): "Decrucify my angel immediately!" (Kids, see if you can spot the Chucky in this 1968 precursor.) Skeptics should stay the course to learn what Duran Duran has to do with Barbarella. And Barbarella with the Black Queen. And the Black Queen with the Rolling Stones. And if you don't know what camp is, then you have to see Barbarella: even if the film is more sublime than camp, a kind of psychedelic Brechtian fantasia. (If that's not a contradiction in terms, then this isn't on my sci-fi shortlist.) One to own, to watch again and again. 101 of 131 people found this review helpful. Was this review helpful to you?

Yes Audience Reviews for Barbarella ½ Few films are as much 60s as this. From the soundtrack and songs or the entire production design to the message and characters. Of course it's incredibly dated from today's point of view and the plot is nothing special. But some parts are so obscure, funny and weird you can't help but be entertained. And at least they made an effort with their set pieces. It also helps that Fonda is incredibly beautiful and charming. Odd nonsense, but unique. Jens S. Super Reviewer A film that divides even the best lovers of camp and filth, Barbarella is a complicated film to review but an intoxicating one to watch. Far less than a real tale of a strong female warrior in the depths of space, Fonda's performance is one of innocence and sexual unrest. In her physical prime at the time, not much of the film is about the exploits of this space assassin and much more of it circles her body and the sexual shenanigans she gets herself into. Barbarella isn't even a real character, but more a sex addict with a capacity for learning that spans the length of her own petite hand.

She always seems surprised or discombobulated, and she's supposed to be the professional asskicker that the film bodes. Though Barbarella isn't the crusading feminist icon I was hoping for, she is an interesting character, in that she finds interesting worlds and people to engage with. Little of the story makes proper sense and it really doesn't matter, because it's about the exploits of Barbarella. There are at least four sex scenes within the film, and plenty more alluded to and partially shown. She has sex with furry mountain men, angels, machines, and through futuristic means. She always seems surprised by what she's doing, but always willing, never satisfied by either her conquering of worlds or foreplay. The worlds she moves between often consist of partially nude nymphs, with alien exteriors. Though most of this is fun frolicking, there is consistently an ick factor: the time period. The sixties had a lot of it and it is reflected in the cheaply made sets, the tone deaf score and music, including that Tom Jones rip-off theme song, and the dialogue, filled with the overbearing "groovy"s and "great man"s of the day.

There wasn't any womanly pride, no trace of feminism, but certainly the overtones of sexual revolution and reinvention. It is certainly a great film to see for the progression in Fonda's career or if you like kinky, exploitative, cheap, sci-fi from the sixties. Spencer S. Super Reviewer Based on some comic book I've never heard of, this is swingin' 60s campy sci-fi schlock romp about a gorgeous (and ditzy) outer space agent named Barbarella who is sent to search for a missing inventor and stop any evil threatening to wreak havoc upon the galaxy. Barbarella is basically a bubbly female James Bond who wears a number of different skin tight space outfits, and somehow usually finds a way to lose varying degrees of said outfits throughout the course of her adventure.. In fact, the movie gets kicked off by having our title character float around in zero gravity and strip her clothes off as the opening credits "try" to cover up some of her more naughty bits. This is not really a good movie, and it is quite campy, silly, and dumb, but even then, it is quite entertaining, and reasonably fun.

The set and costume designs are really cheeky, the music is typical 60s poon palace music, and, despite not doing that great of an acting job, Jane Fonda definitely has a wonderful, likable, and certainly memorable presence as the title character. I also loved the hardly subtle dirty humor and sexual undertones here, definitely making this a product of its time. If you're bored and want to kill some time (and maybe a couple of brain cells), and don't mind settling for dopey crap, then this would be a wise choice for viewing. It's not great, but it does at least put forth a little bit of effort, even if it ultimately comes up short. Chris Weber Super Reviewer Curvaceous Barbarella flies across the galaxy in her swinging bachelorette pad searching for Duran Duran and, in the process, meeting a blind angel, smoking the Essence of Man in a city of sin, and breaking the Orgasmatron. Kinky, kitschy psychedelic sci-fi fun with unforgettable sets and costumes.

Greg S Barbarella Movie Trailer, Reviews and More | TVGuide.com Autoplay Queen Of The Galaxy - Official Trailer 03:26 — Cult classic of the bizarre adventures of a beautiful space nymphette's encounters with unbelievable creatures and super beings. Very early Jane as you've never seen her before. Based on the popular French sci-fi comic strip. Irish Actor Milo O'Shea Dies at 87 Apr 8, 2013 10:09 AM EDT Irish actor Milo O'Shea, who played an evil scientist in Barbarella and a Supreme Court Chief Justice on The West Wing, died last week in Manhattan following a brief illness, The Associated Press reports.

Born and raised in Dublin, O'Shea studied mus… Read more Barbarella [VHS] [1968]: Jane Fonda, John Phillip Law, Anita Pallenberg, Milo O'Shea, Marcel Marceau, Claude Dauphin, VÃ©ronique Vendell, Giancarlo Cobelli, Serge Marquand, Nino Musco, Franco GulÃ , Catherine Chevallier, David Hemmings, Ugo Tognazzi, Roger Vadim, Brian Degas, Claude BrulÃ©, Clement Biddle Wood, Jean-Claude Forest, Terry Southern, Tudor Gates: Amazon.co.uk: Video Barbarella [VHS] [1968] 1 new from Â£9.99 3 used from Â£2.50 3 collectible from Â£5.19 See all buying options VHS Release Date: 3 Jun. 1991 Run Time: 94 minutes Product Description Product Description In the 41st Century, renegade scientist Duran Duran (Milo O'Shea) threatens the peace when he develops a deadly positronic ray.

Scantily-clad astronaut Barbarella (Jane Fonda) is dispatched to deal with the problem, and along the way she meets a blind angel, partakes of the essence of man, has her clothes eaten away by razor-toothed robot dolls, and falls into a hair-raising encounter with the hapless revolutionary Dildano (David Hemmings). Roger Vadim directs his then wife Fonda in this beautiful slice of space-age kitsch. Customer Reviews By Elric on 3 Aug. 2012 Format: Blu-ray Verified Purchase I must confess that the first review I read of the recently released blu ray had me spooked. My pre-order had arrived and was as yet unviewed. Haven't watched the whole movie yet but here are my first impressions of the transfer. The picture quality wasn't the disaster I expected. True there is a degree of grain which is only to be expected on a movie more than 50 yrs old, and to be fair there are much better preserved examples of similar or older vintage out there (e.g. Zulu) but the mastering job is actually fairly decent.

Those who like to make a correlation between video bit rate and image quality will be pleased to hear the video rate is continually nudging the 40 Mb/sec mark. (Something this film shares with Zulu and other top transfers). The grain is quickly forgotten after a few minutes. Comparing it with the R2 dvd reveals that they've either found a better original or managed to clean it up quite a bit. The R2 dvd shows a lot of flaws on the master (i.e. white/black "sparklies") which are almost entirely absent on the blu ray. Resolution is much improved on the blu ray and makes the purchase well worthwhile. If you have a huge screen and have a tendency to sit too close then the grain might be a deal-breaker for you but for anyone else I say enjoy this version because it's as good as you'll get (for the moment....) Barbarella (1968) - Movie | Moviefone Moviefone find it. watch it. search movies, tv, zip codes & more press enter to see all results More on Moviefone...

DVD Release Date: June 22nd, 1999 PG|1 hr 38 min Plot Summary Barbarella (Jane Fonda) roams 41st-century space with her blind guardian angel, Pygar (John Phillip Law). Barbarella (1968) - Cast, Ratings, Recommendations Recommendations Barbarella (1968) Science Fiction | PG | 1 hour and 38 minutes | October 10, 1968 (USA) Be the first to review +4 Writers: Claude Brulé, Vittorio Bonicelli, Brian Degas Barbarella (Jane Fonda) roams 41st-century space with her blind guardian angel, Pygar (John Phillip Law). See All Movies Did You Like The Movie? Advertisement More Movies With Jane Fonda How famous is the cast of "Barbarella"? PrettyFamous Score The PrettyFamous score quantifies the fame of the film's cast members based on the number of awards the actors and actresses have ever been nominated for, combined box office gross of all the movies the actors and actresses have been in, and the current internet popularity of the cast.

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Question: What film of 1968 set in the 41st Century starred Jane Fonda and Milo O'Shea?
Answer: Barbarella