Barry Lyndon (1975, UK)

Stanley Kubrick's over 3-hour costume drama adaptation of William Makepeace Thackeray's 1844 novel was one of the director's most underrated films.

It told a tale of the profligate life-style of impetuous, opportunistic, and jealous young Irish rogue Redmond Barry/Barry Lyndon (Ryan O'Neal) and his flirtatious meetings with adulterous Countess/Lady Lyndon (Marisa Berenson). The gorgeously-filmed period piece featured astonishing, gorgeous candlelit cinematography by John Alcott and oil painting-like tableaus.

Among the nude scenes were her bathtime as a despondent newly-wed wife, and his own infidelities with his wife's maids, as he kissed two topless ladies.

One love-making scene between them was deleted from the final release.

(above scene deleted)

Capone (1975)

Lacking historical accuracy, this crude and violent crime biopic was a Roger Corman-produced exploitation film, taking advantage of The Godfather mobster film craze at its time. Its poster tagline promised:

"Now, After 45 Years the True Story Can Be Told! Capone - The Man Who Made the Twenties Roar."

The film purported to tell about the rise and fall of infamous and ruthless Chicago gangster Al Capone (Ben Gazzara), and his relationship with pretty flapper Iris Crawford (Susan Blakely), other gangsters (Hymie Weiss (John Davis Chandler) and George "Bugs" Moran (Robert Phillips)) and various underlings, including pre-Rocky Sylvester Stallone as his right-hand man Frank Nitti.

First seen on the streets of Brooklyn, Capone was transferred to Chicago where he worked his way up the ranks, while dealing in rackets, bootlegging, gambling, and prostitution. He mentored and then competed with local crime boss Johnny Torrio (Harry Guardino). Some of the footage was reused from Roger Corman's own The St. Valentine's Day Massacre.

The first full frontal female nudity (an open crotch shot) in a major-studio (or mainstream) American film was found in this film. In the most notorious scene, Iris opened her legs in full view as she left Capone's bed.

[Note: It was the predecessor of a more publicized shot involving Sharon Stone during a police interrogation in Basic Instinct (1992).]

The first account of the "Happy Hooker" was director Larry Spangler's X-rated porn film The Life and Times of Xaviera Hollander (1974), with Samantha McLaren (aka Samatha McClearn) in the lead role as Xaviera, and the real-life Madam serving as Narrator.

A year later, a series of R-rated films in the sexually-revolutionary 1970s were inspired and loosely based on the novelized true accounts or raunchy memoirs of former call-girl and madam Xaviera Hollander, published in 1971 as The Happy Hooker: My Own Story. She was originally "Secretary of the Year" in her native Holland before moving to New York City and becoming notorious as a 'high-class' Madam who was arrested for running a bordello. She continued to write autobiographical books and sex guides, and for three and a half decades served as Penthouse Magazine's sex-advice columnist for "Call Me Madam."

The films were produced by the Cannon Group - the last film in the trilogy was overseen by its notorious new owners Menahem Golan and Yoram Globus. Three different actresses portrayed the title character in the trilogy, Lynn Redgrave (a respectable actress), Joey Heatherton (a leggy blonde bombshell), and Martine Beswicke:

	The Happy Hooker (1975)	Lynn Redgrave
	The Happy Hooker Goes to Washington (1977)	Joey Heatherton
	The Happy Hooker Goes Hollywood (1980)	Martine Beswicke

The Happy Hooker (1975)

The first film in the three-part franchise was a slow-paced, tame and unappealing adult film about sex-for-hire. Its tagline was:

"Don't Be Embarrassed To Spend 96 Minutes In A Dark Room With A Hooker. You Know About Sex. Now Learn About Life."

The only nudity came from one of Xaviera's prostitutes named May Smith (Anita Morris). The nakedness occurred during two scenes when she was dressed in food (as an ice cream sundae and in a whipped cream wedding dress).

• See the other years (1977 and 1980) for the next two entries in the 3-part The Happy Hooker film series.

Ilsa Exploitational Women-in-Prison Series (1975-1977)

A series of infamous, violent and shocking B-films, all with the title of Ilsa, were released in the mid to late 1970s. They were part of the era's trend to exhibit women-in-prison (WIP) films and add Nazi-exploitation to the mix, after the tremendous success of Love Camp 7 (1969). [Note: Ilsa: The Wicked Warden (1977) (aka Greta, the Mad Butcher, and Wanda, the Wicked Warden), was an "unofficial" Ilsa film directed by Spanish exploitation master Jess Franco.]

All of the films featured torture (sometimes with sex involved), in various locales: a Nazi prison camp somewhere in Germany, in Saudi Arabia with sheiks kidnapping for their harems, in an asylum, and in Russia's Siberia.

Ilsa: She Wolf of the SS (1975)

Ilsa: Harem Keeper of the Oil Sheiks (1976)

Ilsa: The Wicked Warden (1977)

Ilsa: The Tigress of Siberia (1977)

Ilsa: She Wolf of the SS (1975)

This 1975 Canadian production (from David F. Friedman) was the original film in a series (see above).

The first film in the series, Ilsa: She Wolf of the SS - was sick and semi-pornographic with abundant gratuitous full-frontal female nudity and gruesome incidents. Coincidentally, it was shot on the set used for the Hogan's Heroes TV show after it was cancelled. It was reportedly based on the real life atrocities of merciless Nazi murderess Ilse Koch who was christened the "Bitch of Butchenwald."

Ilsa (big-breasted Las Vegas showgirl Dyanne Thorne) was featured as the camp's nymphomaniacal, over-the-top, sadistic commandant, who personally inspected stripped female prisoners, and decided which would be 'retrained' to serve the soldiers of the Third Reich, or be subject to torturous medical experiments.

Personal Inspections-Abuse of Stripped Prisoners and Torture Victims
Rosette (Jacqueline Giroux)	Red-Headed Prisoner (Colleen Brennan, aka Sharon Kelly)	Anna (Maria Marx)
Prisoner (Donna Young)	Anna (Maria Marx)	Torture Victim (Uschi Digard)
Hanging Prisoner (Sharon Kelly)	Prisoner on Ice Block (Peggy Sipots)	Male Castration

Ilsa conducted private research to prove that females could take more pain than males (including the use of electrified dildos and electrodes attached to sensitive areas) - one hapless female experimental test subject was Anna (Maria Marx) who was mercilessly tortured for "three nights" and couldn't be broken. Torture victim (Uschi Digard) was strung up in a pressurized chamber until she died, and another prisoner (Sharon Kelly) was hung upside down outdoors to die. Prisoner (Peggy Sipots) was gagged, hung by her neck with a noose and standing on a melting ice block (at the end of a dinner table during a party held for other German commandants). After the dinner, the drunken and aroused Commandant invited Ilsa to urinate on his face as he laid down on the floor in front of her.

In the opening scene, Ilsa was forcing herself on a male prisoner, and threatened him with castration if he couldn't hold out long enough to satisfy her. Obviously, he didn't, because she had to satisfy herself with a shower head. (Soon after, there was a punishing male castration - mostly off-screen but still gruesome.)

One of the American prisoners, Wolfe (Gregory Knoph), who could satisfy her insatiable appetite for sex because he didn't ejaculate - ultimately was able to lead a prisoner uprising. He was able to convince Ilsa to be tied up on her bed (for S&M bondage sex games) before he gagged her and let a mutilated Anna approach to stab her (but she fell limp and died? before killing her). Ilsa's busty blonde, half-naked henchwomen were also dragged out into the compound and shot for revenge.

Revenge Against Ilsa
Revenge	Anna's Final Attempted Avenging Act Against Ilsa	Ilsa's Death

In the conclusion (just before the Allies arrived), the Reich had ordered the camp to be destroyed (and everyone killed) by the Nazis themselves. Ilsa's brains were blown out while she was still tied up on her bed (and then there were three sequels to this film?) The leader of the massive cover-up to eliminate evidence and witnesses radioed into his headquarters:

"General, your orders have been carried out. Camp 9 has ceased to exist. You may tell the Reich Fuhrer that the Allies will find nothing. They will never know."

From a hillside, it was revealed that there were two who could testify as survivors of the horrific prison camp: Wolfe and Rosette.

Lisztomania (1975, UK)

The experimental, controversial and sensational Ken Russell directed a number of films in the 1970s, including this reviled Warner Bros. effort about 19th century composer Franz Liszt. The flamboyant musical genius was depicted as a pop-rock star (the Who's lead singer Roger Daltry portrayed the title character, as he had for Russell's rock opera Tommy (1975)). The self-indulgent film, an immense flop, was also notable as the first to use the new Dolby Stereo sound system.

This outrageous, loud, misogynistic and bizarre semi-biographical fantasy was presented by Russell in obscene and vulgar episodic vignettes, with rampant sexual imagery. The impressionistic film was based upon the notion that 'mania' accompanied many of Franz Liszt's public concerts - they were composed almost entirely of screaming females.

The promiscuous and hedonistic Liszt carried on affairs with a number of mistresses and followers, including Marie d'Agoult (Fiona Lewis). In the opening sex scene in a bedchamber, Liszt was kissing the naked breasts of Marie, rhythmically (left and right) to the clicking sounds of a glittering metronome (that she sped up to pleasure herself faster).

Her husband Count d'Agoult (John Justin) discovered them and challenged Liszt to a naked saber duel. Afterwards, the Count nailed both Liszt and Marie into a piano box that was then set on railroad tracks in the path of an oncoming train. Later in the film, Marie became Franz' wife with three children before they separated.

Backstage just before one of Liszt's concerts, he was besieged by photographers, adoring fans and a lustful naked female groupie named Lola Montez (Anulka Dziubinska, Playboy's Playmate of the Month, May 1973). During the concert, he enraged composer Richard Wagner (Paul Nicholas) by mocking him during the performance of one of his pieces.

While in St. Petersburg, Russia during a concert tour, Liszt was seduced by Princess Carolyn (Sara Kestelman), one of his many groupies. He hallucinated in a fantasy sequence that he had a 10-foot erection caused by his stimulating music and the women in Carolyn's court. Five barely-clad chorines simultaneously rode upon and straddled Liszt's engorged penis, and then opened their legs while lying back on the floor as the phallus zoomed through them. They also danced around the erection acting as if it was a maypole. The sequence ended when the Princess threatened to have a guillotine perform phallic dismemberment on him, after calling him a 'savage beast' for selling his soul to debauchery: "You must pay the price."

The 10-Foot Erection - Fantasy Sequence

In Russell's telling of the tale, Liszt's real-life friend and opera composer Richard Wagner was his scheming, jealous rival and Jew-hater. Wagner led a devilish cult in a castle that proclaimed Nazis as the master race. At one point, Wagner secretly drugged Liszt, and revealed himself to be a fanged, blood-sucking vampire who supported German nationalist unity with his piano music.

After Liszt joined the Catholic Church as an Abbot, he was discovered breaking his vows in bed with red-headed Olga (Nell Campbell). The Pope (The Beatles' Ringo Starr) appeared to him and commissioned Liszt to exorcise vampirish Wagner. If he failed, he would be excommunicated and his music would be banned. By this time, Wagner had married Liszt's daughter Cosima (Veronica Quilligan) after taking her away from her husband Hans von Bülow (Andrew Reilly) and child, and was using her to further his devilish ends.

In the castle courtyard, Liszt watched one of Wagner's outdoor plays - a ritualistic dance performed before a group of children (being groomed as the Nazi "master race") led by Cosima. The dancers were a group of innocent, completely naked mostly blonde-haired German nymphs, who were suddenly dragged off and raped one-by-one by a demonic-looking, toothy Jew (with a Star of David on his forehead).

The Rape of Blonde Nymph Dancers

It was also revealed in the castle that the anti-Christ Wagner was building a cryogenic Viking Siegfried (a "new Messiah") named Thor (Who keyboardist Rick Wakeman) to rid Germany of the Jews. Through the power of his music, Liszt was able to exorcise vampirish Wagner and brought him to near-death.

Wagner was resurrected or transformed, in a Nazi ceremony, into a Frankenstein-Hitler figure wielding a machine-gun guitar. In the streets of Berlin, he brutally massacred and exterminated bearded Orthodox Jews, while backed by a supportive army of young girls in superhero costumes with red capes that ravaged the city.

Exorcised Vampire Wagner	Wagner as Resurrected Frankenstein-Hitler - with Machine-Gun Guitar

In the finale, Liszt died and went to Heaven after a voodoo ceremony performed by Cosima used a doll to stab a needle into his heart.

In Heaven, seven women Liszt had romanced were playing stringed instruments on a massive platform. From there, Liszt and the women flew down to Earth in his silver metal, angel-winged spaceship to destroy Wagner-Hitler with a blast of laser rays.

As he piloted away in his spaceship's cockpit (with a keyboard) after eliminating the threat, Liszt claimed through song that he had found "Peace at Last."

Maitresse (1975, Fr.) (aka Mistress)

Director Barbet Schroeder's early, daring, kinky and provocative erotic drama explored the double-life of a professional dominatrix prostitute.

[Note: Schroeder was better known later for two other more mainstream, commercial Hollywood films: the crime drama Reversal of Fortune (1990) and the erotic thriller Single White Female (1992).]

The film was notable for its graphic portrayal of actual S&M practices, with real practitioners, masks, chains, torture racks, whippings, piercings, and more. The dark, X-rated film's taglines were:

She will open your eyes.
and
"A LOVE STORY ABOUT THE MYSTERIES OF LOVE"

The film told of the strained romance/relationship, involving a struggle for 'control' regarding domination or submissiveness) between:

• Ariane (French actress Bulle Ogier), a blonde, living two lives in Paris, as a respectable middle-class female and as an accomplished dominatrix prostitute
• Olivier (Gerard Depardieu), an ex-con petty thief, and a Parisian door-to-door encyclopedia salesman; also Ariane's eventual boyfriend

She had a second dungeon-style apartment (accessible by a hidden mechanical staircase from her upper apartment) where she lived an alternate, subterranean existence and engaged in torture, bondage with whips and chains and various paraphernalia, and sadomasochism. She would wear a fetishistic tight rubber/leather outfit, a black Louise Brooks-style wig, and heavy makeup.

Although the world of S&M was unfamiliar to Olivier, he stumbled upon the downstairs torture chamber when burglarizing her building, and soon became obsessed with Ariane, a professional dominatrix. He learned that she was engaged in the unusually dark lifestyle to support her son, and that possibly true surrender and love (including a power struggle with both dominance and submissiveness) could only come through masochistic submission. Slowly, he became obsessed with her as their love grew for each other.

Disturbing scenes of sexual depravity included a bourgeous party with punishment-seeking patrons. There was painful spanking that produced reddish welts, genital torture (nailing down a masked man's genitals to a wooden plank), a vaginal whipping, and the real-life bloody slaughter of a horse.

Mandingo (1975)

Adapted from Kyle Onstott's bestseller (first published in 1957) about Falconhurst, a southern slave-breeding plantation, director Richard Fleischer's inflammatory sex- or blaxploitation drama (with inter-racial sex, racist attitudes, full-frontal nudity of both sexes and various debased atrocities of slavery and bloody violence) was extremely controversial and banned by the Catholic Church.

This infamous film was followed by an equally disturbing and more reviled sequel - Steve Carver's almost X-rated Drum (1976).

In one of the film's earlier scenes set in a slave market, an older German lady examined the studly goods of one of the "black buck" slaves (Mede) up for auction by reaching behind his shorts.

The trashy, 'revisionist' melodrama from Paramount Pictures (and producer Dino De Laurentiis) told about an 1840s slave-breeding Louisiana plantation run by the Maxwell family, composed of:

• Warren Maxwell (James Mason), the bigoted, aging and corrupt plantation owner father suffering from rheumatism
• Hammond Maxwell (Perry King), Warren Maxwell's lusty plantation heir suffering from a limp due to a leg injury
• Blanche Maxwell (Susan George), a blonde Southern belle, a non-virginal white cousin

Hammond, who was bedding many different black slaves, was finally compelled by his father Warren to properly marry and produce offspring. Although Hammond agreed to an arranged marriage with his cousin Blanche, he continued to cheat by having an affair with beautiful black 'bed wench' Ellen (Brenda Sykes) - a slave mistress who shortly afterwards became pregnant with a "sucker" (the name for a slave baby). He tenderly vowed his devotion to her ("I ain't never gonna sell you. You're mine...No one, black or white, [is] gonna take your place"), although it was short-lived.

Miscegenation with Black Slaves
Big Pearl (Reda Wyatt)	Dite (Debbi Morgan)
Ellen (Brenda Sykes)	Blanche (Susan George) with Mede

The neglected, frustrated and sex-starved Blanche vengefully sought sexual attention, through miscegenation, with her husband's prize-fighting trained slave Ganymede or "Mede" (future WBC heavyweight boxing champ Ken Norton), a potent and strong male from the Mandingo tribe in Sierra Leone in Africa. There was a paralleling of inter-racial sex -- a white male with a black female, and a black male with a white female. When Hammond found out about Blanche's infidelity with Mede, he cruelly cast aside Ellen while stressing his white dominance: "Don't think because you get in my bed you're anything but a nigger."

Two babies that resulted from mixed parentage were both destroyed. Blanche's half-black child (born from her affair with Mede) died at birth from bleeding, and Blanche whipped Ellen mercilessly ("I'm gonna whip that sucker out of you") when she discovered her pregnancy, and ultimately induced Ellen's miscarriage when she fell down stairs as she ran away.

The film also concluded with other tragic and violent ends: Hammond's wine poisoning of Blanche, and the gruesome killing of Mede in a boiling cauldron of brine after being pitchforked.

Nashville (1975)

Maverick director/producer Robert Altman's classic film Nashville (1975) was a multi-level, original, two and a half-hour epic study of American culture, show-business, leadership and politics.

Typical of many films of the 70s, it contained a requisite scene of nudity regarding a determined Sueleen Gay (Gwen Welles), a dim-witted, red-haired, tone-deaf, lower-class waitress who aspired to be a singer.

She embarrassingly performed "about a girl who never gets enough" and a second song titled "When I Love You" before an all-male political, fund-raising smoker. She was encouraged to strip by the misogynistic crowd. Her bump-and-grind striptease, a clumsy, inept, asexual un-dressing in front of the crowd, included removing the padding from her bra and tossing it into the hooting group of spectators before going topless.

Thoroughly humiliated by the show's end, she had stripped off her dress, bra, and yellow panties (also tossed to a cheering male) before running off.

Night Moves (1975)

Arthur Penn's noirish psychological detective thriller, a moody, post-Watergate noir, told about middle-aged, world-weary LA private eye Harry Moseby (Gene Hackman), an ex-football player.

A missing persons crime case brought Moseby to the Florida Keys, where he encountered free-spirited, promiscuous runaway teenager Delilah "Delly" Grastner (young, up-and-coming star Melanie Griffith in her film debut) - the daughter of wasted ex-actress and sexually-liberated studio boss divorcee Arlene Iverson (Janet Ward).

Delly lived there with her stepfather Tom Iverson (John Crawford) and his sexy mistress Paula (singer Jennifer Warren).

Griffith's notable breakthrough role called for her to appear naked twice, including a mid-night swim scene. During her dive from a glass-bottom boat, she discovered a crashed plane with the remains of stunt pilot Marv Ellman (Anthony Costello) - later possibly revealed to have been killed by suspicious mechanic Quentin (James Woods).

The film also featured sexual scenes between Moseby and Paula, and with his estranged wife Ellen Moseby (Susan Clark).

Harry Moseby (Gene Hackman) With Various Women
Paula (Jennifer Warren)	Ellen (Susan Clark)	Delly Grastner

The downbeat film concluded with Delly's orchestrated death in LA during a failed film location stunt with Joey Ziegler (Edward Binns), the revelation of smuggling of pre-Colombian art by Delly's stepfather Tom, and the shocking ending of the deaths of four key individuals (including Iverson's mistress Paula when she was hit by a seaplane's pontoon).

The Private Lesson (1975, It.) (aka Lezioni Private)

After her success in Baby Doll (1956), blonde Hollywood temptress Carroll Baker starred in this sordid Italian comedy from director Vittorio De Sisti.

[Note: The film was not to be confused with the morally-questionable, controversial and clumsily-made teen fantasy sex comedy Private Lessons (1981) with Sylvia Kristel (of Emmanuelle fame).]

The advertisements claimed:

"Alessandro has a thing or two to learn. Carroll Baker is the perfect teacher!"

This foreign film was a coming-of-age tale for a young virginal piano student Alessandro Corsini (Rosalino Cellamare) who was instructed in the ways of love-making by his piano teacher Laura Formenti (Carroll Baker) in a small provincial Italian town.

His self-assured latent homosexual friend Gabrielle spied upon Laura while she pleasured herself, and took pictures which he used for blackmail purposes. Next to her naked body as he lit three matches, one after the other, he held each match close to her left breast, then her "ass" and then her pubic area, while Gabrielle told Alessandro about the illuminated areas:

"The first to light up these beautiful tits that drive you crazy and turn you into a raving idiot in class.

The second match is for her back bumper or ass, not bad is it? The way it wiggles under her clothes to magnetize all your attention.

And the third match is to show you only what you've imagined. It represents the essence of everything you have desired, and the magic bush that draws you to its entrance. You think it's love, platonic or otherwise, a grand passion that makes you throb. And what do you think it is? It's flesh, and nothing else."

Laura's (Carroll Baker) Illuminated Areas by Three Matches

In the second-to-last scene, now that Gabrielle's blackmail scheme had been thwarted, Laura encouraged Alessandro to get undressed with her and have sex. He confessed his love to her, and she assured him:

"This evening will be special...(whispering in his ear) Let's get undressed.. Oh baby, how lovely, I want you. Don't be afraid. Oh, it's good, so very good. Gently, yes, oh you see, you're wonderful."

Alessandro's experience was instructive and fruitful, since he was romping in the next scene in a field of sunflowers with his classmate/girlfriend, Gabrielle's sister Emanuela Finzi (Leanora Fani). They laid together naked after having sex in a small clearing, and she mentioned how he was now confident - no longer awkward and unsure of himself like a little boy, as the film ended.

The Reincarnation of Peter Proud (1975)

This R-rated paranormal horror-thriller by director J. Lee Thompson has always been heavily edited for its mid-70s style nudity and controversial content ("incest" thematic elements). The screenplay by Max Ehrlich was from his 1973 novel of the same name. It featured a tagline that almost gave away the entire plot:

Suppose you knew who you had been in your previous life. Where you had lived, whom you had loved, and how you had died. What then?

The contrived story was about inquisitive young California college professor Peter Proud (Michael Sarrazin) who had disturbing, prophetic nightmares or visions during dream-sleep. The film opened, under the title and credits, during a night-time scene. An unidentified nude lake swimmer came upon a woman in a motorboat. The man apologized for previous drunken and abusive behavior:

"Look, Marcia. I didn't mean what I said back there. And I'm sorry, baby, I mean it....Look, I was drunk. I didn't know what I was saying, what I was doing. I love you, Marcia, I always have."

As he got into the boat, she repeatedly and mercilessly bludgeoned him with her oar paddle, and he drowned and sank.

Peter's sexy girlfriend Nora Hayes (Cornelia Sharpe) described his voice: "There was this crazy voice coming out of your mouth....weird, deeper than yours, coarser." He then told her what he had envisioned - he was being clobbered with a rowboat oar while swimming: "She was hitting me in the balls with a paddle" - and then Nora joked after glancing at his genitals: "Well, obviously, she didn't do you any harm."

At the time, Peter didn't know that his repetitive dreams were actually flashbacks to 30 years earlier. Peter began to believe he was the incarnation of an adulterous, ex-decorated Marine war-hero named Jeffrey Curtis (Tony Stephano) who was found dead after a nude night-time swim on Crystal Lake near the Puritan Hotel (replaced by the Crystal Lodge), after leaving his clothes in the Curtis lakeside cottage. It was a well-known death case in the city - Jeff Curtis died on September 27th, 1946, and it was considered an accidental drowning. He was first reported as missing by wife Marcia Buckley Curtis (Margot Kidder, pre-Superman) (who had a 3 month-old infant daughter).

Although married to Marcia (the daughter of a wealthy bank president), Jeff was having an affair with another young female. His reputation was that he was a womanizing playboy - a charming "no-good son-of-a-bitch."

On a self-discovery journey - Nora accompanied him back to the small Massachusetts town of Springfield, where Peter thought he used to live in a previous life. But soon, Nora became frustrated with him and left: "I hope you find what you're looking for." There, Peter became acquainted over tennis at the local country club with the grown-up Curtis daughter, recently-divorced Ann (Jennifer O'Neill, from Summer of '42 (1971)), and was soon introduced and drawn to her alcoholic, widowed mother Marcia Curtis.

Marcia gradually figured out or believed, based on Peter's mannerisms, voice and similarities to her deceased husband (once she witnessed how Peter took on the voice of the dead husband) that ex-husband Jeff Curtis had come back . She was disturbed to think that Peter Proud was the reincarnation of her deceased husband - and he had semi-incestuously fallen in love with his own 'daughter.' Peter vowed that he had decided to end his recurring Lake nightmare by going out to the lake to "get rid of that last dream once and for all."

Marcia's (Margot Kidder) Bathtub Fantasy Scene

In the film's most talked-about and censored scene, Marcia recalled being violently raped in the Curtis cottage by her murdered adulterous ex-husband, Jeff Curtis (Tony Stephano), as she masturbated in the bathtub. She accused him of having multiple affairs - even while she was giving birth to Ann: "You brought them here to our house. You made love to them in our bed when I was having Ann in the hospital." He forced himself upon her: "You want it, don't you, Marcia?...Rape, baby, rape. I'm gonna screw you." She yelled at him ("I hate you"), and called him a "rotten, stinkin' bastard." She asked: "Tell me, Jeff. Why did you do this to me?" He responded: "Because you bore me. You bitch. I can't stand the sight of you." As he left her, he said he was going swimming to "wash off your stink." This was the momentous night that she murdered him on the lake.

Then, Marcia confronted Peter face to face in his hotel room - she accused him of vengefully coming back to haunt her and confront her with the murder 30 years earlier. In the sudden conclusion to the film, Peter was swimming in the lake, when the deranged Marcia emerged from the fog in a small motorboat, believing that he was the reincarnated Jeff. She asked: "Why didn't you stay where you were, Jeff? Why did you come back? You shouldn't have come back to torment me." She pulled a gun on him - and spoke to Peter as if he was her ex-husband.

When she turned the gun toward herself, Peter begged her not to hurt herself. He swam toward her to grab the gun, but it went off. He was killed - and his body slowly sank to the bottom of the lake. Marcia had re-enacted the night of her husband's death 30 years earlier! The last image was a zoom-in and freeze-frame on the face of Peter, submerged under the water, as the credits rolled.

The Rocky Horror Picture Show (1975, UK/US)

Director Jim Sharman's cult film was an adaptation of the 1973 British musical. Upon its initial test showings, it bombed and was shelved. It didn't really take off as a phenomenon until it was featured as a 'midnight movie' at Greenwich Village's Waverly Theater on April 1, 1976.

It was a mixed genre film (science-fiction, comedy, musical, and horror), but mostly a parody of B-horror movies of the 1960s. It was a groundbreaking film for its themes of transvestism, homosexuality, bisexuality, cannibalism, voyeurism, adultery, and incest.

The film also popularized and promoted alternative sexuality, cross-dressing, promiscuity, and rebellious behavior.

Its main character was the sexually-obsessed, outlandish and openly-bisexual transvestite Dr. Frank N. Furter (Tim Curry): who sang in "Sweet Transvestite" ("I'm just a sweet transvestite from Transsexual Transylvania"). The other two main characters were a strait-laced, All-American engaged couple who stumbled upon his castle:

• Janet Weiss (Susan Sarandon)
• Brad Majors (Barry Bostwick)

Dr. Frank N. Furter's androgynous sexuality was exemplified by the outrageous and suggestive dual seduction scenes of the two separated fiancees. In a lighted tent, there were two seductions: first - a heterosexual coupling with Janet filmed in reddish light, and then a second homosexual pairing with Brad in bluish light.

Frank also re-animated a Frankenstein-esque human - an attractive new muscle-bound, blonde beefcake playmate sex toy named Rocky (Peter Hinwood).

Janet and Rocky "Touch-a Touch-a Touch Me"

After witnessing the advances of Frank on Brad, Janet took sexual revenge and seduced Rocky (witnessed from a bedroom monitor) while singing "Touch-a Touch-a Touch Me" in her bra and panties - "...I've got an itch to scratch. I need assistance. Touch-a touch-a touch-a touch me. I wanna be dirty. Thrill me, chill me, fulfill me, creature of the night."

By film's end after using his alien technology (a SonicTransducer and Medusa), the mad Frank-N-Furter had transformed a number of the characters, including Brad, Janet, Columbia (Nell Campbell), wheelchaired Dr. Scott (Jonathan Adams) and Rocky, into living stone statues - and singing and dancing versions of himself. After being reanimated, all of the characters were now decadent like Frank - costumed in stiletto high-heels, fishnet stockings, boas and tight black corsets on stage, performing in a cabaret show. All of them dove into a swimming pool, a la Busby Berkeley style, singing and making love to each other:

"Give yourself over to absolute pleasure. Swim the warm waters of sins of the flesh. Erotic nightmares beyond any measure....Don't dream it. Be it. Don't dream it. Be it...."

The Pool Orgy

The show was capped by an energetic performance of most of the cast - "Wild and Untamed Thing."

Salo (1975, It./Fr.) (aka 120 Days of Sodom, or Salò o Le 120 Giornate di Sodoma)

Pier Paolo Pasolini's work, an art house film based on Marquis de Sade's 120 Days of Sodom, depicted atrocities, cruel sexual perversions, and carnal debaucheries. These perverted acts were committed upon a group of about 30 young peasant teenagers (both male and female) by four ruling WW2 Fascists in the short-lived, lakeside republic of Salo in Northern Italy over a few days.

Salo began with degradation -- the male and female youths who were seized in the town were stripped and inspected ("A delicious little ass. Never seen one firmer. A pair of little breasts, to revive a dying man") and then driven to a secluded chateau near Marzabotto, where they were instructed that every day would include these acts: "intermingling, entwining and copulating incestuously, committing adultery and sodomy."

The film's many contested scenes immediately ran into censorship problems and utter disgust. Its four chapters clearly delineated the reason for the aroused outrage:

• "Antechamber of Hell"
• "Circle of Obsessions"
• "Circle of Shit"
• "Circle of Blood"

Pasolini's film connected fascist rulership to extremes of sexual deviation inflicted upon the imprisoned youth ("Weak, chained creatures, destined for our pleasure"). The young people were told that they were "beyond the reach of any legality." One girl committed suicide early on by slitting her own throat to escape the brutalities.

Breakfast in the dining hall was served by naked girls - one of whom was tripped and raped from behind, after which another male was penetrated anally. Soon after, the entire group engaged in a mock "wedding feast." A couple (hapless blonde Renata and Sergio), accompanied by dozens of naked flower-bearing bridesmaids and bridesmen, participated in a ring ceremony, often interrupted by unprovoked gropings of the nudes. The two were first encouraged to fondle each other and show their affection, but denied consummation, and then were anally raped by the libertines (and in addition, there was an instance of three-way intercourse from behind).

The Mock "Wedding Feast"

One hapless blonde girl, Renata was forced to eat fresh human excrement with a spoon in the chapter titled "Circle of Shit" (a segment obsessed with anal bodily functions) when she was urged on by a man after he had freshly defecated on the floor:

"Come, little one, it's ready. On your knees. Courage. Go on, eat! Take this spoon. Eat!"

A second mock "wedding feast" served platters of cooked excrement for the guests as an "intoxicating dish." Another young girl was commanded to stand above a man and urinate into his open mouth.

In another notorious scene, the youths were stripped, collared, leashed, and forced to act like dogs begging for pieces of meat (one girl bit into a piece of food laced with nails).

Enforced Victimization and Degradation for Peasant Youth, Even Murder

A contest was held to judge the "loveliest ass in the villa. " The naked youths were arranged in a circle on the floor in the dark, bent over with their behinds facing upwards and inspected by flashlight during the judging, as the men seriously commented:

"The differences between boys and girls are enormous...let's try to be objective."

The final chapter, "Circle of Blood," began with a group wedding ceremony in which three cross-dressed older men were coupled with a male youth and then engaged in homosexual kissing and sodomy in the bedroom on their 'wedding night,' in a master/slave relationship.

As punishment for breaking the rules, male youth Ezio was executed, along with his black maid partner, for illegally making normal love together. Bound by their wrists and sitting in a tub of excrement, one girl cried out: "God, why did you abandon us?"

Further tortures conducted in the outdoor courtyard (and seen through binoculars) included penis and breast nipple-burning, tongue cutting, strangulation by hanging, eye-gouging, scalping, and male nipple branding.

The Sensuous Nurse (1975, It.) (aka L'Infermiera)

This Italian erotic comedy farce from director Nello Rossati featured the nudity of two popular Bond girls: Ursula Andress (from Dr. No (1962)) and Luciana Paluzzi (from Thunderball (1965)).

It told of a wealthy, aging widower named Count Leonida Bottacin (Mario Pisu) who had suffered a near-fatal heart attack while having sex with a younger female, the wife of a grave-digger. The lecher was making three visits a week to the cemetery for sex after the death of his wife.

His lusty weakness for sex, as a way to have him die off with a second heart attack, was encouraged by his scheming nephew Benito Varotto (Duilio Del Prete), one of the greedy heirs, who arranged for the hire of a sensuous full-time nurse named Anna (Ursula Andress), his Swiss ex-girlfriend.

The group of heirs wanted to speed Leonida's death in order to take over his winery and sell it to American investor Mr. Kitch (Jack Palance). The malevolent group included:

• Italia (Marina Confalone), Benito’s wife, with a son named Adone (Stefano Sabelli) from a previous marriage
• Jole Scarpa (Luciana Paluzzi), Leonida's sister-in-law
• Gustavo (Daniele Vargas), the brother-in-law

Anna was commissioned to seduce Leonida to death, although the plan backfired when she fell in love with the dying Count.

Anna's Bedroom Striptease
The Sensuous Nurse Anna (Ursula Andress)

Shampoo (1975)

Director Hal Ashby's romantic comedy sex farce was set during a 24-hour time period surrounding November 4th, 1968 when Richard Nixon was elected the President. It was a satirical look at the social and sexual mores of the late 1960s, as exemplified by the main characters.

It told about studly, playboyish LA (Beverly Hills) hair-dresser George Roundy (Warren Beatty) who feared commitment and was suspected to be gay, but engaged in simultaneous, round-robin heterosexual affairs with three women (Beatty's role reportedly mirrored his own Tinseltown exploits):

• Jill (Goldie Hawn), George's current dumb girlfriend, a model and aspiring actress
• Felicia Karpf (Lee Grant), self-centered, married to George's potential financier Lester (Jack Warden)
• Jackie Shawn (Julie Christie), George's ex-girlfriend and the current mistress of cuckolded Lester

George Roundy's "Shampoo" Females
Jill (Goldie Hawn)	Jackie (Julie Christie)	Felicia (Lee Grant)

In one scene while George tended to Jackie's hair in her steamy bathroom, they fell to the floor to be intimate although were interrupted by Lester and had to fake innocence.

In the film's centerpiece scene, Jackie told executive Sid Roth (William Castle), who had offered to get her anything she liked, boldly confessed her true sexual intentions: "Most of all, I'd like to suck his c--k" - pointing to George sitting next to her. Her blurted out desire caused George to choke while eating a piece of chicken.

Also, Felicia's resentful teenaged Lolita-esque daughter Lorna Karpf (Carrie Fisher) propositioned George to avenge her cheating mother with the invitation:

"You're my mother's hairdresser...Do you wanna f--k?"

Toward the conclusion of the film, Lester and Jill stumbled upon George in a boathouse during a party - where he was having sex with Jackie, and Lester's gave his first amused reaction (without knowing their identities) when a refrigerator door slowly opened, illuminated and caught Jackie and George in the act: "That's what I call f--king! Am I right, or am I right?" This was followed by George's innocent statement to an enraged Jill: "Honey, where have you been? We've been looking everywhere for you."

Later, George was forced to explain to Lester why he was having sex with so many women:

"How am I gonna tell you what they got against you. I mean, Christ, they're women aren't they? You ever listen to women talk, man? Do ya? 'Cause I do till it's runnin' outta my ears! I mean, I'm on my feet all day long listening to women talk, and they only talk about one thing: how some guy f--ked 'em over. That's all that's on their minds. That's all I ever hear about! Don't you know that?...We're always trying to nail 'em and they know it. They don't like it. They like it and they don't like it, it's got nothin' to do with you, Lester. It just happened."

By film's end, George's world had fallen apart when all the various liaisons were revealed.

Shivers (1975, Can.) (aka They Came From Within, The Parasite Murders)

Canadian writer/director David Cronenberg's scandalous R-rated film was his feature film debut and first commercial success. However, the film shocked audiences and the Canadian government (which looked upon it as hideous, pornographic, and nasty). It was criticized for lurid depictions of gore and sex, delving into multiple taboos such as pedophilia, incest, rape, infanticide, cannibalism and homosexuality. Cronenberg definitely equated sex with disease in the film.

The erotic horror film was about a group of Montreal high-rise apartment occupants on a sex and violence spree after being infected by parasites. The film's parasites stood as a critical metaphor railing against the swinging sexual lifestyles of the 70s, concluding with the threat of infection for the entire city of Montreal.

In an early scene, promiscuous teenaged mistress Annabelle Brown (Cathy Graham) was in the apartment of deviant pedophile and research scientist Professor Emil Hobbes (Fred Doederlein), who was conducting unorthodox experiments on her (as his guinea pig) - to create a special breed of parasites to replace diseased organs. He had implanted a combination VD and aphrodisiacal organism within her ("a combination of aphrodisiac and venereal disease that will hopefully turn the world into one beautiful, mindless orgy").

However, the virus went out of control among residents of their apartment building. To rid her of the sexually-voracious implant, he chased her around his living room, subdued, and then strangled her. She was laid out on a table where her clothes were stripped off, her mouth was taped, and her entire torso was slit open with a scalpel. After prying open the cut line, he poured steaming acid into the cavity. Then with remorse, Hobbes committed suicide by slashing his own throat with the scalpel and falling to the floor.

The film continued with the major problem for a sterile, state-of-the-art, high-rise apartment building named Starliner Towers - red-colored, bloody, invasive worm-like (or phallic-like, similar to grotesque male genitalia) parasites that were rapidly spreading. The parasites incubated in one's stomach, emerged from one's mouth, attached to one's face, and would ultimately turn infected victims into flesh-devouring, crazed sex maniacs and zombie-like fetishists.

The most infamous scene was of repressed lesbian tenant Betts (Barbara Steele) taking a bath with one of the red wormy parasites coming up out of the drain and crawling between her legs into her vagina, violating her, and bloodying the water as it infected her and she splashed around. Afterwards, the infected Betts seductively whispered repeatedly to her female victim neighbor Janine Tudor (Susan Petrie) seated on the couch: "Make love to me" and "Let's kiss" and passed the parasite onto her when they kissed.

Miss Forsythe (Lynn Lowry), the nurse of the Starliner's resident physician Roger St. Luc (Paul Hampton), relayed her "disturbing" and creepy dream about how she had made love with an elderly, strange dying man, and how everything in life was sexual and erotic:

"...he tells me that everything is erotic, that everything is sexual, you know what I mean? He tells me that even old flesh is erotic flesh. That disease is the love of two alien kinds of creatures for each other, that even dying is an act of eroticism, that talking is sexual, that breathing is sexual, that even to physically exist is sexual."

She then opened her mouth to reveal her own parasitic infection. Other inhabitants of the Starliner were making love in the hallways, and the entire complex was overtaken with copulation.

Miss Forsythe (Lynn Lowry) - Before and After Her Infection

In the final scene, the protagonist Roger St. Luc, finally succumbed to being overpowered and surrounded by the parasitic forces in the apartment's indoor swimming pool complex. He was pushed clothed into the pool to engage in the orgy, where he was kissed by his infected nurse Miss Forsythe while surrounded by a group of infected inhabitants.

Smile (1975)

Director Michael Ritchie's satirical comedic-drama on beauty pageants, an ensemble film of many characters, came at the same time, during the post-Watergate era, as Robert Altman's similar Nashville (1975), yet both were somewhat overwhelmed and overshadowed by the summer release of Spielberg's Jaws (1975).

The poster's tagline described the annual event:

"Raised on hamburgers and soda pop. She's got a winning smile that's hard to top. A credit to her family, the ideal teen. She's America's daughter, she's a beauty queen."

Another tagline was more blunt:

"An American Dream, Peaches and Cream...maybe she'll go all the way."

The Young American Miss pageant, a semi-final round for 33 county finalists, was being held in Santa Rosa, California over a four day period, sponsored by the local Jaycees, and held in the local Veterans' Memorial Auditorium. The girls were continually urged to "Just be yourselves and keep smiling" and choreographed to perform for talent segments (for example, baton twirling, saxophone and accordion playing) and gown competitions. One contestant's talent was folding clothes into a suitcase!

The event coordinators and the young girls competing for the title were the main characters in the parody:

The main Pageant Leaders:

• "Big Bob" Freelander (Bruce Dern), the always-cheerful head judge, and a fast-talking used car dealer of gas-guzzling RVs; his voyeuristic, sex-obsessed son "Little Bob" Freelander (Eric Shea), intent on selling illicit photoes, was caught snapping Polaroids of contestants disrobing in their dressing room, and was required - with his father - to see a psychiatrist for his deviancy; a nude snapshot was confiscated by police, was clipped to a cop's car visor, and became the backdrop for the end credits
• Brenda DiCarlo (Barbara Feldon), the pageant's cool Executive Director and a former Young American Miss in 1966, who was married to unstable, suicidal and neglected Andy (Nicholas Pryor), a heavy drinker and owner of a trophy shop, who frustratingly shot his wife in the shoulder in their home near the end of the pageant; the second night of the pageant, "Big Bob" took Andy to his local lodge "Exhausted Rooster" Ceremony (for men who reached the age of 35) where he was required to kiss the butt end of a raw plucked chicken
• Tommy French (Michael Kidd), a cynical, egotistical, and rough-edged Hollywood choreographer, who eventually agreed to take $500 out of his own salary of $2,000 to keep the runway ramp for the contestants so they wouldn't injure themselves

Polaroids of the Undressing Contestants
Connie (Colleen Camp)	Karen (Melanie Griffith)
Karen (Melanie Griffith)

The Main Young American Miss Contestants, many of whom were in their debut film and went on to larger careers:

• Robin Gibson (Joan Prather) - Miss Antelope Valley, flute player, honest, level-headed and the most sane of the girls
• Shirley (Denise Nickerson) - Miss San Diego
• Karen Love (Melanie Griffith) - Miss Simi Valley
• Connie Thompson (Colleen Camp) - Miss Imperial County
• Doria Houston (Annette O'Toole) - Miss Anaheim, shrewd, a veteran contestant with spunky advice about how to compete, named 4th runner-up
• Maria (Maria O'Brien) - Miss Salinas, who used her Mexican-American heritage to score points with repeated offerings of her guacamole dip, and who twirled batons with sparklers (sabotaged by competitive girls)

Story of O (1975, Fr./W.Germ./Can.) (aka Histoire d'O)

Soft-core erotic film director Just Jaeckin's ("Emmanuelle") classic but disturbing sex-art tale of erotica was based on the 1954 novel by pen-named Pauline Reage (the source of the film's voice-overs), actually French author Anne Desclos.

This film was the first of a three-part series of S&M epics about the title character.

The second film by director Shuji Terayama, Fruits of Passion (1981, Fr./Jp.) (aka Les Fruits de la Passion), was based on the novel Return to Roissy (the Chateau), also by Pauline Riege. It starred Isabelle Illiers (as enslaved wife O) and actor Klaus Kinski as wealthy businessman Sir Stephen (O's husband) in a story set in Hong Kong (Shanghai?) in the late 1920s. Again, O was subjected to sexual domination and humiliation in a bordello (the House of Flowers), with the addition of a love triangle plot regarding Sir Stephan's other lover, a scheming French blonde named Nathalie (Arielle Dombasle).

Histoire d'O (1975, Fr./W.Germ./Can.) (aka The Story of O)	Fruits of Passion (1981, Fr./Jp.) (aka Les Fruits de la Passion)	Histoire d'O: chapitre II (1984, Fr.) (aka Story of O, part II)
O (Corinne Clery)	O (Isabelle Illiers)	O (Sandra Wey)

The third film in the series, a sequel by producer/director Éric Rochat, Histoire d'O: chapitre II (1984, Fr.) (aka Story of O part II), starred Sandra Wey as the title character. She played opposite Texas businessman Sir James Pembroke II (Manuel de Blas) and his wife Carol (Carole James). O was the owner of a European estate, who was commissioned to catch or provoke Pembroke (and his family members) into committing scandalous acts.

The first film, a notorious NC-17 soft-focus film about female submission was banned for many years for its stylistic depiction of depersonalizing female sexual humiliation, defiling abuse and objectification.

A young French Parisian fashion photographer only named O (Corinne Clery) was pampered and trained in bondage, discipline and sado-masochism at a bizarre, isolated country retreat, Chateau de Roissy. She was brought there by her jaded boyfriend Rene (Udo Kier) to be subjected to the sexual power games and fantasies of others, and to consent and submit to domination. She was also instructed: "You mustn't keep your legs together, it's forbidden." She was required to always be sexually available and submissive, to please her boyfriend.

In the film's most noted scenes as she advanced in her 'training', she was groped, sodomized, forced to perform oral sex, blindfolded and whipped (with visible lacerations), gang-banged by multiple partners, bound and collared, chained and branded. When she returned to Paris, she was traded from Rene along to domineering and graying Sir Stephen (Anthony Steel), and her second round of training was more severe.

O (Corinne Clery)

SuperVIXENS (1975)

Exploitation film-maker Russ Meyer needed a comeback film after the failures of two studio releases (Beyond the Valley of the Dolls (1970) and the too-serious The Seven Minutes (1971)) and Blacksnake (1973)).

This film was the second installment of a three-part series of VIXEN films (from 1968 to 1979) - incorporating Meyer's tried-and true formula for success.

Meyer's Three-Part VIXEN Film Series
VIXEN! (1968)	SuperVIXENS (1975)	Beneath the Valley of the Ultra-VIXENS (1979)

This exceptionally violent and soft-core action thriller was taglined:

"TOO MUCH...for one movie!...feast on it!"

The film's premise was that a young male protagonist was continually being sexually harrassed by six sexually-voracious, giant-busted women named Super... ("SIX of the world's most BOUNTIFUL women!") This was an opportunity for all the trademark Meyer themes and images to come into play.

It opened with gas station attendant and young stud Clint Ramsey (Charles Pitts) at work speaking to his super-buxom wife Angel Turner (Shari Eubanks) on the phone, while flirting with a busty customer, SuperLorna (Christy Hartburg), who requested paper towels. The client was dissatisfied after being rejected and she sped off.

When Clint returned home, he engaged in a vicious argument with Angel as they were having sex. She accused him of cheating on her beforehand, causing him to be impotent with her. Outside, she damaged his truck with a large rock and axe before he retaliated by beating her. A patrolman-cop Harry Sledge (Charles Napier) was called to the scene to protect her as the injured Angel was taken away in an ambulance. To drown his sorrows, Clint went to a bar where he was entertained by bar-maid SuperHaji (Haji).

After recuperating, Angel invited Sledge over to her place, where she started to perform a sexy dance in front of him in a low V-cut red dress. Soon, they were having sex, but he was unable to perform. She mocked and insulted him:

"You're not ready with my beautiful body? You got a lotta nerve, buster, telling me you're not ready. All of those muscles except the one that really counts."

She angrily shouted: "Get out of my bed, you phony," as she slapped his butt. After he dressed, he replied: "Ah well, that's the way it goes, baby. Some day you up, some day you down." She doused him with her drink when he calmly suggested the next day for sex. She called him a "limp faggot" and threatened: "Beat it, you jackoff, before I call the cops. Ha! That's a funny one, isn't it? Me calling the pigs on the pig." He punched her in the abdomen for being a "sassy...foul-mouthed bitch." After a short squabble, he slapped her across the face and ordered her back into the bedroom ("Get your ass in the bedroom and see what's comin' up next"). She locked herself in the bathroom, and then behind the safety of the door, she ordered him to leave, but continued to mock his lack of manhood, calling him: "old shriveled up Harry. Old prune prick Harry."

What followed next was the unappealing murder of Angel by the deranged, sadistic and mean cop. Incensed, he repeatedly stabbed the door with a long kitchen knife, then broke it down - and the impaled knife struck Angel when the door fell on top of her. He dragged her to the half-filled bathtub, where he brutally assaulted her by stomping on her, and then electrocuted her with an electric radio ("Quite a turn-on yourself!").

Then, Sledge decided to frame Clint for the murder. Clint had to flee from his gas station job, and as he hitch-hiked across the country, he was sexually-harassed by more voluptuous nymphomaniacs:

• SuperCherry (Colleen Brennan, aka Sharon Kelly) (who bragged: "I came in the shower this mornin'. Yeah, I came without even touching myself? Just the hot water beatin' on my body."); she encouraged Clint to touch her breast, and then reached inside Clint's jeans, but he rejected her advances
• SuperSoul (Uschi Digard), a farmer's Austrian mail-order bride, German-speaking, attempted to 'rape' Clint at night, and then forced sex on him in the barn's hayloft before being discovered by the farmer
• SuperEula (Deborah McGuire), a motel owner's deaf-mute daughter, African-American, propositioned Clint in the desert after a dune buggy ride
• and SuperVixen (Shari Eubanks in a dual role); Angel was sweetly reincarnated and working at a roadside diner

In the end, SuperVixen and Clint's common enemy Harry was in pursuit, and threatened to explode a stick on dynamite between SuperVixen's spread-eagled legs: ("This'll be the biggest and last bang you'll ever have") and also up Clint's butt, but then Harry was accidentally blown up himself. SuperAngel exclaimed: "Leapin' Lizards!" and then atop a pile of rock, shouted out with her arms and legs extended: "That's All Folks!" Her last sexually-satisfied words after a nude desert romp with Clint were: "I'm coming!"

Women Behind Bars (1975, W. Germ.) (aka Frauengefängnis 3, or Des Diamants Pour L'Enfer)

Spanish independent film director Jess Franco's notorious, low-budget W-I-P ("Women in Prison") exploitation film was controversially banned in many locales for its full frontal nudity, two torture scenes, and lesbian sex (it was missing the requisite shower-room scene usually seen in these kinds of films, however).

[Note: It was made the same year as director Franco's sleazy Barbed Wire Dolls (1975), and came a few years before his Ilsa: The Wicked Warden (1977).]

The film opened in an unnamed Central American country with the heist of a millionaire's insured, uncut diamonds from a Chinese junk. Afterwards, gang-leader Perry Mendoza shot his two white-masked accomplices on a beach, and then he was shot dead at the Flamingo nightclub-bar by his double-crossing, brunette partner-girlfriend Shirley Fields (Lina Romay, the director's wife). She turned herself into authorities - jealously claiming he was cheating with a "mulatto slut" and it was a "crime of passion" - she was sent to prison for six years.

Shirley's (Lina Romay) Genital Torture Sequence

The S. France jail was an unusual place - basically without bars, and the female inmates wore short black trenchcoats and at night slept on cots in the nude because of the hot humidity. The sleazy, predatory warden Colonel Carlo de Bries (Ronald Weiss), who had a palatial villa close to the warehouse-like prison, suspected the new inmate knew of the missing diamonds' whereabouts. Insurance investigator Milton Warren (Roger Darton) and accomplice-hitman Bill (director Jesus Franco) were also trying to have Shirley lead them to the diamonds.

The warden offered up his blonde stoolie inmate-lover ("the boss' bunny-rabbit") Martine (Martine Stedil) as Shirley's cellmate to become her lesbian lover in exchange for information. The sadistic warden (who had already ordered a naked whipping of another disciplined cellmate for cat-fighting, with her bloody breasts seen in close-up) tortured Shirley with three powerful jolts of electricity delivered Gestapo-style to her genitals through wires, and then isolated her for disobedience and insubordination. When she was returned to the common sleeping quarters, she strangled Martine to death in the middle of the night.

And then at the start of the film's bizarre plot twists, she was shown to be the new mistress of the warden (Colonel Carlo) in his villa, telling him: "The trouble is that men only want me as a cute little thing that they can go to bed with" before kissing him, and then double-crossing him by pulling a gun on him (in front of her naked breasts) as part of her escape plan. Outside the gate, her accomplice Bill shot and killed the warden, and then the two met up with Milton in his hotel room. She claimed she had never seen the diamonds, much less hidden them, although Bill didn't believe her and repeatedly slapped her face to confess - they told her:

"The game is up, you must realize. Tell us politely where you put the diamonds."

Bill offered her a deal: "Either tell us where the rocks are and get 10%, or keep on lying and I'll really work you over." After she agreed to lead Bill to the Flamingo to retrieve the 'rocks,' the box with the diamonds was still revealed to be empty. She admitted that partner-in-crime Warren had the box with the diamonds:

"He was the one who substituted the boxes....The Chinese junk was in port in Kingston. Somehow, Warren got onboard and switched the two cases...I just met Warren a few weeks before that. I really fell for him. That was when he suggested the whole thing. Surprised, aren't you?"

She shot Jim dead, and then received a phone call from her partner Warren. She assured him: "He won't be bothering you." They were planning on taking a plane flight together that afternoon to Vera Cruz, and she added: "Don't worry about me, darling. See you soon." In voice-over, Warren expressed how surprised he was with the success of their heist, and the prospects of their future together:

"By selling the diamonds in Mexico, we'll be able to live comfortably for the rest of our lives. Neither Shirley or I have any previous criminal record. It is true we've committed murder, but who are the victims - people who deserve to die. If you ever come to Mexico and you happen to visit Vera Cruz, you may notice a little white house on the hill... that's where we live. But please, don't tell anyone."