Alice in Wonderland: An X-Rated Musical Fantasy (1976)

Director Bud Townsend's film (with producer Bill Osco) was self-proclaimed as an "X-rated Musical" fantasy. It was one of many examples in the late 1970s of pornographic, eroticized versions of fairy tales - produced in both soft and very hard-core (XXX) versions (in the early days of cable TV and home video) to appeal to varied audiences and make more profits for the producers. The hard-core explicit version with lots of close-ups included self-masturbation, oral sex, ejaculation, lesbianism, pseudo-bestiality, and inter-racial intercourse.

[Note: See other sexed-up classic fairy tales, including Michael Pataki's Cinderella (1977) and Harry Hurwitz's Fairy Tales (1978).]

It was very loosely based on Lewis Carroll's children's book of the same name. It starred cute blue-eyed blonde Kristine DeBell (who had appeared on the cover of the April 1976 Playboy) as the title character, a daydreaming virginal (prudish or frigid) librarian of a small-town. She told her interested and caring boyfriend William (Ron Nelson): "I'm just not the girl you're looking for." He wished for her to be more sexual and demonstrative:

"I'm attracted to you. You're a very attractive girl. You've got to expect me to show it...The body's all grown-up, but the mind's still a little girl...Why don't you give yourself a chance? You might see a whole new world out there...It's too bad. You're missing so much. You got all the right equipment, but you don't know how to put it to work. Well, so long. See you around."

She picked up a book, Alice's Adventures in Wonderland, and then in a fantasy or dream sequence, she found herself transported to the "whole new world" of Wonderland - with an opportunity to explore pleasure and her sexuality.

Alice (Kristine DeBell) in X-rated Wonderland

Some of the characters from the original tale included:

• White Rabbit (Larry Spelman, or Larry Gelman), perverted
• Mad Hatter (Alan Novak), who bragged not about the size of his hat, but about the size of his thing-a-ma-jig (9 7/8) - calling it "the nicest one you've ever seen...I'll share it with you"; he then enjoyed Alice's oral attention to his nether-regions until he climaxed
• Humpty Dumpty (Bradfor Armdexter, or Bucky Searles), impotent, who was offered a stimulating striptease by two sexy (lesbian) nurses (Nancy Dore/Dare and Terri/Terry Hall), that caused Humpty Dumpty to note: "I've brought more nice couples together"; after Alice gave him some personal attention, she exclaimed: "Look everybody, he's up!" while the group celebrated by dancing and singing: "We got his ding-a-ling up!"
• Tweedledum (Sue Tsengoles, aka Bree Anthony) and Tweedledee (Tony Tsengoles, aka Tony Richards), an incestual sister and brother: "We'll get together especially for you" was their sexual promise that they fulfilled by having sexual intercourse
• Queen of Hearts (Juliet Graham) a tyrannical, leather-clad and lesbian dominatrix with a heart drawn over her pubic area; she threatened Alice: "I don't want to cut off your head, I want you to give me some head"

Alice was tried before a judge for the crime of chastity, found guilty, and sentenced to give 'head' to the Queen. Alice was pampered by two lesbian maids in the royal court before meeting with the Queen to provide sexual services.

Alice (Kristine DeBell) with the Queen of Hearts (Juliet Graham)

Afterwards, Alice escaped (with the Mad Hatter and White Rabbit) although she was pursued by the Queen and her court, and returned to her former life where she eagerly made love to her understanding boyfriend.

Allegro Non Troppo (1976, It.)

Director Bruno Bozzetto's irreverent spoof of Fantasia (1940) was structured similarly with six animated segments and classical music.

Two of the segments were sexually-explicit with adult content:

• Debussy's Prélude à l'Après-Midi d'un Faune (Afternoon of a Faun)

Accompanying the musical segment, an aging, overweight, white-bearded, pink-nosed, unattractive satyr tried to make himself look younger so that he might successfully pursue and win the affections of a beautiful nubile nymph in a water-colored forest. He fantasized that he was virile and had the beautiful naked nymph in his arms. All of his efforts seemed to fail and revealed his age to the young beauties, causing him to lament. He even obsessively imagined female body parts: breasts, legs, hands, and other female shapes in the clouds, until the segment's final image revealed that he was already on "Mother" Earth (that had sprouted a pink nipple on a giant, reclining female figure).

• Stravinsky's Firebird

Stravinsky's Firebird - "Paradise Lost" Segment

An anti-consumerist segment titled Paradise Lost accompanied Stravinsky's musical piece; two fig-leaf-less, anatomically-accurate "Adam and Eve"-like individuals were created out of clay by human hands and then animated. They were accompanied by a diabolical green serpent-snake that tried to tempt them to eat a delectable apple from the tree (of knowledge, according to the Biblical tale), but the nude couple was uninterested. When the snake ate the forbidden fruit himself, he went on a nightmarish journey (the results of original sin) where he was assaulted by elements of modern society, including automobiles turning into a dragon, and giant devil characters.

When cornered, the snake was bombarded with sexy TV commercials on six screens featuring nude women and closeups of breasts and nipples, and signs that read: "Only $7.99," "Free," "Sex," "WIN," "Buy," "BIG," "Crazy," "SUPER," and more. Giant pink breasts came at him from the screens, and naked blonde females with pink bodies held out their arms to him from various consumer products for sale. He was literally surrounded by dozens of competing merchandise items that caged him in from all sides. Afterwards, the snake, now fully dressed, returned to the naked Adam-Eve couple to tell them of his awful experiences, after which he removed his clothes, spit up the apple, and went on his merry way.

Bobbie Jo and the Outlaw (1976)

Director Mark Lester's low-budget crime drama was essentially an exploitation drive-in road film that featured fast-driving, high-speed souped-up cars, violence and lots of Southern good-ol'-boys. It also became notorious for lots of continuity errors, a choppy narrative, and for being one of the few (or sole) films in which the hot Lynda Carter went topless.

The film paid homage to a number of other films and their iconic scenes, such as:

• Bonnie and Clyde (1967) - with its own violent climactic shootout
• Easy Rider (1969) - with its naked hot springs scene at a New Mexico commune
• Deliverance (1972) - with its "squeal like a pig" sequence

Burt Reynolds had already made the sub-genre commercially-viable with White Lightning (1973) and its sequel Gator (1976) - all before the popular TV show Dukes of Hazzard began in 1979.

In fact, the franchise of Smokey and the Bandit films (from 1977-1983) borrowed its similar-sounding title, and the rampage of the two main 'lovers-on-the-lam' and their pursuit by the local Sheriff (in this case, Clovis New Mexico Sheriff Hicks (Gene Drew)) was from the playbook of a number of previous films, including The Getaway (1972) and Badlands (1973). The tagline of this classic film described the two title characters:

"Bobbie Jo was a car hop, she wanted to be a country singer. He was a hustler who dreamed he was Billy the Kid. For a while, they had something... and then..."

• Bobbie Jo Baker (Lynda Carter, a former Miss World USA in her film debut, just about the same time as she took the lead role in TV's Wonder Woman), a sexy drive-thru car-hop waitress and aspiring country music singer
• Lyle Wheeler (Marjoe Gortner), New Mexico's Quick Draw champion during a Wild West show (the opening sequence); also a car thief, rebellious with outlaw Billy the Kid as his idol ("because he didn't take no s--t from nobody")

When Lyle pulled up to the car-hop with a souped-up, stolen yellow and black striped Mustang, he was mesmerized by the sight of the beautiful Bobbie Jo, who soon changed from her cowgirl uniform into high-waisted bell-bottoms and a light-blue, front-laced halter vest, and then at her home switched into a floral print top (bra-less). She was berated by her drunken and controlling widowed mother Hattie Baker (Peggy Stewart) for misbehavior. Desirous of freedom and the open road, she hopped in stalker Lyle's car sitting out front, and urged him: "Come on, lover boy, move it, or did you lose your nerve?...Just drive..." He rescued her from her predicament, and they fled together into the desert.

There at some ancient pueblo ruins after she serenaded him with a guitar song (she reminded him of singer Linda Ronstadt), they made love, and the next morning were shooting beer cans for target practice.

They met up with Bobbie Joe's bespectacled hippie friend and co-worker Essie Beaumont (Belinda Balaski), and had a strange hallucinatory drug experience (with sacred mushrooms) while naked in a small body of muddy water with a white-haired Native American.

Soon, they also joined up with two others in New Mexico - the beginning of their downfall:

• Pearl Baker (Merrie Lynn Ross), Bobbie Jo's sister, a brown-eyed, blonde stripper who served as getaway driver
• Slick Callahan (Jesse Vint), Pearl's sleazy boyfriend, the drug-addicted strip-club owner; violence-prone

Carrie (1976)

Brian DePalma's psychological horror tale was about extreme sexual repression for a gawky, awkward 'ugly duckling' teenaged girl who had been subjected to religious indoctrination by her ignorant, psychotic and fanatical mother. There were a number of sequels and remakes:

• The Rage: Carrie 2 (1999)
• Carrie (2002) (TV)
• Carrie (2013)

The horror film opened with a slow-motion credits sequence set in a locker-shower room full of naked high school girls, including popular yet abusive 'bad' girl Chris Hargensen (Nancy Allen). [Note: Nancy Allen married director Brian DePalma in early 1979, and ultimately divorced in 1984.] She was introduced as she strode completely naked from the shower, and flicked her towel at friends.

The Girls' Locker Room Opening Credits Sequence - "Bad Girl" Chris Hargensen (Nancy Allen)

The voyeuristic scene also found another lonely student Carrie White (Sissy Spacek) enjoying the warm flow of a steamy shower - until she experienced the shock of her first menstruation (late-coming at age 17). Naively thinking she was dying when she saw blood coming out of her, she cried out "Help me!", and endured cruel teasing by other insensitive classmates. Chris Hargensen led the taunting and ridiculing of the terrified Carrie - a thoroughly humiliated, picked-upon menstruating teen. The jeering girls tossed tampons and sanitary napkins at her while they yelled: "Plug it up!"

Carrie's obsessed and stern mother Mrs. White (Piper Laurie) interpreted tormented Carrie's onset of menstruation as a sign of her oncoming impurity and had been subjecting her, throughout her entire life, to shame-inducing words ("Help the sinning woman see the sin of her days and ways. Show her that if she had remained sinless, the curse of blood would not be on her"). She described how Carrie's period was ordained by God:

God visited Eve with the curse. And the curse was the curse of blood....And he visited Eve with the second curse. And this was the curse of childbearing.

Following her cruel teasing during the celebrated prom finale, she enacted a fatal and bloody aftermath of retribution with her telekinetic powers - an example of sublimated sexual rage. She massacred prom-attendees (by incineration, crushing, and electrocution), before returning home in her blood-soaked prom dress and cleansing herself in the bathtub.

Dona Flor and Her Two Husbands (1976, Brazil) (aka Dona Flor e Seus Dois Maridos)

Director Bruno Barreto's NR-rated erotic comedy was a box-office smash hit - the most successful Brazilian film in history for many years.

[Note: An American remake came out six years later, director Robert Mulligan's Kiss Me Goodbye (1982), and starred Sally Field in the lead role, opposite James Caan and Jeff Bridges.]

Set in the 1940s, it told about the title character:

• Dona Flor (Florípides) Guimarães (Sonia Braga in her breakthrough role), very lovely

Her handsome wastrel husband Valdomiro 'Vadinho' Santos Guimarães (Jose Wilker), with whom she enjoyed long bouts of carnal sex, died while dancing in the street during carnival festivities.

She was remarried to boring, hard-working, dull and meticulous pharmacist Dr. Teodoro Madureira (Mauro Mendonça) - unremarkable in bed when compared to her ex-husband.

There were sexual complications when her ex-husband returned on his one-year death anniversary. He appeared as a ghost to make erotic and passionate love to her - and only she could hear and see him. Dona Flor relished the randy reappearances of her first husband alongside her in bed for strange threesomes.

In the Realm of the Senses (1976, Jp.) (aka Ai No Corrida)

Writer/director Nagisa Oshima's shocking and intense foreign film was about extreme, all-consuming sexual obsession, deadly madness, destruction of the servant/master dichotomy, and complete immersion.

It bordered on pornography in its uncut version, and was seized and banned by US Customs and postponed in its censored release. It included an orgy scene, sexual violence, sexual games, and frequent shots of an erect penis and fellatio. This film broke the taboo in Japanese cinema against showing female pubic hair and sex organs. It caused a sensation - and lively discussion - at the Melbourne Film Festival in 1976 when first released.

The film, produced in France, reflected the tradition of erotic Japanese wood-block prints, the shunga, in which the faces were stylized, but the sexual organs (especially the phallus) were shown aroused, enlarged and delineated with almost topographical detail and care.

This erotic Japanese masterpiece about painful passion in 1936 Japan told the story of a torrid, increasingly intense and dangerous, true-to-life, almost non-stop sexual affair between:

• Kichizo (Tatsuya Fuji), a gangster businessman and inn-owner, the husband of the brothel madam Toku (Aoi Nakajima)
• Sada Abe (Eiko Matsuda), a former prostitute, one of Kichizo's maid-servants in the brothel, working to pay debts of her bankrupted husband

After spying on Kichizo and Toku having sex, Sada developed a crush on Kichizo.

Kichizo Having Sex With His Wife Toku

In the scenes between submissive Kichizo and a dominating Sada Abe, there were explicit shots of:

• sexual touching during a bloody menstrual period
• a wide variety of sexual positions and sexual acts (some in close-up)
• unsimulated penetration
• unsimulated fellatio (while he passively laid back and smoked a cigarette) with a close-up of semen dripping from her mouth
• a sex game including vaginal insertion of a hard-boiled egg before he consumed the egg
• penis fetishism
• masochism (forcible use of a wooden dildo - shaped like a bird, bite-wounds, S&M, among other practices)

Brothel Examples of Sadomasochism

Almost penis-fixated, she innocently stated: "Isn't it natural for a woman to love the sex of the man she loves?" Eventually, when Sada grew jealous of her partner's continuing sexual relations with his wife Toku and wielded a knife at her, she also threatened to destructively cut off Kichizo's penis - an eventuality that came true.

The most controversial and infamous sequence in the film was the depiction of the violent and disturbing practice of auto-erotic asphyxiation to aid their sexual excitement - first with her bare hands, and then with a red scarf. The film climaxed with his bloody genital dismemberment/castration after murderous strangulation so that she could keep his member inside of her. She also carved in his chest - in blood: "Sada Kichi the two of us forever."

The Most Controversial Scenes of Auto-Erotic Asphyxiation
With Bare Hands	With Red Scarf

Afterwards, the empowered female carried around her master-lover's severed genitals in a handkerchief for four days - an enactment of her proprietary feelings about his member - until she was arrested.

Je T'Aime Moi Non Plus (1976, Fr.) (aka I Love You, I Don't)

Director/writer Serge Gainsbourg's debut film was banned in the UK when initially released, and often accused of perversion because of an unnecessary emphasis on anal sex. It also contained an explicit reference to fellatio (in a scene of the consumption of gooey cucumbers).

The English title of the film was also the title of a controversial 1967 song recorded by the director and his then-girlfriend Brigitte Bardot, unreleased until 1986. It was later re-recorded in 1969 in a more popular best-selling erotic version with Jane Birkin singing the song (and providing genuine orgasmic, breathy sexual moans and groans). The song was censored in various countries, and even the edited version in France was suppressed. The Vatican publically cited the song as offensive.

In the dramatic film about a love triangle, an affair developed between:

• Johnny (Jane Birkin, Gainsbourg's female partner/muse), a truck-stop waitress, flat-chested, love-starved, androgynous
• Krassky (underground B movie-star Joe Dallesandro), a homosexual garbage man
• Padovan (Hugues Quester), Krassky's male partner, another garbage truck man

Androgynous Johnny (Jane Birkin)

Abandoning his own male lover Padovan, Krassky was attracted to Johnny, due to her androgynous and boyish look. She even claimed: "I have no tits and a big arse." The couple floated on a river naked with their rear-ends draped over the sides of an inner tube. They found that they had to resort to heterosexual anal intercourse (a taboo and painful sex practice) when he failed to maintain his erection during regular vaginal intercourse. Their first attempt led to masochistic Johnny's loud screams of pain, forcing the two to often be evicted before consummation.

At another point in the film, Krassky gave Johnny a gift: an old stuffed children's cuddly toy rescued from the decaying trash which she later held to her chest during masturbation - symbolically pairing sex and trash.

Their attempts at reaching sexual consummation, as she repeatedly offered her backside and 'played dead' were thwarted again and again in various motels/apartments, until they finally found satisfaction in the back of a garbage truck - a scene shot in arty fashion from above.

The film concluded, after they both achieved sexual satisfaction, with jealous Padovan assaulting Johnny in her bath. He wrapped a transparent plastic garbage bag around her head and attempted to suffocate her, but she was saved when Krassky drove up in a garbage truck. She was incensed that Krassky wouldn't retaliate against Padovan and told him to leave. The two men left her sobbing, naked, and begging as they departed in the garbage truck parked outside.

Lipstick (1976)

Director Lamont Johnson's sordid and glossy film was severely criticized for its cheap and exploitational nature. Rather than condemning rape, it was thought to exploit and sensationalize the crime and had to be drastically edited after preview audiences despised a lengthy rape-bondage sequence.

The film's tagline attempted to emphasize women's empowerment: "She believed she was the weaker sex until the day she was violated. The story of a woman's outrage and a woman's revenge." It also claimed: "LIPSTICK - It isn't always an invitation to kiss."

The R-rated drama told about a provocative fashion and lipstick model Chris McCormick (Margaux Hemingway in her film debut), who was the victim of an ugly, sodomizing rape. The spiteful and creepy Gordon Stuart (Chris Sarandon), the music teacher of her younger sister, was let into the apartment. Feeling rejected again, he suddenly brutalized her, threw her around her apartment, and angrily asked: "You f--k to get what you want, huh?" In her bathroom, he ordered her to put lipstick on her face ("Put it on"), forced her to look at her smeary face in a mirror, and mocked her. He asked: "Am I good enough to f--k?", and then raped her from behind as she screamed. He had tied her down to her bed with silk scarves and ran a knife blade across her body.

The Exploitative Rape Sequence

The rapist was brought to trial, but acquitted of the rape charges, to the dismay of prosecutor Carla Bondi (Anne Bancroft).

Chris sought lethal vigilante revenge against Stuart, especially after he also went after her 15 year-old sister Kathy (Mariel Hemingway in her film debut, Margaux' real-life sister) in an abandoned office building (with his hideous assault fortunately off-screen).

In the film's ending, lipsticked Chris used a pump-action shotgun to seek bloody and murderous justice (with an obviously tacked-on ending and voice-over which found Chris not guilty of the murder).

The Man Who Fell to Earth (1976, UK)

Director Nicolas Roeg's impressionistic, hallucinatory, disjointed, non-literal sci-fi film and parable about an alien on Earth seeking water for his drought-stricken planet Anthea. The allegorical movie included scenes of unusual, exploratory and explicit sexual encounters (with full frontal nudity of both major stars), cut from the film's initial UK release for US audiences.

It told of the developing relationship between:

• Thomas "Tommy" Jerome Newton (rock star David Bowie in his feature film debut) (aka "Mr. Sussex"), a humanoid alien visitor
• Mary-Lou (Candy Clark), a naive, New Mexico hotel worker

After the scene of Newton's arrival on Earth, he soon acquired wealth as a tycoon, heading up a technological firm using advanced inventions from his home planet. When he revisited New Mexico where he had initially landed, he met up with lonely and unloved Mary-Lou, and before long, she had taught him about many human ways, including sex.

During one frenzied and loveless encounter, a drunk Newton threatened Mary-Lou with a blank-firing fake pistol, dipped its barrel into a glass of wine, and then licked it, before they both struggled with the weapon as sexual foreplay. She taught him about humanoid sex.

Mary-Lou (Candy Clark) Wrestling With a Toy Gun: Sexual Foreplay

When she learned that aliens secreted a semen-like goo, and his true Anthean form (pale, androgynous, cat-eyed and hairless) was revealed to her, she was startled, frightened and repulsed, and peed down her leg. After a few decades passed, Newton eventually ended up corrupted and ravaged by alcohol and despairing depression - and unable to return to his doomed home.

There were also a lot of unrelated sexual scenes in the film: corporate villain Peters (Bernie Casey) had a sensual poolside scene with his loving wife (uncredited B movie queen Claudia Jennings), while young female students Helen (Adrienne Larussa), Jill (Hilary Holland), and Elaine (Linda Hutton) bedded their womanizing college chemistry professor Dr. Nathan Bryce (Rip Torn), who resembled a father figure. Bryce became aware of Newton's amazing technology after Elaine used one of Newton's self-developing cameras to miraculously photograph their love-making on a strip of film.

Network (1976)

Sidney Lumet's critical look at TV news, Network (1976), included a side story of the affair between aging married man and network news head Max Schumacher (William Holden) and icy-cold, and work-obsessed VIP of Programming Diana Christensen (Faye Dunaway).

During dinner at a restaurant, she related her unhappy, soul-dead personal life and sexual inadequacies, and how she passionately breathed and lived her work, television and high ratings:

"I was married for four years and pretended to be happy. I had six years of analysis and pretended to be sane. My husband ran off with his boyfriend, and I had an affair with my analyst, who told me I was the worst lay he'd ever had. I can't tell you how many men have told me what a lousy lay I am. I apparently have a masculine temperament. I arouse quickly, consummate prematurely, and can't wait to get my clothes back on and get out of that bedroom. I seem to be inept at everything except my work. I'm good at my work. So I confine myself to that. All I want out of life is a 30 share and a 20 rating."

During a weekend tryst in the Hamptons, without hardly pausing, she orgasmed during an intense ranting about programming challenges regarding "The Mao Tse-tung Hour":

"I said, 'Walter, let the government sue us! Let the federal government sue us. We'll take them to the Supreme Court. We'll be front page.' The New York Times and the Washington Post will be writing two editorials a week about us. We'll be front page for months. We'll have more press than Watergate! All I need is six weeks federal litigation and the 'Mao Tse-tung Hour' can start carrying its own time slot. (She experienced orgasm.) What's really bugging me now is my daytime programming. NBC's got a lock on daytime with their lousy game shows, and I'd like to bust them. I'm thinking of doing a homosexual soap opera. 'The Dykes.' The heart-rending saga about a woman hopelessly in love with her husband's mistress. What do you think?"

Novecento (1976, It./Fr./W. Germ.) (aka 1900, or Twentieth Century)

Bernardo Bertolucci's epic-length, sprawling historical drama of Fascist Italy from 1900 to the WWII era was his follow-up film, another controversial one, after Last Tango in Paris (1972). The lengthy melodrama chronicled the struggles between leftist and rightest groups, exemplified by its two main male characters with divergent social standings. The two men were both conceived on the same day at the start of the 20th century.

It was greeted with both excitement and skepticism at the Cannes Film Festival for its near-pornographic scene of sexual exploration featuring big stars in an explicit sex act. The controversial scenes were edited out for the US release of the truncated film, and later reappeared in the over-5 hour, NC-17 re-release in 1991.

The major scene of contention involved three characters:

• Alfredo Berlinghieri (Robert De Niro), wealthy and amorous, the grand-son of an aristocrat landowner, the Berlinghieri heir
• Olmo Dalco (Gerard Depardieu), a working man socialist, and the bastard-illegitimate son of a peasant; Olmo's family worked on the land owned by Alfredo's father
• Neve (Stefania Casini), a prostitute

Alfredo and Olmo visited Neve, where both were viewed completely naked as they got into bed with her, one on each side. Alfredo asked: "Who goes first?" She sat up between them, and then as the camera moved closer to peer over the end of the bed, it saw that she was visibly fondling and mutually masturbating both of them (one hand for each penis).

Neve (Stefania Casini) Practicing Double-Handed Masturbation

Then, she considered a different approach and asked Alfredo: "Maybe you can do something better?" She grabbed Alfredo's right hand and guided it to Olmo's genitals. When he jerked away, she went back to pleasuring Alfredo. But then when she was forced to take a drink, she soon felt strange and suffered an epileptic convulsion, aborting their time together.

Earlier, the two prepubescent boys examined and compared the length of their penises. Alfredo married Ada Chiostri Polan (Dominique Sanda), after taking her virginity in a barn, while Olmo married independent minded Anita Foschi (Stefania Sandrelli) - who died during childbirth.

There were other violent scenes involving the disturbing and brutal Berlinghieri farm manager Attila Mellanchini (Donald Sutherland) who was later vengefully punished for his sadism. The final sequence portrayed the Italian socialist peasants overthrowing their Fascist masters - and the major true test of loyalty - would Olmo defend his life-long "padrone" friend?

A Real Young Girl (1976, Fr.) (aka Une Vraie Jeune Fille)

Writer/director Catherine Breillat's feature debut was this erotic drama with strong and shocking sexual content - it was made in 1975, but not released until 25 years later due to financial problems with Breillat's production company and controversy surrounding this sensational, raw and strange film. This film was promptly banned upon its initial release in France in 1976, and was not released to theaters until the year 2000. One tagline was:

A surreal voyage into adolescent sexuality.

Breillat would later become famous for the similarly-explicit Romance (1999, Fr.) and Fat Girl (2001, Fr.) which were also preoccupied with the representation of female sexuality. The self-reflective film was not considered pornographic by many, but rather a serious attempt to represent the disruptive awakening and tumultuous sexuality of the psyche of a pubescent young female, who was all too-ready to transgress taboos of society.

The frank film showed various close-ups of her genitalia, her crude and realistic fascination with messy, tactile, and visceral emitted fluids (mostly from her body) and mysterious smells (including vomit, urine, a broken egg yolk, tree sap, blood from a beheaded chicken, her own ear-wax, sperm (in a fantasy sequence) and candle-wax - often shown in closeup), and also, her rampant sexual fantasies and infatuations.

For example, during the female protagonist's first night at home, she flopped backwards onto her bed in her two-piece pajamas; seemingly depressed, she then vomited onto herself; she spoke in voice-over: "I sat up cautiously, liberated by the vomit's warmth, by the sweetish smell it gave off. Disgust makes me lucid. It was at that very moment that I decided to write my diary because I couldn't sleep." She recalled a night at school when she wrote out her name on a mirror with vaginal secretions, and went to a toilet stall to smoke a cigarette and urinate, while locking out her best friend Martine (Alexandra Gouveia).

This original, unapologetic and bold coming-of-age film charted the budding sexuality and self-exploration of one teenager in the summer of 1963 in France:

• Alice Bonnard (Charlotte Alexandra, 20 years old at the time of filming) - a 14 year-old French boarding student during her summer holiday, sexually-curious, perpetually horny, well-developed and self-analytical; she was an only child living with her uncommunicative parents (a passive-aggressive mother and overweight, lazy, lecherous, cheating father) at a provincial farmhouse; her mother derogatorily chided Alice as a 'whore': "You're slipping. Carry on and you'll end up in the gutter...Look at her, she's hopeless"; Alice always felt people looked upon her judgmentally or reprovingly, and warned her about not being a "little girl" anymore. Her father even cautioned: "You're dangerous for yourself. You'll understand one day. I should have kept you in after your first period. Has someone fondled you?"
  
  [Note: English actress Charlotte Alexandra had previously appeared as Therese in a similar role (requiring nudity and a scene of masturbation) in Polish director Walerian Borowczyk's X-rated soft-core anthology film Immoral Tales (1974, Fr.), and later was in the soft-core erotic film Goodbye Emmanuelle (1977, Fr.) (aka Emmanuelle 3).]

Alice Bonnard (Charlotte Alexandra)	Alice's Dysfunctional Parents (Bruno Balp and Rita Meiden)	Hired Worker Jim (Hiram Keller)

The provocative film opened with Alice riding on a train returning home for the summer to Southwestern France (the Landes Forest area of Gascony) with her contemptuous, intolerant voice-over (voice by Marie-Hélène Breillat) and feelings of oppression:

"I hate people. They oppress me. All year, I was away at school. I only came home for end-of-term holidays. Summer holidays were the worst. They were endless."

When she arrived at her home train station, a sugar-sweet pop tune played about a young female's insecurities: "Suis-je une petite fille" (Lyrics: "I'm a little girl. I don't know, no, I don't know. How big a girl I am. Only you can tell. Please, please tell me, tell me now. Please, please tell me what you like about me").

There were a number of incidents involving her sexual awakening

• she compulsively (and frequently) masturbated (at school and home), and once briefly inserted a tea stirring spoon (surreptitiously at the kitchen table upon first arriving home) into her vagina and then stirred her drink
• she would often drop her panties to her ankles (or not wear panties at all)
• in front of her bathroom mirror, she undressed for bedtime, noting: "I only like seeing myself in small bits"; after removing her bra as she was putting on her pajamas, she thought to herself: "I'm well-developed for my age"
• she was shown a few times urinating (i.e., on a toilet at school)
• revealing her genitalia, she spread a red paste within her vagina, and then on the nipples of both breasts, and thought to herself: "I can't accept the proximity of my face and my vagina"
• an exhibitionist, she rode her bicycle with her dress hiked up and showed off her panties to sawmill workers, and sometimes even rode bare-assed
• she often visited, spied upon and lustfully fantasized about sex with a hired factory worker Jim (Hiram Keller), a 20-something, lean, studly and strong employee in her father's sawmill; however, she thought: "I could see he wasn't interested in me. I was too young. I hated him. And since I hated him, I could stay to the end. I didn't dream of sleeping with him. Ever. I'd never give myself to a man"

However, in one surreal, graphically-explicit and shocking fantasy dream sequence involving the hired worker Jim, Alice was lying naked spread-eagled on her back on the ground - her hands were tied back with barbed wire. He dangled a live and wiggling earthworm (a symbol of a flaccid, small-sized male genitals) over her full-screen genitals, then tried to insert it into her vagina. When unsuccessful, he pulled apart the worm with his fingers into segmented pieces, and sprinkled the remains on top of her pubic hair. She looked up as he stood towering above her, and he snickered at her.

Most Controversial Graphic Sequence First Dream Fantasy with Jim

• Alice's creepy father often kissed her or hugged her, complimenting her on her figure: "You're built like a woman"
• Alice worried: "Hairs were curling out of my panties"
• on one of her "lonely outings" to a beach, Alice spotted a dead dog carcass as she removed her shoes; she ran to the surf, and sat spread-eagled and pantyless to let the water rush up to her: "I kept my skirt on so that no one would catch me unawares"
• after applying heavy red lipstick and eye-liner, she rode her bike to a country fair, where a middle-aged man exposed his genitals ("big one") to her on a shared roller-coaster ride seat; she called him a "pervert" and an "asshole"; upon her reutrn home where her father was watching sports on TV, she imagined seeing her father's genitals sticking out of his pants
• once, she sat completely spread-eagled between railroad tracks to touch herself ("My sex left a sticky smear on the stone")
• while sunning herself, she slipped down her bikini bottoms and inserted a tanning oil bottle-top into her anus ("I buggered myself with the bottle of oil for tanning. But it did nothing for me")

In a second imaginary fantasy sequence with Jim, she walked to the sawmill and came upon Jim urinating with his back to her ("He was shaking it"). She attracted Jim's attention by removing her panties and urinating in front of him. He walked off, again disinterested. She ran after him to the beach, and crawled in front of him (with chicken feathers protruding from her rear), as he opened his pants in front of her. She told him: "Cluck, cluck, I'm a chicken too." He grabbed one of the feathers with his teeth, and they shared a 'feather-kiss.' He placed flowers in her hair. They both rolled onto their backs and side-by-side, they masturbated next to and in front of each other. Afterwards, he wiped his sperm onto her blouse ("I watched his cock flopping like a dead fish"). She was disgusted and as she departed, she yelled out: "Get lost!"

In the film's conclusion, it was revealed that Alice's philandering father was involved in an on-going affair. Alice listened as her parents quarreled about their disintegrating marriage, although her father pledged: "I don't think I want to lose you."

• Alice made a bloody mark on her shirt (with pen ink) to signify her deflowering; then she dripped candle wax on her hand and fingers ("Symbols don't scare me")
• Jim overpowered her in his small pink car and coaxed Alice into having sex, but she pushed him away; however, she then bargained for contraception: "Understand, I'll sleep with you, but I don't want a baby" - and then she affirmed: "In any case, I don't want to sleep with you" - further pressuring him to agree to provide her with 'the pill' ("The pill! You can get it in Switzerland!"); then she raised her blouse enticingly: "In the meantime, you can do what you want"
• during their next rendezvous together, Jim provided Alice with contraceptive pills, but she said she preferred to have sex with him later ("I'd prefer an evening, it's sadder")

As some form of ironic punishment for sneaking over to Alice's place in the dark for their "first date," Jim (who had just been fired by her father after demanding overtime) was shot and killed by a trap that Alice's father had set up to keep wild boar out of his corn field. Alice's mother reacted with hysteria: "My God, we're ruined...How are we going to pay for this?" Alice watched the crime scene from inside the house as she packed to return to school.

There were a few closing or end credits followed by a black screen accompanied by music on the soundtrack.

Salon Kitty (1976, It./W.Germ./Fr.) (aka Madame Kitty)

Italian erotic cinema director Tinto Brass' controversial yet beautifully filmed arthouse film was another advanced example of the pre-WWII Nazi-exploitation films that had begun to appear at the end of the previous decade. It pushed the envelope, with plentiful male and female nudity, a massive orgy, masturbation, lesbianism, and other transgressive material.

This historically-based allegory co-starred Ingrid Thulin and Helmut Berger, fresh off their appearances in another tale of Nazi licentiousness, Luchino Visconti's The Damned (1969, It.). It was somewhat more extreme than Liliana Cavani's The Night Porter (1974) and Pier Paolo Pasolini's Salo: 128 Days of Sodom (1975), but not as exploitational or sleazy as Love Camp 7 (1969), for example.

Set in the year 1939, it told about a Nazi-sympathetic brothel in Socialist-run Germany run by the title character Madame Kitty Kellermann (Ingrid Thulin). Power-questing Nazi officer Helmut Wallenberg (Helmut Berger) took over the whorehouse and stocked it with a new group of about twenty "good Nationalist girls." The commandant strolled along a line of stripped, "flawless" females to be tested, instructing them:

"You are about to undergo group testing with SS men of the Third Reich, to help you to get rid of your inhibitions, and we'll get measurements of your performance. The most qualified will be given a second examination, more detailed, more specific. The test has been tailor-made for you, by our psycho-somatic center. Your duty is to refuse nothing, coitus, anal coitus, masturbation and fellatio."

Another line-up of nude males joined the females, and they paired off for gymnastic-like sexual exercises - during a giant orgy.

The Brothel Lineup Before the Orgy

During the procedures, Helmut's eye was attracted to blonde Margherita (Teresa Ann Savoy), and he took her as his mistress. His goal was to use Nazi intelligence to bug officers during sex with the members of Kitty's brothel harem, thereby winnowing out the loyal from those not fully committed.

Blonde Margherita (Teresa Ann Savoy)

However, Margherita fell instead for one of her steady customers named Hans (Bekim Fehmiu), a disillusioned Wehrmacht pilot with a conscience, who planned to defect to the Allies (leading to his torturous meathook death for treason). Helmut also found vile and deformed individuals (including a midget humpback) whom he forced blonde hooker Marika (Paola Senatore) to make love to in a barred cell, to test her tolerance for perversion and defilement.

Sexual Degradation with Blonde Hooker Marika (Paola Senatore)

Wallenberg's frumpy wife Herta (Tina Aumont) appeared in a small role, when she was forced to participate in a lesbian scene with Margherita.

Sebastiane (1976, UK)

Outspoken homosexual writer/director Derek Jarman's feature debut film was this experimental, homoerotic cult film -- rated X upon release. The film's dialogue was in vulgar Latin (and required English sub-titles). The plot was inspired by the image in a Renaissance painting of a martyred Saint Sebastian - ordered killed by Emperor Diocletian, who had him stripped naked, tied to a pole and shot through with arrows. In historical fact, Sebastian was clubbed to death and his body deposited in a Roman sewer in 288 A.D.

The opening sequence was a 4th century Roman orgy in the decadent court of Diocletian. During the festivities, body-painted naked men, with comically-exaggerated giant penises danced around a savagely-painted, white-washed lead dancer (Lindsay Kemp).

The main story was about Christian palace guard soldier in the Roman Imperial Troops named:

• Sebastiane (Leonardo Treviglio)

The defiant guard was sent (or exiled) to a remote Sardinian outpost camp with eight soldiers - "nowhere to go, no one to fight, nothing to do." He was shunned by the Emperor for defending a Christian accused of arson, and at the outpost, he was whipped and tied to stakes in the ground under the blazing sun.

Throughout almost the entire film, the Roman soldiers at the sweltering desert outpost rough-housed, played practical jokes on each other, skinny-dipped, and engaged in various games or contests. They always appeared undressed or wearing only loincloths, and sometimes completely naked (with full-frontal male nudity).

The film included an explicit and frank depiction of outdoor homosexual love-making between two of the muscular and sculpted soldiers, Anthony (Janusz Romanov) and Adrian (Ken Hicks), having same-sex intercourse in a pool of water. A relaxed indoor bath scene also revealed the genitals of a number of the soldiers, one of whom was shaving his entire naked body with a curved knife.

Sebastiane rejected the final homosexual advances of his desperately-smitten, drunken, and lustful pagan commanding centurion, blonde Severus (Barney James), to engage in sodomy:

Sebastiane: "Poor Severus. You think your drunken lust compares to the love of God. You're so drunk, you're impotent."
Severus: "You're going to get it. As for it, you Christian whore. Sebastiane, I love you. You are so beautiful. Sebastiane, love me."
Sebastiane: "Ha, ha, ha. You impotent fool. You'll never have me and you've never had me. Never!"

As a result, he was eventually martyred. He was tied naked to an upright stake and penetrated with arrows.

Slumber Party "57" (1976) (aka Teenage Slumber Party)

Directed by William Levey, co-scripted by Levey and Frank Farmer, and produced by John Ireland, this R-rated teen sexploitational Cannon Films production came on the heels of the extremely popular American Graffiti (1973) and nostalgia for earlier times. It was not to be confused with the later film The Slumber Party Massacre (1982). Its tagline was:

Bobby Socks, Hickeys, Pony Tails, Necking and all the rest of the "Innocent" 50's

The soft-core comedy-drama told about six bored and horny adolescent girls in Beverly Hills, CA in 1957 that decided to have a sleep-over at rich girl Sherry's house since her parents were away in Palm Springs for the weekend. Debbie was particularly upset because the boys' basketball team was away for the weekend. The six girls were:

• Bonnie May (Bridget Holloman)
• Debbie (Debra Winger in her film debut)
• Angie (Noelle North)
• Sherry (Rainbeaux Smith)
• Jo Ann (Mary Appleseth)
• Smitty (Janet Wood)

Bonnie May (Bridget Holloman)	Debbie (Debra Winger)	Angie (Noelle North)
Sherry (Rainbeaux Smith)	Jo Ann (Mary Appleseth)	Smitty (Janet Wood)

First, some of the teens swam in the outdoor pool at Sherry's posh Beverly Hills mansion in the afternoon and teasingly pulled off each other's bikini tops. The frolicking girls were filmed above and below the waterline, to the tune of Jerry Lee Lewis' "Great Balls of Fire."

During the evening, the six teen girls - each with an extended flashback - were challenged to tell about the initial time they lost their virginity, after Debbie suggested: "I have a super neat idea. What about if we all tell about the first time we ever did it?" Upon drawing matches, the order of story-telling was determined:

1. Bonnie May: Two years earlier (the summer before the last one), in the front cab of a pick-up truck at a drive-in theatre, hillbilly-ish Bonnie May made love to her cousin Cal (Sean Kenney), a heavy-accented hat-wearing cowboy, to the tune of "Hey Paula" by Paul and Paula; he showed her his "big surprise"; the love-making at the drive-in (playing Cauldron of Blood (1970) with Boris Karloff! - a sloppy film discontinuity) was prefaced by a daytime encounter with moonshiners and a car chase; she confessed to her girlfriends after her tale - when Debbie asked inquisitively: "Did you really come?" - that she had orgasmed about a dozen times: ("It seemed like that many") and "So did he"; he was "gigantic" too; however, Cal was now serving time in prison for bootlegging
2. Angie: On her most recent birthday (16th) during a party, Angie had become sexually excited while reading the banned book Lolita; she invited a wayward, half-drunk friend of her parents, a teacher named Harold Perkins (Will Hutchins), into her upstairs bedroom to smoke a cigarette; after seducing him to have sex with her - to act out the book's theme of an older man having sex with a younger girl, she exclaimed: "Oh my God, I've never felt anything so super fantastic in my whole life...It was so good...Harold, all I want to do is screw you forever. You're so wonderful...My first time, Harold. Thank God it was you...I'll never forget it as long as I live...It was perfect!" - however, they were caught in the bedroom by Mr. Willis (Bill Thurman), Angie's father, who threw Harold out and placed her over his knees and spanked her on her bare bottom, calling her a "dirty, rotten little c--t" - she seemed to enjoy the punishment evidenced by a widening smile
3. Debbie: At Jerry's Drive-In, Debbie described how during the last summer, she and older rich college frat boy Bud Hansen (Randy Ralston) were harrassed by a group of bikers at a roadside market, and later at a lakeside beach; after Bud fought off the bikers (to the tune of "The Great Pretender" by the Platters), she made love to him (to the tune of "Sea of Love" by Phil Phillips) later that night; Debbie was stripped of the top of her dress as she kissed him and they both reclined on a blanket by the beach; Smitty mocked the story by comparing it to the beach love-scene in From Here to Eternity (1953)
4. Smitty: At a horse stable the previous summer, Smitty worked with a young woman named 'Hank' (Janice Karman) and her brother David (Bryan Englund); retreating to the barn after a horse-ride and during a rainstorm, the semi-nude 'Hank' encouraged Smitty to make love on a bed of straw with David while she watched amorously from the side; Smitty described how "he was just so beautiful and perfect," and how "I thought that I died and went to heaven"
5. Jo Ann: Jo Ann claimed it was "so unbelievably unreal" that she made love with movie star Rex Parker (Victor Rogers) on the set of a movie in his trailer; she said that she appeared in her "very first role in a movie" - after the film's director Mr. Tom Berman (Chet Norris) recommended her for the role (she was reportedly "perfect for the part"); Rex seduced her, claiming he was 'method acting' - she had her left breast and nipple fondled, while she became part of the movie's plot about Rex's rescue of her (with a "naked voluptuous body") from a group of cannibalistic natives led by a witch doctor (Bruce A. Simon); she had been placed in a large pot naked and was about to be boiled alive
6. Sherry: As the last participant in the story-telling, Sherry admitted to the girls that the entire basketball team had returned early from San Diego after losing their first game, and that she had invited them into her home - to have sex with her. She wanted to be deflowered by all of them in her upstairs bedroom, in order to catch up to her friends:
   
   "You guys have all had a first time, and I haven't yet. I just couldn't lie about it, so I made a deal with the guys and I told them that they could come over only if they'd do it to me. All of 'em. I'm not gonna be the only virgin in this crowd, you guys, so first time here I come."

The film's predictable plot twist concluded the film - all five of the other girls in the living room confessed that they had lied and exaggerated, and were still virgins. Debbie suggested that they had to save Sherry ("We have to go stop her. We have to go tell her the truth").

They rushed upstairs to tell Sherry about their deceptions: ("Sherry! Stop! Don't do it! We were just kiddin'!"), but found Sherry already post-love-making on her bed covered with naked ballplayers - she responded "WHAT?" as the film's end credits began to appear atop excerpts from the entire film.

To the Devil a Daughter (1976, UK)

This lurid Hammer Film Productions' horror film, directed by Peter Sykes, was another theatrically-released occult melodrama from the British film studio - their second-to-last film ever made (and their last official horror film). It was a respectable but weak work, trying to capitalize on and compete with the more sensational aspects of two previous films:

• Roman Polanski's Rosemary's Baby (1968)
• The Exorcist (1973)

The film, injected with sex and violence, was very loosely based on a version of Dennis Wheatley's novel. The film's tagline stated:

"To the Devil...a Daughter...and suddenly the screams of a baby born in Hell!"

The gory, violent and nasty film starred Richard Widmark as occult writer John Verney living in London, and stand-by Christopher Lee as sinister, ex-communicated, and heretical German priest Father Michael Rayner, head of the Church of Our Lord.

It was one of the earliest of actress Nastassja Kinski's film appearances, which brought her continuing notoriety due to her fully-nude appearance in the film at a young age, and further charges of exploitation.

Virginal Catherine Beddows (Nastassja Kinski)

The film's disjointed plot told about a terrorized young virginal woman, Catherine Beddows (15 year-old Nastassja Kinski), raised from birth as a nun practicing in a Bavarian convent, in an order called The Children of the Lord. Her distraught father Henry Beddows (Denholm Elliott) had signed Catherine over to the care of Father Rayner, who was leading a mysterious group of Satanists who practiced black magic and held various strange rituals.

In one scene, a pregnant German woman named Margaret (Isabella Telezynska) was tied by her wrists to the bedposts and held down with her legs strapped together as she went into labor - and an unseen baby burst out of her belly. Rayner wanted to release the hell-spawned force into the world through the vessel of Catherine's body via an avatar - the ultimate personification of the god Astaroth. Turning 18 years of age, Catherine would be sacrificed to revive or rebirth the world's new Anti-Christ demon ruler, by baptism in her blood.

The American occult novelist Verney, who was asked by a desperate Henry (in exchange for secret occult information) to look after his daughter Catherine, found himself protecting her.

The film anti-climaxed with the strange sight of the grotesque, blood-stained demonic fetal child trying to enter Catherine's womb, a Satanic orgy conducted on an altar (with a masked Rayner raping a drugged Catherine), and her abrupt saving by Verney as the film ended.

Up! (1976)

This surreal, graphic, and tasteless Russ Meyer film was co-written by Reinhold Timme, a pseudonym for film critic Roger Ebert. It had all the ingredients of a typical soft-core nudie-flick, including an inter-racial group of prostitutes, awful dialogue, kitschy music, bawdy humor, lots of nudity, a mostly incoherent plot, and colorful characters (including hick rednecks, a white supremacist, and an Adolf Hitler caricature).

Throughout the film were meaningless timeframe titles, and there were even references to other classic films, such as Citizen Kane's 'Rosebud' - the small rose tattoo on the main character's lower left abdomen.

It was advertised with the tagline:

"If you don't see Up!...you'll feel down!"

The image accompanying the poster portrayed the right side of the letter U in the film's title in the shape of an erect phallus. Various jokes were very off-color, such as Margo's line to partner Homer after he was with Pocohontas: "It's all red. Looks like you've been f--kin' an Indian."

The main character in the backwoods sex comedy was a buxom, Shakespeare-quoting wood-nymph (who found pleasure next to tree trunks), credited as a one-person nude "Greek Chorus" (Francesca 'Kitten' Natividad). She spoke about her role, as she nakedly straddled a large tree branch, extended her right hand, and various parts of her body were seen in huge closeup - her pubic area, and each nipple:

"Buenos dias. I am your Greek chorus, the cacophony of carnality, the embodiment of the body and your sherpa of suspense. Now come. Come, take my hand and, if you dare, (she parted her thighs), sheathe your sword to its hilt. Are you up to it?"

"Greek Chorus" (Francesca 'Kitten' Natividad)

At various times in the film, she would appear to comment upon and identify the characters and action. In addition to the plentiful breast nudity (including lots of wild sex in the woods and many prosthetic penises a foot in length!), there was incredulous gory violence.

The sketchy plot was a bizarre murder mystery, in which everyone might be a suspect. It opened with an S&M sequence performed upon depraved Hitler-like Adolf Schwartz (Edward Schaaf). The fetishist was a recluse living in a Bavarian castle in N. California, enjoying numerous sexual experiences with an inter-racial group of prostitutes in his torture-dungeon. Sexual services were being offered by representatives of various ethnic groups:

• Paul (Robert McLane), a whipping and spanking sadist, a bisexual dressed as a puritanical Pilgrim, who also used a prosthetic penis on Adolf
• Ethopian Chef (Elaine Collins) stirring a large pot of hot liquid
• Limehouse (Su Ling), Asian/Oriental
• Headsperson (Candy Samples, aka Mary Gavin), wearing a black leather-mask, and using her huge breasts to slap Adolf who was positioned between them

Afterwards, while taking a bath, Adolf ("the colonial oppressor") was devoured and murdered in his bathtub by a black-gloved intruder-assassin, who dumped carnivorous Harry the Nimrod (a piranha) into the water.

Other characters were introduced:

• Gwendolyn (Linda Sue Ragsdale), a black truck driver, who was first seen pleasuring bi-sexual Sweet Li'l Alice (Janet Wood), wife of Alice's Cafe-Restaurant owner Paul, with her elongated tongue and then with a huge white strap-on dildo during a bout of inter-racial sex outdoors; she also bribed Homer into not writing up a warning ticket, by providing him with oral sex in the back seat of his patrol car after he pulled her over in town
• Margo Winchester (Raven De La Croix), often with a Mae West accent; in the film's opening, she was a jogging and hitchhiking victim who dispatched with her redneck rapist Leonard Box (Larry Dean) by flipping him and breaking his neck; Paul was cheating on his wife Alice by having rampant sex with Margo, who was employed at Alice's Cafe as a waitress
• Homer Johnson (Monte Bane), a sleazy Redwood County Sheriff, rewarded by sex with Margo for falsifying his report after witnessing the murder of her rapist, and he also had sex with Gwendolyn
• Pocohontas (Foxy Lae), wearing a feather-bonnet, briefly electrocuted with Homer while having sex
• Rafe (Bob Schott), a beserk, axe-wielding, and aggressive Paul-Bunyan-like backwoodsman giant, who in a cartoonish comedic scene in the cafe raped both Margo and Alice; Homer defended them by plunging Rafe's axe into his back; and then Rafe removed the axe and swung it into Homer's chest; the two raced into the moonlit night with Homer pursuing Rafe with a chainsaw, and both suffered bloody deaths as they fell off a cliff

In the plot-twist ending, the main character Margo was revealed to be an undercover cop investigating the murder of Schwartz, and Adolf's killer was revealed to be an insanely-jealous, knife-wielding Alice (she claimed that Schwartz was her father). Alice confessed: "My true name is Eva Braun Jr., the bastard daughter of Adolf Hitler and his flaxen-haired mistress"!

Margo and Alice met up in the woods, became naked, endlessly chased each other while casting off threats and plot explanations, and then both faced Paul who was threatening with a gun (deflected by Margo with a giant dildo). Both were subsequently arrested - and in the final scene, Margo received praise from her lascivious Commissioner (Ray Reinhardt).