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Home , 9 Songs, Basic Instinct 2, Fantastic Voyage, Gigli, Mondo Topless, Naked Came the Stranger

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© Barry Forshaw 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the , the United Kingdom, Europe and other countries. ISBN 978– 1– 137– 39004– 2 hardback ISBN 978– 1– 137– 39005–9 paperback This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Forshaw, Barry. Sex and film : the erotic in British, American and world cinema / Barry Forshaw, independent writer and journalist, UK. pages cm Includes bibliographical references. ISBN 978–1–137–39005–9 (paperback) 1. Sex in motion pictures. 2. Erotic films––History and criticism. 3. Motion pictures––Great Britain––History and criticism. 4. Motion pictures––United States––History and criticism. I. Title. PN1995.9.S45F68 2015 791.43’6538––dc23 2014047898

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Contents

Acknowledgements vi

Introduction 1 1. The 1930s: From Mae West to the Legion of Decency 15 2. Getting it Past the Puritans: The 1940s 26 3. The Kinsey Era: The 1950s 35 4. Pushing the Boundaries: Preminger the Rebel 42 5. This Property is Condemned: Tennessee Williams 52 6. Arthouse Cinema in Italy: The New Explicitness 62 7. Sex à la Français 85 8. World Cinema Strategies: Britain and America from the 1960s 91 9. World Cinema Strategies: Europe 103 10. Stretching the Parameters: Bergman and Oshima 108 11. The 1970s: Exploitation Joins the Mainstream 124 12. Vixens and Valleys: ’s Cinema 138 13. British Smut 145 14. The Porn Revolution 154 15. Sex Moves Centre Stage: The 1980s and 1990s 168 16. Anything Goes: The Twenty- first Century 175 17. The End of Sex? The New Puritanism 181 18. Painful Odysseys 189

Appendices Appendix 1: Selected Films 196 Appendix 2: Continental Icons of the Seductive 206 Selected Bibliography 216 Filmography 217 Index 227 v

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Introduction

A fairly sober warning should be given to any potential readers of this book. If notions of political correctness are important to you, it might perhaps be best to steer clear of what follows. Sexuality and the treat- ment of sex on film has long been a minefield for a variety of reasons, but it has perhaps become even more so now that it is essential for any writer to parade his or her ideological credentials or attitudes; even the sentence you have just read had to be non- gender specific. One might say that the Damoclean sword of ‘avoidance of offence’ in the sexual arena fell in the 1980s with the surprising and unlikely marriage between the morality campaigner Mary Whitehouse and anti- feminists. While the former was famous for her ‘Clean- up TV’ campaign and battles with such dramatists as Dennis Potter, the latter concurred with her view that the female body had become objectified in popular and even serious culture. Personally, I argued in vain with feminists of my acquaintance who supported her censorship initiatives, believing that they (my friends and colleagues) had far more in common with someone like myself, who had no objection to either female or male nudity. Their fragile alliance was with a woman who, for instance, objected to such feminist shibboleths as abortion and felt that her own sex was best served by a devotion to family, church and conservative values – the German mantra ‘Kinder, Küche und Kirche’, in fact. But while Mrs Whitehouse herself has not had a notable successor (although, at the time of writing, the government is once more attempt- ing to push through a variety of censorship legislation), attitudes to female nudity and graphic expressions of sexuality remain highly con- tentious. This book would have to be twice as long if I made an apology for each unblushing treatment of these themes – or, for that matter, if I repeatedly laid out my own position. I would simply suggest that

1

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2 Sex and Film those offended by any discussion of sexuality that does not immediately freight in a ‘politically correct’ opinion (one that laments the calculated exposure of Brigitte Bardot’s naked body in most of her films, for example) should accept that I am unlikely to be observing these strictures. Of course, it might be argued that a reader possessed of such squeamish sensibilities would be unlikely to pick up a book entitled Sex and Film in any case. Any book that purports to be a study of sex in the cinema – from the earliest days of the medium up to the present and beyond, and taking in the films of every nation – has to set out its stall in one particular: what is the attitude of the author to sexual activity on the screen? Utterly objective? Dispassionate? Mildly stimulated? And how objec- tive must a commentator be on a subject that gets so many people hot under the collar, not to mention other regions of the body? One might accept that a critical examination of, say, the orchestral tone poems of Richard Strauss or the Dutch interiors of Pieter de Hooch might be written in an utterly detached fashion, with the reader completely unconcerned about the individual tastes of the critic, but a discussion of sex will have even the most casual reader examining – consciously or otherwise – the attitude taken by whoever is writing or talking about the subject. What is their own take on the treatment of sex on film? Surely the writer’s views must influence the objectivity of any statements? One would not want a commentator with a rigorously celibate frame of mind to make value judgements about the sensual content of films. Adherents of the Catholic Church are prepared for (supposedly) celibate priests to make pronouncements on the sex lives of worshippers, but it is hardly a view shared universally. The best one might hope for is a commentator who tries their damnedest to be objective, but accepts that their personal mindset will influence their views; the intelligent reader can accordingly decide whether or not they wish to agree. Speaking personally, I have absolutely no problem with a film, or a sequence in a film, that is designed to effect sexual arousal – but the definition of ‘film’ can extend from mainstream and arthouse filmmak- ing to utilitarian pornography. And as this book is largely concerned with the former – that is to say, linear narrative cinema – it should be pointed out that nearly all the work discussed here, the erotic elements, is generally committed to saying something pertinent about the film’s characters, or about society, rather than merely treating us to some photogenic concupiscence. In other instances, the films men- tioned in these pages utilise the medium of cinema in some creative

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Introduction 3 or innovative fashion, or perform the useful function of testing the parameters of taboos in representational art. However, as Orson Welles once observed, two things can never be filmed in an interesting way: prayer and . Presumably this is because both are ultimately somewhat boring to watch for the non- participant; there is no doubt that that is often the case with the lovemaking scenes in many films. After a prolonged scene of sweaty, graphic carnal activity – or worse, a languorous series of lap dissolves, seemingly shot through gauze, showing naked limbs being rearranged in uninteresting patterns – viewers may be inclined to mutter, ‘OK. They’ve made love. Now, for God’s sake, let’s get on with the plot!’ I once attended a reading at an erotic bookshop for women (men were permitted only if accompanied by a woman); as I sat there, sur- rounded by sometimes mystifyingly complex sex toys, I was aware that the frequent and lengthy descriptions of intercourse, , cunnilingus and other diversions quickly became wearisome. Until, that is, one woman writer read out her story, which involved paid- for sex between a middle- aged woman and a young male prostitute. The sex scenes were humdrum, but the subsequent section of the story – in which the woman attempted to talk to her young hustler, trying to build some kind of relationship with him when he wanted only to be paid and to leave – was infinitely more interesting. But the context of this conversation was the detailed description of the coupling that preceded it, and censors have rarely looked beyond the physical act in such scenarios. Serious films, such as Ingmar Bergman’s The Silence – with its con- troversial scenes of sexual intercourse (in a cinema, in fact) and female – outraged censors in the 1960s, and those who cut the film were not persuaded by either the Swedish director’s impeccable artistic credentials or the fact that he had utilised the joyless sex scenes to make points about the arid emotional lives of his characters. Of The Silence, the Legion of Decency (clearly an unimpeachable authority concern- ing matters of artistic taste) said: ‘His [Bergman’s] selection of images is sometimes vulgar, insulting to a mature audience, and dangerously close to pornography ... he has seriously violated artistic taste and sensitivity and leaves the film’s presentation open to a sensational exploitation by the irresponsible.’ The treatment of sexuality in film can be multifaceted, and, just as in literature, it may function as an index of the zeitgeist, often through a reading of what is permitted or omitted. The Victorian novel, for instance, was not able to touch on the pornography of the period,

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4 Sex and Film but sexuality is undoubtedly present in such highly charged books as Thomas Hardy’s Jude the Obscure (1895) and Emily Brontë’s Wuthering Heights (1847). Similarly, the confused sexuality of 1950s America can be read via its films as much as through its popular novels; a com- parison here might be made of Grace Metalious’s then- shocking novel Peyton Place, with its adultery, incest and abortion, and the sanitised film version that followed in 1957 – even in its toned- down form, the film broke a few taboos. America in the late 1950s is the setting in which the outrageous, transgressive act performed by the unlikable hero and his lover in John Updike’s Rabbit, Run (1960) is, simply, fel- latio. In Britain, the frank post- coital discussion in Jack Clayton’s film of John Braine’s Room at the Top (1959) and the sympathetic handling of homosexuality in Basil Dearden’s Victim (1961) were both events that were as significant in the popular consciousness as the radical and ground- breaking literature of the time. A complaint articulated (although not always by gay viewers) about pioneering films that tack- led the subject of homosexuality, such as Victim, is that the treatment was never lyrical or life- enhancing; rather, the subject was presented as a societal problem, even though, as in Victim, sympathy is extended to the protagonists. But this critique – that films with gay themes should have presented a more positive image – is surely retrospectively expect- ing too much from the filmmakers of the day. In some ways, such tendentious strictures are similar to the feminist criticism of Freud, suggesting that the psychoanalyst had a faulty understanding of female sexuality; while that might certainly be argued, it is at least true that Freud was discussing the subject of female sexuality when a great many people did not even acknowledge its existence, and condemning Freud for his misunderstanding of female orgasm ignores this rather significant fact. In a similar vein, Basil Dearden and his screenwriters on Victim were bravely moving into areas that were unacceptable at the time; the fact that they were doing so at all is surely commendable, whatever their missteps. Ironically, a lyrical exploration of gay themes was present in Roy Ward Baker’s enjoyably absurd and camp The Singer Not the Song (1961), with black leather trouser- clad bandit Dirk Bogarde inexplica- bly obsessed with a priest played by John Mills (Mylene Demongeot is the ‘beard’ included in the scenario to half- heartedly suggest we are not watching a homosexual romance). The two men expiring on the ground, hands clasped, after an exchange of gunshots recalls a similarly Wagnerian Liebestod at the ending of King Vidor’s Duel in the Sun (1946), with, in that film, a heterosexual couple finding consum- mation in a death in the dust.

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Introduction 5

In many films, the erotic impulse – either a direct physical expression or built into the DNA of a given piece – can transform the narrative, both illuminating and energising the films of which it is a part. So, largely speaking, you will find less attention paid within these pages to films that have the excusable but rather unambitious aim of simply arousing the viewer; the focus will be on those movies that use sex to make significant points. But let’s not be too po- faced about this – when it is necessary to describe exactly what happens in various films, you will find the details here. And there is much about the human body – speaking of which, the history of sex in the cinema may be traced through its representation of the female body (but see the caveat above about reading such notions as invariably sexist): from the first glimpse of Hedy Lamarr’s pubic hair in Gustav Machaty’s 1933 Ekstase to the unblushing photography of the labia in Lars von Trier’s Nymphomaniac and Abdellatif Kechiche’s Blue is the Warmest Colour (both 2013).

Metaphysical sex

Interpretations of the erotic can easily slip into being prosaic descrip- tions of the mechanics of the sexual act – or they can move into more rarefied poetic realms that transcend the merely physical. It goes without saying that the most conspicuous practitioner of the latter approach was D. H. Lawrence, and his descriptions of sexual activ- ity in such novels as The Rainbow and Women in Love (both filmed by Ken Russell) so melded and intermingled the physical with the poetic that it was difficult for the reader to figure out precisely what was happening between the lovers. Was that an orgasm we had just encountered? Or a metaphysical merging of psyches? But Lawrence was at least trying to articulate what was previously terra incognita, and more complex and subtle attitudes to the erotic became the concern of various writers and filmmakers. Inevitably, literature, by virtue of its inward nature, is able to convey more enigmatic individual responses to the sexual experience, and writers from James Joyce to J. R. Salamanca have attempted to con- vey this subtle gradation of the physical and the spiritual. And certainly the cinema, being obliged to show rather than tell, found some dif- ficulty in portraying the essential difference between male and female sexual responses. In film, such contrasts can be conveyed more or less directly in post- coital conversations, although the way in which the richness of individual experiences can be suggested inevitably relies on the articulacy of the protagonists – or, rather, of the screenwriter of après- sex colloquies. Non- communication between the sexes is easy

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6 Sex and Film to convey, as is communication of the most direct kind during the sex act itself (recordable on film with various degrees of frankness or discretion). However, subtler undercurrents prove more elusive. High art, even more than these popular examples, has often dealt with the erotic, and the field of opera would be the poorer for its absence: think of Bizet’s Carmen enslaving Don José or the consummation in death of the lovers in Wagner’s Tristan und Isolde – or the most unabashed and shocking treatment of sexual obsession and even necrophilia in Richard Strauss’s setting of Oscar Wilde’s play Salome. However, Strauss’s reputa- tion as one of the greatest of modern operatic composers did not save the work’s London premiere, conducted by Thomas Beecham, from some crass interference; the Lord Chamberlain decided that Salome kissing the severed head of Jokanaan (John the Baptist) was completely unacceptable, although it is standard in any production of the opera now. Instead, the murderous nymphet had to be presented with the sword that performed the decapitation – thus replacing a kiss on dead lips with the kiss of a phallic symbol. However, it was not high art that was (for many years) considered to be dangerous: the cinema carried much more of a perceived threat to the social order.

Pre- censorship bacchanalias

If we consider the early, pre- censorship era of silent cinema, we are reminded of a time when filmmakers were essentially given carte blanche, as is evident in the unbuttoned orgiastic sequences of American and Italian films that would be unthinkable two decades later. Perhaps more than films of later eras, those of this period, and from a variety of countries, keenly reflected the societies of their day, not just the sexual attitudes. And the antecedents of these movies were often literary. Two lovers who can’t keep their hands off each other’s bodies and who have sex on the floor; an inconvenient and unattractive husband whom it is necessary to get out of the way. James M. Cain’s The Postman Always Rings Twice? Or one of its many imitators? No, another writer got there earlier ... Émile Zola, with his carnal and edgy Thérèse Raquin in 1867. Who can write about sex like Zola these days, with everyone flinching in advance at the ironic but ultimately censorious awards or political correctness? Take this timeless passage as an example:

Then, in a single violent motion, Laurent stooped and caught the young woman against his chest. He thrust her head back, crushing her lips against his own. She made a fierce, passionate gesture of

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Introduction 7

revolt, and then, all of a sudden, she surrendered herself, sliding to the floor, on to the tiles. Not a word passed between them. The act was silent and brutal.

This is from the 2013 Vintage Classics translation by Adam Thorpe of Thérèse Raquin and perhaps makes the reader realise anew why Zola was so shocking in his day. Writers and filmmakers looking to re- energise their batteries when writing about murder and sex might profitably pick up a novel that was written a hundred and fifty years ago and learn from a master. Zola’s powerful novel of death and adultery was given a (then) modern- day makeover by Marcel Carné in his celebrated 1953 adaptation; Simone Signoret and Raf Vallone are the tormented lovers paying a price for their passion, but there is strong work from Jacques Duby as the sickly, doomed husband. Later versions have not offered any competition to Carné’s take on Zola. But the 1950s are for later consid- eration; this introduction will largely concentrate on the immediate cin- ematic heirs of Zola’s sexual frankness: the filmmakers of silent cinema.

Filling the vacuum Initial attitudes to the treatment of sex in British cinema reflected a distrust of an earlier entertainment medium, but one that was still cur- rent. When opponents discussed the dangerous appeal of films, they drew parallels with the vulgarity of the music hall, which was believed to appeal to the lowest common denominator – and the hoi polloi needed protecting against further moral depredations. Filmic depictions of the erotic were by no means the only target. Crime – and, in particu- lar, drunkenness – were considered thoroughly unedifying spectacles and not suitable for cinematographic representation. Simple titillating subjects, such as the 1905 short film Lady Undressing, brought forth a degree of ire, despite their distinctly chaste nature. This particular film was summed up in the Pathé Company catalogue: ‘A nice and pretty girl, after having gone to bed, blows the candle out wishing good night to the public (this subject can be used as a finish to a show).’ Voices were also raised against another short film of the same year called The Flea: ‘A young and pretty woman undressed is trying to catch a flea. The grimaces and position she takes up are very suggestive.’ The first major censorship board in the United States was convened in 1909, while British manifestations of the new breed of moral guard- ian included organisations such as the Manchester Purity League. Inevitably, human nature demonstrated its tendency to fill the vacuum

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8 Sex and Film that the growing forces of censorship were creating, and an ad appeared in the 1908 Kinematograph Weekly: ‘Venus Films: Special “for gentle- men” performances. Very piquant films and lantern slides; send 6d stamp; 448 pages richly illustrated catalogue.’ After complaints from church groups, the ad was withdrawn. Censorship was ineluctably on the march, and an army of petitions was sent to the Home Secretary in 1910 concerning the alleged danger of cinematographic performances; two years later, the British Board of Film Censors was established.

The lure of sex Theda Bara, with her heavily kohled eyes and hour- glass figure, may look to modern viewers like a parody of the silent-era vamp, but she was undeniably a key figure among screen goddesses of the time, and her delivery (courtesy of the intertitles) in A Fool There Was in 1915 of the much- quoted line ‘Kiss me, my fool!’ passed into the language. There were, however, more sexually graphic films in the silent era, such as Traffic in Souls in 1913, which was described in breathless copy as an exposure of white slavery in turn- of- the- century New York; the semi- documentary approach worked well for the film’s audiences. Other films treating such issues as prostitution included The Inside of the White Slave Traffic, also from 1913, and The Sex Lure three years later, with early examples of luridly exploitative marketing ensuring healthy audi- ences for all these films. Alongside such erotically inclined fare were explicitly pornographic films such as A Free Ride in 1915, in which a well- heeled man picks up two women in his car and has sex with them after parking. Such films were seen only in all-male gatherings and not in commercial cinemas, but nudity was beginning to find its way into the mainstream: silent- era swimming star Annette Kellermann was shot sensuously naked under a waterfall in A Daughter of the Gods, a fantasy directed by Herbert Brenon in 1916. One of the most famous erotic tableaux of the time could be seen in D. W. Griffith’s Intolerance (1916), with its half- naked women cavorting amidst classical pillars and dis- porting themselves against an opulent Babylonian set. Cecil B. DeMille, always a director fully aware of the public’s interest in the libidinous, shot a famous sequence of an undressed Gloria Swanson in Male and Female in 1919, while at the start of the 1920s the brilliant German expatriate director and actor Erich von Stroheim included orgy scenes in his film The Merry Widow (1925) along with regal sexual excesses in Queen Kelly (1929). By all accounts, the first treatment of male homosexuality in early cin- ema was the German film Different from the Others (Anders als die Andern),

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Introduction 9 directed by Richard Oswald in 1919, with gay men described as ‘the third sex’. There were several ‘firsts’ in the film, such as the depiction of a gay bar and of ‘butch’ gay females. The plot involves two star- crossed lovers, one of whom was played by Conrad Veidt and the other, a young music student, by Fritz Schultz; another motif initiated in this film was the tragic ending of a gay relationship – the more mature partner commits suicide after blackmail and the threat of exposure. Richard Oswald’s critical view of the legal strictures facing gay men was ahead of its time. Sweden, later to be regarded in Britain and America (wrongly, in the view of such native writers as Håkan Nesser) as the font of sexual free- dom in the arts and society, established an early vanguard in discard- ing the shibboleths of the period. Witchcraft Through the Ages (Häxan, directed by Benjamin Christensen) is a remarkable exploration of the supernatural and religious gullibility that has both shocked and enter- tained audiences since its premiere in 1922. Christensen’s enthusiastic dramatization of the activities of witches and the devil seems quaint and amusing today in some ways, but it is still easy to see how it ruffled the feathers of the easily offended. The director himself provocatively plays a grimacing, semi- nude Satan, twitching his tongue suggestively in genuinely unsettling make- up. But the outrage caused by the film was principally due to the devil’s capering entourage of witches enthusiasti- cally engaged in a variety of acts of sacrilege and depravity; these scenes retain the power to shock after many decades, although Christensen’s sense of parody has drawn the sting for modern audiences. These diversions are complemented by some charming stop- motion animation scenes (Ray Harryhausen avant la lettre). It is instructive to note the way in which certain images that were once considered so extreme were to become humorous with the passing of time. The thronging and colourful visions of hell painted by Hieronymus Bosch may have led to nervous sinners placing a few more coins in the collection box in the painter’s day, but the crowded variety of monsters and demons and the imaginatively grotesque torments of the damned appear to modern eyes as eccentric and even charming in their absurd detail. Similarly, modern viewers tend to laugh at the Black Mass sequence in Witchcraft Through the Ages, notably at the obscenely waggling tongues of the demons. As so often, the church is portrayed in the film as the repository of obscurantist thinking, and the end of the film suggests that the various victims of religious persecution through the ages – burned at the stake – were merely mentally disturbed individuals who may have been helped by therapy. Witchcraft Through the Ages was banned for many years, not

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10 Sex and Film least because of its flashes of nudity, but has been available in a variety of forms since then – and it was something of a hit when a William Burroughs narration was added in the 1960s. However, its most faithful presentation remains the original. Going back even further, audiences were titillated in 1896 by a film that was barely more than a sideshow attraction: William Heise’s The Kiss (also known as The Widow Jones), with a distinctly unappealing middle- aged couple, May Irwin and John C. Rice, kissing at length. The less- than- impressive appearance of the plump stars hardly mattered to viewers of the day, such was the novelty of the experience. And as the kiss was to be central to the cinema from then onwards, leisurely oscula- tions of this kind were to follow in their hundreds. In a later era, when restrictions were placed on the duration of such sequences for reasons of decency, ingenious directors such as Alfred Hitchcock got around them with subtle interruptions, as in the two- and- a- half- minute kiss between Cary Grant and Ingrid Bergman in Notorious (1946); the minor distractions did not take attention away from the principal erotic busi- ness on hand.

Call of the exotic The idea of the film star as the repository of sexual attractiveness was introduced very early in the cinema: the 1920s saw the emergence of such stars as Clara Bow, the rebellious, sexually adventurous ‘It girl’, and such flapper contemporaries as Joan Crawford (the latter was to have a considerably longer film career than Bow). Established early in the his- tory of the medium was the figure of the exotic temptress, a woman clearly differentiated from the virginal girl- next- door figure. Such stars were often possessed of a distancing ‘foreign’ quality; they included non- Americans such as Marlene Dietrich, Greta Garbo, Pola Negri and British actress Margaret Lockwood, whose generously displayed cleav- age in Leslie Arliss’s The Wicked Lady (1945) upset several US states, necessitating re- shoots with higher necklines. American actresses, how- ever, could also supply in- your- face sexual appeal: the short- lived Jean Harlow represented a particularly modern kind of sexual freedom, with her much- remarked-upon penchant for going without a bra, as did the aforementioned Joan Crawford in her first films (she had appeared, pre- fame, in a short hard- core film in 1925). And the sardonic Carole Lombard was more able than most to deliver wry and snappy dialogue to finesse her no- nonsense sexual appeal. Male stars, too, were permitted to express erotic possibilities, although the idealisation of the male physique – and concepts of sculpted male

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Introduction 11 beauty as found in fine art – was less evident in the cinema, with a few significant exceptions. In the 1920s, Rudolph Valentino’s smouldering Latin charisma presented a slightly feminised image of male beauty, but other, more macho versions of this male ideal quickly began to appear, such as the actor Clark Gable, who supplemented his good looks with a muscular, well- toned torso. However, actors quickly learned to con- ceal the fact that their appearance was finessed in the gym, possibly because even at this early stage such activities were not considered strikingly masculine; this ethos was to have changed considerably by the time when Steve Reeves, among others, displayed his ripped abs and pectorals in Italian musclemen movies as Hercules and other legend- ary heroes. Other male stars who came to represent a certain kind of muscular masculine appeal soon achieved immense popularity – Burt Lancaster and Kirk Douglas, for example, who both sported athletic physiques – although actors such as the narrow- shouldered Humphrey Bogart were equally able to personify masculinity. The notion of the female ‘vamp’ was a mainstay of early silent cinema, epitomised by the actress Theda Bara in such films as Frank Powell’s A Fool There Was in 1915, in which her character was called, straightforwardly enough, ‘The Vampire’ (the word ‘vamp’, of course, derives from ‘vampire’). Bara’s character offered a pleasurable path to destruction for her male victims, although the actress’s artificial appeal is harder to appreciate today. Gloria Swanson presented a not dissimilar image in the opu- lent films of Cecil B. DeMille, in which sexual indulgence was often counterpointed by a thoroughly phoney puritanical overlay to appease the critics. And decades later, in a more heavily censored era, actresses such as Rita Hayworth came to personify tempting sexual availability, as in Charles Vidor’s film Gilda (1946), which features a striptease in which only a single silk glove is removed. The more intelligent image- conscious female stars were well aware that their sensuous appeal could be best served by directors and cin- ematographers who knew how to photograph them to the best possible advantage; the stellar example here is the perfect working relation- ship between the actress Marlene Dietrich and the director Josef von Sternberg. What is more, unlike DeMille, von Sternberg has no truck with the conventional trappings of middle- American morality; the famous shot of Dietrich in The Blue Angel (1930), with her camiknickers, suspenders and stockings exposed by the skirt pulled away from her waist, is an image that was considered so ineluctably sexual that it was crudely painted over in certain versions of the shot, with the skirt modestly extended. Dietrich and von Sternberg were even prepared to

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12 Sex and Film flirt with suggestions of lesbianism in Blonde Venus (1932), while in The Scarlet Empress (1934) Catherine the Great’s legendary sexual conquests (however far from the historical truth) provided the perfect marriage between the popular image of a well- known historical figure and a cine- matic realisation that plays knowingly on audience expectations. A year later, The Devil is a Woman dealt specifically with sexual perversity, and the sadism of Dietrich’s character suggested a misandry that was a new element in cinema.

Unacceptable fantasies Now that politically correct, and largely proscriptive, attitudes towards sex have achieved the kind of self- censorship that would have pleased such right- wing figures as the 1970s school teacher- turned- moral reformer Mary Whitehouse mentioned earlier, it is something of a stretch to conceive of an era when what was essentially a cinema rape fantasy held a great deal of the world in thrall. In 1921, in George Melford’s The Sheik, a spoiled rich woman, Lady Diana (played by Agnes Ayres) is kidnapped by a handsome, charismatic Bedouin sheik and taken to his tent, where she is raped several times. She is subsequently captured by another sheik – this time a deeply unattractive figure – but ends up with her original captor, with whom she has fallen in love. So why was all this offensive fare acceptable – even fascinating – to 1920s audiences? One simple reason: the sheik was played by the most beautiful man on the planet, Rudolph Valentino, whose level of stardom is hard to imagine today – several women committed suicide at the news of his untimely death. One of the reasons why Valentino became such an object of obsessive fixation for so many women was the astonishingly vitriolic campaign mounted against him by a host of male writers, including constant accusations that the actor was gay; the latter appears not to be true, although the story was repeated so often that it eventually passed into common currency. The original novel, The Sheik by E. M. Hull, had already sold 1.2 million copies in the US and the UK before the film was made; it was the 1920s equivalent of E. L. James’ modern sexual fantasies of domination and subjugation. The subsequent cinematic adaptation added an equally shocking visual dimension in what appeared to be interracial sex, although Valentino – with his darkened skin – simply looks tanned and Italian in the film. This was an era when, if an actor was adored by one sex only, it was enough to create superstardom; in contrast, actors and actresses of the sound era generally appealed to both sexes, although

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Introduction 13 in his early days as a willowy crooner, men would not admit to being admirers of Frank Sinatra. The first act of sexual intercourse in The Sheik is not shown, but after some resistance on the part of Lady Diana, a title card suggestively announces ‘After a week of sullen obedience ...’, during which audiences assume that the inevitable has taken place. His sexual assaults aside, and unlike his character in the novel, Valentino’s sheik is otherwise shown to be a man of sensitivity, drawing back from one sexual encounter when he notices his captive weeping. Nonetheless, the notion that such material might be filmed today is unthinkable. But the rioting mobs attempting to get near the dead Valentino’s body at his funeral would similarly be – one assumes – unthinkable today.

Opening Pandora’s box Any consideration of the female erotic principle in vintage cinema must always make reference to the brilliant German director G. W. Pabst, whose broader European sophistication concerning sexual subjects shocked but exhilarated American and British audiences. Diary of a Lost Girl in 1929 (with American actress Louise Brooks, who was to become Pabst’s muse) tells the unvarnished tale of the decline of a young woman into a life of prostitution. But there is no doubt that the director’s masterpiece – and one of the cinema’s most unyielding pictures of destructive sexuality – was Pandora’s Box in the same year. The film was also known as Lulu after its central character, the sexually omnivorous femme fatale of Wedekind’s play, which was also turned into a shocking opera by Alban Berg – its lesbian countess hopelessly in love with the elusive Lulu was something new for opera audiences. Even today, the much imitated bobbed hairstyle of Louise Brooks looks utterly timeless, and her artless modernity, along with her piquant combination of innocence and depravity, means that the film can still talk to audiences in a fashion unimaginable for many of its filmic contemporaries, which now simply look quaint. Brooks, utterly defined by this part, is mesmerising as the completely amoral female libertine, bringing chaos to everyone she encounters as they fall under her erotic spell, before sliding into banal prostitution and dying at the hands of a knife murderer. Brooks’ combination of petulant expression and sardonic knowingness is matched by the strange ‘animal caught in the headlights’ dereliction of will that seems to descend upon her victims. And although the film is shot through with a keen post- Freudian analysis of its characters, Pabst allows his viewers to make their own decisions about what they are witnessing on screen.

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14 Sex and Film

Licences for excess A decade after the silent era, the visions of aristocratic excess lovingly conjured by the directors Ernst Lubitsch and Erich von Stroheim allowed audiences to participate in the sybaritic indulgences on display, while paying lip service to the kind of moral disapproval that would have done justice to the sans- culottes of the French Revolution. Another kind of per- missible setting for erotic freedom was the African jungle, far from civi- lisation, as in the Tarzan novels of Edgar Rice Burroughs. However, only one film was allowed to suggest the sexual freedom of Tarzan and Jane, W. S. Van Dyke’s Tarzan the Ape Man (1932), which – as well as sporting a variety of sexual references courtesy of co- writer Ivor Novello, who knew all about sexual transgression – was enhanced by the near- naked appearances of Maureen O’Sullivan and Johnny Weissmuller as the jungle- dwelling couple, whose cutaway outfits made them appear to be nude from the side (there is a famous censored underwater swimming scene in which a naked actress stands in for Maureen O’Sullivan). But by the very next film in this series, the expurgators had done their worst and had modestly covered Tarzan and Jane in almost comically baggy costumes that removed both their sexual allure and their sense of freedom. The 1930s were to prove seismic in the cinema’s approach to sex, with the decade witnessing a change of direction from abandon- ment to censoriousness.

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Index

Foreign fi lms are listed under the title by which they are/were best known in the UK (e.g. La Dolce Vita, but Bitter Rice)

10 132 Anderson, Paul Thomas 184 1,001 Nights 72 Andersson, Bibi 112, 115–17 120 Days of Sodom (The) 199 Andersson, Harriet 106, 108–9 153 Andersson, Peter 176 8½ 65, 68, 69 Andrews, Barry 151 9 Songs 153, 154, 168, 178 ’s Blood for Dracula 157 9½ Weeks 172, 183 Andy Warhol’s Flesh for Frankenstein 157 ‘A’ certificate 148, 152 Anna Christie 213 À la recherche du temps perdu 57, 75 Annis, Francesca 100 À Ma Souer! 90 Ann-Margret 127 Abe, Sada 120 Anouilh, Jean 40 Adam, Ken 78 Antichrist 168, 175, 191 Adams, Julia 39 Antonioni, Michelangelo 62, 63, 67, Advise & Consent (film) 49–51 70–1, 82, 89, 93, 101–2, 130, 142, Advise and Consent (book) 49 210–11 Agony of Love (The) 144 Arabesque 213 Ahlstedt, Börje 104 Arabian Nights (The) (Il Fiore delle Mille e Aida 212 Una Notte) 71–2, 75 Aimée, Anouk 66, 68, 96 Arcel, Nikolaj 176 Albee, Edward 203 Argento, Dario 62, 139 Aldrich, Robert 96, 126 Arliss, Leslie 10, 26 Alessandrini, Goffredo 213 Arnold, Jack 39 Algren, Nelson 45–6, 99–100 Aronofsky, Darren 173 Alina 206 Ashby, Hal 125 All About Eve 37 Askwith, Robin 151, 152 All Ladies Do It 81 Asphalt Jungle (The) 37 All the Fine Young Cannibals 121–2 Asquith, Margot 24 Allégret, Marc 208 Astaire, Fred 38 Allen, Woody 54, 127, 178 Attack of the 50 Foot Woman 67 Amor Non Ho … Però … Però 206 Auden, W. H. 92 Amore (L’) 214 Audran, Stéphane 87 Amour 88 Austen, Jane 58 Anatomy of a Murder 46–9 Autant-Lara, Claude 40, 207 And God Created Woman (Et Dieu Créa Avanti a Lui Tremava la Femme) 208 Tutta Roma 214 Anderson, Gillian 198 Avedis, Howard 170 Anderson, Lindsay 124, 172 Avventura (L’ ) 70, 71, 211 Anderson, Michael 121 Axelrod, George 36

227

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228 Index

Ayres, Agnes 12 Benveniste, Michael (aka Mike Ayres, Lew 49 Light) 81, 156, 162 Berg, Alban 13 Baby Doll 54–5 Berger, Helmut 78–9, 82 Bacall, Lauren 26 Bergman, Ingmar 3, 78, 79, 90, 101, Bacharach, Burt 21 106, 108–17, 137, 139, 149, 159 Baise-Moi 177 Bergman, Ingrid 10, 34, 169 Baker, Carroll 54–5, 199 Berman, Monty 96 Baker, Robert 96 Bernstein, Elmer 46, 59, 99 Baker, Roy Ward 4 Bertolucci, Bernardo 122, 127–9, 168 Baker, Tom 71 Besset, Jean-Marie 198 Balcony (The) 133 Betrayal 178 Ballard, J. G. 174 Betti, Laura 71 Bambole (Le) 207 Beymer, Richard 39 Band Wagon (The) 38 Beyond the Valley of the Dolls 138, Bandito (Il) 214 141–3 Baquet, Grégori 198 Bicycle Thieves 67, 205 Bara, Theda 8, 11, 207 Big Sleep (The) 26 Barbarella 196 Bijoutiers du Clair de Lune (Les) 208 Bardot, Brigitte 2, 24, 85, 87, Billy Budd 63 207–10 Birthday Party (The) 126 Barrington, Pat 144 Bitter Rice (Riso Amaro) 62, 64–5 106, 125, 168, 172–3, Black Sabbath 84 183, 202 Black Sunday 84 173 Black Swan 173, 185 Basinger, Kim 172 Blanchett, Cate 54 Bass, Alfie 152 ‘’ 124 Bass, Saul 46, 99 Blier, Bertrand 201 Bates, Alan 91, 92 Blonde Venus 12, 20 Baur, David 135 Blood and Roses (Et Mourir de Bava, Mario 62, 83–4 Plaisir) 210 Bazin, André 64 Blood Rose (The) (La Rose Écorchée, Beast (The) 89 aka Ravaged) 196 Beau Serge (Le) 87 Bloom, Claire 95 Becker, Jacques 41 Blow-Up 70, 91, 130 Begley, Ed 60 Blue Angel (The) (Der Blaue Engel) 11, Behind Closed Shutters (Persiane 19, 21 Chiuse) 41 Blue is the Warmest Colour 5, 184 Behind the Candelabra 184 Blue Jasmine 54 Behind the Green Door 159, 160 Boccaccio 75 Bell, Jamie 192 Boccaccio ‘70 66–7 Belle du Jour 104 Body (The) 196–7 Belle et la Bête (La) 165 Body Double 171 Belle of the Nineties (aka It Ain’t Bogarde, Dirk 4, 83, 97, 208, 210 No Sin) 18 Bogart, Humphrey 11, 26, 34, Bellezza di Ippolita (La) 207 169, 174 Bellissima 214 Boisrond, Michel 210 Bellucci, Monica 178 Boisson, Christine 71 Benjamin, Richard 203 Boleslawski, Richard 21

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Index 229

Bombshell 24 Burton, Richard 60, 213 Bonacelli, Paolo 76 Bus Stop 37 Boogie Nights 184 Butterfi eld 8 57 Borowczyk, Walerian 89 Bye Bye Birdie 127 Bory, Jean-Marc 86 Bound 29, 173–4 Cabaret 166 Bow, Clara 10, 24 Café Flesh 165–7 Boxoffice International Pictures 143 Cahiers du Cinéma 141 Boy on a Dolphin 212 Cain, James M. 6, 27, 28, 29, 63–4, Boyd, Stephen 207, 208 128, 174 Boyer, Charles 21 Calamai, Clara 63 Boyle, Peter 199 Calhern, Louis 37 Boys in the Band (The) 91, 126, 185 Caligula 79, 80 Brackett, Charles 23 Callahan, James 135 Braine, John 4, 95 Camille 23 Brando, Marlon 36, 52–4, 55, 128–9, Campbell, Martin 151 213, 214 Cannes Film Festival 120, 178, 185, Brass, Tinto 78–81, 194 199, 213 Brave New World 166 Canterbury Tales (The) (I Racconti di Brazzi, Rossano 211 Canterbury) 71, 75 Breen Office 44 Canyons (The) 183–4 Breillat, Catherine 90 Cape Fear 97–8 Brenon, Herbert 8 Cardinale, Claudia 68 Bride of Frankenstein (The) 143 Carlyle Productions 43 Brief Crossing (Brève Traversée) 90 Carmen Jones 45 Brief Encounter (1945) 171 Carmody, Don 170 Brief Encounter (1974) 213 Carnal Knowledge 125, 127 Bright, Graham 169 Carne (La) 199 Brimstone & Treacle 197 Carné, Marcel 7 British Board of Film Censors Carney, Reeve 33 (BBFC) 8, 40–1, 45, 73, 81, 90, 94, Carol, Martine 41, 208 98, 101, 146, 147, 149, 150, 168, Caroline Chérie 40–1 185, 203 Carradine, Keith 136 British Film Institute (BFI) 100–1 Carry on Camping 146 Brontë, Emily 4, 27 Carry On series 146, 151 Brooks, Louise 13, 24, 208–9 Cartland, Barbara 92 Brooks, Richard 57, 60, 200 Casablanca 34, 169 Brothers Quay 89 Casanova 80 Brown, Ritza 213 Casino Royale 199 Browne, Coral 126 Casque d’Or 41 Brunetti, Dana 186 Cassandra Crossing (The) 213 Brynner, Yul 207 Cassel, Vincent 178, 180 Buetel, Jack 31 Cat on a Hot Tin Roof 57–9, 60 Bullseye Productions 204 Catch-22 126, 143 Buñuel, Luis 41, 80, 103–4 Caton-Jones, Michael 173 Burns, Mark 83 Cavalleria 213 Burroughs, Edgar Rice 14 Cavill, Henry 182 Burroughs, William 10 Celentano, Adriano 82 Burstyn, Ellen 134, 135 Celluloid Closet (The) 92–3, 216

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230 Index

Cervi, Gino 206 Coogan, Steve 153 Chabrol, Claude 85, 87 Coppola, Francis Ford 145 Chamberlain, Richard 202 Corman, Roger 138 Chambers, Marilyn 160–1 Costa, Mario 206 Chandler, Raymond 28 Cottafavi, Vittorio 214 Chaplin, Charlie 213 Countess from Hong Kong (A) 213 Chapman Report (The) 95–6 Country Hooker 144 Charisse, Cyd 23, 38 Couples 91 Chastity Belt (The) (La Cintura di Cousins (Les) 87 Castità, aka On My Way to the Coward, Noel 171 Crusades, I Met a Girl Who ...) 211 Coxon, Lucinda 198 Château en Suède 211 Craig, Daniel 177, 199 Chaucer, Geoffrey 71, 75 Crash 174, 179 Chéreau, Patrice 129 Craven, Wes 109 Cherry, Harry and Raquel 138 Crawford, Joan 10 Chien Andalou (Un) 103 Creature from the Black Lagoon 39 Christensen, Benjamin 9 Creature Walks Among Us (The) 39 Chronicle of Anna Magdalena Bach Cries and Whispers 109 (The) 160 Crimes of Passion 197 Cieca di Sorrento (La) 213 Crimson Petal and the White Cinema 63, 64 (The) 197–8, 201 Ciociara (La) 212–3 Cronenberg, David 161, 174, Citizens for Decent Literature 178–80, 200 139, 203 Crowley, Mart 91, 126 Città Si Difende (La) 206 Crucible (The) 200 Citti, Franco 71 Crudup, Billy 182 City of Women (La Città delle Cruising 184 Donne) 69–70 Cukor, George 23, 25, 95–6, 214 Clark, Jim 150, 164 Cuny, Alain 66, 198 Clay, Nicholas 170 Curtis, Patrick 132 Clayton, Jack 4, 95 Curtis, Tony 207, 211 Clift, Montgomery 57, 180 Curtiz, Michael 34 Close, Glenn 173 Closely Observed Trains 151, 197 Dafoe, Willem 192 Clouzot, Henri-Georges 210 Dalí, Salvador 103, 192 Cocktail Party (The) 56 Dallamano, Massimo 83 Cocteau, Jean 165, 214 Dallesandro, Joe 156–7 Cohen, Larry 162 Damiano, Gerard 154, 159, 184 Colleano, Bonar 206 Damned (The) 79, 82 Comencini, Luigi 41 Damon, Matt 185 Common Law Cabin 138 Dangerous Method (A) 179–80 Complete (The) 159 Daniels, Godfrey Condemned of Altona (The) (I (aka Stu Segall) 161 Sequestrati di Altona) 212 Danning, Sybil 170 Condon, Bill 35 Danville, Eric 159 Confessions of a Window Cleaner Darnell, Linda 33 146, 152 Darrieux, Danielle 40 Connery, Sean 207, 210 Dassin, Jules 157 Continental Film Review 149 Daughter of the Gods (A) 8

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Index 231

Daughters of the American Diary of a Shinjuku Thief 118, 119 Revolution 35, 208 Dickinson, Angie 171 Davis, Bette 24, 61 Dietrich, Marlene 10, 11–12, 18, Day, Doris 92, 93, 210 19–21, 22, 23 Day, Sylvia 186 Different from the Others (Anders als die de Beauvoir, Simone 45, 74, 208 Andern) 8–9 De Filippo, Peppino 67 Dinner at Eight 25 De Palma, Brian 171 Dishonoured 20 De Santis, Giuseppe 63, 64–5 Divorce Italian Style (Divorzio De Sica, Vittorio 66–7, 205, 207, all’Italiana) 82 212, 213, 214 Dmytryk, Edward 99–100, 210 de Van, Marina 200 Doctor at Sea 208 Dead Ringers 179 Dogme movement 191 Dearden, Basil 4, 97 Dolce Vita (La) 65–6, 67, 68, 70, 211 Death by Hanging 118 Donna del Fiume (La) 212 Death in a Cold Climate 175 Donner, Richard 157 Death in Venice (Morte a Venezia) Donovan, Casey 164 65, 82 Dornan, Jamie 186 Debbie Does Dallas 164–5 Dors, Diana 36 Decameron (The) 71, 75 Double Indemnity 27, 28–9 Deen, James 183 Douglas, Gordon 51 Deep Blue Sea (The) 20 Douglas, Kirk 11 Deep End 198 Douglas, Melvyn 23 Deep Throat 154, 156, 158–9, 184 Douglas, Michael 173, 185 Del Monaco, Mario 207 Dowling, Doris 64 Delerue, Georges 92 Dr Breedlove (aka Kiss Me Quick!) 143 Dellera, Francesca 207 Dramma della Gelosia – Tutti i Delon, Alain 211 Particolari in Cronaca 211 Dementia 13 (aka The Haunted and Dreamers (The) 128 the Hunted) 145 Dressed to Kill 171 DeMille, Cecil B. 8, 11, 27 Dressler, Marie 25 Demongeot, Mylene 4 Drury, Allen 49, 50 Deneuve, Catherine 104 Duby, Jacques 7 Depardieu, Gérard 90, 201 Duel in the Sun 4 Derek, Bo 132 Dumas fils, Alexandre 23 Derek, John 132 Duras, Marguerite 88 Desire Under the Elms 212 Dworkin, Andrea 176, 187 Despentes, Virginie 177 Destry Rides Again 20–1, 23 Ebert, Roger 142 Detective (The) 51 Eclipse (The) (L’Eclisse) 70 Devil in Miss Jones (The) 159, 160 Eden and After 89 Devil in the Flesh (Le Malizie di Edwards, Blake 132 Venere) 83 Ekberg, Anita 65, 66, 67 Devil is a Woman (The) 12 Ekstase 5, 15 Devils (The) 101, 168 El Cid 212 Diamond Lil 16–7 El Mechri, Mabrouk 201 Diary of a Chambermaid (Le Journal Eliot, T. S. 56 d’une Femme de Chambre) 104 Elisir d’Amore (L’) 206 Diary of a Lost Girl 13 Ellington, Duke 46

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232 Index

Elliott, Denholm 197 Finnegans Wake 94 Ellis, Bret Easton 183 Finney, Albert 95, 204 EMI 186 Fire Maidens from Outer Space 39 Emmanuelle 155, 170, 198 Fischer, Gunnar 108 Empire 161 Flash Gordon 162 Empire of the Senses (Ai No Corrida, aka Flea (The) 7 In the Realm of the Senses) 117–18, Fleischer, Richard 125, 132 120–3, 168 Fleming, Victor 24, 25 En Cas de Malheur (In Case of Disaster Flesh 156, 157 aka Love is My Profession) 207, 209 Flesh Gordon 81, 161–2 Enrico Caruso: Leggenda di una Voce 207 Fok Yiu-leung, Clarence (aka Clarence Entertaining Mr Sloane 91 Ford) 202 Epstein, Julius 34 Folia per l’Opera 206 Epstein, Philip 34 Fonda, Henry 49, 50 Epstein, Rob 159, 184 Fonda, Jane 87, 196 Equus 183 Fool There Was (A) 8, 11 Ercole alla Conquista di Atlantide 214 Ford, Derek 150 Erotikon 22 Ford, Glenn 30 Eskimo Nell 151 Forever Amber 33–4 Eszterhas, Joe 183 Forman, Milos 204 Europe in the Raw 140 Fosse, Bob 166 Every Home Should Have One 150 Foster, Gwendolyn Audrey 117 Ewell, Tom 36 Foster, Jodi 122 Exarchopoulos, Adèle 184 Four Kinds of Love (Le Bambole) 207 Exodus 42, 49 Fourth Man (The) (De Vierde Exorcist (The) 126, 134 Man) 107 Fowles, John 116 Faber, Michel 197–8, 201 Fox (studio) 142 Face in the Crowd (A) 46 Fox (The) 126 Fanfan la Tulipe 207 Fox, James 97 Fantastic Voyage 132 Franco, James 184 Fassbender, Michael 179, 180, 183 Franco, Jesús (Jess) 144 Faster Pussycat! Kill! Kill! 141 Fraser, Ronald 152 Fatal Attraction 125, 173, 183 Frechette, Mark 101 Fear of Flying 159 Free Ride (A) 8 Feiffer, Jules 125, 127 French Lieutenant’s Woman (The) 116 Fellini Satyricon 65, 68–9 French, Marilyn 187 Fellini, Federico 19, 62, 63, 65–70, Frenzy 171 80, 101, 111, 149, 211, 215 Freud (aka Freud: The Secret Femme Infi dèle (La) 87 Passion) 179 Ferreri, Marco 199 Frey, Leonard 126 Feuillère, Edwige 209 Friedan, Betty 187 Feydeau, Georges 40 Friedkin, William 126, 184 Feyder, Jacques 21 Friedman, Jeffrey 159, 184 Fifty Shades of Grey 116, 160, 172, Froelich, Carl 200–1 175, 185–7 From Here to Eternity 53 Finch, Peter 96 Frusta e il Corpo (La) (The Whip and Fincher, David 175 the Body aka Night is the Phantom/ Finlay, Frank 80, 81 What!) 83

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Index 233

Fuck (aka ) 156–7 Golden Coach (The) (Le Carrosse Fuggitiva (La) 213 d’Or) 214 Fugitive Kind (The) 214 GoldenEye 151 Fuji, Tatsuya 121, 122 Gordon, Michael 93 Furneaux, Yvonne 66 Goto, Island of Love 89 ‘Gramigna’s Lover’ 63 Gabin, Jean 209 Grande Bouffe (La) 199 Gable, Clark 11, 25 Grande École 198 Gaines, William M. 54 Grant, Cary 10, 16–17 Gainsborough Studios 26 Grant, Richard E. 198 Gainsbourg, Charlotte 190–5, 201 Gray, Nadia 66 Gala (film club) 118 Green Lantern 151 Game of Thrones 181 Green, Eva 128 Garai, Romola 198 Greene, Hugh 92 Garbo, Greta 10, 18, 21–3, 24 Grey, Dorian 210 Garden of Allah (The) 21 Grey, Joel 166 Garden of Eden 146–7 Grido (Il) 210 Gardner, Ava 61 Grier, Pam 124 Garfield, John 30, 63 Griffith, D. W. 8 Garfunkel, Art 127 Griffith, Hugh 71 Garnett, Tay 27, 29–30, 64 Griffith, Melanie 171 Garnett, Tony 203 Grinberg, Anouk 201 Gassman, Vittorio 64 Guccione, Bob 79 Gatiss, Mark 198 Guest, Val 152 Gavin, Erica 141 Gwendoline 198–9 Gay News 134 Genet, Jean 133 Hagmann, Stuart 127 Gentlemen Prefer Blondes 36 Haine (La) 178 Germi, Pietro 82, 206 Hair 91 Gershon, Gina 174 Halprin, Daria 101–2 Gibbons, Dave 182 Hamilton, Guy 100–1 Gielgud, John 79 Hamilton, Suzanna 197 , Beniamino 206 Hammer 84, 146, 181 Gilbert, John 22 Hammerstein, Oscar 35, 45 Gilda 11, 30–1 Haneke, Michael 88, 202 Gilliam, Terry 89 Hardcore (aka The Hardcore Life) 199 Giorno in Pretura (Un) 212 Hardy, Thomas 4, 27, 169 Girl Can’t Help It (The) 67 Harem (The) (aka Her Harem) 199 Girl with the Dragon Tattoo Harlow, Jean 10, 24–5 (The) 175–7 Harris, Richard 172, 211 Girls 181 Hartford-Davis, Robert 148 Girls of the Night Storm 121 Harvey, Laurence 59, 95, 100 Girls Without Rooms (Flamman) 143 Hatfield, Hurd 32–3 Girotti, Massimo 63 Hathaway, Henry 37 Glass Menagerie (The) 52, 54 Hauer, Rutger 106 Glenville, Peter 59 Hawks, Howard 26, 36 Glickman, Paul 162 Hays Code 15, 34, 35, 64, 169 Gobbi, Tito 206, 214 Hays, Will 15 Godard, Jean-Luc 85, 157 Hayworth, Rita 11, 30–1

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234 Index

HBO 181 I Am Curious (Yellow) 104, 105, 108 He and She 105 I’m No Angel 17 Health and Effi ciency 147 I’m Not Feeling Myself Tonight 146, Hedren, Tippi 171 151 Hefner, Hugh 37, 164, 184, 204 Identifi cation of a Woman Heise, William 10 (Identifi cazione di una Donna) 70–1 Heisterberg, Rasmus 176 If…. 124 Helen of Troy 208 Immoral Mr Teas (The) 140 Hell’s Angels 24 Immortelle (L’) 89 Heller, Joseph 143 In My Skin (Dans Ma Peau) 200 Hellfi re Club (The) 96, 146 Inge, William 38, 39, 56 Hemsworth, Chris 182 Ingmar Bergman’s Persona 117 Henry & June 136 Insatiable 161 Hepburn, Katharine 56 Inside of the White Slave Traffi c Her Private Hell 150–1 (The) 8 Herbert, F. Hugh 43 Interior. Leather Bar. 184 Herlihy, James Leo 129 Intimacy 129 Herrmann, Bernard 98 Intolerance 8 Heywood, Anne 126 Irreversible 178 Hidden Fortress (The) 121 Irwin, May 10 Hindle, Art 170 Isaksson, Ulla 109 Hiroshima Mon Amour 87–8 Israel, Joaquim 113 Hitchcock, Alfred 10, 55, 100, Ives, Burl 58, 212 125, 171, 180, 192, 197, 211, 213, 216 Jackson, Glenda 92, 201–2 Hodges, Mike 162 Jackson, Vina 186 Holden, William 38–9, 43 Jaeckin, Just 155, 198, 198–9 Holmes, John 161, 184 Jakubowski, Maxim 186 Hooks, Robert 125 James, E. L. 12, 160, 175, 181, 186 Hossein, Robert 210 Jancsó, Miklós 211 Hour of the Wolf 109 Jannings, Emil 19 House of Smiles (The) 199 Jarman, Derek 101 How to Marry a Millionaire 37 Jefford, Barbara 94 Howard, Trevor 171, 213 Joanna 133 Hubley, Season 199 ‘Job’ (The) (Boccaccio ‘70) 67 Hudson, Rock 92–3 Johnson, Celia 171, 213 Hughes, Howard 24, 31, 37, 206 Johnson, Dakota 186 Hughes, Ken 96 Jong, Erica 159 Hull, E. M. 12 Jourdan, Catherine 89 Human Centipede (The) 77 Joyce, James 5, 91, 94, 103, 133 Hunt (The) 199–200 Jude the Obscure 4, 27 Hunter, Kim 53 Judith 213 Huppert, Isabelle 202 Juliet of the Spirits (Giulietta degli Husbands and Wives 178 Spiriti) 65, 68 Huston, John 37, 60–1, 142, 179, 180 Huxley, Aldous 101, 166, 168 Kander and Ebb 166 Katie Tippel (Keetje Tippel) 106 I am a Camera 211 Kaufman, Philip 136 I Am Curious (Blue) 104 Kazan, Elia 46, 53–5, 56, 99

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Index 235

Keaton, Diane 200 Last House on the Left (The) 109 Kechiche, Abdellatif 5, 184 Last of the Mobile Hot Shots 125 Kellaway, Cecil 30 Last Tango in Paris 122, 127–8, 168 Keller, Hiram 69 Last Year in Marienbad 88 Kellermann, Annette 8 Lattuada, Alberto 214 Kelly, Gene 142 Laughlin, John 197 Kelly, Grace 211 Laughton, Charles 49 Kennedy, John F. 37, 49 Laura 42, 49 Kerouac, Jack 183 Laure, Carole 170 Kerr, Deborah 53, 61 Laurel and Hardy 133 Key (The) (La Chiave) 79–81 Lavi, Daliah 83 Kill Your Darlings 183 Lawford, Peter 49 Killing of Sister George (The) 126 Lawrence, D. H. 5, 111, 124, 126, Kind of Loving (A) 172 131, 170, 187, 202 Kinematograph Weekly 8 Lawrence, Jennifer 182 King, Zalman 172 Lean, David 171 Kinsey 35 Lee, Christopher 83 Kinsey, Alfred 35 Legion of Decency 3, 18, 23, 35, Kinski, Klaus 100 42, 99 Kirkup, James 134 Lehman, Ernest 203 Kiss (The) (aka The Widow Jones) 10 Leigh, Vivien 53–4 Kitaen, Tawny 199 Leone, Sergio 63, 96 Klaw, Irving 204 Lewin, Albert 31, 32 Knight Without Armour 21 Lewis, Herschell Gordon 144 Knightley, Keira 179 Liberation of L. B. Jones (The) 125 Kohner, Susan 121 Lindblom, Gunnel 110, 111–2 Koll, Claudia 81 Linden, Jennie 92 Krabbé, Jeroen 107 Lindström, Jörgen 112 Kramer, Stanley 212, 215 List of Adrian Messenger (The) 61 Kristel, Sylvia 170, 198 Little, Monsignor Thomas F. 99 Krokidas, John 183 Litvak, Anatole 40 Kubrick, Stanley 61, 78, 98, 203 Lockwood, Margaret 10, 26–7 Kurosawa, Akira 110, 121 Logan, John 33 Logan, Joshua 36, 37, 38, 56 Ladd, Alan 212 Lohan, Lindsay 183 Lady Chatterley’s Lover (film) 170 Lolita 61, 98, 203 Lady Chatterley’s Lover (book) 131, Lollobrigida, Gina 206–7, 211 170, 187 Lombard, Carole 10 Lady Undressing 7 Loncraine, Richard 197 Lagercrantz, Marika 177 Long, Stanley 148–50 Lagerfeld, Karl 90 Look of Love (The) 152–3 Lamarr, Hedy 5, 15, 27 Looking for Mr Goodbar 200 Lancaster, Burt 11, 53, 207, 214 Loot 91 Landau, Ely 99 Loren, Sophia 62, 66, 67, 205, 206, Landlord (The) 125 207, 211, 212–3 Lange, Jessica 27, 63, 128 Lorna 140, 141 Language of Love 105 Losey, Joseph 97, 210 Lanza, Paolo 81 Loss of Roses (A) 39 Larsson, Stieg 175–7, 190 Love Happy 37

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236 Index

Love on a Pillow (Le Repos du Marcus, Frank 126 Guerrier) 210 Marcuzzo, Elio 64 Lovelace 159, 184 Marks, George Harrison 146 Lovelace, Linda 159, 184 Marshall, George 20 Lover (The) 162 Marston, William Moulton 89, 121 Lovers (The) (Les Amants) 86–7, Martin, George R. R. 181 136, 209 Martin, Stacy 193 Lubitsch, Ernst 14, 23 Marx, Groucho 37 Lucas, Tim 134 Masina, Giulietta 65 Lumet, Sidney 98–9, 125 Mason, James 26, 98 Lyhne, Jorgen 105 Mastroianni, Marcello 65–6, 68, Lyne, Adrian 98, 172, 173, 183 69–70, 82, 205, 211 Lyon, Sue 61, 98 Mathews, Travis 184 Matrix Reloaded (The) 178 Machaty, Gustav 5, 15 Matsuda, Eiko 121, 123 MacMurray, Fred 28, 29 Mature, Victor 27 Macready, George 30 Maugham, Robin 97 Mad 54 Maupin, Armistead 92–3 Mädchen in Uniform 200–1 Maxwell Davies, Peter 101 Made in Italy 215 Mayer, Louis B. 22 Magimel, Benoît 202 Mayniel, Juliette 87 Magnani, Anna 213–5 McDowell, Malcolm 79, 80 Mahler, Gustav 83 McGibboney, Paul 166 Maison Close 201 McGill, Donald 146 Maîtresse 90 McGrath, Joseph 151 Makavejev, Dušan 204–5 McNamara, Maggie 43–4 Malden, Karl 53, 55 McQueen, Steve 183 Male and Female 8 McShane, Ian 100 Malizie di Venere (Le) (aka Devil in the Medium Cool 124 Flesh) 83 Melford, George 12 Malle, Louis 86, 136–7, 201, 209 Melville, Herman 63 Malmsten, Birger 112 Men Only 153 Mam’selle Striptease (En Effeuillant la Menzel, Jirí 151, 197 Marguerite) 208 Merci la Vie 201 Mamma Roma 214–5 Meredith, Burgess 49 Mamoulian, Rouben 22, 23 Merlo, Frank 52 Man and Wife 105 Merry Widow (The) 8 Man of La Mancha 213 Metalious, Grace 4, 39–40 Man of Steel 182 Metro-Goldwyn-Mayer (MGM) 22, Man with the Golden Arm (The) 46 130, 196 Manchester Purity League 7 Metzger, Radley (aka Henry Mandingo 125 Paris) 162–4 Mangano, Silvana 62, 64, 65, 83, 212 Meyer, Russ 129, 138–44, 194 Mankiewicz, Joseph L. 37, 56–7 Midnight Cowboy 129, 130 Mann, Anthony 20, 212 Mikkelsen, Mads 199–200 Mann, Daniel 57, 214 Miles, Sarah 97 Mann, Delbert 212 Miles, Vera 211 Mann, Thomas 82 Milian, Tomas 67, 70 Mansfield, Jayne 37, 67, 95 Millennium trilogy 175, 190

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Miller, Arnold L. 202 Nabokov, Vladimir 98 Miller, Arthur 28, 52, 200 Naked as Nature Intended 146 Miller, Henry 127, 133–6 Naked Came the Stranger 162–3 Miller, Michael 105 Naked City 157 Miller, Nat 146–7 Naked Killer 202 Millington, Mary 152 Naked Youth 118 Mills, John 4 National Film Theatre 118 Milo, Sandra 68 Nazzari, Amedeo 206, 214 Minnelli, Vincente 38 Neeson, Liam 35 Miracle (The) (Il Miracolo) 214 Negri, Pola 10 Mirren, Helen 79 Negulesco, Jean 37 Mitchell, Artie 160 Nesser, Håkan 9, 105–6 Mitchell, Jim 160 Never Come Morning 45 Mitchum, Robert 98 Never So Few 207 Mizoguchi, Kenji 118 Newman, Paul 58, 60 Modesty Blaise 210, 211 Ng, Carrie 202 Modunio, Lucia (aka Modugno) 151 Niagara 37 Mona: The Virgin Nymph Nichols, Andrew 166, 167 (aka Mona) 156, 157–8 Nichols, Mike 125, 126, 127, 143 140 Nicholson, Jack 27, 63, 70, 127, Money, Constance (aka Susan 128, 159 Jensen) 163 Night (The) (La Notte) 70–1, 211 Monroe, Marilyn 24, 35–8, 85, 131 Night of the Iguana (The) 60 Moon is Blue (The) 35, 43–5 Nikita 202 Moore, Alan 182 Nineteen Eighty-Four 166 Moore, Dudley 132 Ninotchka 23 Moravia, Alberto 213 Niven, David 43, 45 Moreau, Jeanne 86, 104, 209, Noé, Gaspar 178 210, 211 North, Alex 53 Morgenthaler, Anders 203 Not Tonight Henry 140 Morley, Robert 96 Notorious 10 Morocco 19 Nouvelle Vague 85, 87, 140, 208 Morricone, Ennio 72, 80, 199 Novak, Harry H. 143–4 Morrissey, Paul 157 Novak, Kim 38–9 Mortensen, Viggo 179, 180 Novello, Ivor 14 Motion Picture Association of Nudes of the World 202 America 44, 48, 203 Nudist Paradise 147 Mudhoney 141 Nudist Story (The) 146 Mulligan, Carey 183 Nykvist, Sven 114, 137 Mulot, Claude 196 Nyman, Lena 104 Munden, Marc 197–8 Nymphomaniac 5, 175, 189–95 Murphy, Stephen 203 Nyqvist, Michael 176, 177 Murray, Don 49, 50 Music Lovers (The) 201–2 O’Brien, Kieran 153, 178 Musmanno, Michael 134 O’Donnell, Peter 210 Mussolini, Vittorio 63 O’Dowd, Chris 198 Muti, Ornella 162 O’Hara, Gerry 100 Myers, Cynthia 142 O’Hara, John 57 19, 131–3, 142 O’Neill, Eugene 212, 213

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238 Index

O’Shea, Milo 94 Pawnbroker (The) 98–9 O’Sullivan, Maureen 14 Peck, Gregory 98, 213 O’Toole, Peter 213 Peeping Tom 191, 192 Oberon, Merle 27 Penny Dreadful 33 Obsession (Ossessione) 63, 64 Perkins, Anthony 100, 197, 212 Occupe-toi d’Amélie…! 40 Persona 109, 112, 113, 115–7 Odd Couple (The) 211 Peyton Place 4, 39–40 Ogier, Bulle 90 Philipe, Gérard 207 Oh! Calcutta! 91 Piano Teacher (The) 202 Okada, Eiji 88 Picnic 38–9, 56 Oklahoma! 35 Picture of Dorian Gray (The) 31–3 Olivier, Laurence 27 Pidgeon, Walter 49 Olvidados (Los) 103 Pillow Talk 93 On the Road 183 Pinal, Silvia 104 Onorevole Angelina (L’) 214 ‘Pink’ films (‘Pinku Eiga’) 120, 122 Opening of Misty Beethoven Pink Floyd 102 (The) 163–4 Pinter, Harold 97, 126, 162, 178 Oplev, Niels Arden 175, 176 Pisier, Marie-France 89 Orchestral Rehearsal (Prova Pitt, Michael 128 d’Orchestra) 69 ‘Platonic Blow’ (The) 92 Ordeal 159, 184 37, 142, 164, 184, 209 Orton, Joe 91 Pleasure Girls (The) 100 Orwell, George 166 Plowright, Joan 197 Oscar Wilde 96 Poe, James 59 Osco, William 162 Pollack, Sydney 61 Oshima, Nagisa 117–23, 168 Pomeroy, Dr Wardell 105 Oswald, Richard 9 Ponti, Carlo 212 Otaman, Okinu 121 Poots, Imogen 153 Outlaw (The) 31, 37 Pornography in Denmark 105 Pornography: Copenhagen 1970 105 Pabst, G. W. 13, 209 Porter, Cole 23 Pacifi sta (La) 211 Portnoy’s Complaint 203 Pacino, Al 184 Postman Always Rings Twice (The) Page, Bettie 204 (book) 6, 63, 174 Page, Geraldine 59–60 Postman Always Rings Twice (The) Paglia, Camille 158 (1946) 27, 29–30 Pagliacci (I) 206 Postman Always Rings Twice (The) Pallenberg, Anita 196 (1981) 128–9 Pandora’s Box (aka Lulu) 13, 209 Potter, Dennis 1, 80, 92, 197 Pantoliano, Joe 174 Potter, Martin 69 Paramount 124, 136 Pottier, Richard 40 Parisienne (Une) 210 Powell, Frank 11 Party’s Over (The) 100 Powell, Michael 191–2 Pasolini, Pier Paolo 71–8, 83, 194, Preminger, Otto 33, 34, 35, 42–51, 214–5 124, 216 Passenger (The) (Professione: Prentiss, Paula 143 Reporter) 70 Pretty Baby 136–7, 201 Pathé Company 7 Pride and Prejudice 58 Pavolini, Alessandro 63 Pride and the Passion (The) 212

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Primitive London 149 Resnais, Alain 85, 87–8, 196 Princess 203 Reve, Gerard 107 Private Afternoons of Pamela Mann Revenge of the Creature 39 (The) 162–3 Rice, John C. 10 Prostitute 203 Richardson, Ralph 207 Proust, Marcel 57, 75 Richmond, Fiona 152 Psycho 100, 171, 173, 192 Riva, Emmanuelle 88 Pulp Fiction 174 RKO 143 Robbe-Grillet, Alain 88–9 Quatre Vérités (Les) 211 Robbe-Grillet, Catherine 89 Queen Christina 22, 23 Roberts, Meade 59 Queen Kelly 8 Roberts, Rachel 172 Quiet Days in Clichy 127 Robinson, Edward G. 28 Quine, Richard 93 Robson, Mark 39, 143 Quinn, Anthony 214, 215 Rocco and his Brothers (Rocco e i Suoi Quivrin, Jocelyn 198 Fratelli) 82 Rodgers and Hammerstein 35 Rabbit, Run 4 Roëves, Maurice 94 Rabid 161 Rogers, Peter 146 Rabier, Jean 87 Roma 65, 69, 215 Radcliffe, Daniel 183 Roma, Città Aperta 214 Rafelson, Bob 27, 128 Romana (La) 207 ‘Raffle’ (The) (Boccaccio ‘70) 67 Romance 90 Ragneborn, Arne 143 Romay, Lina 144 Rainbow (The) 5 Romijn, Rebecca 182 Rains, Claude 34 Room at the Top 4, 95 Randall, Tony 92 Rose Tattoo (The) 214 Randi, Ermanno 207 Ross, Annie 79 Rapace, Noomi 176 Rossellini, Roberto 214 Rapper, Irving 54 Rossner, Judith 200 Rascel, Renato 206 Rota, Nino 68 Ratoff, Gregory 96 Roth, Cy 39 Rattigan, Terence 20 Roth, Philip 203 Raymond, Paul 153 Rourke, Mickey 172 Read, Dolly 142 Rózsa, Miklós 29 Red Desert (Il Deserto Rosso) 70, 211 Ruggles, Wesley 17 Red Dust 25 Russell, Jane 31, 37 Redgrave, Lynn 125 Russell, Ken 5, 91, 92, 101, 106, 124, Redgrave, Vanessa 101 168, 197, 201–2 Reed, Carol 207 Russell, Rosalind 38 Reed, Oliver 91, 92, 101 Rydell, Mark 126 Reed, Rex 133 Rylance, Mark 129 Reeves, Steve 11, 62 Reich, Wilhelm 205 Sade, Marquis de 72, 75, 199 Reid, Beryl 126 Sagan, Leontine 200–1 Reinhardt, Max 19 Salis, Robert 198 Reisz, Karel 94–5, 203–4 Salles, Walter 182 Remick, Lee 46, 47 Salò, or the 120 Days of Sodom 72–8, Renoir, Jean 214 81, 194

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240 Index

Salon Kitty 78–9 174 Saltzman, Harry 151 Shurlock, Geoffrey 99 Samples, Candy 162 Siffredi, Rocco 90 Samson and Delilah 27 Sight and Sound 134 Sanders, George 33, 37 Signoret, Simone 7 Sandrelli, Stefania 80, 82 Silence (The) 3, 106, 108, 110, 110–5 Sarandon, Susan 136, 137 Silk Stockings 23 Sarne, Mike 19, 131–3, 142 Sillitoe, Alan 95 Sartre, Jean-Paul 212 Silverio, Daniela 71 Saturday Night and Sunday Simon, Neil 211 Morning 94, 203–4 Sinatra, Frank 13, 46, 51, 159, 207, Sayadian, Stephen (aka Rinse 210, 212 Dream) 165 Singer Not the Song (The) 4 Scarlet Empress (The) 12, 20 Six, Tom 77 Schaffner, Franklin 39, 56 Sjöman, Vilgot 104–5, 108 Schlesinger, John 129, 130, 172 Skarsgård, Stellan 190, 194 Schneider, Maria 128–9 Skidoo 42 Schneider, Romy 66–7 Skofic, Milko 206 Schrader, Paul 183–4, 199 Skolimowski, Jerzy 198 Schroeder, Barbet 90 Smith, Geraldine 157 Scola, Ettore 211 Snake Pit (The) 40 Sconosciuto di San Marino (Lo) 214 Snow, Pia 166 Scorsese, Martin 122, 137, 155, 203 Snyder, Zack 182 Scott, George C. 199 Soderbergh, Steven 185 Sears, Heather 95–6 Sodom and Gomorrah 96 Secret Diary of a Call Girl 201 Solomon and Sheba 207 Secret of Santa Vittoria (The) 215 Some Like It Cool 145 Seduced and Abandoned 82 Some Like It Hot 17, 36, 37 Serafi no 82 : Her Own Story 213 Servant (The) 97 Sordi, Alberto 212 Seven Year Itch (The) 36, 37 Sorel, Jean 207 Seventh Seal (The) 115 Soutendijk, Renée 107 Sex and the City 181 Spellbound 180 Sex Lure (The) 8 Spelvin, Georgina 159–60 Sex, Lies, and Videotape 185 Spetters 106–7 Seydoux, Léa 184 Spillane, Mickey 28, 38 Seyfried, Amanda 184 Splendor in the Grass 56, 99 Shaffer, Peter 183 Sposa Non Può Attendere (La) 206 Shalako 210 Stahl, Jerry 166–7 Shame 183 Stamp, Terence 72 Sharp, Marie 167 Stanwyck, Barbara 28–9, 100 Shaw, George Bernard 163–4 Stefano, Joseph 100 She Done Him Wrong 16, 17, 18 Steiger, Rod 98 Sheik (The) 12–13 Stevens, Cat 198 Sherman, Lowell 16 Stewart, James 20, 47 Shields, Brooke 136 Stewart, Kristen 183 Shivers 179 Stiller, Mauritz 22 Shochiku 118 Stilley, Margo 153, 178

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Sting 197 This Property is Condemned 61 Stone, Sharon 168, 172 This Sporting Life 172 Strasberg, Lee (Actors Studio) 37, Thomas, Gerald 146 55, 176, 211 Thomas, Ralph 208 Straub, Jean-Marie 160 Thompson, J. Lee 97 Strawberry Statement (The) 127 Thorsen, Jens Jørgen 127 Street (The) (La Sua Strada) 206 Three Musketeers (The) 58 Streetcar Named Desire (A) 52, Thulin, Ingrid 78–9, 106, 111, 112 53–4, 55 Thurman, Una 194 Strick, Joseph 94, 127, 133, 134–6 Tierney, Gene 49 Strindberg, August 108, 112 Tilly, Jennifer 29, 174 Stronger (The) 112 Tiomkin, Dimitri 201 Suburban Pagans 144 Tognazzi, Ugo 211 Suddenly, Last Summer 56–7 Tone, Franchot 49 Summer and Smoke 59–60 Tonight for Sure 145 Summer with Monika 106, 108 Too Hot to Handle (aka Playgirl After Sun’s Burial (The) 118 Dark) 95 Super Furry Animals 178 Torn, Rip 134, 135 Superman: The Movie 157 Traffi c in Souls 8 129 Tragic Pursuit (Caccia Tragica) 64 Surrogate (The) 170 Trans-Europ-Express 89 Susann, Jacqueline 141, 142 Trapeze 207 Swanson, Gloria 8, 11 Trash 157 Sweet Bird of Youth 59, 60 Traver, Robert (aka John Voelker) 46 Treasure of the Sierra Madre (The) 174 Taking Off 204 Trevelyan, John 45, 94, 96, 97, 98, Tale of Five Cities (A) 206 147, 149, 150 Tales of Ordinary Madness 199 Trials of Oscar Wilde (The) 96 Tarantino, Quentin 174 Trinh Thi, Coralie 177 Tarzan the Ape Man 14 Tristan und Isolde 6 Tashlin, Frank 67, 138 Tropic of Cancer 127, 133–6 Taxi Driver 122, 137, 155, 203 Truffaut, François 85 Taylor, Elizabeth 56, 57, 58 Turner, Kathleen 197 Taylor, Rod 101 Turner, Lana 24, 30, 63 Taylor-Johnson, Sam 175, 186 Tweed, Shannon 170 Teas, Bill 140 Twilight 175, 183 Teaserama 204 Two Women 207, 213 Tebaldi, Renata 212 Two-Faced Woman (The) 23 ‘Temptation of Dr Antonio’ (The) Tynan, Kenneth 91 (Boccaccio ‘70) 67 Teresa Venerdì 213 ‘U’ certificate 96, 185 Tess of the d’Urbervilles 27 Ullmann, Liv 78, 112, 115, That Kind of Girl 148 117, 139 Thatcher, Margaret 169 Ulysses 91, 94, 133, 136 Thelma and Louise 177 United Artists 43, 145 Theorem (Teorema) 72 Universal Studios 204 Thérèse Raquin 6–7 Updike, John 4, 91 They’re Playing with Fire 170 Uris, Leon 49

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242 Index

US Sunbathing Association 146 Wagner, Richard 6, 42 Ustinov, Peter 63 Wahlberg, Mark 184 Waldon, Louis 156 Vadim, Annette (née Stroyberg) 87 Walk on the Wild Side (A) (book) 45 Vadim, Roger 87, 196, 208, 209, Walk on the Wild Side (film) 99 210, 211 Wallach, Eli 54, 55 Valentino, Rudolph 11, 12–13, 207 Warhol, Andy 156–7, 161 Valley of the Dolls 141, 142 Warren, Norman J. 150, 151 Valli, Alida 208, 209 Waszynski, Michal 214 Vallone, Raf 7, 64 Watchmen 182 Van Dyke, W. S. 14 Watson, Fifi 157 Van Sant, Gus 100 Wedekind, Frank 13 Varietease 204 Weissmuller, Johnny 14 Vaughn, Vince 100 Welch, Joseph N. 47 Venere Imperiale 207 Welch, Raquel 131–3, 142 Venus in Furs 83 Welles, Orson 3, 53 Verga, Giovanni 63 West End Jungle 148–9 Verhoeven, Paul 106–7, 168, West, Evelyn ‘Treasure Chest’ 139 172–3, 183 West, Mae 16–19, 20, 23, 36, 132, Vérité (La) 210 133, 142 Victim 4, 97 Wexler, Haskell 124 Vidal, Gore 56, 57, 125, 131, Whale, James 143 133, 142 Whitehouse, Mary 1, 12, 91, 122, Video Recordings Bill/Act 169 134, 170 Videodrome 179 Whiting, John 101 Vidor, Charles 11, 30 Who’s Afraid of Virginia Woolf? 203 Vidor, King 4, 141, 207 Wicked Lady (The) 10, 26–7 Vinterberg, Thomas 199–200 Wickman, Torgny 105 Virgin Spring (The) 108, 109–10, 112 Wife Swappers (The) 149, 150 Viridiana 104 Wild is the Wind 214 Visconti, Luchino 30, 63–4, 65, Wild Strawberries 115 66–7, 79, 82–3, 214 Wilde, Oscar 6, 31–3 Vitti, Monica 70, 210–12 Wilder, Billy 17, 23, 27, 28–9, 36 Viva 156 Williams, Tennessee 39, 52–61, Viva Maria! 210 125, 214 Vixen! (aka Russ Meyer’s Vixen!) 138, Wilson, Julie 145 140, 141–2 Windsor, Barbara 146 Voight, Jon 130 Winner, Michael 145 Voix Humain (La) 214 Winsor, Kathleen 33 von Sacher-Masoch, Leopold 83 Winter Light 111 von Sternberg, Josef 11, 19–20 Winterbottom, Michael 153, 154, von Stroheim, Erich 14 168, 178 von Sydow, Max 109, 110 Wise, Robert 208 von Trier, Lars 5, 90, 168, 175, Witchcraft Through the Ages 189–95 (Häxan) 9–10 Woman of Straw 39, 207 Wachowski, Andy 29, 173–4 Woman of Summer (aka The Wachowski, Lana (Larry) 29, 173–4 Stripper) 56 Wadleigh, Michael 131 Women in Love 5, 91, 92, 124, 202

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Wonder Woman 89, 121, 182 Yasujirô, Ozu 118 Wonderful World of Sex (The) 204 Yesterday, Today and Tomorrow 205 Wood, Ed 143 York, Susannah 126 Wood, Natalie 99 Young, Gig 92 Woodlawn, Holly 157 Young, Terence 95 Woods, Bambi 165 Woodstock 131 Zabriskie Point 70, 89, 101, 130 Woodward, Joanne 39 Zampa, Luigi 214 WR: Mysteries of the Organism 204–5 Zanuck, Darryl 142 Wray, Fay 39 Zanuck, Richard 142 Wuthering Heights 4, 27 Zavattini, Cesare 205 Wyler, William 27, 125 Zec, Donald 185 Ziehm, Howard 81, 156, ‘X’ certificate 40–1, 130, 148, 152, 157, 162 159, 184 Zinnemann, Fred 53 X-Men 182 Zola, Émile 6–7, 30

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