Sex in Cinema: 1971 Greatest and Most Influential Erotic / Sexual Films and Scenes
Marni Collier (Judith M. Brown), serving a 99-year             sentence for killing her playboy husband (in self-defense)
Harrad (Brooke Mills), a dazed heroin addict, serving             a sentence for infanticide
Erica Bodine (Pat Woodell), a quiet political prisoner,              with revolutionary boyfriend Rafael
Karen Alcott (Roberta Collins), blonde, tough and             independent minded
Ferina (Gina Stuart), Hispanic inmate with a cat
Helen Grear (Pam Grier in her major film role             debut), brutish ex-hooker and lesbian, actually  Lucien's             spy, engaged in heroin trafficking
During the day, the prisoners were taken out to the fields           to work. Caught for hiding contraband mail, Erica  was subjected           to water-torture, hung naked in a bamboo cage and whipped while topless,           and nearly expired during the partially-hallucinatory scene.
During a shower         scene, Helen decided to subject Marni to her wishes, commanding her         to wash her back. Karen enticed Fred (Jerry Franks), an American mercenary         who sold goods to the prison (and brought in contraband), to watch         her (through a frosted glass window) in a shower and touch herself. She           was tortured by electrocution (clips attached to her breasts) after           being found having sex at knifepoint with him (she had ordered rape,         famously: "Get it up or I'll cut it off!").
Karen and Grear fought each other in a muddy sugar cane           or rice field to establish dominance over Marni - Karen won the fight           when she pushed Grear's face into the dirty water and forced her to         submit.
While many of the cellmates planned an escape, there           were continual struggles within the prison - a food fight (and spraying           with fire hoses), a starvation diet, more torture. Marni was tied down           naked while a venomous cobra was dangled above her. The escape plan           was abetted by Fred and a second mercenary named Harry (Sid Haig),           and succeeded when the group took hostages: Lucien and the labor camp's           ineffectual Dr. Phillips (Jack Davis). A number of deaths resulted       - Grear, Harrad, Bodine, and Dietrich as the escape plan unfolded.
Marni's (Judith M. Brown)
(Pat Woodell) Tortured
Billy Jack (1971)
This martial-arts grindhouse film with a         non-Asian lead title character (actor-writer-producer-director Tom          Laughlin),  a half-Indian, kung-fu-fighting, ex-Green Beret named          Billy Jack, was a commercial success as a low-budget independent          film. The character of peace-loving Billy Jack sought to protect          the mistreatment of the students in a Freedom School, by combating          rednecks, law enforcement and "the          man.".
It featured a few controversial          scenes for its time including two scenes in which bigoted, mean-spirited         mayor's son Bernard (David Roya) intimidated and assaulted two females:
Miss False Eyelashes            (Cisse Cameron, aka Cisse Colpitts in her film debut), red-haired,            and brutally assaulted in the front seat of a convertible, when            he slit the middle of her bra with a knife to expose her breasts
Jean Roberts (Laughlin's             real-life wife Delores Taylor), the pacifist and idealistic Freedom               School founder. In the ugly and realistic rape scene, she was               found by Susan Foster, naked (with a quick full-frontal glimpse)               and tied to stakes on some grass before being raped by Bernard               with his pal. They had spied on her when she went skinny-dipping               in a mountain stream.
Miss False Eyelashes
(Delores Taylor)
Carnal Knowledge (1971)
This Mike Nichols film with          striking adult subject matter (regarding the fragile male ego and bravado,           dysfunctionality, and misogyny), sexual encounters, and profanity further           pushed the boundaries of sex in cinema although the film had little           in the way of explicit sex. It challenged the ratings system and the           general morals of the time. It was the subject of a major US Supreme           Court rule in 1974 ruling that a local Georgia law prohibiting the         distribution of the "obscene" material had gone too far.
The film itself was an intense character study as it         chronicled the sex lives of two friends:
Jonathan (Jack Nicholson), a predatory male
Sandy (singer Art Garfunkel), naive
It followed their         difficult initiation into sex ("scoring" with coeds) during their 1940s student days at Amherst (with among others,          Candice Bergen as the pretty and intelligent Smith College student Susan whom they both dated). Sandy awkwardly tried to feel Susan's breasts through her clothes during a date, details of which he later shared with Jonathan. In the meantime, Jonathan betrayed his friend and dated Susan ("Myrtle") and she lost her virginity to him, unbeknownst to Sandy, although eventually Sandy married Susan and had a family in a typical surburban setting.
The story continued with playboyish Jonathan's later           difficult relationship to voluptuous, big-breasted TV model Bobbie           (Oscar-nominated Ann-Margret) who he first felt was his sexual salvation           and soon became his live-in mistress: ("I took          one look at the tits on her, and I knew I'd never have trouble again"). Jonathan soon resented Bobbie's hints at becoming more domestic and trapped-hitched, as she vulnerably drowned in depressing despair.
He then berated and insulted her ("Answer me, you ball-busting, castrating, son of a cunt bitch! Is this an   ultimatum or not?"). When she cried out and pleaded: "I want you!", he answered: "I'm taken --- by me!" He added: "For God's sake, I'd almost marry you if you'd leave me."
In a revealing close-up, a naked Bobbie sat up against           a blank wall (filmed from the chest up), lost in her own thoughts of           depression, and soon after took an overdose of pills.
The film then followed Jonathan into his divorced, burnt-out           life in the late 60s and 70s, when he looked back and called ex-wife         Bobbie "Queen of the Ballbusters." Meanwhile, Sandy was dating 18 year-old free-love advocate and hippie Jennifer (Carol Kane).
The Film's Final Scene -
Jonathan (Jack Nicholson)             with Prostitute Louise (Rita Moreno)
Finding himself dysfunctionally impotent, Jonathan resorted           to using the services of paid prostitute Louise (Rita Moreno in a cameo)           to massage his ego (and more) in the film's final scene. Obsessively,           he had her recite a carefully-worded script (he yelled at her - "God-damn it! You're doing it all wrong" - when she deviated) while kneeling between          his legs. After accepting payment of $100, and as he reclined back on a couch, she reassured him as she stroked his thighs: "I don't think we're gonna have any trouble tonight." She called him "a real man, a kind man" and then went on:
"I don't mean 'weak' kind the way so many men               are. I mean the kindness that comes from enormous strength, from               an inner power so strong that every act, no matter what, is more               proof of that power. That's what all women resent. That's why they               try to cut you down, because your knowledge of yourself and them               is so right, so true, that it exposes the lies which they, every               scheming one of them, live by. It takes a true woman to understand               that the purest form of love is to a man who denies himself to               her, a man who inspires worship, because he has no need for any               woman. Because he has himself, and who is better, more beautiful,               more powerful, more perfect, you're getting hard, more strong,               more masculine, more extraordinary, more robust. It's rising, it's               rising, more virile, domineering, more irresistible. It's up, it's         in the air ..."
Sandy with Susan
(Ann-Margret)
The Cat O'Nine Tails (1971,                 It.) (aka Il Gatto a Nove Code)
This was one of the earlier Italian horror thrillers           from Dario Argento, and he claimed it was one of his "least favorite" films - although it had an impressive score by Ennio Morricone and           some effective Hitchcockian set-pieces.
In the suspenseful murder mystery, James Franciscus starred           as reporter Carlo Giordani, and Karl Malden as  middle-aged, retired,           blind puzzle enthusiast Franco Arnos, an ex-journalist. Together with           Franco's young adopted niece Lori (Cinzia De Carolis) (who called Franco "Cookie"), they attempted together - in a private investigation           - to solve a murder related to the genetic research/medical company           (the Terzi Institute for Genetic Research) across from Franco's apartment.           One of the Institute's scientists, Dr. Calabresi (Carlo Alighiero) had been suspiciously pushed, a victim of foul play, in front of a           commuter train.
The company's two most important, lucrative and top-secret           projects involved manufacturing a "wonder" drug, and secondly, the         use of an individual's genetic         make-up to identify potential criminal         tendencies (the rare XYY chromosome).
There were a couple of other very gruesome death scenes,           including a strangulation (with a cord), and an attempted poisoning           (using tainted milk).            The concluding death was of the maniacal and deranged killer himself,           lab researcher Dr. Casoni (Aldo Reggiani), whom Carlo - in a fit of           rage after being stabbed - pushed through a skylight on the rooftop           of the Institute, where he fell down an elevator shaft to his death.
In the midst of the case in an unusual sexual interlude,           Carlo was romancing the adopted daughter of the research facility owner,           icy and aloof Anna Terzi (Catherine Spaak). In one of the boldest pick-up           lines ever, he asked:
Carlo: Do you know how many people are together right           now making love at this very second?
Anna: No.
Carlo: 780 on the average. Really. (pause) I don't know if you're aware         of it or not, but that was an invitation.
Anna: I'm perfectly aware of it. I was just wondering what devious device         you would think of  now to get me to bed.
Carlo: The couch is very comfortable.
As he began to unbutton his shirt, she unhinged the top           of her dress on both sides and let it fall, shyly exposing herself           to him. Soon, they were making love on the couch (blurred out in the           background).
Anna Terzi (Catherine Spaak)
A Clockwork Orange (1971, UK)
Director Stanley Kubrick's disturbing          and controversial futuristic satire A Clockwork Orange (1971) was forced         to be withdrawn from UK cinemas in 1973 after allegations that         it was inspiring young people to copy its scenes of violence, including             two controversial rape scenes.
They fought off a rival gang of five, led by Billyboy             (Richard Connaught), that was in the midst of raping a buxom victim         or 'devotchka' (Shirley Jaffe) on an empty opera house stage.
The First Controversial Rape Scene of a 'Devotchka'               (Shirley Jaffe)
- to Rossini's The Thieving Magpie
Then they came upon an ultra-modern house where they             deceptively gained entry. Next came the abhorrent second scene -             the assault and rape of the couple in the house. Both victims             were bound and gagged, with a rubber ball painfully inserted into             their mouths and wrapped with long strips of Scotch tape around their             heads. The red pajama-suit-wearing writer's wife Mrs. Alexander (Adrienne             Corri) was raped, while the elderly husband Frank Alexander (Patrick             Magee) was assaulted and kicked on the floor by Alex who ironically             punctuated his rhythmic, soft-shoe kick-dance with the lyrics of "Singin'             in the Rain." He was forced to helplessly watch the ugly disrobing             and choreographed rape of his own wife when Alex first attacked her             breasts. He snipped off two circles of jumpsuit cloth around them             to expose them and then in the mode of 'Jack the Ripper', he slit             her entire suit off from her pant leg upward. After unzipping and             pulling his own pants down prior to her rape, he mocked the husband: "Viddy         well, little brother. Viddy well."
The Film's Second Controversial Rape Scene
Mrs. Alexander               (Adrienne Corri) -
to the tune of Singin'               in the Rain
There was also a gruesome murder with a giant phallic           art sculpture that was conducted in a gallery filled with erotic           paintings, when lead droog Alex (Malcolm McDowell) attacked Catlady           (Miriam Karlin) with a over-sized porcelain dildo.
A sped-up orgy           (within a threesome composed of two females and a male) was performed         to the tune of the William Tell Overture.
In  other           segments, Alex experienced an orgy dream of eating grapes           while surrounded by  half-naked, bare-breasted handmaidens (Jan Adair,             Vivienne Chandler, Prudence Drage). That was             all that was left to him, to feed his violent and sexual personality.
He was also subjected to behavioral           conditioning to once and for all prevent his violent and sexually aggressive             tendencies and urges. In a second demonstration to the tune of Music             for the Funeral of Queen Mary, he was tempted before a stage             actress (Virginia Wetherell) - a half-nude woman wearing only bikini             panties. Eyes glazed and on his knees, Alex lustfully reached out for her breasts (filmed both from a low angle and an overhead shot             to emphasize their firm ripeness). As he cupped his hands tantalizingly             close to her pink-nippled, fleshy protuberances, his urge for sex             instantly turned to an urge to vomit and he fell to the floor belching             to his former passion:
Alex (voice-over): She came towards me with the light               like it was the like light of heavenly grace, and the first thing               that flashed into my gulliver was that I'd like to have her right               down there on the floor with the old in-out, real savage. But as               quick as a shot came the sickness, like a detective that had been               watching around the corner and now followed to make his arrest.               (She bowed and curtsied to audience applause before exiting from               the demonstration.)
By the film's conclusion, Alex, now supposedly "cured," returned             to his former self. An enigmatic dream-like image came on the screen             -  with both his             free will intact and with his old proclivities for sex and violence.             The final explicit scene emphasized the enormity of the state's hypocrisy.             In his Ascot fantasy, a nude Alex had found peace and fantasized             copulating (making love to/raping?) with a beautiful blonde woman             (Katya Wyeth) who wore only black silk stockings. They were frolicking             in slow-motion on piles of white snow, while two rows of genteel-looking,             Victorian Londoners (ladies and gentlemen), the men dressed in top             hats and the women carrying parasols, looked on and sedately applauded             toward them. Alex had reverted to his old, pre-conditioned behavior:
Alex (voice-over): (triumphantly and sardonically)               I was cured all right.
Phallic Sculpture
Final Fantasy with Blonde (Katya Wyeth)
Countess Dracula (1971, UK)
Ingrid Pitt proved such a success in the Hammer film The             Vampire Lovers (1970, UK) from           the previous year (see Karnstein Trilogy feature) that she was immediately             given the title role of Countess Elisabeth Nodosheen in this film             the following year. It was a toned-down Hammer film (not technically             a vampire film).
It was         based on the legendary story of Elizabeth (Erzsebet) Bathory - a         Hungarian Countess who bathed in the blood of virgins to retain her         youthful look. She accidentally discovered that blood spilt on her         skin rejuvenated her.
In one of the film's brief topless scenes,         she emerged from her bloody bath naked, although she soon realized         that the effects were temporary.
Countess Elisabeth
Elizabeth Bathory (Delphine Seyrig), a Hungarian Countess,          mysterious and beautiful, sultry and elegant
Ilona Harxzy (Andrea Rau), the Countess'          sensual, lesbian, Dutch-bob-haired secretary, with pouty lips
Recently      in the area, there was a string of murders of young girls whose blood      was drained.
Ultimately, the Countess had her sights on replacing             Ilona with Stefan's wife, made easier after Valerie learned that             Stefan was an abusive and sexual sadist (he beat her with a belt).             Ilona was ordered to seduce Stefan, as a distraction, and she peeped             on him naked as he took a shower. When he saw her, he playfully suspected        she wanted to have sex and pulled her  into the water. As they        struggled (she knew what water would do to her), she screamed and grabbed        his sharp razor-blade in her hand, bloodied herself, and then fell        on the sharp instrument - killing herself.
Death of Ilona (Andrea Rau)
Meanwhile, Elizabeth was seducing Valerie and      vampirizing her, and the two conspired to kill Stefan. He died when      a crystal glass dish neatly broke in two and slit both of his wrists,      and the two 'daughters of darkness' sucked the blood from his arms      ('blood on the lips').
By film's end, Valerie had taken on the spirit-persona      of the Countess after she died by impalement on a tree branch following       an automobile accident, speaking in her voice.
Valerie
Death of Stefan
The Devils (1971, UK)
Director Ken Russell's film was a blasphemous, shocking        and excessive depiction of the repressive 17th century when sexuality        was equated with Satanism - it was an adaptation of Aldous Huxley's "The         Devils Of Loudon."
The film was vilified and met with outrage in       its story of a womanizing, vain, rebellious activist priest named Father        Urbain Grandier (Oliver Reed). He impregnated and then abandoned nobleman's        cousin Philippe (Georgina Hale), the daughter of a powerful city elder.        He also married wealthy orphaned heiress Madeleine Dubroux (Gemma Jones)        in secret, and then refused to remove the city walls around his fortified        town.
He faced questioning and persecution by Cardinal Richelieu        (Christopher Logue) for witchcraft and sorcery. The only way the monarchy        of Inquisition-obsessed France could destroy the Protestant-leaning French        town of Loudon was to attack the liberal religious leader as a sorcerer        and practitioner of witchcraft.
He was discredited and      accused of "diabolic possession" by       the local repressed Ursuline nuns who were led by tormented, sexually-hysterical,       sexually-obsessed, hunchbacked Mother Superior Jeanne des Anges (Vanessa      Redgrave).  She had unfulfilled, warped             sexual desires (and vivid fantasies) for Grandier and expressed them      through self-mutilation and self-flagellation. In the film's most fantastic      vision, Grandier (as Christ) stepped off the cross on which he had been      crucified, so that Mother Jeanne could lick his wounds.
The wicked, repressed      and deformed Sister Jeanne confessed to depraved      witch-hunter Father Pierre Barre (Michael Gothard) that Father Grandier      was responsible for her bewitching possession, and that he had violated        her. Barre had been dispatched to question, torture (headscrews, nails        into hands, etc), tie up, and execute the profligate priest. Sister        Jeanne was physically examined for proof of sexual        violation - in one of the film's most memorable scenes. She was laid        on the altar and penetrated by  intrusive instruments, causing        her to scream and bleed, after which it was declared that she had been        violated - and that Grandier was guilty as charged.
Crazed Nuns in The Devils (1971) -
"The Rape of Christ" Orgy Sequence
In one of the film's most shocking (and censored)             scenes - a staged exorcism in Loudon's cathedral, the nuns acted        as if they were possessed in front of masked townspeople.  Dubbed       the orgiastic "Rape       of Christ" sequence (intercut with a scene of Grandier conducting a      simple mass for himself by a river-bank), the crazed Ursuline nuns were      whipped into a sexual frenzy of hysteria by Barre. They displayed full-frontal      nudity when they removed their habits, cavorted naked, and masturbated      with (or raped) a large-sized crucifix or effigy of Jesus that they had      pulled down from the wall. They began to lick the enormous crucifix,      and with their writhing naked bodies, some of the nuns ground their genitals      over all parts of the wooden statue to pleasure themselves. One group      of nuns let themselves be groped by male townsfolk, and others attacked      and 'raped' a priest.
Father  Mignon (Murray Melvin), who climbed  a staircase        to perch himself for a better view far up in the cathedral, watched        from afar and committed desperate self-abuse under his robe - (the        two and a half-minute scene was excised prior to the film's release).        As he did so, a frenzied nun also suggestively stroked, rubbed and gripped        a large altar candle between her legs. The camera zoomed in and out        rapidly to portray his ecstasy and madness as he watched the masses        of naked female bodies surrounding the Jesus statue.
Meanwhile, Grandier was brought to trial - was condemned        for witchcraft, and bound for the fiery stake. Unable to walk because        his legs had been broken, Grandier was dragged out for public execution.        The executioner (who had promised to strangle him with a noose so he        could avoid torturous pain) was unable to, when Barre lit the pyre        prematurely. Grandier's death was gruesome to watch, as his flesh blistered        and he was burned to death.
A scene at the end of the film was mostly edited out - of      Sister Jeanne being handed the charred thighbone of Grandier after his        execution - a "souvenir." There was no doubt what she would use it        for - as a dildo for masturbatory purposes.
Philippe
Dirty Harry (1971)
Director Don Siegel's sensational film was a seminal           vigilante film of the decade, appealing especially to male audiences       because of its overt violence and occasional glimpses of full nudity. The           main combatants in the crime film were:
"Dirty           Harry" Callahan (Clint Eastwood), an individualistic, unconventional,           vengeful, neo-fascist, super-hero police detective/lawmanwith a .44           Magnum weapon who threw away the rule book
Scorpio (Andy Robinson), "Dirty Harry's" complementary             opposite - a pathological, malevolent and sadistic criminal (similar             to SF's real-life Zodiac Killer)
In one scene during his investigation at night,           Harry (standing on a garbage can) looked up into an apartment window           and saw a bare-breasted female. He was accused by concerned neighbors           of being a "lousy" peeping         Tom after viewing half-naked          Hot Mary (Lois Foraker) and her boyfriend, and getting an "eyeful".         Harry's partner, Mexican-American cop  Chico         Gonzales (Reni Santoni), rubbed it in: "I just had another thought...about         why they call you Dirty Harry."
Also, as Harry was scouring the neighborhood with binoculars           to locate Scorpio, he was distracted when         he caught sight of a naked young girl (Ann Noland, uncredited) greeting           two hippies at her door. He thought to himself: "You owe it to           yourself to live a little, Harry."
In the Roaring 20s Strip Club in San Francisco which           Harry sometimes frequented, a Nude Stripper (Lolita Rios) performed           on a stage, on a red bed.
One of Scorpio's  victims of rape, kidnapping (and           murder) was 14 year-old Ann Mary Deacon (Debralee Scott). Her nude           corpse was found  in the bluish dawning light, in the Marin Headlands           on the other side of the Golden Gate Bridge. She was hauled out from           her 'grave' (a hole in the ground), laid on a stretcher, and covered       with a blanket.
Hot Mary (Lois Foraker)
"You Owe It To Yourself to Live a Little, Harry"
Stripper Nude (Lolita Rios)
(Martine Beswick)
Friends (1971, UK)
This R-rated romantic teen drama and            coming-of-age story directed by Lewis Gilbert told about an idealistic            (natural and healthy?) and romantic relationship between a teenaged            couple who were both alienated by the adult world and fell in love:
Paul Harrison (Sean Bury), an English               boy
Michelle La Tour (17 year-old Anicee Alvina), a             French girl
Young Love Between Paul and Michelle (Anicee Alvina)
The two  attempted to make           it together in an idyllic cottage once a baby arrived, and kept the             baby in a wooden crate, substituting for a cradle. At one point,             Michelle breastfed the baby..
The film was noted for an Elton            John soundtrack (and hit title song) and controversial nude scenes              (whether they were prurient or naively         innocent was debatable) between its very young performers.
It was       followed by the sequel Paul and Michelle (1974).
Michelle
(Anicee Alvina)
Get Carter (1971, UK)
Writer/director Mike         Hodges'  noirish and gritty crime drama-thriller             (Hodges'  debut directorial feature film) told about small-time,             charming British gangster and enforcer-hitman Jack Carter (Michael             Caine) involved a tale of blackmail, death, and betrayal. A remake             with Sylvester Stallone in the Caine role, Get Carter (2000),             was poorly received.
The highly-acclaimed tough action film was             originally rated "X" for           violence and female nudity, then re-classified later as "R."
Carter sought revenge for the suspicious murder/death             of his brother Frank, and he was also attempting to get his niece             Doreen (Petra Markham) out of the pornographic film business. After             Doreen was coerced into participating in the illicit activity,  Frank             found out and threatened to tell authorities - and he was eliminated.              [The plot also revealed that there was the possibility             that Doreen was actually Jack's daughter.] At the same time that             he investigated the unusual death, he became involved with Glenda             (Geraldine Moffat), the drunken and promiscuous mistress of northern             crime lord Cyril Kinnear (John Osborne), and an actress in Kinnear's             porno films. (After having sex with Glenda, he realized that she             had co-acted with his coerced niece in one of the pornos - enraged,             he furiously half-drowned her in her sudsy bathtub.)
The film's most notorious segment was  a lengthy phone           sex sequence between Carter and  his boss Gerald Fletcher's (Terency             Rigby) London wife - Anna Fletcher (Britt Ekland).             Carter had plans for her to be his "fiancee" and to run off with             her to South America in a week's time. His Newcastle boarding house             landlady Edna Garfoot (Rosemarie Dunham) was moving back and forth             in a rocking chair in front of Carter as he made the erotic telephone             call. As he fixed his eyes on the eagerly-listening Edna and seduced             her verbally, Anna followed his directions.
First seen wearing only lacy black leggings, black             panties and a black bra, she unhooked her bra, laid on the bed and             pleasured herself by touching herself while Carter talked             to her. He             instructed her to touch and hold her breast and imagine that it was             him touching her. She was forced to pretend that she was doing             'exercises' and talking with  girlfriend Janet when Gerald walked             in, heard her groaning, and asked: "You             got gut trouble or somethin'?"
Phone Sex between Carter and Anna Fletcher (Britt               Ekland)
Carter with Glenda
(Geraldine Moffat)
Harold and Maude (1971)
Hal Ashby's black comedy was            an enormously popular cult movie about an unusual couple with an eccentric,         unconventional, inter-generational romance between:
Harold (Bud Cort), a death-obsessed 19 year-old
Maude (Ruth Gordon), a life-affirming 79 year-old             widow
Harold The Morning After Sleeping with Maude
Klute (1971)
"Hanoi Jane" redeemed            herself in this Alan J. Pakula film noir thriller and won the Best            Actress Oscar. Jane Fonda  was one of many such            actresses who were nominated for or won an award for playing a prostitute,            including Elizabeth Taylor for Butterfield 8 (1960) and Mira            Sorvino in Mighty Aphrodite (1995).
This           film realistically depicted the world of pimps, high-rollers, prostitutes,           and drug-addicts, with a few semi-nude scenes.
She  portrayed a troubled, self-destructive,           and independent high class NYC call-girl named Bree Daniels, an emotionally-contradictory           female whose life was threatened.
One indelible scene showed Bree with a paying client             as she moaned authentically, took a quick peek at her watch, and             then moaned some more. The cold-hearted character             described her empowerment as a call girl to her therapist:
"...and for an hour,             for an hour I'm the best actress in the world, the best f--k in the             world.... "
Bree
(Jane Fonda)
The Last Picture Show (1971)
Director Peter Bogdanovich's realistic, black-and-white              drama The Last Picture Show (1971) told about the dreams and shattered             loves of small-town Texans in the early 1950s; although the adult-themed             film was nominated for eight Oscars (with two wins for supporting             performers), some considered it obscene for its full frontal nudity and explicit sexual situations.
One of the film's short-term relationships was between             high-schooler Sonny Crawford (Timothy Bottoms) and his unattractive              girlfriend of one year Charlene Duggs (Sharon      Taggart, aka Sharon Ullrick) who had         broken up  following an awkward petting scene in his pickup truck. They      had customarily driven to a lover's lane area and listened to the radio      while she methodically removed her own sweater (he unhooked her pointed      bra and hung it on the rear-view mirror). She routinely permitted him to      cup her full right breast (with his cold left hand) while they kissed. She      asked angrily: "What's the matter with you? You act plain bored."
He proceeded to have an affair with coach's wife Ruth Popper           (Cloris Leachman). They kissed standing up and then hurriedly and           self-consciously undressed (without looking at each other) in separate           areas of the bedroom. For a short moment, Ruth's silk slip resisted           being removed and unglamorously got caught over her head. His             loss of virginity was realistically portrayed as he awkwardly undressed             and made unceremonious love to the older woman - under the sheets.
Embarrassed,           they both climbed into bed in their undergarments, and then under           the covers removed their remaining clothing and tossed them out.           She permitted Sonny to proceed: "It's all right." He           rolled on top of her and began making love to her. Their furtive love-making           movements on the bed were accompanied by squeaky bedsprings that grew louder           and louder with each thrusting motion. The springs ruined the experience           and poignantly echoed Ruth's anguish and pain. She cried and tears streaked           her cheeks as she expressed her low self-esteem and gave her heart to           him.
The           film's most controversial scene was at an indoor pool party in which           the country-club-set teenagers enjoyed skinny-dipping (with full           frontal nudity). At the pool party, a stark naked Bobby Sheen (Gary             Brockette) greeted Lester and rich, self-centered town tease Jacy             Farrow (Cybill Shepherd) when they arrived, labeling them: "New             victims." While the others engaged in water fights, Bobby (who             joked about being "dressed informally") stepped out of             the water to shake Lester's hand. His nude girlfriend Annie-Annie             Martin (Kimberly Hyde) also emerged from the private indoor pool,             joined Bobby and asked the newcomers: "Wanna join the club?" Neophyte Jacy was challenged to get undressed out on the diving board as     part of the initiation rites ("so everybody gets to watch"). The whole naked     group of teenaged boys and girls eagerly sat by the edge of the pool to watch "the     strip show."
Nervously and gingerly, Jacy removed her white shoes             and white coat and climbed out onto the diving board. Fearing that             she would lose her balance, Jacy complained: "Goodness, I hope I don't fall off this thing." She slowly           removed her full-length dress, her silky white slip, unhooked her garters           and slid off each stocking, and then took off her garter belt. As           she was unfastening her bra top, she almost fell and prevented tumbling           into the water by sitting down on the board. Then in one dramatic gesture,           she yanked off her bra top and flung it on top of her pile of clothes.           Finally, she slid off her panties and tossed them at Bobby's ten           year old brother who surfaced beneath the end of the board. She was cheered as she hopped into the water - completely naked, although she           had forgotten to remove Duane's present. Realizing that the watch had           stopped working, she shrugged and smiled at Bobby. Jacy's bid for acceptance           from the rich set of kids had succeeded - she had attracted the attention           of the wealthy young playboy.
The Midnight Swimming Pool Party
The Invitation by Annie-Annie Martin (Kimberly Hyde)
The Nude Teen Spectators
Jacy's (Cybill Shepherd) Striptease on the Diving               Board
In another           scene, Jacy experienced an aborted deflowering with football-playing           boyfriend Duane Jackson (Jeff Bridges) in the Cactus Motel in the           dying Texas town. Duane       (combing his ducktail) entered Room 8 where he found Jacy standing in the       room wearing a thin nightgown. They kissed and embraced, vowing their love.       They sat       on the bed and Duane began unbuttoning the top of Jacy's gown, and then       exposed her breasts. As she laid back on the motel bed and half-closed       her eyes, she encouraged him: "Oh Duane, hurry." He hurriedly and eagerly removed his clothes and lay on top of her. But     then she asked in an annoyed tone why he was taking so long to penetrate     her while being suspended over her: "Aren't you gonna do it?...What     do you mean? How could anything be wrong? Just go on and do it." She     blamed his Mexico trip for his limp impotence: "No telling what you     got down there. I just hate you. I don't know why I ever went with you."
She was furious about his sexual incompatibility and             their aborted love-making, and ordered him to put his clothes back             on ("You think I wanna sit around           here and look at you nekkid?"). And she feared that she might "never           get to not be a virgin" - and thereby win Bobby Sheen's heart. She was also worried that classmates         might ridicule them when they found out about their unsuccessful and         clumsy encounter, and she confirmed what her mother had forecast: "I         think you're the meanest boy I ever saw. My mother was dead right about         you." She           instructed him to "not tell one soul - you just pretend it was           wonderful," and then threw her panties at his face. However, she gushed to           her admiring girlfriend-classmates: "I         just can't describe it in words."
At the same motel in Room 9, Jacy gave Duane a second             chance to deflower her - using him to provide an entree to dating             Bobby Sheen. This time, he succeeded without an audience outside             to witness the post-rites of passage.
In another            scene on a Saturday night inside a dark and closed-up pool-hall, the             provocative, over-sexed Jacy also enticed her father's older business             partner Abilene (Clu Gulager) to remove her shorts and underwear             and have sex with her on a pool table - while her hands grasped the             two corner pockets behind her.
Sonny with Charlene
Abilene with Jacy
Macbeth (1971, UK/US) (aka                 The Tragedy of Macbeth)
Roman Polanski's R-rated (backed by Playboy Productions)             dark, bleak, graphically violent, and pessimistic rendition of Shakespeare's             play contained lots of non-sexual nudity (most notably the scenes             of a coven of dirty, aged, and often deformed witch hags).
It           was made two years about the bloody and horrific slaughter of Polanski's           pregnant wife Sharon Tate and others at his LA-area home by followers           of Charles Manson.
The gratuitous, controversial nude (viewed from            the back and side) sleepwalk was taken by long-haired Lady Macbeth             (Francesca Annis). In another scene,             a young male child was shown fully nude during a bath.
Maid in Sweden (1971, Swed.) (aka The Milkmaid)
"Sweet Innocence Comes of Age" and "Inga at Sixteen: Her Coming of Age" were this Swedish sexploitation import's two taglines. Although filmed in Sweden, it was made with the performers speaking English. Reviewers             have noted that the film ripped-off Joseph Sarno's Inga (1968) starring another Swedish beauty         Marie Liljedahl.
21 year-old Christina (or Kristina) Lindberg made           her film debut (although she had done nude pictorials, such as Penthouse's Pet           in June 1970) as a young and naive country girl named Inga. She was           a 16 year-old baby-faced beauty who traveled to Stockholm to visit           her older blonde sister Greta (Monica Ekman) and her dope-smoking,           sex-crazed live-in boyfriend Casten (Krister Ekman) for a long weekend           -- and experienced a sexual awakening (or was it all a dream?).
The film was an excuse for the very well-developed             and curvaceous Inga to frequently become naked - while undressing             on an overnight train and then at her sister's apartment, and while             dreaming (in which she spied upon a naked couple making out, and             then had an unwelcome lesbian-tinged experience with a female rescuer             named Brita (Vivianne Ojangen) after being assaulted by a group of             males at a bar).
She also pleasured herself after spying on her sister/boyfriend           making love, nakedly groomed-dressed in front of a mirror (a few           times), and then resisted sex with Bjorn (Leif Naeslund) after a           dinner-date with him - but then afterwards enjoyed the 'rape' experience.           She took a post-coital tub-soaking, spent a second night of having           sex together with Bjorn, and afterwards showered (in slow-motion).
Although she claimed she was tired, she snuck out for             a third night sexual rendezvous with Bjorn, fully engaging in nude-lovemaking             all night long, and had to race home to avoid being detected. Before           she was to return home by train later that day, she took another           long nude bath-soaking, when she was interrupted by Casten who suspected           that she had become promiscuous with Bjorn - they madly kissed each           other until discovered by her sister, who accused her boyfriend of           being a 'dirty swine'. Upon her return to her parent's home, she           told them: "It was OK, but nothing special happened."
Later in her career, Lindberg made a more notable film             titled Thriller: A Cruel Picture (1974) (see separate entry),             after lots of other erotic soft-core skin-flicks, including her third             film Diary of a Rape  (1971, Swe.) (aka Exponerad) and Anita:             Swedish Nymphet (1973, Swe.).
Maid in Sweden (1971) -- see also right column
Other Films With Christina Lindberg
Diary of a Rape (1971, Swe.)
(aka Exponerad, or               Exposed)
Anita: Swedish Nymphet (1973, Swe.)
(aka Anita,               or The Shocking Account of a Young Nymphomaniac)
Inga
(Christina Lindberg)
Secrets (1971, UK)
This British melodrama (the first feature film shot in           Super 16-mm) by director Philip Saville was released in the UK in late           1971, but didn't have its US opening until almost 7 years later.
Jacqueline Bisset was little-known at the time of the         film's making, even though she had been in the hits The Detective         (1968) with Frank Sinatra, Bullitt (1968) with Steve         McQueen, and The         Sweet Ride (1968) starring Michael Sarrazin. Other performances were         in The Grasshopper (1969) and the blockbuster Airport (1970).
After the sexy actress had appeared         in an iconic wet T-shirt in the box-office smash hit, the underwater           adventure film The         Deep (1977),         this film was brought to life in 1978 with Bisset's renewed stardom.         [The poster of Bisset in a wet T-shirt was one of the biggest selling         posters of the era.] The producers re-released it to capitalize on her         nude appearance. The film was heralded with:
"Jacqueline Bisset as You've Never Seen Her Before"
Little-Known Jacqueline Bisset (as Jenny) Before Major             Stardom
Bisset played the role of ignored housewife Jenny           who engaged in a steamy, brief and torridly passionate affair with           eccentric textile millionaire Raoul (Per Oscarsson). She reminded him           of his recently-deceased wife who succumbed to cancer. As she hung           naked off the bed upside down, breathing deeply after an orgasm, Raoul           continued to stroke and caress her, and then pulled her back onto the           bed.
During the same afternoon (the film took place over one           day), Jenny's daughter Judy (Tarka Kings) and her husband Allan (Robert           Powell) also experienced similar encounters or sexual interludes, that           eventually brought them all back together. Allan was engaged in an           affair with Beatrice (Shirley Knight), while Judy was sexually involved           with Raymond (Martin C. Thurley).
 
Shaft (1971)
Esteemed black director Gordon Parks' film was the             first major, commercial crime film with a black hero, John Shaft             (Richard Roundtree).
The colorful, action-packed, slightly tongue-in-cheek             film portrayed the ultra-hip, handsome police detective John Shaft         as the black version of Clint Eastwood's "Dirty Harry" Callahan. He         worked in Harlem against the Mafia, and was also a "sex         machine."
In one inter-racial nude scene, a bold scene for the           early 1970s, he took a shower with Linda (Margaret Warncke) - both             of them visible behind a rippled shower glass door. She greeted him "Good morning," joined Shaft, and they hugged and kissed.
Linda (Margaret Warncke) with Shaft
Straw Dogs (1971, UK/US)
This brutal and disturbing film from Sam            Peckinpah further ignited controversy over realistic screen violence             and sexual abuse of women in the early 70s, especially due to its             graphic double rape scene, which led to a cathartic eruption and             escalation of violence.
[Note: The film was remade             in 2011 by director Rod Lurie in a contemporary Deep South setting             with the same amount of violence.]
The           unflinching film starred Dustin Hoffman as David Sumner, a bookish,           mild-mannered American mathematician on sabbatical living in a rural           England town with his teasingly-seductive young bride Amy (Susan           George).
To incite the sexual interest of           local roof construction workers, Amy removed her sweater and deliberately           stood topless in full view next to an upstairs window, although her         husband had cautioned her: "Don't forget to draw the curtains."
In the scene preceding the rape (the first of two),             Amy invited local laborer-thug (and ex-boyfriend) Charlie Venner             (Del Henney) into her isolated farmhouse for a drink. He forcibly             kissed her and although she protested unconvincingly ("Please             leave me"), he removed her glasses and aggressively kissed her             a second time. She screamed: "Get out!" and slapped him             hard across the face. Incensed, he grabbed her and hit her hard         across the mouth, and then approached her menacingly: "Don't tease         me, Amy. Please." He dragged her by the hair to the sofa, as he struck her again and         began tearing at her blue robe. He kissed her another         time, and although she begged: "Please, Charlie," he continued to assault her by threatening, "I         don't want to leave you but I will."
The Pre-Rape Assault of Amy (Susan George)
He tore her white top, leaving           her breasts exposed, before he raped her. The controversy stemmed from           the idea that Amy was sexually excited by the aggressive violation           that she was facing. At first, she struggled and called out "No," but           then surrendered to his kisses. In some ways, she didn't resist but           submitted, although she was under tremendous duress. When he held her           down, ripped off her panties and began removing his shirt, she helplessly           begged: "Easy," and meanwhile fantasized about her husband           above her. She showed obvious enjoyment and lovingly kissed her assailant           and stroked his shoulders and chest during and after being entered,           and begged for comfort: "Hold me." However, she  was also shedding tears, feeling both humiliated           and disgraced. However, that wasn't the case           when she was forcibly raped a second time by local workman Norman Scutt           (Ken Hutchison).
The First Rape of Amy (Susan George)
Amy
(Susan George)
Summer of '42 (1971)
Director Robert Mulligan's nostalgic,          war-time, New England (1940s Nantucket Island) beachside summer romance and coming-of-age tale told a flashbacked account about the sexual awakening into manhood of          an awkward teenaged boy named Hermie (Gary Grimes).
In an earlier scene in the town's drugstore, an embarrassed             Hermie nervously attempted to purchase prophylactics from an unsympathetic             storeowner.
The film was initially the subject of            great controversy due to its frank and sentimental portrayal of teen             sex and love for an older woman - a beautiful 22 year-old           war bride named Dorothy (supermodel Jennifer O'Neill), after she learned             by telegram that her husband had been killed in action.
With tears           in her eyes and slightly drunk, she put her head on Hermie's shoulder,           slowly danced (barefooted) with him to the tune (the film's theme           song by Michel Legrand) playing on a phonograph record, and tenderly           kissed him a few times. She clasped his hand in hers and led him           to her bedroom, where she removed her outer slip (and her undergarments)           and beckoned him to join her in bed. The next day, she only left           him a note explaining that perhaps the meaning of the event would           come in time to him.
The film was originally rated R, but then re-evaluated           and rated PG. However, objections by conservative groups caused the           rating to be reverted back to R in the 1980s.
Dorothy (Jennifer O'Neill) with Hermie
Sunday, Bloody Sunday (1971, UK)
This groundbreaking, acclaimed            film by director John Schlesinger was notable for            its tale of a romantic triangle. The major characters involved with             each other included:
Alex Greville (Glenda Jackson),               a straight businesswoman
Dr. Daniel Hirsch (Peter Finch), a               fifty-ish gay man
Bob Elkin (Murray Head),                a bi-sexual artist/sculptor loved by both other characters
It was the first major           motion picture to feature a romantic homosexual kiss (on the lips)             between two male characters, Dr. Hirsch and Bob Elkin.
Dr. Hirsch and Bob Elkin - Gay Kiss
Sweet                 Sweetback's Baad Asssss Song (1971)
Actor/director/writer Melvin Van Peebles' X-rated,             confrontational cult film was the first true blaxploitation film             - it was specifically designed to upset white audiences (advertised             with "Rated X by an All-White Jury"), with Peebles himself             playing the part of the sex-hungry, violent anti-hero.
The successful independent film (budgeted at $150,000)             was released by independent distributor Cinemation, and aimed at         urban black audiences.
[Note: A semi-documentary             account of the behind-the-scenes struggle to make  the explosive film             - with a porn industry film crew - was featured in director Mario             Van Peebles' Baadasssss! (2003),             with additional nudity from Kate Krystowiak (as Moonbeam) and Karimah             Westbrook (as Ginnie), who both joined Mario (as his own father Melvin)             in bed, and sported psychedelic body-paint.]
Baadasssss! (2003) (aka How to Get the Man's Foot               Outta Your Ass)
Title Screen
Ginnie (Karimah Westbrook)
Moonbeam (Kate Krystowiak)
It           caused tremendous controversy for its militancy, under-age sex, anti-white           sentiment, revenge-themes, and violence, although it was one of the           most important black American films of the decade. It was exceptional             that a vengeful black man (after witnessing corrupt police violence             and almost beating two officers to death) could survive as a fugitive,             as happened in the film.
The film actually opened in an all-black brothel, where             (in flashback, in the film's most controversial scene), an underaged,             orphaned Sweet Sweetback as a 13 year-old minor (played by Melvin             Van Peebles' own 13 year-old son Mario) was being fed by an older             maternal black prostitute. (The scene was cross-cut with a quick             image of the same character as an adult on the run underneath a city             bridge - accompanied with the film's opening title: "This film             is dedicated to all the Brothers and Sisters who had enough of the             Man.")             Then, young virginal Sweetback was coerced by one of the older black             prostitutes to enter her room and have sex with her - explaining             the derivation of his name when she said: "You've ... gotta             ... sweet ... back!" The sex scene concluded and then opening             credits rolled, stating that the film was "Starring THE BLACK         COMMUNITY."
It also contained an explicit sex scene of well-endowed             Sweetback having unsimulated sex on stage in a brothel (with poorly-lit             full-frontal nudity). The film ended with a shot of a hillside landscape             with the superimposed text: "Watch out -- A Baad Asssss Nigger             is Coming Back To Collect Some Dues..."
The film  was supplemented with jump-cuts, experimental             lighting, split-screens, freeze-frames, zoom-ins, tinted and overlapping             images and montages as it chronicled the successful (uncharacteristically)             flight of the black fugitive (with a large-sized manhood and insatiable             sexual prowess) through Los Angeles - and toward and across the Mexican             border.
Scene of Initiation of
(Melvin Van Peebles)
Vampyros Lesbos (1971, West                 Germ.) (aka Vampiros Lesbos, or Lesbian Vampires)
Noted as one of the many erotic           horror tales involving lesbian vampires that appeared in the early           1970s, this surrealistic, artsy soft-core European exploitation film           from prolific, Eurotrash Spanish cult auteur-director Jesus Franco           was inspired by Bram Stoker's short story Dracula's           Guest.  The entire convoluted and indulgent film was a           treatise on the duality of dreams and reality.
The stylish and surrealistic film was awash with a gaudy           red and black color palette, metaphoric insects, and kites. It told           about two "vampyros           lesbos":
Countess Nadine Carody/Oskudar (Soledad Miranda (aka             Susann Korda)), a sexy           lesbian vampire, a mysterious young Hungarian countess
Linda Westinghouse (Ewa Stromberg),           a blonde American lawyer  working in a Turkish legal firm, Simpson & Simpson
The First Views of Countess Nadine (Soledad Miranda)
During an Istanbul Stage Performance
A passionate femme fatale brunette (later discovered           to be Nadine) was appearing in the erotic dreams of Linda, subconsciously           taking her away from her boyfriend Omar (Victor Feldman). She imagined           herself turned on and kissing the female's body.
To the psychedelic jazz-rock soundtrack, Linda with           her boyfriend had first viewed dark-haired Nadine           dancing naked (except for a red scarf) in an Istanbul nightclub stage           performance where she transferred her clothes to another naked mannequin-like           female. Linda was hypnotically attracted or bewitched by Nadine, and           speculated that she was the dancer  of         her lesbian-tinged dreams.
Nadine had recently acquired an inheritance of an estate           - as the sole heir of Hungarian Count Dracula and the vampire's immortal         bride. Linda was called by her German law office in Istanbul to meet         the Countess on one of the nearby small islands of Kadidados ("a         place of madness and death") to settle estate affairs. She found         Nadine, the beautiful nightclub dancer of her dreams, wearing a skimpy         white bikini and large sunglasses while sunbathing! The two went swimming         (Linda was naked), and afterwards both sunbathed nude on the beach.
After some drugged wine           and seduction (Nadine stripped Linda naked on the floor), Nadine bit           Linda on the neck and drank from her blood.
Nadine's  (Soledad Miranda) Lesbian Seduction of Linda             (Ewa Stromberg)
When Linda awakened,         she saw Nadine floating naked (and drowned?) in the swimming pool (or           was it only a scorpion?), with only her red scarf wrapped around her. After           being institutionalized and a few more instances of neck-biting, Linda           decided to end the spell put upon her and pierced Nadine through the           eye.
Linda Westinghouse
Nadine With Pierced Eye
Walkabout (1971, UK/Australia)
Nicolas Roeg's highly-respected tale was a controversial           coming-of-age saga, due to its full-frontal nudity (of star Jenny Agutter).           About five minutes of the original film were cut from the expurgated           US version of the film when first released. The film was originally           rated "R" but reduced to a PG-rating upon appeal.
It told about two stranded British schoolchildren           after their father (John Meillon) committed suicide in front of them:
Girl (17 year old Jenny Agutter), a 14 year-old schoolgirl
White Boy   (Lucien John), her 6 year-old             brother
The two were forced to adapt to the harsh climate           of the Australian outback after their father committed suicide during           a picnic. They were fortunately saved when aided by an adolescent Aboriginal           Black Boy (David Gumpilil), who was involved in his ritualistic 'walkabout'           (to prove his manhood and mark his entrance into adulthood).
After overcoming self-consciousness and civilization's         social conventions, the Girl engaged in a lengthy nude swim in a natural         lagoon pond (with non-gratuitous full frontal nudity) - a symbol of         her sexual awakening, although this would lead to tragic circumstances         for the older aboriginal boy.
During the native aborigine's 'walkabout' - with a painted           skeleton on his body - he performed a silent, ritualistic mating dance           for the civilized, repressed girl at a deserted farmhouse, where he           glimpsed her half-undressed. She ignored and resisted his (and her           own) sexual rite of passage, by continuing to treat him as a detached           servant -- with disastrous results. After the aboriginal danced all           night and became saddened and weary, she found him the next morning           hanging dead in a mango tree, and she barely reacted.
The film ended years later with the young girl now married           and returned to civilization, living in a high-rise apartment complex.           She was wishfully daydreaming back to her idyllic days in the outback           when she happily swam naked with the aborigine and her young brother.           They were long-gone days of paradise lost, reflected in a voice-over           quote from Part 40 of A.E. Housman's 'A Shropshire Lad':
Into my heart an air that kills From yon far country             blows: What are those blue-remembered hills, What spires, what farms             are those? That is the land of lost content, I see it shining plain,             The happy highways where I went And cannot come again.
Girl's (Jenny Agutter) Recollections of the Outback
in the Film's Conclusion
(Jenny Agutter)
W.R.                 - Mysteries of the Organism (1971, Yugoslavia/W.Germ.) (aka W.R.                 - Misterije Organizma)
Yugoslavian director Dušan Makavejev's  controversial,           X-rated, montage-filled, avante-garde work was a documentary-fiction           film (dubbed a "sex film" in the countercultural         era of the early 1970s). The obscene film engendered         intense criticism and censorship demands, and was banned in the director's         own native Yugoslavia.
It was reportedly one of the first           films to depict full frontal nudity amidst its plentiful nude sex scenes         and frank dialogue about free love, masturbation, genitals and orgasm. It         drew parallels between sexual liberation, political revolution and US         bourgeois militarism, and repressive Soviet-style Communist totalitarian         politics.
The slapstick, interlocking film (composed of collages)           began with a documentary on radical psychologist Wilhelm Reich (the           W.R. in the film's title) and his sexual politics. W.R. studied the           orgasmic reflex, as Sigmund Freud's first assistant, and discovered           life or "orgone" energy         -- "revealing the deep roots of fear of freedom, fear of truth,         and fear of love in contemporary humans."
It then explored the contrasting relationship between           two roommates:
Milena (Milena Dravić) - a beautiful, young red-haired             Belgrade, Yugoslavian working class female who was an enthusiastic             Wilhelm Reichian feminist who mostly preached defiantly about the advocacy of free love, but was also curious about sex
Jagoda (Jagoda Kaloper),             sexually-liberated and dark-haired, who joyfully went about having             sex
Milena avoided the attention of Radmilovic (Zoran Radmilovic)            and pursued instead a visiting, repressed and prudish, old-fashioned           Bolshoi/Russian iceskater named Vladimir Illych (Ivica Vidović)           - the Soviet leader Lenin's full name.
The viewpoints of Milena and Jagoda were clearly juxtaposed.           Milena lectured at one point to fellow apartment dwellers from an outside         porch, while Jagoda was having sex in their apartment. Her theme was           that there was an obvious linkage between state repression and sexual           neurosis:
"Sex writers foolishly debate which are better: short thick ones or           long thin ones. I say it's a false dilemma. You can't trust the media.           Joy is what counts. A joyful one is best. Any child must know what's           sweetest: The crotch! Our road to the future must be life-positive.           Comrades! Between socialism and physical love there can be no conflict.           Socialism must not exclude human pleasure from its program. The October           Revolution was ruined when it rejected free love. Frustrate the young           sexually and they'll recklessly take to other illicit thrills: Pilfering,           burglary and assorted crimes, knifings, alcoholism, political riots           with flags flying, battling the police like prewar communists! What           we need is free youth in a crime-free world! If we are to achieve this,           we must allow free love!...
No excitement can ever equal the elemental force of             the orgasm. That's why politics attracts those among us whose orgasm             is substandard, defective - disturbed or premature... Real men know             how to live their lives without asking anyone's permission. Sweet             oblivion is the masses' demand! Deprive them of free love, and they'll             seize everything else! That led to revolution. It led to fascism           and doomsday. How Man Became a Giant. Deutschland uber alles!
The goose-stepping, mass-marching orgasm!
The bloodstream             orgasm of the alcoholic or junkie!
The cerebral orgasm of dogmatists             or religious mystics!
The muscular orgasm of compulsive workers, athletes and artists!
Deprive youth of their right to the sweet electricity             of sex and you rob them of their mental health! Children and youth             are entitled to the happiness of the genital embrace! Back to our             own, our true human nature! Restore to every individual the right             to love! Freedom for the individual is freedom for all!"
The unfortunate Milena's seductive quest for sexual freedom           and the ultimate perfect orgasm ended when she was violently beheaded           by the sharp blade of the repressed Soviet skater's iceskate - and           he couldn't control the liberating force of his own orgasm. Her decapitated           head soon afterwards began talking about the cosmic joy of orgasm when           placed on a white lab tray at the end of the film. She still refused           to renounce her beliefs:
Vladimir is a man of noble impatient, a man of esteemed           ambitions, of great energy, romantic, a man of asceticism, a true red           fascist.
A second part of the film, almost like a mockumentary,           followed a group of libertines in New York City, filmed in docu-style           16 mm. The segments included the following:
Other Sequences in W.R. - Mysteries               of the Organism (1971)
Plaster-Casting
Tuli Kupferberg
Betty Dodson
Nancy Godfrey (as Herself)           sculpted a plaster-cast replica of underground Screw Magazine editor           Jim Buckley's (as Himself) erect penis
Tuli Kupferberg, a guerrilla-street theatre performer           and The             Fugs musician            stroked his toy M-16 machine-gun to             the tune of the song "Kill for Peace" while dressed as             a US soldier near Manhattan's Lincoln Center
Jackie           Curtis (as Herself), a transvestite Warhol diva-drag queen had a             sex change, suggestively licked a vanilla ice cream cone and talked           about her first attempts at having sex as a man
Betty Dodson           (as Herself), a lesbian-feminist artist and sex educator, painted friends             while they masturbated - and discussed how she taught women to touch           their own vaginas
Milena