Stern and I were working through some ideas the other day and we started talking about memories and how they become fragmented, how the pieces of the mosaic fade over time, distorting and changing your memories.
Memories of old girlfriends and moments you shared together, memories of what she was wearing on a specific day, memories of lost love, a fight you had over something, trying to recollect how it started and where it went wrong, it’s the basis of a new movie we are working on for this year. How much truth is left in our memories as the months and years go by, how real are they?
I always thought there was something special about Polaroid images; the way they look, the way they develop in your hand, the noise the camera makes as it captures the moment. They feel more special to me than regular photos especially in the digital age we live in, they somehow appear more real and authentic than any image on a Sony Cybershot. One Polaroid image can bring back a flood of memories leaving you nostalgic, happy, sad and reflective all at once.
Bitch Slap claims to be a “modern throwback to the B-Movie/Exploitation films of the 50s-70s, mixing hot girls, fast cars, big guns, nasty tongues, outrageous action and jaw-dropping eye-candy…with a message!” Not sure what the message is but from the trailer it looks like it took it’s inspiration from the recent Tarantino/Rodriguez double-bill Grindhouse, who nailed the sly parody of those genres perfectly, with hilarious and exciting results.
Bitch Slap stars America Olivo,Julia Voth and Erin Cummings in the lead roles, and features a cameo from Lucy Lawless as Mother Superior. When they get this kind of thing right it really can be a lot of fun. I have to confess that at one stage in my life I was really into the kind of B-Movies which this is sending up, until eventually they took my video shop membership away from me after I kept sending movie scripts to Brian Bosworth and Jeff Wincott. A court-order soon put an end to my dreams of teaming them up for the ultimate action movie.
The official movie will be available to download on Monday (02/02/09).
Lesbian Encounters is a journey to the roots of VivThomas.com. Six vignettes set to emotional stories compliment the passionate lesbian sex that follows.
Twelve of Viv Thomas’s all time favourite girls come together to celebrate the vintage VT style that helped pave the way for future productions. Lesbian Encounters hails back to the Golden era of VivThomas.com and pays tribute to the very foundations that enabled the director to become the master of Lesbian erotica.
The film is a landmark for the mainstream erotic genre, it was the first film to get the MPAA’s newly introduced NC-17 rating. The controversial film includes scenes of Anaïs slow-dancing (and deep lesbian kissing) with June in an underground lesbian club, Anaïs’ many passionate couplings with Henry during their affair together and simultaneously with her lover/cousin Eduardo (Jean-Philippe Écoffey); also the exhibition of lesbian love-making in a private show in a mirrored brothel room between Henry’s blonde squeeze (Brigitte Lahaie) and another frail prostitute (Maïté Maillé) – when Anaïs advised the aggressive female: “stop pretending to be a man”; the scene of Anaïs’ descriptive and hallucinatory dream-fantasy of sex with June in an upper loft, experiencing ‘abnormal pleasures’ (“I begged her to undress. I asked her to let me see between her legs. As she lay over me, I felt a penis touching me…”); also Anaïs’ climactic love-making with Henry after he had finished his novel ‘Tropic of Cancer’ while Eduardo was downstairs; and the concluding scene of Anais and June getting together for love-making (while Henry was asleep in another room of the house).
I couldn’t find the particular scene I wanted to show here, but I did find these two clips. It’s a film worth checking out, although I did prefer Kaufman’s Unbearable Lightness Of Being.
The sex scene from Wild Orchid is included here most notably because it was used as an example for why the MPAA needed another cinema rating for films which were made for adults but did not deserve an “X” rating (usually reserved for pornography with scenes of blatantly unsimulated, explicit sex.) Subsequently the NC-17 rating was introduced in America, and later the flood of erotic thrillers making money at the box-office, the perfect Saturday night date flick.
Carre Otis and Mickey Rourke became romantically invloved during the making of the film (and later a six year marriage), which led to rumours that their love scenes were real, something both actors deny but the director remains ambiguous about. The love scenes are certainly hot for the time, I remember that apart from a Danish porno VHS my friend copied for me, this was the strongest display of sex I’d ever seen in a movie. I particularly like the use of sexy-jazz (as I call it) and tribal drums in this clip, saxin’ it up to the max!
Alright, I have much better ones lined up, and I know this isn’t strictly a sex scene per se, but as it’s Friday I wanted to do a double-helping of early 80′s boobs! Fast Times At Ridgemont High might well be best known for stoner Jeff Spicoli (Sean Penn) but me it was Jennifer Jason Leigh’s innocent 15 year-old freshman student Stacy Hamilton being deflowered in a baseball dugout, and later having sex in a pool bathhouse (ok there’s a slightly deeper context to these scenes which I was not aware of when first watching this film), and also Phoebe Cates giving her friend a ‘how-to’ lesson with a carrot on how to deliver oral sex to a guy, and the fantasy dream – girl – emerging – from – the – swimming – pool – in – slow – motion – and – opening – her – bright – red – bikini – top – from – the – middle – sequence. Ahhhh, lovely.Continue reading →
This is one I remember from when I was 15, which was a time when casually watching a Christopher Walken thriller and stumbling upon a hot lesbian scene was like discovering the missing link. Bi-sexual Anne Heche (Donnie Brasco; Wag The Dog) and Joan Chen (Twin Peaks; Lust, Caution) co-star in the movie, about a money launderer (Walken) who falls for call-girl Alex (Heche) who in turn falls for the guys attractive Chinese wife Virginia (Chen). Most interesting is that it is directed by Donald Cammell (the Scottish filmmaker who made Performance with Nic Roeg and friend of Marlon Brando who he co-wrote Fan-Tan with), and co-written by Cammell and his wife China Kong. Cammell committed suicide shortly after seeing the film drastically re-edited by its producers. Later a “director’s cut” version by China Kong was released in 2000 to critical acclaim. Harsh.
Anyway the scene is pretty hot, one of the better lesbian scenes in a mainstream movie, in my opinion, the way they move together is well done, typically when this kind of scene is done we don’t get the impression that the girls are touching each others pussies. I like the way Heche takes control, gently brushing Joan Chen’s arms at the beginning, kissing her neck, and the end when she seems to be really rubbing Joan Chen’s pussy is great. I have a feeling that Heche enjoyed filming this, Cammell saying “action” and Chen saying “hang on there is something sticky and wet on my thigh.”
Ok, this is a delicate and controversial one but I think worthy of a mention due to it’s infamy. The plot to Sam Peckinpah’s powerful film Straw Dogs is fairly straightforward, but under the surface this ambivalent movie is dense with complex layers open to interpretation.
Dustin Hoffman (David) and his pert, super-sexy British wife Amy (played by the lovelySusan George) are back in her hometown of Cornwall, where she revels in teasing the local men working on their cottage (including her ex-boyfriend Charlie) with her perky breasts and mini-skirts. Her husbands condescending attitude of superiority also taunts their envy, provoking them to take something that he believes ‘belongs’ to him. Although Amy clearly enjoys flaunting her sexuality in front of them she does not want to feel threatened, it’s like she’s playing her own fantasy game with them, while also testing her husbands ability to be jealous, without ever realizing that a violent reality might impose itself on her. – (the clip after the click!)Continue reading →
I like Halle Berry. Actually no scrap that, Halle Berry makes me want to paint, sing, dance, then cut one of my ears off and mail it too her. She’s ravishing. When she collected that Raspberry Award I was as hard as a Rubik’s Cube, I could have comfortably hung several wet towels from my loins. I own Catwoman, that’s how much I like Halle Berry.
I was 21 when I saw Monsters Ball in the cinema, I took a girl on a date to watch it in my hometown. About 25 minutes after this scene the old-fella was still trying to tear an air-hole in my jeans, at one point my date’s hand brushed over it, I know she felt it, but she never said anything. For a film of such dramatic human tragedy she must have wondered what was going through my head.
It’s an intensely erotic piece of cinema. Two lonely people with such messed up lives, they suddenly reach out to one another in a desperate act to feel human warmth, to feel love, if only for a few minutes. Passion spills violently on the floor as they abandon everything for those moments. Berry’s cries of “make me feel good…make me feel good…” showing her desolation.
Bob Thornton must have had to use electrical duct-tape to strap his penis down. It’s a frantic, naked and raw scene. Great stuff.
Lynch casts his actors from pictures (somewhat like we do!) and only informed his leading ladies that they would be filming a love scene-with each other during the last two weeks of shooting. “On the day [of shooting], we were definitely getting lost in the moment,” Watts reveals, explaining that there were nevertheless plenty of embarrassed giggles between takes. Harring says, smiling, “When we were done, I was like,’I wish I had a boyfriend.’I mean, my face was flushed.”
Lynch is renowned for not explaining the meanings and symbolism within his movies so I am not going to even try and dive into the plot of Mulholland Drive, but when this love scene erupts in the movie such a sexual tension has been built-up between the two lead ladies that it’s an incredibly sensual moment, I remember feeling inspired by the way Lynch managed to make this so beautiful. “I’m in love with you…I’m in love with you.” Wow. Great use of music too.