By Jon Abbott
(Black and white / 710 pages / grownup content material and robust language)
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(Black and white / 710 pages / grownup content material and robust language) To examine the area of the prior via motion pictures could be a sobering perception into how issues have replaced, yet to examine the area of the 20 th century via intercourse motion pictures is to witness an international that's virtually inexplicable. In no decade is that this adventure weirder than the Nineteen Seventies, and but it really is below part a century some time past.
Extra info for Strange New World: Sex Films of the 1970s
Some things are eternal: love of life, fear of sex and the consequences of sex, lust, hypocrisy, morality, exploitation, commerce, desire, voyeurism, beauty, ugliness, prudishness, the desire to shock and be shocked, the need to laugh and love. Nothing has really changed, only our attitude. And yet, because of that, everything has changed, and in a very short space of time. Two films from France in this book took twenty-five years to get a release. And the 1970s could have no more accommodated College Rules and Dare Dorm any more than the present day could tolerate Some Like It Sexy, The Sex Thief, or The Cheerleaders.
In the first ten minutes alone, after a wonderfully corny spoken intro about the dangers of difficult women, we have seen go-go dancing, drag racing, clothed-skinnydipping (an oxymoron, I know, but the only way to describe it), and cat-fighting in and out of the water. They’re like an evil, anti-matter, mirror-world version of Charlie's Angels, and Jack Moran’s witty but improbable dialogue (pure undiluted comic-strip balloons), the jazzy music, the bad acting of the three girls (shamelessly cast for their figures), and Meyer’s surly misogyny and lowbrow tastes (for example, the klunky comedy music hammering home the garage mechanic’s purpose as comic relief) only add to the camp absurdity of it all.
The women in The Immoral Mr. Teas, when they eventually disrobe, are beautiful, astonishingly so given the standards of most nudie films of the era, and the stifling corsets, ghastly swimwear, and lumpen lingerie of the day. Beach girl Ann Leslie looks like she slid off the decal on the side of a WWII airplane, while the three women in the film’s main fantasy sequence (all seen clothed and equally appealing in the lengthy lead-in footage) are female perfection (some of Meyer’s later models, cast purely for the size of their breasts, were less so).