It’s yet another of those sex scenes where the director or editor seems to be trying for the record number of cuts per minute. Not only that, but the two participants are moving furiously. Her breasts were in focus for a frame or two.

When she did her first nude scenes in season two of Borgia, I think she was as lovely as any woman I’ve seen – so youthful and vivacious, and so naked.

That question mark is there because she has plenty of sex scenes, playing two different characters, but not there’s not one single frame where her face and breasts are both visible. So make of it what you will. All I can confirm is that somebody is topless, as you can see below.

All comments and images by Brainscan. (And also the film clips in the members’ area.)

1932

There was a time … then it all went wrong.

For a time, between 1930 and the middle of 1934, Hollywood passed though the Pre-Code Era, famous for the lax enforcement of The Hays Code, which prohibited so many things.  For good reasons, we can push back the unofficial start date of the Era to 1929, right after studios had finished the expensive renovation of theaters (yup, they owned the theaters that showed the movies they made) and the stock market crashed to begin the Great Depression.  Hollywood needed the money to keep flowing in, but folks stopped going to movies so often as they had in the past. So, Hollywood needed something to bring folks into the theaters and they learned – not for the last time – that sex sells. Problem was this: SCOTUS had ruled movies unworthy of 1st amendment protection, so some states and many cities rolled out the censors with their sharp  knives. Enter the Hays Code, written for the studios and meant to keep censors at bay.  For a while, studios ignored the Code and got away with it, thus we have the Pre-Code Era, with movies that tried to show enough to keep the crowds coming but not so much to get the censors’ knickers in a twist.

For a reader of the Funhouse, 1932 was the best of the Pre-Code years, the best of all years for a long, long time.  In that year, four of the biggest stars in Hollywood – Jean Harlow (seen below in a publicity still from Red Dust),

Greta Garbo, Claudette Colbert and Carla Bow – would display just enough skin to fit nicely in the Funhouse, had it been around back then.  Dolores Del Rio, Nancy Carroll and Ann Dvorak, who were famous at the time, sort of joined them.  It was a very good year.

Their scenes, together, illustrate what directors and producers would do to tease audiences.  These three rules dominated: 1) Get an actress in flimsy clothes and no under-garments; 2) Get an actress out of her dress to show off her under-garments; 3) Get an actress out of her clothes and into the water.

Jean Harlow in Red-Headed Woman spends a lot of time in under-garments (rule #2),

but in one scene, she sheds even them for a quick look at what is beneath.

obey rule #3 – out of clothes and into water. Gotta figure Claudette’s scene in Sign of the Cross would have won the prize for best of the year.

As a bonus, famous fan-dancer Sally Rand appears in Sign of the Cross as a Christian martyr, sacrificed to a crocodile.

Ann Dvorak, in Three On a Match, does rule #2 real well, too, as she relaxes in a flimsy nightgown. This is a great movie, by the way, filled with gritty scenes and a tough message, and Ms. Dvorak is terrific in it. Not sure why she was not a bigger star

The winner in the rule #1 category is Clara Bow in Call Her Savage.  In an extended scene that covers 15 minutes of screen time, Ms. Bow rides a horse, has three conversations and plays with a dog in a thin, silk shirt and no under garments.  It is a jiggle show 40 years before Charlie’s Angels, and every once in a while, she gets very close to revealing hidden treasures in this one, long scene.  Later on in the movie, she opts to parade around in a nightie.

The real fun, however, starts with a cat fight between Clara and Thelma Todd.

In the tussle, we wind up seeing much more than either actress intended, as each combatant seems to go out of her way to rip open the other’s dress. The result is impressive and revealing, and when this movie shows up in HD, I am going to spend a week going back over this one scene.

Clara ends the movie back in a silk outfit.  In this scene, without any dialogue, Clara Bow shines again. Asked to deliver lines earlier in the movie, especially ones that prompted the cat fight, Ms. Bow is horribly out of her element.  I imagined Katharine Hepburn delivering these same lines and could see how they would draw real blood. Ms. Bow delivers them as though she were reading lines written by someone else, which of course she is, but the point of acting is to make it seem otherwise. The words wind up falling flat and they make her character appear pathetic, not formidable. Silent films were her medium because her face could act. Sad to say, she could not.

My favorite movie of this bunch is Hot Saturday. In a single scene, Nancy Carroll strips out of her dress into a slip

The film clip doesn’t offer much to see, but still is risqué and, therefore, very typical of 1930-34 movies.

The film, itself, looks very much like a play written 320 years earlier by the Bard.  It follows the plot of Much Ado About Nothing for much of its length, in that a false rumor started by an evil cad about a woman’s loose morals costs her not only her reputation, but also a husband.  Unlike in Much Ado, however, the maligned gal in Hot Saturday does not accept her betrothed’s apology when he discovers the lies behind the rumors, and they do not end the movie as a happy couple. She wins in the end, but on her own terms. She hears about the rumors, realizes why everyone in the town had been treating her so abysmally, says fuck it and goes off to spend the night with the guy she was rumored to have shtupped (Cary Grant).  The movie ends with the two of THEM in a car as they ride away to get married.  Now, that is a damn good story.

For Scoop’s notes, “continue reading.”

(more…)

“EMILY ALYN LIND’S LESBIAN KISS AND MORE: DIVE INTO THE JUICY SOCIAL MEDIA SCENE!”

Brainscan’s terrific series is herewith updated with the correct links.

All captures and collages in this post are by Brainscan. He also created the accompanying film clips in the members’ area.

The six parts of the main series are as follows:

Part 1: 1932. Peak Pre-Code Talkies.

Part 2: 1929-1934. The Other Pre-Code Talkies.

Part 3: 1927. The Swan Song of the Silents.

Part 4: 1900-1926. The Silent Era.

Part 5: 1935-1951. The Dry Years.

Part 6: The 50s: Europe to the Rescue. (Below)

—————

Brainscan also did some close-ups:

Harlow and Lombard pre-code

Tarzan and His Mate

Joan Blondell

Europe to the Rescue

1952-1959

American cinema was, in theory, nudity-free in the 1950s. Surprisingly, two major Hollywood names managed to sneak in some teases – and maybe a bit more – using the ol’ bath trick.

In 1954, Anne Baxter may have flashed some areola in a film called Carnival Story

And Janet Leigh managed to get just about an entire breast on screen in a 1956 film called Safari, although there were no nipples or areolae to be seen, thanks to some dark Hollywood magic.

The USA did have a small coterie of avant-garde filmmakers who incorporated nudity and other shock elements into films that appeared in a few arthouse theaters in Greenwich Village and other such outposts of the outré in the otherwise conformist landscape of the 50s. One such artist was Kenneth Anger, who presented a nude Marjorie Cameron in his fantastical 1954 short, Inauguration of the Pleasure Dome.

In order to see mainstream nudity, one had to turn to foreign films. Although the UK was puritanical in the 1950s, it was much less so than the USA. The Rank coorporation discovered an exotic-looking German actress who had no qualms about nudity and cast her in the role of the Māori chieftain’s seductive wife in The Seekers. Laya Raki (real name Brunhilde Jörns) created a worldwide stir by baring her breasts, a true rarity in English-language cinema in 1954.

One of the few reliable sources of film nudity in the 50s was France, and one of the great contributors was Dany Carrel, a very fine looking woman.

She was topless in Maternite Clandestine (1953)

and then again in Pot Bouille (1957)

Pot Bouille also featured some exposure from Micheline Luccioni

We also owe France a tip o’ the hat for showing us Michele Bailly’s extraordinary breasts in Two Men in Manhattan (1959)

And the beautiful Maria Vincent topless in an obscure 1958 effort, La P … Sentimentale

 

I’m not going to preview this one because I don’t really want the pic on my front page. It won’t be your kind of nudity unless you’re into dustfuckin’.