Sex & Consequences

Over the years filmmakers have experimented with the best formats in which to present eroticism. As a general rule, they seem to have concluded that steamy sex goes best with crime, and romantic sex goes best with comedy. The writer of Sex and Consequences can at least be commended for originality and "thinking outside the box," because this script is something new entirely: the erotic tragedy. And I don't know about you, but nothing turns me on more than mental anguish over the loss of a loved one!

Joan Severance, making a comeback to the erotica field at age 47 after years of absence, plays a suburban housewife whose mental health is fragile because of an incident in which her carelessness led to the death of her daughter. She chooses as therapy the same thing that has worked for grannies throughout recorded history: seducing a high school boy. The kid is content to comply with her needs since (1) hey, she may be fiftyish, but she's still Joan Severance and still looks great, especially her legs which are still just about the best gams on the planet (2) she drops little hints that keep him interested, subtle things like, "Take advantage of your time with me, because I will do all sorts of things girls your age are just not ready for." This immediately gets him running to the internet to look up the proper procedures for such procedures as the Cleveland Steamer, the Dirty Sanchez and, of course, the dreaded Rear Admiral.

As they spend more and more time together, Severance wants to take greater and greater risks of discovery. She wants to make love with the boy until her husband's car is in the driveway. She wants to take nude Polaroids of the lad and leave them for her husband to see. The young man is understandably terrified of this trend, since the husband is a hot-tempered fellow who carries a gun in his work as a grizzled beat cop, and is already being pushed to the edge by his wife's erratic behavior following the tragic loss of their daughter.

As Austin Powers might say, "Am I making you horny?"

This lubricious erotic environment is made even tinglier by Joanie's trips to the cemetery to place flowers on her daughter's tomb, and to have long talks with the departed.

The "hook" of the film, if it can be called that, is the audience's curiosity about why Severance is engaging in such provocative high-risk behavior. It is clear that she is leading herself and her young beau into a violent confrontation with the husband, and it seems apparent from the first ten minutes of the film that her mental state has deteriorated far enough that it can't be restored to health and must lead to tragedy. It isn't exactly clear why she has chosen this particular young man, or what kind of mad logic drives her to this sort of jeopardous behavior. We can see that she is not really motivated by sexual lust, but we aren't really clear what does motivate her.


As it turns out, the boy is irrelevant. She chose him only because he happened to be there, and she chose a vigorous young boy in general because she felt it would be the one thing which would be most irritating to her husband. Her apparent motivation is that she wants to die, but she doesn't want to commit suicide so she can be reunited with her daughter in heaven, so her only option is to provoke her husband into killing her. That's exactly what happens, and it leads to one of the most bizarre endings I've ever seen in a movie. The husband comes into a restaurant and blows her away. Fade to black. Final scene: she and her daughter are together again, chatting away and looking at a beautiful romantic sunset together. Is this her final memory before she dies? Is this life after death? The movie doesn't say. It just stops there and rolls the end credits over the sunset. (The original title of the film was "The Last Sunset," and IMDb still lists it under that name.)


The film seems to have been shot through a variety of very exaggerated filters and with extreme saturation, darkness, and/or highly artificial lighting. As a result, it looks less like live action than one of those rotoscoped films like A Scanner Darkly, in which the actors have been turned into cartoons with various photo imaging techniques. The erotic scenes not only resemble cartoons, and dark cartoons at that, but they are edited in such a way as to reveal only brief glimpses of Joan's flesh. I assume that all of this was done to disguise the lines and sags of the leading lady, but I'll be damned if I can see any reason for it. Severance looks about as good as any woman can look at her age, and would have been plenty sexy even if shot straight-on in natural light. Why not just let her play what she is and show it accurately? In this day and age, a really hot fiftyish woman can still be appealing, even with a few droopy and wrinkly bits her and there.

If I had to choose a genre, I'd call the film a melodrama with strong sexual elements. It's not an erotic movie because the film's tragic premise, dwelling as it does on death and madness, is enough to deflate your erection, and the exaggerated photographic techniques may make your testicles withdraw completely. It has a lusty moment here and there, but is just not erotic enough to pass as a sexy B-movie. Since the caliber of the writing and photography is not exactly Oscar caliber (Corbin Bernsen plays the husband, if that gives you any indication), the film will have a difficult time finding any audience at all, except for those of us who are just die-hard Severance fans and are curious about her return to nudity after nearly ten years. (Profile for Murder and In Dark Places, which showed some Severance flesh, were released in 1996-1997, but even then she was moving away from nudity - she used a body double for Black Scorpion way back in 1995! Her great frontal scene in Red Shoe Diaries dates to around 1992.)

D+. You will not find it satisfactory whether you're seeking erotica or drama. The only reason to watch it would be curiosity about Joan Severance.

We had film clips about a week ago (June 17th edition). I thought I would be able to improve on them because they looked dark and funky, but as it turns out they were excellent. It was the movie which was dark and funky. The original snaps which I took that day from the film clips were just as good as the captures I was able to make from the DVD, but this time I gussied them up a bit.



* Yellow asterisk: funny (maybe).

* White asterisk: expanded format.

* Blue asterisk: not mine.

No asterisk: it probably sucks.


Catch the deluxe version of Other Crap in real time, with all the bells and whistles, here.








Diary of a Schizo


1972's Diary of a Schizo is a hardcore porn film of the storefront variety, so called because they were shown in vacant storefronts to an audience sitting on folding chairs. These sorts of films were often shot in a day on 16MM and followed 8 mm loops as the next logical progression in hard core, thus paving a road that led to grindhouse films and later to porn with high production values.  Neither this storefront film nor any other would cause us to sit up and take notice except when the female leads have become noteworthy elsewhere. Such is the case here. This one stars Rene Bond, who started in exploitation films, had her boobs done, and then became a hardcore workhorse. Rene, of course, shows everything. including her implant scars.

As was common, the plot was simplistic. The heroine grew up in a restrictive home and married someone of a similar background. She has suddenly become subject to migraines, and has periods where she blacks out. This is explained as schizophrenia (the disorder they are actually talking about is Dissociative Identity Disorder), and during her blackouts she becomes increasingly sexual.

Rene seems to specialize in blowjobs, and has several good ones in this film, but also uses a vibrator and has intercourse with more than one man. Nina Faus is also seen in the opening scene where Rene is fantasizing about a three-way.

It could be rated C- if graded within the narrow sub-genre of storefront films. Almost all such films would be rated D or lower, since even the people who were interested in them back in the day would have no interest in them today, but this one has at least a tiny audience that will be curious about Rene Bond's work in cheapies.

On the other hand, that grade is strictly for porn historians and Rene Bond fans. If you are simply looking for a good hardcore sex film, you probably shouldn't be looking among storefront films. The condition of this film is par for that course; that is to say, full of scratches. D as hardcore erotica.



Rene Bond


Nina Faus







The Last Picture Show


Back, back, back to 1971 for some glorious Black & White.

A very young Cybill Shepherd strips and shows off those perky little tits.


Kimberly Hyde flashes some full frontal getting out of the pool.


Sharon Ullrick gets a boobie massage.









Notes and collages


In honor of Barbara and Ringo Starr's enduring marriage, here are collages from the film they shared (and I assume met each other) back in 1981. By the way, it's also a fun film.

Barbara Bach 









ISI & DISI: Amor a lo bestia

They are kind of like the Spanish version of Bill and Ted, or maybe Beavis and Butthead. The names derive from AC/DC, their favorite metal group. Exploitation film with lots of gross gags and smutty jokes.


Miriam Diaz Aroca



Aroca and Elia Galera


Jaydy Michel and Ana Risueno








El Desenlace (The Outcome)

This is number 31 of the Dogma movies and the third from Spain, closing the trilogy from director Juan Pinzás.

A movie producer, Fernando (Javier Gurruchaga), and his girlfriend Beatriz (Isabel de Toro) meet up with director Mikel (Jose Sancho), his girlfriend actress Andrea (Beatriz Rico) and novelist Rosendo (Carlos Bardem) to fix the details of the filming of Rosendo's novel. All carry emotional baggage, and Mikel decides to use the meeting as psychotherapy for the damaged Andrea.

I personally don't like Dogma movies, but I do like Beatriz, so I got this movie and she didn't disappoint me.



Beatriz Rico








Griffin Drew in Busted

Marvin's last film clip of Susanna Jagd in The Bedside Dentist, Collages follow.

The quality of this Mr. Skin film clip is not spectacular at all, but it is extremely rare, and Deborah Shelton is naked. Here she is in a 1977 Greek film called Girls With Dirty Hands.

Kath Ashfield in Talk to Me. Film clip here - sample image to the right






Ugly Betty


There's no nudity in the TV series Ugly Betty but there are few lovely ladies who show a lot of cleavage or strip down to their underwear.

Episode Trust, Lust and Must (2006) there's Salma Hayek

Becki Newton

Vanessa Williams

and Jowharah Jones.


Episode In or Out (2007) there's Ana Ortiz

and Rebecca Romijn.


Episode I'm Coming Out (2007) there's Rebecca Romijn

and Becki Newton.




The Gypsy Moths


The only clear nudity in The Gypsy Moths (1969) is by Deborah Kerr.

Bonnie Bedelia appears to flash her breast but nothing is visible in these low quality caps.

Sheree North

and some other strippers are down to their tassels.





Catrin Striebeck (film clip)

and Sibel Kekili  (film clip)

are both seen topless in the German  movie Head-On aka Gegen die Wand (2003).



7 Virgins


Alba Rodriguez is topless in the Spanish movie 7 Virgins aka 7 vírgenes (2005) but nothing is visible.



Spanish Fly


Spanish Fly (1976) is a typical British 70s sex comedy. There are  plenty of topless and half-dressed women, and even Leslie Phillips and Terry Thomas.

The topless ladies are Nadiuska

and Andrea Allan,

and the other young ladies are Jaleh Haddeh

Sall Farmiloe

 and Sue Lloyd.



A Summer Dress

Lucia Sanchez is topless in the French film A Summer Dress aka Une robe d'été (1996).



Red Corner

The nudity by Jessey Meng in Red Corner (1997) unfortunately is very dark.



Covert One

Some nice pokies by Sophia Myles in Covert One: The Hades Factor (2006).




The Last Gaze

Marisol Centeno is the topless last gaze in the Mexican movie The  Last Gaze aka La Última mirada (2006).

Alexa Damian is a nude painter's model.



Beach Red

Beach Red (1967) is an above average war movie set in the Pacific  during World War II, looking at the personal reminisces of soldiers on both sides.

Mazamo Chizuki is seen topless

and an unknown is naked.

Linda Albertano

and Jean Wallace

 are in various stages of undress.



Gun Shy

Pokies by Sandra Bullock in Gun Shy (2000).




No nudity in G (2002) but lots of pokies, cleavage and half-dressed women.

They are Sonja Sohn

Jillian Lindsey

Chenoa Maxwell

Marcia Wright

and a woman I couldn't identify.



Bird on a Wire

There are about five frames of Goldie Hawn's nipple poking out in Bird on a Wire (1990), and one very nice upskirt.

(Film clip)