I ran a bit late today because I stumbled into an 720p screener of this film, and I just had to get to it, since this performance by Charlotte Gainsbourg may be the nude scene of the year so far.

In case you didn't read my review in the August 28th edition, the key facts you need to know are:

1. The nudity is very explicit

2.  The nudity is very unpleasant.

But here it is, in all its glorious HD explicitness and unpleasantness (except I cut out the scenes with just Dafoe's dick or ass)


  • * 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.








Wings of the Dove


Helena Bonham Carter film clips

Raw screen grabs


Scoop's notes:

A very strong package. Novel by Henry James, exquisite photography, spectacular locales in England and Venice, a beautiful star, good acting and an unusually explicit nude scene.

It is possible to argue that this is an outstanding movie, although it received only limp support from the Academy Awards. They nominated it for best cinematography and costume design, but not for best art direction, which was a criminal omission. The attention to detail in the sets is spectacular, so finely crafted that even the shades of blue are co-ordinated from scene to scene. Carter was nominated as Best Actress, and the writer was nominated for best adaptation from another medium.

I suppose the film was hurt by the same thing that kept me from enjoying it completely. It's a slow-paced, Victorian costume drama. On the surface it looks like a Merchant-Ivory snoozefest. But it's not, nor is it a chickflick weeper (men and women score it identically at IMDb). It's a complex psychological study, and worth owning.

Here's the premise. Kate is in dire financial straits. Her mother is dead and her dad is a penniless derelict. Her mother was born into a rich family, but threw it all away for love. Kate now has the opportunity to return to society, if she heeds the advice and matchmaking recommendations of her wealthy aunt. Only one problem. Kate, like her mother, is already in love with a man who doesn't care about material possessions. This particular man is not a pauper, exactly, but an intelligent, crusading newspaper reporter, kind of a fin de siecle Ralph Nader.

There is one way that she can have both love and money. She concocts a plan in which her reporter will seduce a dying American heiress with no real family. If the plan works, heiress dies, leaves her money to the reporter, and reporter marries Kate. All well and good except that Kate comes to love the heiress, who is not merely pathetic because of her health, but is a truly loving and kind person. The newspaper reporter also falls in love with the heiress for real.

Could work out anyway. I mean, so what? Despite the fact that Kate manipulates the reporter first into then out of the heiress' bed, the American girl leaves her fortune to him anyway. He says he will never take the money, and will marry Kate only if she'll do it without the cash. Kate responds that she'll do it without the cash if reporter boy can swear he still isn't in love with the memory of the heiress as his one true love. He can't.

The James characters are complex. If she can't have both, Kate doesn't know whether she wants the money or the man's heart, and her vacillation causes some twists along the way, including her betrayal of her own plan. If she had not caused the heiress to find out about the plan at one point, she would have ended up with the man and the money, although the man would still have had the American's love in his heart. That's no big deal by modern standards. We can accept that people have loved others besides ourselves, and in fact a husband who proved to be so pure would probably turn out better than one who was a mere co-conspirator, but this novel was written in 1902, and it was then believable that Kate would derail her own plan because she needed to be the one true love. The turn of the century was also the turn of these attitudes into modern ones. If you locate the story 25 years earlier, in 1877, a plot like Kate's would be considered diabolical. James probably could not have published the story at that time. If you locate the story 25 years later, in flapper-era 1927, the sophisticated readers would have wondered, as we do, why the hell she screwed up her own plan? But Kate does not belong to either of those eras, she's trapped betwen Victorian conventionalism and modern pragmatism, and her muddled motivations make perfect sense in that context.

I think the most interesting part of the story is that everybody probably really knows what everyone else is doing, and it doesn't really matter. The American probably knew that the whole thing was a set-up from the start, certainly before she was told. Even after she found out for sure, she still left the guy all her money. She might have halted the deception if she thought they were heartless cons who didn't care a fig for her, but she sensed that the two schemers really loved her in spite of the con, and she more or less let it happen because she was getting exactly what she wanted out of the deal anyway.

So everyone left all the unpleasant side largely unremarked, and pretended that everything was as it seemed to be.

At least for a while.

There is no hint of nudity until the final few minutes, and then we see one of the most explicit nude scenes ever done by a mainstream actress. Helena Bonham Carter is seen naked from every angle, include a surprisingly lingering camera angle up her bum.






Death Becomes Her


Isabella Rossellini is topless but covered with jewelry, so we really don't see much, although we do have a pretty nice butt shot. Caps and a HD clip.

Scoop's notes:

There is good and bad news about this nude scene.

The bad news: the butt is a body double.

The good news: the body double later became famous in her own right. It is Catherine Bell of JAG.


Over in TV Land Alisyn Camerota in a white slit skirt shows off some leg & thigh as she interviews Dr. Jennifer Walden who is kind of a babe herself. Hey, I'm still not feeling good maybe she could fix me up. Caps and a HD clip.



Nights and Weekends


Once again, filmmakers Greta Gerwig and Joe Swanberg star in their own production about mundane matters that we all encounter. They won acclaim (not from me) for their 2007 drama Hannah Takes the Stairs, which I personally thought was fairly boring. 2008's Nights and Weekends, their third film, is like the first two, mumblecore. Mumblecore refers to a school of film making where the script is mostly improvised, the production values fairly low (think fuzzy pictures and crappy sound), and in this case, the story is just ordinary life.

James and Mattie are in a long-distance Chicago-New York relationship. The high times are when they are together. The low times are when they're not. After a couple years, the relationship starts to fall apart.

Yup, that's it. No surprises, no high drama, just a little slice of what could be anyone's life. So, why bother? Well, it did at least give Greta the opportunity to once again get naked on screen, something she apparently likes to do.


Greta Gerwig


Angelina Jolie in the HD version of Gia


Film Clips

Tia Carrere - backstage at a fashion shoot

Nicki Aycox in Animals

Katrin Cartlidge in Claire Dolan

Tawny Kitaen in Playback