Pound of Flesh

2010 or 2011

follow-up on Ashley Wren Collins

Magicman took a look at my film clip in yesterday's page and captured the very best moments of her nudity, which is quite explicit.

Albert Nobbs


The character of Albert Nobbs is a woman pretending to be a man in order to obtain better employment opportunities and a higher status in Dublin in the early 20th century.She works as a waiter/butler in a comfortable hotel, a job that comes with a salary, tips, and free room and board, allowing Albert to save up nearly enough money to buy her own tobacco shop.

Albert is one of those timid, deferential man-servants who never speaks except when spoken to and even then uses an emotionless voice to speak only the minimum number of syllables necessary. That was the personality that best served her job, of course, but it was also optimal for her gender impersonation because her complete self-control prevented any hint of a feminine voice from betraying her. After decades of playing the same role, she became her character. Would Albert have sported a different personality if she had lived a happy life as Alberta? Would she have been a vivacious, extroverted woman? Perhaps. We see her transform briefly but quite dramatically in the one scene where she tries on female clothing for a walk on the beach. In the normal course of life, however, Albert has done everything necessary to assume the personality of a shy man of terse phrases, and the years of doing so have made that her "real" self.

That goes for her sexual identity as well. Albert has been living in male clothing for so long that she is no longer really certain what gender role to take in the bedroom. She did not begin the disguise because she was a lesbian, or because she took pleasure from wearing male clothing, but simply as a matter of necessity. She was a working-class orphan who was on the streets at the age of 14. As a woman she was subject to every kind of abuse imaginable, including rape by lower-class thugs. As a man, she was not only able to roam the city unmolested, but also found that there were better opportunities for men in general. After assuming the male identity for more than a quarter of a century, however, she now finds herself possessing a male sexual psychology to go with her wardrobe. She's not attracted to men, and yearns for a life with a beautiful young woman who works as a maid in the same hotel.

Be careful what you pretend to be ...

Glenn Close spends nearly the entire film playing Albert as a man, and does so in such a convincing manner that the audience can believe that the other characters never suspected the truth. I would not be surprised if she gets an Oscar nomination because this is the kind of role that usually gets recognized as great acting. Let's face it, people tend to admire a performance in which the actor's real self cannot be detected underneath a facade of impersonation, and this one fits the bill. Unfortunately, Glenn Close really had nothing to work with in terms of developing a specific male personality, because there is nothing special about Albert. Albert Nobbs is successful as a man-servant for the very reason that she is not a very interesting film character - she has no personality. It makes no difference that a woman is actually there because there's no there there. Albert fades into the background except when summoned by his superiors. He's a generic man-servant, like the fungible and sexless butlers who are always present in every English drawing-room drama to say "yes m'lud" and fetch tea. Even when given the rare opportunity to behave naturally among those aware of her secret, Albert has nothing witty or intelligent to say, and merely reacts laconically to what is around her. Glenn Close is doubly to blame for Albert's complete lack of a personality because she is credited not only as an actress, but as one of the screenwriters as well. Glenn did a great job as a generic male butler, but there's nothing very interesting about a generic male butler.

Moreover, Glenn's performance is only the second-best in her own film. Janet McTeer plays another woman passing as a man, and her performance is spectacular. While Glenn Close pulls of her impersonation by playing the asexual and obsequious sort of generic male found in her profession, McTeer steers in another direction. She is a sexy, huge (McTeer is 6'1") working class guy! She's the Randall McMurphy of male impersonators - charismatic, witty, lively, and highly attractive to females when playing a male!

Everything about this movie reeks of class. The set design evokes a bygone Dublin with an interesting set of characteristics both positive and negative. The acting is first rate, especially McTeer, who clearly deserves an Oscar nomination for totally stealing a film from another probable Oscar nominee. McTeer is making quite an improbable comeback to film at age 50 by setting aside all her dignified Masterpiece Theater demeanor to play bad-asses. Earlier this year she stole another film as a frightening but complicated hired assassin in Cat Run.

But despite the impressive period detail and the estimable performances of McTeer and Close, the film itself is a total snooze-fest. Male or female, Albert is dim-witted and pitiable, dull and humorless, and his/her dreams are uninspiring. I could never bring myself to care about the character in any way, and could muster up neither enthusiasm for her aspirations nor sadness at her ultimate fate. Moreover, all of the situations surrounding him/her seem to be so generic that one is left wondering whether the film is supposed to be a drama or a sly parody of the seemingly endless string of English/Irish period dramas from days gone by. Frankly, I wish those days really had gone by and were not revived by this film.

Glenn Close

Janet McTeer

You may have noticed that Janet McTeer, although supremely qualified in height, is a rather unlikely candidate to pass as a man in at least one respect. Make that two, seen above. The woman has a mammoth chest. I may have written in the past that Mimi Rogers has the largest chest of any mainstream actress, and that may be right, but Janet is in the same league, if not a higher one. Here she is 9 years ago in The Intended.

By the way, don't buy the DVD of The Intended. I did. It has been censored. The only way to catch Janet's nude scenes is to find an uncensored TV broadcast, as Polaris did in Europe (clip above and collage above right) and Oz did in Australia (collage above left). The rest of those images can be found in the Encyclopedia.

A Dangerous Method


This is the film in which Carl Jung gives in to his lust for a beautiful patient, deflowers her, and ultimately engages in some S&M hanky-panky with her. Jung's relationship with Sabina Speilrein, which is a real historical scandal, becomes the basis of many discussions he would have with an even more famous shrink, some Austrian guy named Siggy.

David Cronenberg directed. Viggo plays Freud. Fassbinder plays Jung. Keira Knightley is Speilrein.

I'll discuss this in the future since I'm pressed for time today. In the meantime, here are my vids from the Italian cam which is floating around the web.

Keira Knightley getting her ass whipped and showing her small breasts

Somebody else topless.


  • * 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.

It's the years 1988 to 1990 this week.

The Big Blue

Some nice breast exposure by Rosanna Arquette in The Big Blue (1988).

The Big Picture

An unknown woman is briefly completely starkers in The Big Picture (1989).

There are some lovely pokies by Teri Hatcher

and the other women look good: Beth Chamberlain,

Britta Wilson,

Suzee Slater

and Fran Drescher.

I have included a movie of Teri's contribution.

Bride of Re-Animator

Unfortunately, the caps from Bride of Re-Animator (1990) are not the best quality.

Kathleen Kinmont shows her boobs (although a lot of it, if not all, is prosthetic)

and there is some side-boob by Fabiana Udenio.

Mary Sheldon shows a bit of cleavage in the DVD's extras.


There's no nudity in the TV mini-series Chances (1990) but the women are in various stages of undress:

Anne-Marie Johnson,

Audrey Landers,

Debi A. Monahan,

Mary Frann,

Nicolette Sheridan,

Sandra Bullock,

Shawnee Smith,

Wanda De Jesus.


Lots and lots of breasts in Guns (1990), and the cast list will be familiar:

Cynthia Brimhall,

Devin De Vasquez,

Dona Speir,

Donna Spangler,

Julie Strain,

Kym Malin,

Lisa London,

Liv Lindeland,

Phyllis Davis,

Roberta Vasquez

and some unidentified.

Hard Ticket to Hawaii

it's the same again with Hard Ticket to Hawaii (1987). The women are:

Colleen Nakasone,

Cynthia Brimhall,

Dona Speir,

Hope Marie Carlton,

Jamie Searle,

Lory Green,

Patty Duffek,

Viviane Brahms

and some unidentified.

Her Alibi

It's only brief nudity in Her Alibi (1989) when Paulina Porizkova's nipple pops out as she exits a swimming pool.


Lucky (1990) goes with Chances (above) but this time the women are Leann Hunley,

Nicolette Sheridan

and Shawnee Smith.

Menu for Murder

No nudity in Menu for Murder (1990) but the women are looking good:

Joan Van Ark (pre face brutalisation),

Morgan Fairchild

 and Robin Mattson.

My Mom's a Werewolf

Some nice side-boob by Susan Blakely in My Mom's a Werewolf (1989).

Prime Evil

Some nice nudity in Prime Evil (1989) by a variety of women:

Amy Brentano,

Cameron Kell,

Christine Moore,

Jeanne Marie,

Miriam Zucker,

Nicole Soslian,

Roseanna Peterson

and Ruth Collins.

Savage Beach

Some more nakedness in Savage Beach (1990) by a familiar group of women:

Dona Speir,

Hope Marie Carlton,

Lisa London,

Maxine Wasa,

Patty Duffek

and Teri Weigel.


More lovely nakedness in Scandal (1989), this time by some well-known actresses.

 Bridget Fonda (CIndy Milo is the body double for some scenes),

Britt Ekland

and Tacy Kneale show their breasts.

Joanne Whalley is naked, or at least her body double Gloria Jones is.

Some unknowns show the lot.

Slumber Party Massacre III

With a name like Slumber Party Massacre III (1990) you can expect some nice nudity, and it doesn't disappoint.

The topless nudity is by Lulu Wilson (Jennifer Jones body double)

and Maria Ford.

The other women add to the glamour: Brandi Burkett,

Devon Jenkin,

 Hope Marie Carlton,

Keely Christian,

Maria Claire

and Marta Kober.


Some pokies by Finn Carter in Tremors (1990).

Who's Harry Crumb?

The see-through nudity in Who's Harry Crumb? (1989) is by Annie Potts.

Renée Coleman,

Shawnee Smith

and an unidentified woman are looking good.






Notes and collages

Linda Carter in "Starsky and Hutch"

Episodes 1 (left) and 2

Lucia, Lucia


This is a HD re-do of a film JM did four years ago in lower resolution

Here are the new film clips of Cecilia Roth

and here are Johnny's old collages:






These images come from that new book Culo, which is a P. Diddy project. (He's credited as "executive editor"). As you may guess from the title, it's all butts all the time

Allessandria Ambrosia

Bianca Balti

Christie Teigen

Edyta Sliwinska

Irina Shayk

Kate Upton

Lady Gaga

Lauren Bennett

Leann Tweeden

Nicole Scherzinger

Pamela Anderson

Sarah McLachlan

Stacy Ferguson

and a pair from Stacy Keibler