"The Devil Inside Her"
The Devil Inside Her (1976) is another strange hard core. Directory Zebedy Colt, who also appeared in the film, was "trying to turn porn into an art form." I suppose he succeeded too well, as he was not asked to direct again by the producer. Colt is a strict religious father. Both of his daughters have the hots for the same handyman. Father is against it. The younger believes the two are in love. It is hard to say, as the actor playing the handyman was so clearly gay it was not possible to believe he was in love with any woman. The father sees them kiss, and whips the daughter. Her older sister visits a witch and gets a love potion which supposedly will make the handyman fall for her. What it actually does is allow Satan to take on the appearance of everyone else in the film, and have sex with most of them.
The film has its share of kinky. We have the aforementioned whipping, masturbation with garden vegetables, incest, and golden showers in the closing orgy scene which was lit too strangely to capture. The daughters were played by Teri Hall and Jody Maxwell, and showed everything. There is also brief nudity from Nancy Dare as the mother. The film had remarkably few scratches, but was overexposed start to finish. For me, at least, this fails completely as a hard core bit of eroticism. It fares somewhat better as a "so bad it's good" effort. I will give it a C-.
|Johnny Web (Uncle Scoopy)
William Shakespeare's The
Merchant of Venice (2004):
As I've mentioned before, that is the
full title of the film. I can't imagine the logic behind including
Shakespeare's name, since anybody who would have any interest in
seeing The Merchant of Venice would know the author's name.
I can only guess that they had to
include the full name to distinguish it from the competing film,
"Mickey Spillane's The Merchant of Venice" which, while rather
lacking in the niceties of iambic pentameter, did include many more
action scenes with "booze-swilling broads" and "tough mugs packing
If I had been in charge of naming it, I
would have called it Dirty Dancing at the Star Wars Canteen, in an
attempt to get the all important "female tweener" and "male fanboy"
audiences, which together comprise somewhere around 100% or 101% of
the ticket purchases in America.
All kidding aside, this is one of the
very best Shakespearian adaptations I've ever seen on film, and is
certainly the best version of this play I have ever seen in any
medium. I could cite many positives, like the beauty of the Venetian
imagery and the music, but that is all really window dressing. My
central argument all boils down to one thing: clarity. Under almost
any circumstances, it is damned hard to understand Shakespeare. I
have taken several courses in Elizabethan Drama, and have read a lot
more on my own. I've seen a few dozen live performances and every
major movie. I have read every one of his plays and have most of the
famous passages memorized. Even given all of those facts, I normally
have a hard time understanding many passages and scenes if I have
not reviewed a Shakespearian play just before viewing the
performance. It's just difficult to understand all the details,
because Elizabethan English is virtually a foreign language to 21st
This is probably a bigger problem for
most of you than for me, unless you are really serious scholars like
our occasional contributor Mick Locke. Because of the
comprehensibility problem, we modern viewers are dependent on the
actors and the directors to make everything clear to us. What we
need from Shakespearian actors in modern times is not necessarily
what was important to Elizabethan audiences. Since the play was in
their language, 16th century audiences were able to follow the plot
details and understand the jokes easily, so the most important task
for the actors was simply to deliver the beauty of the language.
Many Shakespearian performances are still delivered with that in
mind, but that just doesn't work for us if we can't understand the
words. Sure it's beautiful language, but it might as well be
beautiful Swahili. The modern Shakespearian actor has to place the
meaning above the rhythm and beauty of the language, and almost
everyone in this film has done a marvelous job of that. I was able
to understand not only the gist of it, but the details of virtually
every sentence. Not only did they deliver the lines in a lucid
manner, but they took great pains to think about how they viewed
their characters and precisely what they wanted to project in terms
of the characters' personality, accentuating all of that with
distinctive vocal mannerisms, pauses, and gestures. Finally, the
direction and editing of the film is such that the viewer is able to
understand not only the precise mechanics of the plot and the
attitudes of the characters, but is also able to learn much about
the times in which the action takes place. There is an excellent
attention to detail in the background activities of both the main
characters and the extras.
My hat is off to director Michael
Radford. He envisioned how he wanted this project to work, he cast
the actors perfectly, he directed them to perform according to his
consistent vision, he placed them in interesting settings, and he
clarified every detail and nuance of the plot with editing and
I've liked just about every movie he's
ever made, although that isn't many, since we're lucky to get one
from him every four years. The amazing thing to me is that you'd
never guess the following movies were all the work of the same guy.
The Merchant of Venice (2004)
- Dancing at the
Blue Iguana (2000)
B. Monkey (1998)
- Postino, Il
White Mischief (1987)
- Another Time,
Another Place (1983)
Dancing at the Blue Iguana is a movie
about strippers in which the actresses improvised much of their own
characterization and dialogue. It has a kind of cinema verité,
real-time feel to it which verges on docudrama.
B. Monkey is a tightly scripted and
poetic story about the unlikely relationship between a male
kindergarten teacher and a hardened female criminal. (I called it
the European version of Modern Romance).
Il Postino - you may be familiar with
this one, because it won a pile of awards - is kind of a
highbrow film about a postman who learns to love poetry as a result
of making deliveries to a poet, and then uses his awakened soul to
woo his ladylove. Unlike most arty films, it leads from the heart,
not the brain.
1984 is the John Hurt version of the
Orwell story, and it seemed to catch the spirit of the book
What do those films have in common with
each other? Beats me. There are not many threads running through
that list. But they are all pretty damned good. Of course, Radford
tends to disappoint his audiences. Those who loved Il Postino had to
be saying "WTF?" when they rented Blue Iguana because it had the
same director. Obviously Radford likes to challenge himself. When he
was 54, he made his wildest, freest, most innovative movie (Blue
Iguana), the kind of spontaneous, experimental film that guys make
when they are just out of film school. He then followed that up with
a filmed version of Shakespeare, which requires the actors to
deliver the lines exactly as written, allowing for no improv at all.
I suppose Radford must be an interesting (and obviously very
Anyway, this film is a must-see if you
like Shakespeare. It should be made the absolute standard for people
studying the play in school, simply because the play completely
carries itself can therefore be shown uninterrupted. Nothing is more
irritating than having the film stopped every 10 minutes for an
explanation. (Well, it could be in schools, I suppose, except for
the fact that there are background breasts everywhere, supplied by
the Venetian prostitutes and courtesans!).
Yup, you heard me. All of this and a
steady parade of topless chicks as well!
Random Shakespearian tootsies (1,
Other Crap archives. May also include newer material than the
since it's sorta in real time.
to submit a URL for Other Crap
are the latest movie reviews available at scoopy.com.
- The yellow asterisks indicate that I wrote the
review, and am deluded into thinking it includes humor.
- If there is a white asterisk, it means that
there isn't any significant humor, but I inexplicably determined
there might be something else of interest.
- A blue asterisk indicates the review is written
by Tuna (or Junior or Brainscan, or somebody else besides me)
- If there is no asterisk, I wrote it, but am too
ashamed to admit it.
Scene of the Year
It's that time again! Time to pick the best of the best! Make your choice,
submit your vote, and the results will appear right back here in the
Words, pictures, and vids from
(1984) - day 2
Tânia Alves will shows pretty much everything in 8 clips from
the movie "Sole Nudo" (1984; The Naked Sun), an
Italian/Brazilian co-production that was so successful that it
is still awaiting 5 votes in the IMDb.
The first four clips can be found in yesterday's edition.
Here are the last four
NOTE: We currently have to do all of our movie files in zip format. Instead of viewing them online, save the zip files to your hard drive in the directory of your choice, un-zip and play from there.
First up from the Ghost today....'caps and clips from the low-budget indie, "Bar Girls" (1994).
- Nancy Allison Wolfe, topless in a lesbian love scene.
- Nancy Allison Wolfe zipped .wmvs
- Patti Sheehan topless in a hot tub
- Patti Sheehan zipped .wmv
Next up, a few video clips (zipped .wmvs) from the 1993 movie "Flesh and Bone", starring Dennis Quaid, Meg Ryan, James Caan and pre-fame Gwyneth Paltrow.
Today's theme...babes in their undies.
First up, scenes from one of the best movies of the year "Eternal Sunshine of the Spotless Mind"
- Kirsten Dunst shows some semi-see-thru/pokies while dancing around in pink undies and a tank top. In link #5 we see an excellent side/rear partial breast view.
- Kate Winslet. We see the "Titanic" star in a bra (link #2), flashing her undies in links 4 and 5, and getting groped in link #6.
Next up, here is the ultra-hot "Desperate Housewives" star Eva Longoria in scenes from the low-budget indie, "Snitch'd" (2003). Link #3 offers some upskirt undies views.
'Caps and comments by Dann:
This 2004 drama features a very predictable plot, really poor acting, and an extremely bad script. In short, it's horrible.
An assassin who only accepts contracts for "bad people who deserve to die" is hired to kill a young woman. Supposedly, she is a drug runner who is reponsible for bringing great quantities of drugs into the country. Naturally, she isn't, and when the hitman finds this out, he falls in love with her and decides to save her life. You easily figure this whole thing out within the first five minutes of the movie.
There's only one saving grace in this movie, and that's Lana Antonova (credited in the movie as Lana Novac). She's pretty, is an OK actor, projects an nice personality, and looks pretty good in her short nude scene. Otherwise, skip this mess.
||C2k 'caps of Moynahan from "I, Robot". Here she is in a kinda-sorta nude in a very steamy shower scene (which really means, not showing anything other than a flesh colored shape). Pretty good movie though. I'm a huge anti-cgi guy, but this movie stands out as one of the few films I've seen lately where computer generated effects a)are very well done and b)enhance the story telling rather than just act as "look at what we can do" effects.
||Here's one I missed from DeadLamb the other day. Model, actress and former "Man Show" Juggy looking gorgeous in black undies during a guest spot on the NBC series "Las Vegas".
|Showing off her robo-big'uns in scenes from the direct-to-vid movie "Hard As Nails" (2001). Thanks to the Skin-man.