By B. Forshaw
ISBN-10: 1137390050
ISBN-13: 9781137390059
ISBN-10: 1137390069
ISBN-13: 9781137390066
Sex and movie is a frank, complete research of the cinema's love affair with the erotic. Forshaw's full of life learn strikes from the sexual abandon of the Thirties to filmmakers' circumvention of censorship, the demolition of taboos by way of arthouse administrators and pornographic motion pictures, and an exam of ways particular imagery invaded glossy mainstream cinema.
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Additional info for Sex and Film: The Erotic in British, American and World Cinema
Example text
Arguments that a cut version of the film would still work as a light comedy cut no ice with him, as this was to be the first major ideological stand he would take against studio interference. Needless to say, the Breen Office was deeply unhappy and made it clear that the film would not be passed for release unless the offending words ‘virgin’ and ‘seduced’ were excised. A concerted campaign against the film followed, engineered by Catholic organisations with compliant priests told to attack the film in sermons and to inform their congregations that they would be committing a mortal sin if they were to see it.
Also in the stellar cast was another English actor, Peter Lawford, whose familial relationship with John F. Kennedy (brother-in-law), Preminger calculated, would give the film a certain cachet. But – crucially – the young actor Don Murray was to play a character who was the litmus paper for the film’s more controversial aspects. Early suggestions that Preminger should show a favourable image of Americans and their political systems to the rest of the world were met with total disdain by the director, who talked, as he had before, about the importance of freedom of expression on the screen.
The restrictions under which films laboured in the 1940s are perhaps best encapsulated by the famous censorship comments on Michael Curtiz’s Casablanca (1942), with its brilliantly witty screenplay by the Epstein brothers and its memorable romantic relationship between Humphrey Bogart and Ingrid Bergman. The Hays Code restrictions now seem hilarious: there was to be no suggestion of a ‘sex affair’ between Bogart and Bergman’s characters. So what exactly had the couple got up to in France? ‘We’ll always have Paris’ was the famous exchange, but did they always stay in separate rooms?
Sex and Film: The Erotic in British, American and World Cinema by B. Forshaw
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