Goldfinger (1964, UK)

In the third James Bond 007 film Goldfinger (1964), James Bond (Sean Connery) delivered a number of sexy double entendres, one of his many traits.

He first met pretty Jill Masterson (Shirley Eaton), the blonde assistant/escort of the film's main villain Auric Goldfinger (Gert Frobe), when he entered the cheater's hotel room. He found Jill reclining on the balcony using high-powered binoculars to report on the cards of Auric's opponent through an earpiece. He cautioned her: "You're much too nice to be mixed up in anything like this."

Bond threatened cheater Auric to lose $15K or he would call the local Miami police on him, and Goldfinger in rage broke his pencil in two. The free-spirited Jill then encouraged Bond: "I'm beginning to like you, Mr. Bond...More than anyone I've met in a long time, James." He invited her to "the best place in town" for dinner - and then Bond romanced-seduced Jill on the balcony.

He later bedded down with her in his own hotel suite with room-service catering, including Dom Perignon '53 champagne. The couple were interrupted when he received a call from CIA agent Felix Leiter (Cec Linder) for dinner, and Bond declined: "I'm sorry, I can't. Something big's come up," agreeing to a 9 am breakfast instead.

As Bond laid on top of Jill and commented: "It's lost its chill," he was referring to a champagne bottle on ice near the bed.

Catered Dinner in Bed with Champagne
	"Something big's come up"

When he went to the refrigerator to get another freshly-cooled bottle of "passion juice," he was knocked out from behind by Auric's henchman Oddjob (Harold Sakata).

When he revived, he staggered into the bedroom, finding Jill as an unfortunate victim of skin suffocation by gold paint as retaliation for her betrayal. She was sprawled dead and naked on the bed - an unfortunate victim of Goldfinger's revenge. He reported the murder to Leiter: "She's covered in paint. Gold paint."

The film also featured Honor Blackman as sexily-named Bond Girl "Pussy Galore."

See this site's section on Greatest James Bond Girls.

Kiss Me Quick! (1964)

Peter Perry's science-fiction, "monster nudie-cutie" film, from sleaze producer Harry Novak (his first produced film), was a zany, horror comedy - with exceptional cinematography by Laszlo Kovacs, who went on to shoot Easy Rider (1969), Five Easy Pieces (1970), Paper Moon (1973), Shampoo (1975), and Ghostbusters (1984), among others.

The sexist film had an incredulous plot about effeminate and asexual Sterilox (Frank Coe), an ambassador from the Buttless Galaxy and the all-male planet of Droopeter.

He was teleported to Earth, to the castle of demented Dr. Breedlove (Max Gardens) (a character similar to Kubrick's Dr. Strangelove (1964) with dark glasses, a neck brace, and a black-garbed left arm, and Universal Studios' Frankenstein films). Sterilox's objective was to find the perfect female specimen to breed a race of servants.

Dr. Breedlove attempted to perfect a potion of Sex Fizz, offered to his three Sex Bombs in order to get them gyrating and undulating their hips and breasts ("Dance, dance, you little Sex Bombs!"). The three Sex Bombs, buxom burlesque dancing strippers to the tune of 60s surfing music, were:

• Hotty Totty (Claudia Banks) - blonde
• Boobra (Natasha) - the lead stripper with a black headress
• Barebra (Bibi) - redhead

The Three Sex Bombs Dancers: Boob-Twirling Sex Machines
Hotty Totty (Claudia Banks)	Boobra (Natasha)	Barebra (Bibi)

He also watched a lengthy strip-tease performed by Breedlove's activated robotic Gertie Tassle (Althea Currier).

Gertie Tassle (Althea Currier)

Unimpressed by them, Sterilox asked to see more women, and Dr. Breedlove complied by switching on his Closed Circuit Television Peeper Vision Device. When Sterilox looked through a portal to check out prospective experiments in "Catacombe 69," he saw many more females, dressing, undressing, etc. and working out in an exercise room. Meanwhile, the Three Sex Bombs went swimming in a kiddie pool, while covering their privates with pool toys.

Eventually, Breedlove's 'girl Friday' KissMe (Jackie De Witt) (who at the beginning of the film was in a supine position when she used Breedlove's sex machine without his permission) - after she took off her top - accompanied Sterilox on his journey home.

KissMe (Jackie De Witt) with Sterilox

A new shipment of females arrived on Breedlove's conveyor belt, to be labeled with rating stickers ("Choice," "Prime," "Kosher" (for the woman with panties) or "Reject" - like meat.

Kiss Me, Stupid (1964)

Now rated PG-13, this crude, satirically-biting and sordid film about debauchery (marital and extra-marital sex) and the obsession with fame from director Billy Wilder received a condemned rating from the Catholic Legion of Decency for its allegedly smutty and vulgar tale. It was the first major Hollywood film to be "condemned" by the League of Decency following Baby Doll (1956). To avoid controversy, UA shifted the film's publicity and distribution to their art-house subsidiary, Lopert Films.

The foundation for the suggestive and farcical film was Anna Bonacci’s 1944 Italian bedroom farce L’Ora della Fantasia, which had been adapted into a play titled The Dazzling Hour. It was also based on the subsequent Italian film Wife For a Night (1952, It.), starring Gina Lollobrigida.

This caustic sex romp told about an opportunist, amateur songwriter and neurotic piano teacher Orville J. Spooner (Ray Walston) (wearing a sweatshirt with Beethoven's face) who was insecurely married to beautiful wife Zelda (Jack Lemmon's real-life wife Felicia Farr), living in the town of Climax, NV - and they were about to celebrate their 5th wedding anniversary.

After his closing night performance at The Sands, drunken Las Vegas entertainer and suave playboy Dino Latino (a depraved, lecherous, self-parodying Dean Martin) left town and was driving to Hollywood. When the unsuspecting Dino stopped at the gas station of deceitful gas station owner Barney Millsap (Cliff Osmond), Orville's friend, the two aspiring and cluelessly-manipulative songsters plotted to sabotage Italian sports car convertible, in order to strand him for the night. In his company, aspiring amateur lyricist Barney was hoping to help his partner Orville sell his songs to the crooner Dino during his forced overnight visit.

Barney hatched a plan - Orville would invite Dino to spend the night in his home (to coax him into becoming interested in their songs). But then, Orville became concerned that his marriage would be put in jeopardy. He feared that Dino's insatiable, horny amorous attentions would be focused on Zelda. (Zelda had a long-standing juvenile crush on Dino when she was 16, evidenced by her presidency of the Dino fan club in high school.) And one-track-minded Dino claimed he suffered debilitating migraines if he didn't get laid every night!

The Seedy Roadhouse in Town: The Belly Button

Waitress Polly the Pistol (Kim Novak)

Polly's Trailer Behind the Belly Button

In order to ensure his wife would avoid the libidinous Dino - Orville provoked Zelda to pack up and leave the house in tears. Then, through Barney, he hired naughty Polly the Pistol (Kim Novak in a role similar to her imposter part in Vertigo (1958)), a buxom roadhouse cocktail waitress (and floozy prostitute) to pose as Orville's wife for $25 dollars for the night - to sweeten the deal for Dino. She worked in the Belly Button on the edge of town, and lived in the trailer out back.

Everything worked as planned until Orville also became raucous and "got carried away" with Polly, at the same moment that Zelda returned home and watched the shenanigans through the window. She stormed off and ended up at the Belly Button where she began drinking multiple Bloody Marys. Concerned about her drunken state, she was led to Polly's empty trailer to sleep it off.

Meanwhile, Polly had become amorous with Orville listening to his playing and singing of songs on the piano. But Orville also realized that he had a deal for Polly to be with Dino, so he reluctantly left with an excuse to go bowling. However, a few moments later, he was overcome with jealousy, returned after standing outside and seeing the lights go out, and confronted Dino - who was having sex with Polly on the floor (Orville: "So you're helping my wife with the dishes, ha! Who's washing and who's drying?"). He threw Dino out of his house for flirting with and molesting his 'wife' - actually Polly.

Then it became a case of swapped identities and sexual partners between a housewife and a prostitute:

• Orville treated Polly as his wife (and spent the rest of the night with her)
• Zelda (who had fled to the Belly Button and gotten drunk, and was resting in Polly's trailer out back) was soon mistakenly thought to be Polly by Dino

Dino explained to Zelda what had happened to him at her husband's place: "My car broke down. They put me up with some piano teacher...What an evening!...Ah, these amateurs, what they won't do to sell a song. He kept throwing his wife at me...Yeah. Get the scene?...Not a bad-lookin' dame, if you like home cookin', but me, I like to eat out, you know, Chinese one night, a little French cuisine another, and a little delicatessen in between." And then he propositioned her, assuming that she was Polly: "Well, it's my night on, Polly, baby, and if you're worried about money, I tip large." She succumbed to his kisses and her own adulterous desires.

Swapped Identities and Partners
Orville with Polly - at the Piano	Dino with Polly Caught Having Sex on the Floor by Orville and Then Thrown Out
Zelda's Surprise to See Dino Arriving at Polly's Trailer	Zelda Submitting to Sex with Dino

In the re-released, restored version of the film (the original European version), Dino and Zelda presumably had sex after a kiss and the lights went out, and the next morning, she awoke naked under the sheets after he left. She saw that he had given her a generous $500 tip (5 $100 dollar bills). When Polly was driven back to her trailer by Orville, Zelda identified herself as the real wife of Orville: "You took my place last night, so I took yours." To be let off the hook for mutually-redemptive adultery, Polly admitted: "Whatever your husband did, he did it for you." Zelda admitted back to Polly: "Whatever I did, I did it for him." They both admitted it was "fun" to swap identities for one night. Zelda gave the money to Polly since she was entitled to it. Polly encouraged Zelda to return to Orville whom she claimed was a good man: "So when you find a good guy, you should stick to him. I deal with married men all the time, the heels. Believe me, you got a wonderful husband."

The film concluded with Orville (threatened with fake divorce by Zelda as a trick) as he discovered that Dino had bought his song - and was singing "Sophia" during a nationwide program on a bank of TV screens in downtown Climax. Orville was shocked: "Why would he sing our song after what I did to him?" After the song finished, Dino explained how he had acquired the tune from two songwriters on his way through Climax, NV: "Which just goes to prove that if you've got what it takes, sooner or later, somebody will take what you've got, baby." As a result of her windfall of $500, Polly bought a car and was towing her trailer out of town for a new future.

The almost-hysterical Orville admitted to Zelda that he was completely confused and flabbergasted by everything: "I can't figure out any of this" - (not knowing that Zelda had spent the night with Dino as a way to save her marriage - and her husband's fortunes). He mused: "I mean, the ring and the song and the car and Dino. How would you? When did she? Why would he?" - Zelda explained to her clueless husband in the film's last line of dialogue:

"Kiss me, stupid."

Lorna (1964)

After an era of 'nudie-cutie' films from 1959 to 1963, sexploitation film-maker Russ Meyer turned to this low-budget 'roughie' rape-revenge film - a noirish melodrama starring 42C big-bosomed voluptuous star Lorna Maitland.

Some states prosecuted the backwoods infidelity and rape film for obscenity. The rural sex film, a morality tale, was advertised with the tagline:

"Ever wonder why wives WANDER?"

The film opened (a pre-title credits sequence) with a black-clad, over-coat-wearing, bearded Narrator (James Griffith), standing in the middle of a stark, two lane deserted road, and prophesying about retribution for sin:

Do you know where this road leads? Then hear this, all ye people: give ear! All ye inhabitants of the world, both high and low, rich and poor together. Do you indeed speak righteousness? Do you judge uprightly, all ye sons and daughters of men? Or do you do unto others as they do unto you? And do you judge as others judge? Then woe to the hypocrites! Thy form is fair to look upon but thy heart is filled with carcasses and dead men’s bones. For as you judge, you shall be judged! And if you condemn, you are condemned! Then who will rise up with me against the evil-doers? Who will stand up with me against the workers of iniquity? Death. Then, pass on. But there is no return!

From the POV of a car's driver, the Narrator let the vehicle pass, proceeding ahead into a small, nearly vacant Californian town (Walnut Grove, CA). Two local men, grouchy Luther (Hal Hopper) and Jonah (Doc Scortt) appeared from the front entrance to a bar named Al's Place, speaking derisively about women. As they strolled down the street, they accidentally bumped into a drunken female named Ruthie (Althea Currier). As she swiveled her hips while she walked to her home, the two followed her and she was brutally beaten up during an attempted rape inside her house by Luther, as his balding fat buddy Jonah watched from a window. As Luther left, she called him "you dirty bastard." On the porch, Luther told his buddy: "You know the broad I really want." The title credits then appeared to answer his question - LORNA, his co-worker's young bride.

Also in town was the voluptuous Lorna (Lorna Maitland) - a lonely and unsatisfied newly-wed female (the ads said she was "too much for one man") - on the one year anniversary of her marriage. In their rustic riverside shack, her good-hearted husband Jim (James Rucker) was up late at night studying to become a CPA, while Lorna slept nearby. When he entered the bedroom and climbed in bed next to Lorna, the couple made love, although he didn't satisfy her sexually - climaxing quickly. Almost immediately, he fell asleep, while she was left wanting more: ("Wham, Bam, thank you M'am"). She walked to the open window where she stood naked to cool off. On the porch, she heard her own thoughts: "Why can't he make love to me the way he should? If he could only make me feel the way he feels...I'm a woman, not just a tool!" She fantasized during an hallucination that she was in an exciting locale with neon and lights - a Hollywood nightclub - dancing naked and pleasing other men.

The next day while Jim prepared to leave for his job at a salt mine during the day (with two co-workers from the film's introduction), Lorna remained in bed and neglected to prepare her husband’s breakfast or lunch. Afterwards, she left her run-down shack and strolled through a field (in skimpy, skin-tight shorts) to a swampy lake. As she stood by the water's edge, she removed her blouse and shorts and went for a nude swim. Afterwards, she climbed out, wiped herself dry, dressed, and then laid down in the grass to rest.

Lorna's Nude Swim Scene

An escaped convict (Mark Bradley) from a nearby correctional facility came up to Lorna with a lascivious look on his face. She backed up to a tree before standing up, as he confronted her. He grabbed her and forced her to kiss him, while she resisted his advances. She attempted to run, but he ripped her blouse, causing her to stumble. He fell on top of her, ripped more of her clothing, and continued to try and kiss her. The music transitioned to a more jazzy tempo, signaling that she was succumbing to him - and enjoying the rape! Finally , she was sexually satisfied.

The Rape Sequence with Convict

Afterwards, the unfaithful wife took the convict back to her shack, where he cleaned up (and took some of their money from a jar), while she shopped in town for groceries to prepare a meal for him. Later, when he rested on her bed, she cuddled naked next to him, stroked his bare chest, and passionately kissed him - and soon they were making love again.

When her husband returned home, she was still naked in bed with the convict. She hurriedly dressed and met her husband (and his two co-worker buddies) at the rickety boat dock, when he walked up to the house and was attacked by the convict wielding an axe. After furious hand-to-hand fist-fighting, the convict was about to kill Lorna's knocked-out husband with a bailing hook.

As Lorna fought off the convict, Luther threw a knife into the convict's back to stop him, and he and Lorna both fell to the ground. The baling hook plunged into Lorna's chest - she was punished for her unfaithfulness, although Jim begged her to forgive him ("Please forgive me, I love you"), but she was already dead.

Convict Attacking Jim With an Axe

Lorna's Death

Final Appearance of the Narrator

The Narrator appeared outside the shack to deliver the film's final moralistic warning:

Do you do unto others as you would have others do unto you? Woe to the libertine who preys upon the virtues of the weak. For the hour will come when he will be the weak. The victim of a libertine of greater power. Consider and hear me, O Lord, my God. Lighten my eyes lest I sleep the sleep of death. But his wife looked back from behind him, and he became a pillar of salt. As ye sow, so shall ye reap.

Marnie (1964)

Alfred Hitchcock's tale of sexual perversity and obsession was billed as a 'sex mystery' with the questioning tagline:

"Would his touch end Marnie's unnatural fears or start them again?"

It featured the prudish title character Marnie/Mary Edgar (icy blonde Tippi Hedren) who was sexually frigid. Her deep-seated problems were due to trauma when witnessing as a young 5 year-old (Melody Thomas Scott) her 20 year-old prostitute mother Bernice Edgar (Louise Latham) being attacked by sex partner and pedophile sailor (Bruce Dern)).

Marnie was also a compulsive kleptomaniacal thief (who acquired power over men by stealing from them).

The film featured handsome James Bond co-star Sean Connery as her blackmailing playboy boss and newly-wed husband Mark Rutland in a much-debated scene (was it passive rape or a case of frigidity?). During their honeymoon cruise to Fiji, he asserted: "I very much want to go to bed" - a euphemism for sleeping with her.

The Much-Debated Sex-Rape? Scene Between Marnie (Tippi Hedren) and Mark

He hungrily advanced toward her, kissed her, ripped off her nightgown (the silky garment fell to her feet), embraced her, laid on top of her on the bed and took her (his face filling the entire screen). She stared upward in a frozen, paralyzed catatonic state - completely lacking any passion or emotion, but then the scene cut away to a porthole.

In the scene of the revelation that Marnie had killed the sailor (although her mother stood trial in her place), Marnie's mother also admitted that at age 15, she had allowed a boy named Billy to have sex with her in exchange for his basketball sweater.

The Beach Party Film Series (1963-1966):

Columbia Pictures’ three film ‘Gidget’ series, mostly Gidget Goes Hawaiian (1961), instigated American International Pictures' (AIP) to create a series of romanticized youth films centered around the beach. The low-budget studio produced a group of mid-1960s films that always featured stereotypical characters, such as sexy virginal females and lusty males. It reflected the carefree and affluent middle-class, mostly clean-cut lifestyle of white Californian teenagers on vacation who spent most of their time at the beach surfing. Often, the teens - who were on their last vacation before adulthood - were beset with problems - such as invaders into their surf turfland. The best of the series were the films that prominently starred * Frankie Avalon and Annette Funicello. These were the films in the seven-part series:

1. *Beach Party (1963) - the first of seven beach party films from American International Pictures (AIP)
2. *Muscle Beach Party (1964) - the second of seven beach party films
3. *Bikini Beach (1964) - the third in the series of seven films
4. Pajama Party (1964) - the fourth in the series of seven films (starring Tommy Kirk and Annette Funicello)
5. *Beach Blanket Bingo (1965) - the fifth in the series, and the fourth of the highly successful Frankie Avalon and Annette Funicello beach party movies
6. How to Stuff a Wild Bikini (1965) - the sixth entry in the seven-film series (with only a cameo by Avalon)
7. Ghost in the Invisible Bikini (1966) - the seventh and last AIP beach party film (although there was no beach, and no Avalon or Funicello in the film)
8. Back to the Beach (1987) - a Paramount Pictures follow-up film years later, with Avalon as "Annette's Husband" or "The Big Kahuna," and the two portrayed as a married couple visiting their grown-up daughter Sandi (Lori Loughlin) in Southern California, as explained in the opening narration by the couple's son: "25 years ago, my parents were the most popular teenagers in America. It's true. My Dad was a teen idol. Girls threw themselves at him. Unfortunately, this was 1962, and he had to throw them back. When Dad wasn't singing, he spent his life on a surfboard. They called him the Big Kahuna. When I was born, Dad wanted to call me the little Kahuna - luckily, he settled for Bobby. As for Mom, she joined that strange cult called the Mouseketeers. She became the first pin-up queen for boys under twelve. Anyhow, they got married and moved to Ohio right after the accident. Don't get him started on the surf accident. Around our house, we have this nightly ritual - it's called dinner and the accident story. Let me spare you this - 20 years ago while surfing, this humongous wave knocked the Kahuna right on his head and he's never been the same since....This is my Dad now. The closest he gets to the ocean these days is when he plays the surf king in order to sell cars on TV. Yep, the Big Kahuna now owns Friendly Ford, the largest dealership in Ohio."

Beach Party (1963)

This musical comedy was produced by American International Pictures (AIP) - a low-budget, exploitative, and successful film company founded in 1956. It was the first "beach" film (mostly showing in drive-in theatres), starring:

• Frankie (Frankie Avalon, a popular 24 year-old singer)
• Dolores (Annette Funicello - a now-buxom 21 year-old ex-Disney Mickey Mouse Club Mousketeer)

Other stars were Robert Cummings as Anthropology Professor Sutwell and Dorothy Malone as his love interest, secretary Marianne. He was studying the sex habits of teenagers.

AIP realized the lucrative buying power of this new demographic group and advertised the fluffy film alluringly: "It's what happens when 10,000 kids meet on 5,000 beach blankets." However, wholesome star Annette Funicello - still under contract to Disney, was legally forced to not appear in a skimpy bikini, and to express repressive sexual attitudes, although she wore both a one-piece black suit and a non-revealing two-piece pink suit!

Dolores (Annette Funicello) in Unrevealing One Piece and Two-Piece Swimsuits

Muscle Beach Party (1964)

Now referred to as "Dee Dee" in this second AIP film or sequel to the original Beach Party (1963) film, Annette Funicello again starred opposite Frankie (Frankie Avalon) as two members of a beach party group surfing during Easter vacation at Malibu Beach.

The main plot was about the encroaching threat to their secret surfing spot by a group of muscle-bound body builders, led by their trainer-coach Jack Fanny (comedian Don Rickles). Rich and sexy European Contessa Julie (Luciana Paluzzi) appeared on the beach lusting after Flex Martian, aka Mr. Galaxy (Peter Lupus, aka Rock Stevens) - telling him: "I want to be alone with you." She was easily persuaded to fund a new string of gymnasiums throughout the USA promoting Mr Galaxy's body and Fanny's training methods. However, she turned her attentions to Frankie after hearing him sing - thereby causing a brief rift between Frankie and his girlfriend Dee Dee. The Contessa enticed Frankie: "Oh, Frankie, I can show you so much. I can open the world for you. You'll see Tangiers in October and we'll cruise the Greek islands in the summer and Paris when the streets are wet with rain."

However, by the film's conclusion, he gave up the manipulative and over-controlling Contessa, to stay with Dee Dee and his friends at the beach. He told off the Contessa: "You move fast....When there are moves to be made, I want to make them."

Bikini Beach (1964)

In this third AIP 'beach party' film, millionaire Harvey Huntington Honeywagon III (Keenan Wynn) attempted to prove to his schoolteacher colleague Vivian Clements (Martha Hyer) that his chimp Clyde (Janos Prohaska) was more intelligent than 'feeble-minded' American teenagers ("the intelligence of you young people has fallen to his level"), who he claimed had an "abnormal preoccupation with sex - the only display of intelligence being of a carnal nature." His ultimate goal was to purchase 'Bikini Beach' and build a retirement home at the teens' favorite surfing spot.

In a spoof aimed at Beatlemania and the British Invasion, Frankie Avalon played a dual role as British rock star The Potato Bug, a drag racing enthusiast, who wore a mop-haired wig and granny glasses.

Donna Loren: "Love's a Secret Weapon"

The Potato Bug (Frankie in dual role)

Chimp Driving Honeywagon's Rolls-Royce

The film's musical highlights included:

• Donna (Donna Loren) singing "Love’s A Secret Weapon" while dancing on the beach
• the Frankie and Annette duo: "Because You’re You"
• Annette's solo: "This Time It’s Love"

Pajama Party (1964)

This follow-up film, actually a sci-fi musical comedy, included more sexual innuendo. It starred Annette Funicello (as Connie) and poor substitute Tommy Kirk (Annette's former Disney Mousketeer co-star) as Go Go, and Frankie Avalon only in a short, red-tinted cameo role as Socum.

It was a low-budget teen film with lots of shimmying and shaking - about a stupid teenaged Martian named Go-Go (Tommy Kirk) who landed on Earth to study the lovemaking habits, idioms, and rituals of Earthlings. The Martians' plan was to prepare to invade Earth, but his plans were curtailed when he fell in love with Connie. When he first met her on the beach and as he applied sun tan lotion to her back, she didn't believe him when he stated: "I am from Mars." She quipped: "And I'm from Venus." He replied: "Most of the girls I met from Venus were green and had gills. Unlovely creatures."

Dancing and Shimmying on the Beach	Vikki (Donna Loren): "Among the Young" Backed by Nooney Rickett 4	Saleslady (Dorothy Lamour): "Where Did I Go Wrong"
Chief Rotten Eagle (Buster Keaton)	Connie to Go Go: "You are a Martian!"	Socum on Mars (Only Seen From Behind Until Film's Conclusion)

Musical and other highlights included:

• Connie's (Annette Funicello) and Go Go's (Tommy Kirk) duet: "There Has to be a Reason" while she was driving
• Vikki's (Donna Loren) song: "Among the Young"
• the Head Saleslady (Dorothy Lamour) singing and dancing: "Where Did I Go Wrong"
• Buster Keaton's appearance in a cameo role as Chief Rotten Eagle
• Connie's singing and dancing: "Pajama Party" at the large climactic PJ party held at the mansion of dress shop-owning Aunt Wendy (Elsa Lanchester), who was related to Connie's dim-witted boyfriend Big Lunk (Jody McCrea)

Connie Dancing and Singing: "Pajama Party"

Finding Love with Go Go at Pajama Party

Final Reveal of Socum as Frankie Avalon

In the film's conclusion, sex became so metaphorically and orgasmically heated during the PJ party, exemplified by the ogling of Jilda's (Susan Hart) slow shimmy in a red teddy, that candles melted, shot glasses exploded, and the punch bowl bubbled over.

Beach Blanket Bingo (1965)

This 5th AIP entry, a musical teen comedy-romance was the 4th film that featured the pairing of Annette Funicello (as Dee Dee) and Frankie Avalon (as Frankie). They were in a group of teen surfers hanging out at the beach, singing the opening song under the credits: "Beach Blanket Bingo" - with the familiar lyrics: "Beach blanket bingo…that’s the name of the game!"

There were many familiar (and not-so) plot lines and characters in this one that included:

• a beach sky-diving club was run by Big Drop (Don Rickles), with two skydivers: pilot Steve Gordon (John Ashley) and Bonnie Graham (Deborah Walley)
• slimy PR man Bullets (Paul Lynde), always angling for a publicity stunt, proposed a sky-diving stunt from an airplane into the ocean for his up-and-coming singing star Sugar Kane (Linda Evans); however, the real skydriver was Bonnie, who switched places with Sugar Kane after landing in the water; but then, Annette became jealous of Frankie for saving Sugar Kane from the water
• Dee Dee also became jealous when Frankie showed an interest in Bonnie, so she took a corresponding interest in Steve - causing a competitive love-quadrangle of sorts
• "Stone Face" Buster Keaton appeared in a cameo as Buster often with shapely and tall fur-bikini clad Bobbi (Bobbi Shaw)
• a gang of black leather-clad hoodlum bikers or 'sickle'-riders ("The Rats and Mice") were led by Eric Von Zipper (Harvey Lembeck)
• the crooning of "It Only Hurts When I Cry" by Donna (pop singer Donna Loren)
• two kidnappings: Von Zipper's kidnapping of his 'idol' Sugar Kane in her bedroom and taking her to the gang's clubhouse/pool room, and afterwards, she was re-kidnapped by Von Zipper's pool hall rival South Dakota Slim (Timothy Carey), who took her to his abandoned saw-mill, and tied her down to a wooden log headed into a buzz-saw to cut her in half
• a sky-diving mermaid Lorelei (Marta Kristen) ultimately fell in love with Frankie's tall, dim-witted friend Bonehead (Jody McCrea) after she rescued him from drowning after a surfing accident, although at first, Bonehead thought he had been rescued by Sugar Kane

Sugar Kane (Linda Evans)	Donna: "It Only Hurts When I Cry"	Big Drop (Don Rickles)
Bonnie (Deborah Walley) and Steve (John Ashley)	Blonde Mermaid Lorelei (Marta Kristen)	Eric Von Zipper (Harvey Lembeck)
South Dakota Slim (Timothy Carey)	Buster Keaton with Bobbi (Bobbi Shaw)	Sugar Kane Threatened to Be Sawed in Two

The film ended with Frankie and Dee Dee kissing under a moonlit sky at the beach, with Frankie asking: "Is there a moon? Is there a sky? Are there dreams?"

The Pawnbroker (1964)

Sidney Lumet's controversial yet mainstream film drama was condemned by the Legion of Decency although the MPAA gave it a seal of approval.

It was the first US film to show a woman nude from the waist up with bare breasts that was granted a Production Code seal, because the nakedness was regarded as integral to the story. This ultimately broke the back of the Production Code's restrictions.

It told about a Holocaust-surviving husband - a bitter old, upper Manhattan pawnbroker named Sol Nazerman (Rod Steiger) who had anesthetized himself emotionally. His breaking point came when a breast-baring black prostitute (Thelma Oliver), the girlfriend of his employee Jesus Ortiz (Jaime Sanchez), offered herself to him:

"I'll show you how pretty I am. Don't you say nothin' about this, you hear? Nothin'. Like I said, If my boss was to find out I been messin' around in private - so don't tell Rodriguez nothin' You hear, nothin'....Rodriguez, the big man. The boss. The biggest in Harlem....He's got lots of irons in the fire. He's a powerful man, so it's better if you don't tell him a thing. I gotta get me some money. Look! Look! That's it, look! Look! Look!

(Sol's flashbacks)

Look. That's it, look. It'll cost you nothin' to look. Just look. Look. Look."

A fast series of clips alternated between shots of the prostitute, himself, and his brutal, intense flashbacks of Nazi guards readying themselves to sexually assault his humiliated wife Ruth (Linda Geiser) (also seen briefly topless) years before.

Prostitute (Thelma Oliver)

After witnessing the cruelty of the concentration camp, he now interpreted sex as dark and evil - he covered the young topless woman with her raincoat, and gave her a $20 dollar bill.

La Ronde (1964, Fr.) (aka Circle of Love)
(a remake of)
La Ronde (1950, Fr.) (aka The Merry-Go-Round)

Director Roger Vadim adapted Arthur Schnitzler's controversial 1897 play "Reigen" that provided the basis for an adults-only remake titled La Ronde (1964, Fr.) (aka Circle of Love). It also served as the source material for Max Ophuls' 1950 film of the same name.

The original film almost fifteen years earlier, La Ronde (1950, Fr.) (translated "the round-dance"), Max Ophuls' studio-bound, multi-character romantic drama of love and infidelity, was taglined:

"A Wonderful Merry-Go-Round of Love With Eleven Stars."

The romantic drama received two Oscar nominations: Best Writing, Screenplay (Jacques Natanson, Max Ophuls), and Best Art Direction-Set Decoration (Jean d'Eaubonne). Ophuls was known for long, complex and innovative camera shots (via trolleys and cranes), and in this effort, the gliding camera swooped about gracefully.

A Narrator/Raconteur (Anton Walbrook) dressed in a cape and top hat intertwined ten character vignettes (with interlocking affairs) set in Vienna in the early 1900s. Each stylish segment led to the next one when a new philandering character was introduced having an affair with a character from the previous scene. The guiding storyteller was depicted as the owner of a Vienna merry-go-round in 1900 (the film's centerpiece), who introduced each of the love affair episodes, involving:

• Leocadie (Simone Signoret), a prostitute
• Franz (Serge Reggiani), a soldier
• Marie (Simone Simon), a chambermaid/housemaid
• Alfred (Daniel Gelin), a young man - the son of Marie's employer
• Emma Breitkopf (Danielle Darrieux), wealthy and married
• Charles Breitkopf (Fernand Gravey), Emma's husband
• Anna (Odette Joyeux), a young girl or grisette (a French working class female)
• Robert Kuhlenkampf (Jean-Louis Barrault), a poet
• Charlotte (Isa Miranda), a comedy actress
• Count (Gerard Philipe)

The circular plot (a chain of romances) came full-circle by the end, when the Count encountered the prostitute from the first vignette. Prominent and rampant sexual misconduct appeared to transcend all class distinctions in French society.

The remake was also about 'musical beds' (and a chain of sexual partners) and starred 27 year-old US actress Jane Fonda (Vadim's romantic partner at the time and future wife - and her first husband) in her 7th film. She was one of the first (or possibly the first!) major American actresses to appear nude in a foreign film - making the film more controversial than it actually was. It was the first of four films that Vadim directed with Fonda (she appeared nude or partially nude in three of the four films):

• La Ronde (1964, Fr.)
• The Game is Over (1966, Fr.)
• Spirits of the Dead (1968)
• Barbarella (1968, Fr.)

Vadim provided a more provocative tagline for his 1964 film:

Until Vadim, LOVE has been child's play...Now watch the adults play!

The overtly-sexual, stylish, glossy and whimsical film (without overt nudity or vulgarity however, and horribly dubbed into English) was banned in New York (by the state's censorship board) for "immorality," and ended up being appealed all the way to the Supreme Court. Vadim's film, considered very risque and naughty in the mid-60s, was charged with being obscene in Italy in 1967.

According to news reports at the time, many "half-clothed" scenes of the sex farce were substituted for "nudie' scenes to comply with US censorship codes and regulations. A giant 8-story billboard in New York City's Times Square of Fonda reclining in the nude was draped with a canvas when an offended Fonda sued the producers for $3 million to demand that her image was covered.

3 Nuts in Search of a Bolt (1964)

Writer/director Tommy Noonan also starred as Himself in this unfunny and unusual low-budget sex comedy that was taglined: "The Screwiest Comedy of the Year." The ribald screwball comedy was heavily publicized by nude photos of Mamie in a bathtub in issues of Playboy Magazine (although she refrained from being nude in the film).

It was one of the earliest films to have a big-name actress appear in various states of undress. It hoped for the success of Noonan's previous film Promises! Promises! (1963) with blonde bombshell Jayne Mansfield.

The mostly black/white film tipped off the viewer to the potentially sexy scenes - they were in color.

Mamie Van Doren's Semi-Nude Appearance as Saxie Symbol
		As an On-stage Stripper
Saxie in a Beer Bath

Mamie Van Doren played the role of Saxie Symbol, calling herself "an exotic dancer" instead of a stripper (or an ecdysiast). She met a struggling out-of-work method actor/comedian Tommy Noonan (as Himself) in an unemployment line, and brought him back to her apartment, where she lived with two roommates (they called themselves "The Three Nuts"):

• Joe Lynch (Paul Gilbert), an alcoholic used car salesman
• Bruce Bernard (John Cronin), a narcissistic male model

To save money, the three "nuts" hired the newest roommate Tommy Noonan to listen to their problems so they all wouldn't have to pay to see a therapist. Then he would relate their problems to renowned headshrinker Dr. Myra Von (Ziva Rodann) - and report back. He acted out their psychological neuroses during a one-hour appointment, in twenty-minute segments. When his recorded therapeutic sessions were accidentally aired on television, the viewing public became fascinated by his unique 'split-personality' and its problems.