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Un posto ideale per uccidere Year: 1971 For the main role, Umberto Lenzi wanted Anna Moffo, a very attractive opera singer who in those years had embarked on the road to cinema. Moffo accepted, at first, but later backed out, just a few days before the start of filming. So Irene Papas was chosen, a very good actress who, however, immediately vetoed any nudity. "I accepted Irene Papas - explained Lenzi - hoping that she would let me convince her to film at least some of the more daring scenes, leaving the more racy ones to a body double, but I found myself up against a wall". If he can't push with the mature woman, he will push with the young girl - thinks the director - especially since a radiant and already very busty Ornella Muti was chosen for the part. But life wasn't easy with her either: "Muti was stupendous, but when the film was made, she was seventeen and a half years old and it was impossible to make her undress. I tried, but once, after showing half a breast, she burst into tears and I had to give up. Moreover, she had a very jealous boyfriend and a mother who was always watching over her". So it was Antonia Santilli, an aspiring actress who had ended up on the set by chance as the girlfriend of the director of photography Alfio Contini, who lent her body for all the spicy scenes of the film, acting as stand-in for both Ornella Muti and Irene Papas. https://www.imdb.com/title/tt0067602/trivia?item=tr5536296 |
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The Blood on Satan's Claw Year: 1971 Actor Antony Ainley, who plays a preacher seduced by Linda Hayden's character, once said in an interview "When it came to doing the nude scene where Angel (Hayden) comes into the rectory at night and disrobes this was done at least three times and Linda was spot on with every take...she was a total professional with a refined sense of the erotic unusual for her age...I believe she was only 17 at the time." https://www.imdb.com/title/tt0066849/trivia/?item=tr4762245 |
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Tatort Year: 1970 In February 2024, Nastassja Kinski demanded an apology for her nude scenes as a 15-year-old in the successful 'Tatort' crime film 'Reifezeugnis'. "I want to confront the people who were responsible for it," she told the television station RTL about the 1977 thriller. "And I want an apology - publicly." In addition, 'Der Spiegel' reported that the actress wanted to prevent the nude scenes from being broadcast further and had called in lawyers. Kinski was only 15 during filming and did not feel comfortable in such scenes, "although I liked the director, the whole team". She said that she was unaccompanied by her parents on set. "My mother wasn't invited, that was intentional on the part of the production - so I can only understand." She did see it as her job as an actress. "But then I went to the hotel, and then I cried." https://www.spiegel.de/kultur/tv/nastassja-kinski-will-oeffentliche-entschuldigung-fuer-nacktszenen-in-tatort-reifezeugnis-a-7afb901f-281c-41aa-81cd-2d3bc9530c73 |
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Freiheit für die Liebe Year: 1969 Title: Freedom to Love: A Film by Drs. Phyllis & Eberhard Kronhausen Publisher: New York Grove Press 1970 Authors: Drs. Phyllis & Eberhard Kronhausen pp. 64-75 --- 26. The Young Girls Briggitte and Christine, two young girls aged about twelve and nine, play with a large beach ball near Pat and Marie’s home. Christine: Catch! Briggitte: I’m gonna throw it real high. Whoops! Ah… Christine: It’s over the hedge! Briggitte: Let’s go get it. Trying to retrieve the ball, the two young girls carefully open the fence door to Pat and Marie’s backyard and silently creep towards the house. The younger Briggitte is obviously the more aggressive one. As she picks up the ball, she sees something which arouses her interest. Moving closer to Pat and Marie’s bedroom window, she motions Christine to follow. Briggitte (in a whisper): Come here! Christine (whispering): What is it? Briggitte and Christine witness Pat and Marie making love. However, they soon move away from the window, either out of fear and embarrassment, or simply because the scene has begun to bore them. At this point, Drs. Kronhausen embark on a discussion of lesbianism and homosexuality as the girls watch Pat and Marie making love. 27. Briggitte and Christine Experiment A brightly colored child’s room. Christine and Briggitte play with some of the stuffed dolls and other toys in eth room. Christine: I’ve often seen my parents when they were completely nude. Briggitte: Completely nude? Christine: Why…yes! Briggitte: Well, my parents say you’re not supposed to. Christine: My parents say we don’t have to be ashamed. Briggitte: Would you dare take off your clothes now? Christine: Yes…why not? I don’t care. (Both girls take their clothes off.) Dr. Eberhard Kronhausen: (off) Adults commonly misinterpret the harmless sex play and sex curiosity of children…Children are interested only in exploring their own bodies and finding out what it is like to be grown up sexually as well as otherwise. It is therefore advisable that children receive early sex education, not only about the reproductive function of sex, but also about its pleasurable or erotic aspects. Only in this way can the child accept his own sex feelings and sex experimentation without guilt and shame, and avoid undue fixations or inhibitions. The alleged danger of children being seduced by homosexuals is no greater than in the heterosexual case…since only the same small percentage of homosexual adults take an interest in contacts with children…as is true for the population in general. The girls are now completely nude Christine: Come! Briggitte: Are you ticklish? Christine: No, ha, ha, ha. Briggitte: (touching Christine) Does that feel nice? Christine: Mm… Dr. Phyllis Kronhausen: (off) With regard to the effects of what the child may have observed of adult sex behavior or even what it may have experienced; it is more the attitude of the adults in the child’s environment that counts rather than the events themselves. If the adults take a moralistic and punitive position, or if they react with fear and panic, the child will naturally react with guilt, shame and anxiety of her own. The child may, in the extreme case, even be seriously traumatized. If the adults take a calm, noncensorial, matter-of-fact attitude about the child’s early sex experiences they remain, as a rule, of little consequence. Children, if left to their own devices, soon enough return to their own world of toys and innocent games which hold much more lasting fascination for them. 28. Briggitte and Her Parents (1) The girl, obviously late for dinner, comes to the table; at which her mother and staid-looking father are already seated. The dining room is extremely traditional. Briggitte’s Mother: Well, it’s about time, Brigitte…it’s a shame, at your age, to keep us waiting. Washed your hands? Let me see. (She inspects the girl’s hands) Brigitte’s Father: All right. Sit down. 29. Christine and Her Parents (1) The setting here is much less formal, much more modern, than the dining room of Brigitte’s parents. An abstract painting hangs on the wall. Christine’s Mother: And what have you and Brigitte been doing today? Christine: We’ve been playing Pat and Marie. Christine’s Mother: What have you been playing? Christine: We’ve been watching them. Christine’s Father: What do you mean by that? Christine: We were looking through their window…they were playing with each other. 30. Brigitte and Her Parents (2) Brigitte: Without any clothes on. Brigitte’s Father: Where did you see two naked women? Brigitte: Oh, they live next door to Christine. Brigitte’s Mother: I don’t understand a word she’s saying. 31. Christine and Her Parents (2) Christine’s Father: And what were they doing? Christine: Pat and Marie were kissing. Christine’s Mother: Well, you know Pat and Marie love each other very much. 32. Brigitte and Her Parents (3) Brigitte’s Father: You know that’s wrong. Looking through other people’s windows is as bad as stealing. Brigitte: Oh, but I didn’t do it like that. We were playing outside with our ball. I threw it high and it went over the fence. Brigitte’s Father: And then what happened? Brigitte: That’s all. Brigitte’s Mother: Don’t lie to me now, you must have been doing something! Brigitte’s Father: Tell us! Brigitte: Christine was kissing me… Brigitte’s Father: And you let her do that? You are as bad a girl as she. You should be ashamed of yourself. Go to your room! (He slaps her face. Brigitte leaves the table.) Brigitte’s Mother: This is incredible. Can you imagine doing things like that in front of children? Brigitte’s Father: It doesn’t surprise me at all. I’ve been thinking before that Christine is a bad influence. 33. Christine and Her Parents (3) Christine: Can they have babies together? Christine’s Mother: But you know it takes a man and a woman to make a baby. Christine: Oh…naturally 34. Brigitte’s Parents Alone Brigitte’s Mother: But those two girls are corrupting the children. We’ve got to do something… Brigitte’s Father: I’ll call Christine’s parents. In my opinion, perverts ought to be locked up. I’ll make a complaint to the authorities. It’s disgusting! |
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Baby Love Year: 1969 Linda Hayden: "I started off with Baby Love and it was very much a sex-type movie, that was the fashion. And my screen test I did topless, because that was the scene with the elderly man who played the part, Keith Barron. When she came into the study. So it was all quite near the knuckle. And there was a big to-do about that and my parents were asked did they mind. When I did the screen test I was there with a girlfriend of mine from school, a very beautiful blonde girl, a mate of mine, a very strong personality. And she was convinced she was going to get it. But before the end of the day I was being pictured and photographed and I think and I think she sussed something was going on. That ruined a good friendship. They made up their minds pretty quickly. But I think they’d done quite a lot of auditioning." (http://michaelklingerpapers.uwe.ac.uk/hayden.htm) |
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Femmine insaziabili Year: 1969 During an underwater scene the camera operator unexpectedly and without Romina Power's knowing, pulled down the bottom part of her swimsuit. For a moment you can see her bum. Afterwards, Romina's mother went to the producer Goffredo Lombardo shouting and complaining about director Alberto De Martino. https://books.google.it/books?id=Ss2qDwAAQBAJ&pg=PA101 |
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Cuore di mamma Year: 1969 "If Mother’s Heart seemed like a slap in the face to Italian moviegoers at the time, it seems even more confrontational today, especially the scenes with Lorenza’s children. Child nudity is an instant hot button topic and Samperi presents two scenes where Massimo and Anna are romping in the buff with their privates exposed, first at their private beach and later in the bathroom. Never mind that the two kids are played by Gravina’s own children, it is still disturbing to see the two pre-teens climb into the bathtub with Lorenza and fondle her affectionately. The incestuous overtones are impossible to ignore as Massimo grabs his mother’s leg and says, “How pretty you are. You must be alone with me.” I can imagine the outrage these scenes could arouse today and yet the nudity is presented in a very matter-of-fact manner and is never salacious or exploitive." Note that the article refers to the children as Carla Gravina's real-life children, which they are not. https://cinemasojourns.com/2021/10/04/salvatore-samperis-cuore-di-mamma/ |
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Romeo and Juliet Year: 1968 Olivia Hussey and Leonard Whiting filed a lawsuit in Santa Monica Superior Court on Friday, accusing Paramount of sexually exploiting them and distributing nude images of adolescent children. Hussey was 15 at the time and Whiting was 16. According to the complaint, Zeffirelli showed them where the camera would be positioned, and assured them that no nudity would be photographed or released in the film. The suit alleges that he was being dishonest and that Whiting and Hussey were in fact filmed nude without their knowledge. “What they were told and what went on were two different things,” said Tony Marinozzi, who is a business manager for both actors. “They trusted Franco. At 16, as actors, they took his lead that he would not violate that trust they had. Franco was their friend, and frankly, at 16, what do they do? There are no options. There was no #MeToo.” According to the complaint, Hussey and Whiting have suffered mental anguish and emotional distress in the 55 years since the film’s release, and have also lost out on job opportunities. Despite their breakout performances, Hussey and Whiting had only very limited acting careers after “Romeo and Juliet.” They are seeking damages “believed to be in excess of $500 million.” https://variety.com/2023/film/news/romeo-and-juliet-child-abuse-nude-scene-lawsuit-1235477837/ January 5, 2023 ---------------------------------- The suit alleges that Zeffirelli — who died in 2019 — assured both actors that there would be no nudity in the film, and that they would wear flesh-colored undergarments in the bedroom scene. But in the final days of filming, the director allegedly implored them to perform in the nude with body makeup, “or the Picture would fail.” Olivia Hussey, talking about her nude scene: Well at the time, I don't think anybody this young in English cinema had ever done anything like that. But it was done so tastefully that it really, you know, I mean—Franco shot it towards the very end of the film, so obviously we'd been working together for months on end. We all knew each other. And when the bedroom scene actually came around, you know, he sent Mauro, the makeup gentleman, to come up to my dressing room—and he said, "Franco wants you made up from head to toe. And I said, "But why? I'm going to have a long nightgown on." And he said, "Wwelll, that's what Franco—", and I said, "Well, okay." But I went down and I said, "Franco, I've got to at least have the underwear on," and then he'd say, "You know, it's their first night of love, and they're young: nothing will be inappropriate. It will be done in the best of taste." And once he'd explained how beautiful and how touching—the beauty of it, it was that they were so inexperienced and so young, right?—that it made sense. So then, it wasn't that difficult. And then the grips at that time, all the men in the crew, you know, got to know us all, and we were the youngest people on the set. So when we did the bedroom scene, a lot of the men, when they didn't have to, you know, be lighting something, they'd stand there with their backs to us. So they didn't have to watch what was going on in the shooting, which I thought was very respectful and nice. At the time, you get caught up in the role. I don't know what the big deal was all about anyway. (http://grouchoreviews.com/interviews/229) |
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The Strange Affair Year: 1968 In a 1981 interview, Susan George recalled her love scene with Michael York. "He was nervous, but divine. So gentle, covering me up, making feel like his girlfriend for the day. In that picture I remember being less inhibited than I am now. I guess that was because I knew so very little about love scenes. And the girl I was playing was totally free. She dropped her clothes on command. It was all quite natural." https://books.google.com/books?id=m64yAAAAIBAJ&pg=PA75 |
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Die Heiden von Kummerow und ihre lustigen Streiche Year: 1967 Almost 20 children from Rügen were invited to the Babelsberg film studios at the time. The four Rüganers Jörg Resler, Karin Kaltenbach (born Heidemann), Wolfgang Hinz and Gerald Schraml were finally selected. Most of the scenes for the film, which actually takes place in the supposed West Pomeranian village of Kummerow, were shot in Vilmnitz, Resler recalls an exciting time. "After all, we received 40 marks a day for 40 days of shooting, the first earnings for the children. And there was even a surcharge for a nude scene in the film," Resler recalls, smiling. https://web.archive.org/web/20080606034108/http://www.rueganer-anzeiger.de/archiv/artikel/die-heiden-von-kummerow/ |
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