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The Girl Keeps Her Top On: Nudity in Horror

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If you’re a breast man, you may be wondering whatever happened to them and nudity in horror films?

Wasn’t that a trope in the trifecta of sustainable horror plot lines: breasts, drugs and blood? As long as the film contained all three of these things, it would surely anger evangelists and hoity toity critics alike, which eventually would bring even more publicity to the film.

Let’s make it clear that I am not a film goer who actively looks for nudity in films.

But, think about it, all through the 70’s and 80’s horror films had scripts which called for at least the supporting actress to drop her top, but nowadays actresses are keeping their cups filled through passionate acting despite the R-rating.

These days, some indie films insert the bare female form into their films, but you may agree that mainstream has forgotten that this tactic was once a box office draw.

When I was a kid, you could depend on one thing. If the voice-over at the end of the trailer growled “Rated-R” you knew two things would happen: One, there would be lots of blood and you would see at least one breast set.

The year was 1978 and American cinema was giving the genre a new name: The slasher.

Beginning with a little film called “Halloween” which finally put the genre on the mainstream map — even moreso than the cult hit and nude-less “The Texas Chainsaw Massacre” just four years previous.

The idea of getting adult ticket buyers to shell out $3.00 for a “No one under 18 admitted” film was publicity gold, and the only way to do that was show them something shocking. If that included the mammary glands of a hot young actress, well it was all good for busting through the bottom line.

The scene in Halloween (1978) was slightly gratuitous, but we all remember it, Lynda, post coitus, is waiting for her flame to retrieve a beer from the kitchen as she lays in bed filing her nails her chest exposed. She sees her boyfriend, who she thinks is pranking her underneath a bedsheet come through the door; she quips, “See anything you like?”

Such a suggestive and flirtatious phrase, but it defied a generation because the country was in the throes of the women’s rights movement and such sexuality was offensive to them, but felt rebellious to men — and they loved it.

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Lynda’s payout for her peep show resulted in her death by phone cord strangulation with breasts front-and-center. What was this saying about gender norms in the 70’s? One thing we can say for Carpenter’s opus is that it inspired a new type of woman: The smart and sexy “Final Girl.”

But sex and horror was just getting started.

Along came “Friday the 13th” (1980) which upped the ante on titular plot telling. Not only were women willingly having sex but they were also getting brutally murdered. In fact, the original Friday only briefly showed the feminine upper torso, but unlike “Halloween” the sex was realistically simulated before the killer impaled the teens.

Weirdly, in both the 2007 “Halloween” and later, the 2009 remake of “Friday the 13th” the nudity was a little more graphic.

The original Friday the 13th was a springboard for countless imitations that followed, all keeping with the three major devices: Sex, drugs and violence against women.

The trend was so ingrained, renown critic Roger Ebert and his pal Gene Siskel dedicated a whole show to the practice:

“The nudity is always gratuitous,” said Ebert. “It is put in to titillate the audience and women who dress this way or merely uncover their bodies are somehow asking for trouble and somehow deserve the trouble they get. That’s a sick idea.”

Further, female watchers were becoming a little miffed because it was only women’s breasts being gawked at, they wanted to see the male form.

Ironically one of the original castmembers of “Friday the 13th,” Kevin Bacon, would exposed his semi-erect phallus almost 20-years later in the thriller “Wild Things.” Google it, it’s out there.

For nearly a decade the slasher was strong at the box office, but one director would intervene, not once but twice in a generation.

Enter again Wes Craven, a prolific storyteller who sent the slasher into a new direction in 1984 with “A Nightmare on Elm Street,” perhaps the penultimate cap on the genre. Conversely, his first film “Last House on the Left” was a brutal rape film which held its male antagonists accountable.

“Elm Street” doesn’t have gratuitous shots of nudity or rape, settling instead for ramped-up gore.

This was the beginning of mainstream cinema keeping her bra and her audiences hooked.

Samuel Bayer’s unbearable remake of “Elm Street” kept with Craven’s nudity avoidance, taking the R-rating instead for strong bloody horror violence, disturbing images, terror and language.

As the 80’s disappeared so too did the slasher film. Rounding out the decade was “Child’s Play,” and “Pet Semetary,” with not a breast between them.

In the 90’s, horror movies had pretty much ditched the nudity and focused more on atmosphere. Wes Craven revisited the genre in 1996’s “Scream,” an homage to the slasher film, but he didn’t include any nudity, instead he left the dialogue randy and let audiences internally visualize what Rose McGowan had hidden beneath that lime green sweater.

The Motion Picture Association of America (MPAA) was on the warpath, relegating some pictures into the NC-17 dead zone causing directors to choose between language, nudity or violence.

Now we are in the decade of the modern “Final Girl,” a term of empowerment and survival. Women are no longer the objects of desire to get audiences lined up under the marquis, they are symbols of strength and free-thinking.

In 2015, the indie bomb “Muck” tried and failed to re-invigorate (many) gratuitous shots of bare breasts, but now it just seemed infantile, misogynistic and mean spirited.

The after-taste left by “Muck” was coated in the words coined by Eli Roth’s “Hostel”: “torture porn,” but it was also tinged with “rape culture” an icky combination that revealed more about the film makers and their ideas than it did about modern society.

I recently revisited the 20th Century Fox “Wrong Turn” franchise. Another series which includes bare bosom shots for at least a single scene. Again, the exposition didn’t seem artful, it seemed hurtful to the actress. I’m sure she enjoyed that paycheck.

Women are now the survivors, the redeemers and the problem solvers. Their strength comes from a place of identifiable backstories, filled with strife and empathy.

Their strength lies in the sexiest organ of them all: their brains.

Which then begs the question: if a bare woman’s chest wasn’t integral to the plot, why was it included in the film, and what does that say about the viewer?

What is it he or she expects in a horror film these days?

What say you?

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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