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1. NUDITY IN LAUREL AND HARDY MOVIES MOVIE
2. NUDITY IN LAUREL AND HARDY MOVIES FULL
3. NUDITY IN LAUREL AND HARDY MOVIES FREE

DePalma’s camera lingers a bit too long on the nude female form at most times consequently, the film’s encomium to the flesh can actually grow tiresome. Indeed, once the film reaches its second half, where the porn industry becomes a setting, as well as a plot device, the film actually slows down and becomes sluggish. Everything is artificial everything is representation.īody Double isn’t perfect. “Relax,” by Frankie Goes to Hollywood, blares over the soundtrack, sex happens, but not before DePalma depicts the film’s camera crew, reflected in a full-length mirror, shooting the show that will go out to the masses.

NUDITY IN LAUREL AND HARDY MOVIES FULL

DePalma’s boldness as a director is on full display here, as Jake wanders his way through a dance-club-themed set that will lead him to an obligatory sex scene with Griffith’s character. Later on, DePalma is bold enough to pay homage to the porn industry, as out-work-actor Jake finagles his way into a role in a porn film in order to question Melanie Griffith about her involvement in a supposed murder.

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Much like Hitchcock, the sequence is a nearly dialogue-free, flawless exercise in film form, composed of lingering, wide, tracking shots, which culminates in a mostly-clothed make-out session between Jake and his dream girl, Gloria Revel, in an access tunnel surprisingly free of people, on an L.A. We watch as the film’s main character, Jake Scully, obviously stalks the object of his obsession and desire through the Los Angeles Galleria, hoping to better understand who she is and who may be trying to kill her. Psychological quirks aside, several moments in Body Double are more than laudable in quality, presenting us with set-pieces that few directors other than DePalma could pull off.

I have no trouble admitting to more than a passing fondness for Body Double, indicative as it is of everything that makes DePalma who he is as a filmmaker: spectacular violence, spectacular nudity and fleshliness, and meticulous, drawn-out set-pieces, in which DePalma attempts to imitate his great Master, Alfred Hitchcock.Ī none-too-subtle homage to Hitchcock’s Rear Window and Vertigo, Body Double reminds us that voyeurism, no matter how well-intentioned, is a diagnosable psychological anomaly still to be found in the DSM-V, as well as an arrestable offence. If the films on this list can be said to vary in quality-we’ll get to some of the questionable entries in a bit-it seems appropriate to kick off such a list with a film by Brian DePalma, a man who has built a career on providing audiences with guilty pleasures. The “sword and sorcery” films are listed in chronological order, from the earliest (Dragonslayer) to the latest (“Conan the Destroyer”), in order to give the reader some idea of the rise and fall of the sub-genre.

NUDITY IN LAUREL AND HARDY MOVIES MOVIE

Stupid Movie Gods-they never listen.Ī brief note: None of the films on this list are numbered, or ranked, best-to-worst, in any way.

Is there anywhere else other than AMC or TBS or the Sci-Fi Channel, where “Conan the Destroyer” turns into a 2 ½ hour epic? Somehow, I end up watching these things the whole way through, feeling as if I need to go off and pray in some dark corner, promising the Movie Gods that it’ll be last time I watch one of these horrible things. Most of the films on this list can be found looping themselves in horrible blocks of time, somewhere on cable television, usually edited for the consumption of 8-year olds. All of the movies on this list have somehow woven their way into my life-my cinematic life, anyway-for good or ill. Call it the virtue of a lifetime watching movies.