Skin: A History of Nudity in the Movies

The evolution of sexuality in the cinema, where nudity is either tasteful, erotic, educational, gratuitous, or exploitative. Many historians, critics and actors are interviewed for their opinions on movies featuring their own nudity and commenting on the sex scenes of others (my favorites were Eric Roberts and Mariel Hemingway separately discussing "Star 80" and, by the end-credits, getting a bit off-track but still intriguing us). There was no innocent era for nudity on-screen; from the time Edison got a patent for the movie camera, men and women have been slipping out of their clothes. These by-gone years are the most fascinating: from the ill-fated Audrey Munson and swimmer Annette Kellerman, Hedy Lamarr in the Czech drama "Ecstasy", Mae West to Brigitte Bardot and Marilyn Monroe, the skirting of Joseph Breen's moral Code is, at once, funny and pathetic. In 1962, with the Code going out-of-fashion, nudity made a comeback (Russ Meyer's "The Immoral Mr. Teas" from 1959 was a watershed moment for permissiveness in a non-underground picture, while Antonioni's "Blow-Up" in 1966 is cited as the first movie to--fleetingly--show pubic hair). Informative and well-researched and produced, "Skin" has a great assortment of film clips and, well, lots of breasts and bums. *** from ****

Greetings again from the darkness. Actress Hedy Lamarr is still remembered today for so many reasons. Often described as the most beautiful actress of all-time, she turned down the lead roles in both GASLIGHT and CASABLANCA (both eventually went to Ingrid Bergman). Her best known role was in SAMSON AND DELILAH (1949), and she was the inspiration for both Disney's SNOW WHITE and Catwoman in the original "Batman" comics. Married and divorced six times, she's in the National Inventors Hall of Fame for being co-inventor of 'frequency hopping' technology that is still used today for cell phones. Beyond all of that, some may know Ms. Lamarr is considered to have performed the first (non-pornographic) on screen female orgasm in ECSTASY (1933). And what better way for director Danny Wolf to open his documentary chronicling nudity in movies than with the actress whose career started with such a bang?

We hear a bunch of industry folks recall the first time they saw nudity on the big screen, and some actors and actresses look back on the first time they appeared nude in a movie. For the most part, director Wolf takes us in chronological order through the various stages of film nudity, dating back as far as 1887. However, he wisely includes a prologue dealing with the present day status of power dynamics, the #MeToo movement, and, of course, the Harvey Weinstein case. There is a stunning collage of those who have been accused of improper and/or illegal behavior - the faces are familiar, but, sadly, there are too many to name. We are even informed that today, actors and actresses typically have very detailed contractual protection in regards to nudity.

The steady stream of talking heads includes perspectives from authors, casting directors, film directors, art historian, professors, film critics, and, as mentioned, actors and actresses. Before breaking into the segments divided by decades (60's, 70's, 80's, etc), we are provided a history lesson on the early years. For me, this was the most interesting chapter as it details the infamous Hays Code, the Catholic Legion of Decency (that "C" rating is pretty rough!), and the twenty year reign of Joseph Breen (the Breen Light was needed for go-ahead). There is also a brief profile of nude model Audrey Munson and her fascinating impact on statues, print, and cinema, and ultimately a tragic life spent mostly in an asylum (she died at age 104). This early segment also features the "secret" behind Chesty Morgan playing DOUBLE AGENT 73, the rise of "Monster Nudies" and "Nudie Cuties", an interview with Mamie Van Doren. It concludes with Roger Vadim's AND GOD CREATED WOMAN (1956) starring Bridget Bardot, effectively ending the Hays Code era.

As the film treks through the eras, in the 1960's we see the impact of Janet Leigh's shower scene in Hitchock's PSYCHO, and Marilyn Monroe proves nudity doesn't kill a career. This was also the time of European influence on American cinema, and 1968 began the MPAA ratings system, with Brian DePalma's GREETINGS (with Robert DeNiro) as the first Rated X movie (since edited to an R), and MIDNIGHT COWBOY becoming the first mainstream movie to carry an X rating.

Director Joe Dante talks us through much of the 1970's as porn films like DEEP THROAT changed the landscape. It's also the era where CARNAL KNOWLEDGE proved true movie stars could appear nude, and the decade that gave us LAST TANGO IN PARIS and THE LAST PICTURE SHOW. On the lower budget scale, this was peak Roger Corman time (the great Pam Grier is interviewed), the height of Drive-in movies (including cult favorite I SPIT ON YOUR GRAVE with Camille Keaton interviewed), and the notorious CALIGULA with commentary from Malcom McDowell.

Director Blake Edwards had the honor of ending the 1970's with Bo Derek as a perfect "10", and kicking off the 1980's by having Mary Poppins (his wife Julie Andrews) appear topless in S.O.B. The decade of the 80's takes some heat for serving up plenty of lame music and movies, but there were some memorable moments as well. Eric Roberts and Mariel Hemingway spend some time talking about STAR 80 and PERSONAL BEST, the latter which was the first mainstream film to feature a love scene with lesbian athletes. A highlight here is director Amy Heckerling ruminating on her classic FAST TIMES AT RIDGEMONT HIGH.

The 1990's revived the "erotic thriller" genre (BASIC INSTINCT), as well as the NC-17 rating, of which Philip Kaufman's HENRY & JUNE became the first recipient. The 1990's were also the decade of BAD LIEUTENANT, THE CRYING GAME, BOOGIE NIGHTS, SHOWGIRLS, and AMERICAN PIE (the re-birth of the teen sex comedy). So, honestly, no word can possibly describe such a diverse group of films with nudity. The decade could easily support its own documentary, much like the 1970's.

There is some insightful commentary surrounding contemporary cinema, including FIFTY SHADES OF GREY, and the inclusion of older actors and actresses in the "action". Some of the best commentary during the film comes from Diane Franklin, Sylvia Miles, an old Russ Meyer interview, Liz Goldwyn (Samuel Goldwyn Jr's daughter), Malcolm McDowell, and film critic Richard Roeper. But it's director John Cameron Mitchell who provides the most searing observation on contemporary cinema when he states (paraphrased) - today the left would say any nudity or any sex scene is exploitive. And that's the core of the debate. In this "Post-Weinstein" era, what is the "right" way to tell these stories and show these characters in a realistic manner, and yet do so in a way that isn't exploitive, or puts actors or actresses in a situation that they feel uncomfortable or will regret? Proper conduct by those in power and straight communication between all involved seems like a good start. What would Hedy have to say?

Wonderful! Surprisingly thoughtful and well-done. I actually expected this documentary to be gratuitous... nothing could have been further from that than this exceptional film!

Very surprised at how much nakedness there was before the 30s and the self censoring of the Hayes code. This documentary was full of facts and movies i never knew contained nudity there was a lot more in the Golden Age of Hollywood then i thought! I enjoyed hearing from the actresses point of view its very sad to hear how a lot of them were never told till the filming started and had very little choice in the 60s and 70s its good to see that we have moved on from doing things that ways and after the #MeToo movement things have really started to change hopefully things keep getting better

The documentary started out fine for the first hour. The documentary chronical nudity in films decade by decade. But somehow as the film gets into the 1980s and later, it isn't as good as the first half. It quickly became boring. The way I experienced the second half was as though I was listening to the Charlie Brown school teacher wah wah wah wah, insert nude scene, wah wah wah, another nude scene etc. The documentary seem to have lost its focus during the second half. Became more about titillation than information. I was relieved when the end credits came up after the 2hr+ runtime.