Barbarella

Really and truly, this could be the plot of one of the more "high-brow" types of porn. I watched this with a bunch of other girls for a class, and we could not stop laughing the entire time.

See Jane Fonda meet men from around the galaxy, and have sex with them! Dare your friends to count how many times she changes her costume!! Sparks deep philosophical discussion, like what exactly the writers were on when they wrote this. Great fun, not to be missed!

If you're looking for a quality science fantasy experience, you will probably be disappointed in BARBARELLA, which tells a typical story of an intergallactic astronaught who is sent on a mission to save a brilliant scientist from the clutches of an evil force that threatens to destroy the universe.

On her quest she finds daunting foes, unexpected comrades and twists and turns like any good superhero story should have. The only problem is that her world is made up of Christmas lights, cellophane and balsa wood, and it's all held together with scotch tape.

However what some might consider schlock entertainment, I saw it as pure camp all the way, with some hysterical situations and outrageous costumes draped over not-so-difficult-to-look-at actors (especially our babe-o-naught Ms. Fonda), and to top off the cake we have an icing of infectious music by comedic composer Charles Fox (9 to 5, Foul Play) and singer/songwriter Bob Crewe.

This is pure candy all the way so don't expect any nutrition here, but if you let it happen instead of looking for more, you may find yourself inspired to watch it again and again, when you don't feel like using any brain cells in this dimension.

If you're looking for a cult classic, they don't come much stranger than sexed-up and super-silly BARBARELLA, the peculiar tale of an intergalactic secret agent (Jane Fonda) sent to a rebel planet to find a mad scientist named Duran Duran (Milo O'Shea.) Directed by Fonda's then-husband Roger Vadim, the film is less concerned with creating a coherent storyline than it is in finding inventive ways to strip Fonda of her already skimpy outfits.

In this it is remarkably successful, and Fonda actually has both enough sex appeal and round-eyed innocence to carry the thing off, emerging as something like a Barbie doll; John Philip Law strikes a similar note as the sexy but equally innocent "angel" Pygar. The designs are 1960s psychedelic with as many Freudian twists as the film's makers can come up with, and when all is said and done you can't help but roll your eyes in amusement.

True enough, BARBARELLA was probably much more entertaining back in the days LSD, and indeed one might read the entire thing as an acid trip time machine. No one in the cast takes the film very seriously, and neither should you; when all is said and done it has all the depth of a pancake, not so much funny as merely amusing and appealing to a very high-camp sensibility. But as cult movies go, it ranks right up at the top. Give a party and show it on a double bill with FLESH GORDON! Gary F. Taylor, aka GFT, Amazon Reviewer

Barbarella (1968)

** (out of 4)

Campy sci-fi based on the French comics has Jane Fonda playing the title role, a futuristic superhero who is asked by the President of Earth to travel to a distant planet and rescue a doctor. I can understand why this film has gained a cult following over the past few decades but to me this thing is still a pretty big mess and it's somewhat shocking watching the film to day and looking back and wondering what the original producers were thinking. I mean, if you look at the "story" of this thing, it's a complete mess and it's all over the place. I'm not exactly sure what they were trying to do in regards to the story but it's a complete misfire. Not for a single second do you care about Barbarella's adventure nor do you care about anything she's doing in the film. The reason the film remains entertaining is because it's simply so strange and surreal. Visually the film is quite impressive as a bunch of pulp. The set design and costumes are certainly memorable and the now laughable special effects have a mild charm to them. What really keeps the film moving is seeing someone like Fonda doing a role like this. She's very good in the role, there's no doubt about it, as she can handle the campy moments as well as deliver on the sexuality of the character. Her nude striptease that starts the film is certainly the highlight but they needed more of these throughout. John Phillip Law isn't all that "good" in the film but there's no question that his angel character is quite memorable. Director Roger Vadim doesn't bring enough life, energy or fire to any of the scenes to really make them work and that's certainly not good when you're dealing with a film like this one. BARBARELLA certainly deserves its label as a camp classic but it's just not entertaining enough to be fully rewarding.

In the year 40,000, a stunningly attractive adventurer named Barbarella (Jane Fonda) is assigned by the President of the Republic of Earth (Claude Dauphin) to track down an evil scientist. This scientist has invented a weapon in an era of pacifism in this intergalactic society, and has disappeared into an area dubbed Tau Seti. Barbarella will have many interesting experiences, and encounter a rich variety of characters, such as winged man Pygar (John Phillip Law), a nasty but sultry villainess (Anita Pallenberg), and a sadistic Concierge (Milo O'Shea).

The opening striptease by Jane (with the opening credits moved around to help obscure her nudity) may play a pivotal part in why this is so beloved as a cult classic 50 years later. But in truth, this off the wall science fiction tale is plenty goofy, enough so that the movie does have a real sense of fun going for it. It amps up its sex appeal and its psychedelic qualities to the nth degree, and its production design (by Mario Garbuglia) and cinematography (by Claude Renoir) are first-rate. Along with amusing special effects, this results in a non-stop assortment of futuristic and exotic eye candy. Based on a best-seller by Jean-Claude Forest, the script (bearing contributions by EIGHT credited individuals) contains some endearingly literate but silly dialogue.

Jane is appealing, playing a character who is not all that heroic; she needs saving more than once, and often must rely on the help of others. Her wide-eyed innocence (and that of the likeable hunk Law) is contrasted by the lascivious qualities of the production and the delicious villainy of the characters played by Pallenberg and O'Shea. (Trivia note: a certain 80s rock band took its name from the name of O'Sheas' character.) Memorable contributions are also made by Marcel Marceau, David Hemmings (very funny as a comedy-relief revolutionary), and Ugo Tognazzi.

Complete with a catchy, groovy score and songs (by Charles Fox and Bob Crewe), and Roger Vadim (Janes' husband at the time) directs with great style.

Overall, quite engaging, although clearly not something to be taken seriously.

Seven out of 10.