Le Musée des Obsédés: L'erotisme dans les films d'epouvante ♀

Hors-Série edition of Belgian magazine CINE REVUE, Dossier 75, "L'erotisme dans les films d'epouvante," released in Spring 1975.
Filled with amazing images, some full page while also featuring several colour folds, focusing on nudity and eroticism in horror cinema, this one totally blew me away as a kid in the early 1980s discovering horror movies and... ahem, naked girls! Spread across several evocative chapters like 'Les Vamps de L'Effroi, 'L'Ecran des Maniaques, 'Frankenstein et le beau sexe,' 'Les Monstres Amoureux, 'Le Charme des Vampires, and 'La Volupté de la Mort,' the images are a treasure trove of discoveries. Thanks to the fabulous French magazine, 'Midi-Minuit Fantastique,' and wonderful books such as Barrie Pattison's 'The Seal of Dracula' and David Pirie's 'The Vampire Cinema' - which both led me to discovering...

Le deportate della sezione speciale SS (1976) ♀

Les Introuvables - Necrophagus (1971) ♀

Das Herz von St. Pauli (1957) ♀

Based on the novel of the same name by Eberhard von Wiese, first published in Hamburger Abendblatt, the film is a mixture of Krimi and musical elements, all the while leaning heavily towards the Heimat film, this with its nostalgic, sentimental tone and the emphasis it places on the differences between old and young and the contrast between tradition and progress.

Madeleine Tel. 13 62 11 (1958) ♀

Around the same time of the first Rialto Edgar Wallace adaptions, a stream of grittier, sleazy Krimi appeared, somewhat similar to the Noirish French Polar of the late 1950s, often featuring Jean Gabin, and, like those movies, revolving around white slave trade, prostitution and narcotics, this in a considerably realistic and grimy setting. One of the earliest ones, Madeleine Tel. 13 62 11, was a fun little 1958 Krimi revolving around call girls and inspired by the mysterious murder of real-life call girl, Rosemarie Nitribitt which shook the Federal Republic of Germany in 1957. As a result numerous filmmakers seized the moment and took up the subject of murder and prostitution in some form, including Arca Film, founded in 1953 by Gero Wecker, a production company that had already meddled in successful ‘scandalous’ films, with Liane, das Mädchen aus dem Urwald in 1956, its 1957 sequel, Liane: Die Weisse Sklavin.

Nudity in 1960s Peplum - Part 1 ♀

Whereas nudity was not uncommon in Continental Horror of the early 1960s, in such films as ‘L’Ultima Preda del Vampiro,’ ‘La Danza Macabra,’ some of the German Krimi Horrors, and the early Gothics of Jesus Franco, it wasn’t until the later 60s and the 70s that it became allmost an indispensible ingredient. Still, as it was, these fleeting bits of nudity were often only seen in French, Belgian or occassionally German releases, and this often in versions that were specifically created for these more liberal markets, as Catholic Italy and Spain under dictator Franco were considerably less open-minded on these matters. Now these elements could simply be scenes featuring nudity that could be cut, or even ‘unclothed’ scenes that were specifically shot with more liberal markets in mind. Yet, when one considers the Eurowestern and particularly Peplum, Continental 1960s subgenres that were often considered Sunday matinee material, and thus attracted a younger public, glimpses of bared anatomy were considerably more rare. Of course, these sword and sandal films were filled with gorgeous women in revealing costumes, and they were often seen bathing or found taking nude swims in the fabulous Cascate di Monte Gelato, but the nudity here was rather suggested then it was shown, obscured by the water or well-positioned branches. But, as we will see in the following article, there were occaccional surprises to be found.

The Day it Came to Earth (1977)

From the Archives of Vintage Television: Night Gallery - Lindemann's Catch (1972)

Tonight’s focus is on ‘Lindemann’s Catch,’ the opening segment of Night Gallery’s 16th episode from season 2. Night Gallery is an American anthology series that aired on NBC from 1969 to 1973, featuring stories of horror and the macabre, introduced by Twilight Zone’s Rod Serling, who was also a major script contributor.

Set in a small, 19th century New England fishing village. One fogshrouded evening, Captain Hendrick Lindemann (Stuart Whitman), a cold-hearted and weary fisherman enters the wharfside fisherman’s tavern and soon gets into a row with Abner Suggs (Harry Townes), scrounging among the villagers for a bit of spare coin in exchange for a fortune reading. After slugging the harmless old man, Lindemann return to his boat and finds his crew huddled around their mysterious catch. Tangled in their nets, is a living mermaid (lovely Annabelle Garth).