Young Lady Chatterley,” directed by Alan Roberts and released in 1977, is an erotic drama inspired by D.H. Lawrence’s controversial novel, Lady Chatterley’s Lover. The re-imagined story has been modernized with anew cast of characters.  The film centers on Cynthia Chatterley (played by Harlee McBride), the fictional niece of the famous Lady Chatterley. Cynthia is benefactor to the original Lady Chatterley’s estate, and discovers within her inheritance a diary that details the passionate affair with her gamekeeper. Inspired by her aunt’s sexual awakening, Cynthia embarks on a journey of self-discovery, indulging in her desires and exploring her own sexuality with various men around the estate.

As Cynthia delves deeper into her aunt’s experiences, she begins to mirror Lady Chatterley’s actions, engaging in affairs with men of different social classes, including her own gamekeeper, John (played by Peter Ratray). The film follows Cynthia’s transformation as she sheds her innocent demeanor and embraces a more liberated, confident version of herself. Throughout the film, Cynthia’s sexual escapades are depicted in explicit detail, which was a hallmark of the softcore erotic genre prevalent in the 1970s.

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Young Lady Chatterley was released during an era when the boundaries of sexual expression in cinema were being pushed. The erotic potential of D.H. Lawrence’s original novel, were easily adapted to the women’s liberation mentality proliferating the 1970s. Unlike the more serious and literary adaptations of Lady Chatterley’s Lover, this adaptation focuses heavily on titillation, offering a series of sensual encounters framed within a loose narrative structure.

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The film’s protagonist, Cynthia Chatterley, is portrayed as a young woman who is initially naive but quickly becomes empowered through her exploration of sexuality. Harlee McBride’s performance convincingly conveys the character’s transformation from an innocent young woman to a confident and sexually liberated individual. McBride’s portrayal is both alluring and playful, which aligns with the film’s tone, blending eroticism with a sense of fun.

The film’s erotic scenes are shot with a sense of voyeuristic intimacy, often emphasizing the beauty of the human form and the sensuality of the encounters. The film maintains a whimsical tone, never delving too deeply into the more complex psychological aspects of Lawrence’s original work. Instead, “Young Lady Chatterley” offers a more straightforward celebration of sexual exploration and personal freedom. While it may not offer the depth or seriousness of more traditional adaptations, it succeeds in its goal of providing titillation and entertainment, making it a product of its time that continues to be remembered for its sensuality.

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Gamera the Giant Monster was directed by Noriaki Yuasa, is a seminal entry in the kaiju genre. Featuring a gigantic, fire-breathing turtle that emerges from the depths of the Arctic ice to wreak havoc across Japan. This film marks the debut of Gamera, who would become one of the genre’s enduring icons.

The film opens with a chilling prologue set in the Arctic, where a Japanese expedition uncovers a massive, mysterious egg. A nuclear test gone wrong, exposes the egg to radiation. The result is Gamera, a colossal turtle-like creature with formidable powers. Gamera is capable of generating intense heat through its fiery breath, but unlike other kaiju, Gamera is a flying creature, utilizing rocket-like propulsion from its shell .

The monster’s destructive rampage can be seen as a symbol of nature’s retaliation against human hubris. The plot follows a group of scientists, military personnel, and a young boy named Toshio, who plays a crucial role in understanding and ultimately confronting Gamera. The film explores themes of humanity’s impact on nature and the consequences of nuclear experimentation, all while providing a thrilling spectacle of giant monster action.

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*Gamera the Giant Monster* is often regarded as a classic example of the kaiju genre, serving both as a nostalgic throwback and a unique entry in the monster movie pantheon.  For 1965 the height of kaiju popularity, the practical effects and suitmation, though primitive by today’s standards, were groundbreaking. The film’s depiction of Gamera, designed by the legendary special effects artist Noriaki Yuasa, exhibits a blend of creativity and innovation. Gamera’s ability to fly and breathe fire, alongside its massive scale, was a significant departure from other kaiju of the era, who typically relied solely on physical destruction and brute force.

The narrative, while straightforward, is effectively executed. It incorporates the classic elements of kaiju films, including the initial discovery of the monster, the subsequent rampage, and the eventual battle between the creature and humanity. The inclusion of the young boy, Toshio, adds an emotional core to the story, as he forms a bond with Gamera and represents the hope and innocence amidst the chaos. Unfortunately like most kaiju films, the focus is more on spectacle and less on character development. So, the film’s characterization and dialogue can feel dated and melodramatic by modern standards.

Gamera the Giant Monster remains a beloved classic in the kaiju genre, notable for its imaginative portrayal of Gamera and its blend of thrilling action with underlying themes of environmental and scientific caution. The cheesy special effects of this historical film, continue to charm audiences, and maintaining Gamera ‘s place in the annals of monster movie history.

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Vixen was released in 1968 and it’s a classic example of sexual liberation and exploration hailed among liberal Americans in 1968.  This Russ Meyer movie follows the story of a sexually liberated woman named Vixen. She is married to a Canadian bush pilot and enjoys, in his absence,  seducing men, both local and foreign. She is portrayed as a confident, independent woman who takes charge of her own sexuality and has no qualms about engaging in sexual activities with multiple partners.

The 1960s sexual revolution and women’s liberation movements were at their height in 1968 when the movie Vixen came out. The movie portrays Vixen as a sexually empowered woman, who is in control of her own body and desires. She is not portrayed as a victim or a sex object, but rather as a powerful and confident woman who enjoys her sexuality without shame.  The movie also challenges traditional gender roles and expectations. Vixen enjoys taking charge and initiating sexual activities. Her husband, Tom, is portrayed as a passive partner who is content to let Vixen take the lead. This is a departure from traditional gender roles, where the man is usually seen as the dominant partner in a sexual relationship.

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However, while “Vixen” may have been reflective of liberal Americans’ sexual attitudes, it would have been denounced and shocked conservative America.  In the 60s conservatism was still closely tied to the Church. Christian values and morality that  viewed sex as something that should be kept private and within the confines of marriage.  This was a time before female pastors and homosexual marriages and the multiple evangelist scandals. Also anyone wanting to see the movie had to go to the theater, and no self-respecting conservative at the time would dare try to see a movie deemed morally corrupt.

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The 1968 Russ Meyer movie shows the beginnings of America’s changing sexual attitudes.  The film Vixen portrays a sexually liberated woman who is in control of her own sexuality and desires. It also challenges traditional gender roles and expectations. While it would have been denounced by conservative America at it’s time due to its frank portrayal of sexual activity and nudity, audiences today would not be bothered by its content. Just keep in mind that this is an r rated film containing nudity and not for children.

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Money is easy come and easy go in Las Vegas. And Lucky gets the cash that he needs only to lose it again, after being knocked into the pool by Ann Margret’s character, swimming instructor Rusty Martin. Unable to even pay his hotel bill, Lucky starts working as a waiter, then signs up to a talent contest, hoping to try his fortune once again at getting the money for his car’s engine.

Before the contest, Lucky sets to wooing Rusty. His competition for both the girl and the Grand Prix is Ceasar Danova playing Count Elmo Mancini, driving his Ferrari 250 GT Berlinetta. Rusty falls for Lucky, but wants to make a few changes.

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Woke audiences won’t enjoy the damsel in distress portrayal of women, that was rampant during the era, but they may be appeased by the heroic portrayal of Ben by actor Daune Jones. Jones an African American, is not only the lead character, but also the voice of calm reason among a panicked population. His cool leadership is juxtaposed against cowardly and irrational white male counterparts and screaming or comatose women, who are all holed up in a Pennsylvania farmhouse fending off an increasing onslaught of un-dead cannibals.

The movie opens with Barbra, played by Judith O’Dea, and her brother Johnny making an annual drive to visit their father’s rural grave site. Barbra is freaked out by the cemetery and Johnny clowns around trying to scare her. When a pale faced man wearing a ripped suit suddenly attacks her. Johnny is killed trying to come to her defense and she runs off looking for help. She runs into the first house she finds, and discovers the home owner’s partially eaten dead body. Looking outside she sees the ghoul from the cemetery has been joined by several others and they are headed her way. Our hero Ben arrives, and starts fortifying the farmhouse, shooting zombies that get too close with a rifle he found in the home. Others arrive until there are seven refugees taking shelter in the home. Night falls and the zombie attack is held off by fire and guns.

The group is informed by radio announcements that there is a wave of mass murder across the countryside and un-dead corpses. In response, armed men are organizing into posses and sweeping the area shooting ghouls on sight. They are warned that bodies discovered should be burned to prevent reanimation and that bullets or severe bows to the head, seem to be the only other way to stop these relentless cannibals. The gov’t has set up rescue centers and a plan is made, by the disagreeable housemates to get there, but the zombies are between their safe house and escape route.

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