Pretty Baby is a film by Louis Malle and is a provocative and controversial piece of cinema that continues to spark debate decades after its release. Starring a young Brooke Shields in her breakout role, the film is set in 1917 New Orleans and tells the story of Violet, a 12-year-old girl growing up in a brothel. While the film is visually stunning and thematically rich, its subject matter—centering on the sexualization of a child—has made it a lightning rod for criticism and analysis.

Pretty Baby is a coming-of-age story, based on real events taken from the memoirs of photographer E.J Bellocq. Set in an unconventional and morally fraught environment, the content of this film is disturbing. Probably because over one hundred years later, this sort of existence persists for some. Many are even disturbed by their own speculation that Brooke Shields was similarly exploited by her very involvement in this film.  Brooke Shields’ performance as Violet is both captivating and unsettling. At just 12 years old, Shields brought a haunting maturity to the role, embodying Violet’s innocence and precociousness in equal measure.

Violet’s world is the Storyville brothel, a place where vice and survival intersect. Her mother, Hattie (played by Susan Sarandon), is a prostitute, and Violet is raised amidst the chaos and camaraderie of the women who work there. The film does not shy away from depicting the harsh realities of their lives, but it also captures moments of tenderness and resilience. Malle’s direction and the cinematography by Sven Nykvist create a lush, almost dreamlike atmosphere that contrasts sharply with the grim subject matter.

One of the most striking aspects of *Pretty Baby* is its refusal to pass judgment on its characters. The women in the brothel are portrayed with empathy and nuance, their lives shaped by circumstance rather than moral failing. Hattie, in particular, is a deeply sympathetic figure, torn between her love for Violet and her desire for a better life. Sarandon’s performance is raw and compelling, adding depth to a character who could easily have been reduced to a stereotype.

Despite its artistic merits, * Pretty Baby * remains a deeply controversial film. Critics have accused it of glamorizing child exploitation and failing to adequately address the ethical implications of its subject matter. The film’s depiction of Violet’s sexualization is undeniably troubling, and it raises important questions about the responsibilities of filmmakers when dealing with sensitive topics. While Malle’s intention may have been to critique the exploitation of young girls, the line between critique and complicity is often blurred.

What seems to bother viewers the most is not the exploitation so much as the normalization of the sexual behavior. For Violet losing her virginity isn’t the act of a horny adolescent playing grown up with her boyfriend. But rather it’s a leap from innocence to full adulthood, without a proper childhood or choices.  Pretty Baby is a film that defies easy categorization. It is at once a visually stunning period piece, a poignant character study, and a deeply unsettling exploration of morality. Brooke Shields’ performance is undeniably powerful, but it also serves as a reminder of the ethical complexities inherent in telling such a story.

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The Black Stallion is a captivating adventure that tells the extraordinary story of a young boy and a wild horse. Based on a novel by Walter Farley, the 1979 movie explores themes of friendship, survival, and the unbreakable bond between a boy and an animal. The Black Stallion is a stunningly visual cinematic masterpiece. The film, set in the 1940s has endured as one of the most touching of its time, largely due to its mesmerizing portrayal of the relationship between the eponymous stallion and the boy Alec Ramsay.

The story begins on a ship, where we first see the Beautiful Black Stallion fighting against his restraints. There is a storm, and a young boy Alec Ramsay (Kelly Reno), mesmerized by the animal’s power, goes to free the animal from it’s prison on the sinking ship. They wash up on a deserted island after the shipwreck. The Black Stallion is magnificent, a wild untamed spirit with a sleek black coat; a symbol of both freedom and power.

One of the most powerful aspects of The Black Stallion is the way it emphasizes the importance of perseverance and survival. Alec and the stallion form a bond of mutual respect, relying on each other to overcome the difficulties of their isolated situation. The emotional resonance of their relationship is brought to life through the vast and barren landscape of the island as well as the intense moments of struggle and triumph between them.

When Alec and The Black Stallion are rescued, it becomes obvious that the boy and horse share a special bond. However, Alec’s home life isn’t exactly set up to accommodate the Stallion. Finally a suitable stable is found for the horse and retired jockey Henry Dailey (Mickey Rooney) decides to teach Alec how to race with his horse. Alec, now determined to prove The Black Stallion‘s abilities, enters the horse into a race, where the young boy and the wild stallion face their ultimate test.

The scenes leading up to the race are filled with tension and anticipation. Alec’s relationship with The Black Stallion is tested in ways that force the boy to mature and take responsibility for the horse’s fate. This journey from isolation to competition illustrates the universal themes of growth, courage, and the pursuit of dreams. The bond between Alec and The Black Stallion ultimately culminates in a thrilling race sequence, showcasing not only the horse’s natural abilities but also the trust that has developed between the boy and the animal. The race is a powerful metaphor for their shared journey, symbolizing the culmination of their bond and the triumph of perseverance. The film beautifully captures the power of silent communication and the strength that can be found in shared moments of hardship and joy.

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French Postcards was released in 1979 and is a charming and introspective coming-of-age film that combines elements of romance, comedy, and drama. Directed by Michael Adams, the film explores the lives of a group of American college students who travel to Paris for a year abroad. With themes of self-discovery, love, and cultural exploration, French Postcards captures the spirit of youthful idealism while also portraying the complex realities of relationships.

The film’s narrative is structured around the relationships and personal journeys of its central characters. Among the main protagonists is an American student named Joel, who becomes infatuated with a French woman named Toni, played by the French actress Valérie Quennessen. (Summer Lovers) Toni represents both the allure of Parisian culture and the romantic ideal often sought by American tourists. At its core, French Postcards is an exploration of the tensions between expectation and reality. The American students have arrived in Paris with idealized notions of romance and adventure, but their experiences often challenge these illusions.

The film also contrasts the idealized image of Paris as a romantic city with the everyday reality of life in the French capital. While the characters are surrounded by the beauty of Parisian streets, cafes, and landmarks, they quickly realize that the city itself is not the answer to their personal dilemmas. Rather, the city becomes a backdrop for their internal struggles. The film’s tone balances light-hearted humor with moments of introspection, offering a nuanced look at the way people, particularly young people, confront their desires, fears, and aspirations.

The film’s performances are another strength, with a solid cast bringing the characters’ emotional journeys to life. Among the standout performances is Valérie Quennessen, whose portrayal of Toni brings a sense of mystery and warmth to the character. She is both an object of romantic desire and a complex individual in her own right. Although her role is central to one of the key romantic story-lines, the true heart of the film lies in the broader experiences of the group of students. Through their interactions with each other and with the city of Paris, the film explores how youth, love, and identity are intertwined, and how personal growth often occurs in unexpected ways.

While French Postcards is ultimately a film about youth and romance, it also touches on the universal themes of self-discovery and the quest for meaning. It shows how travel can open up new possibilities for growth, but also how it can highlight the uncertainties that come with trying to understand oneself and one’s place in the world. The film’s exploration of cultural differences and personal evolution remains relevant today, offering a timeless reflection on the challenges and rewards of coming-of-age experiences.

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THX 1138, was George Lucas’s 1971 debut feature film.  A pioneering work in the science fiction genre, offering a profound commentary on individuality, control, and the dehumanizing effects of a technologically advanced society. Set in a sterile, dystopian future, the film explores the consequences of a society that prioritizes order and conformity over human emotion and freedom.

Robert Duvall plays THX 1138, a citizen in a futuristic, enclosed society where emotions are suppressed through the mandatory use of drugs. The inhabitants, devoid of names, are identified by alphanumeric codes, reflecting a system that reduces individuals to mere numbers. Everything is assigned and monitored in this existence, from occupations to cohabitants, nothing is left to chance or personal preference. THX skips taking his medications and feels a growing sense of dissatisfaction and rebellion against the oppressive regime that governs his life. His relationship with LUH 3417 (Maggie McOmie) ignites a spark of emotion and desire, driving him to question the societal norms that bind him.

Watching the sterile environment in THX 1138, with it’s stark white walls, narrow corridors, closed minimalist living spaces, cold lighting and bleak clothing, the viewer can sense the characters’ emotional desolation. Exploring the themes of control and resistance, this film vividly illustrates the consequences of a society stripped of personal freedoms, where surveillance and regulation dictate every aspect of life. This aesthetic choice amplifies the film’s critique of a future dominated by technology and bureaucracy.

One of the film’s most poignant themes is the struggle for individuality. THX’s journey represents a quest for self-identity in a world that denies him the right to feel. The initial suppression of his emotions leads to a transformative awakening when he begins to experience love and desire. This evolution underscores the importance of human connection and the inherent need for emotional expression. THX’s rebellion against the system ultimately becomes a testament to the resilience of the human spirit.

*THX 1138* also serves as a cautionary tale regarding the unchecked advancement of technology. The film presents a society where automation and surveillance have reached disturbing heights, reducing human beings to mere cogs in a machine. The omnipresent droid police force, depicted as faceless, reflects the fear of a future where individual rights are subordinated to state control. Lucas’s vision resonates with contemporary concerns about privacy, data surveillance, and the ethical implications of technological progress. As AI is infiltrating so much in this modern world, now more than ever we should embrace our humanity and individuality and oppose the overwhelming push for conformity. Lucas’s film invites us to reflect on the delicate balance between progress and personal freedom, urging us to cherish the emotional connections that define our existence.

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Madame Claude, directed by Just Jaeckin, explores the life of the infamous Fernande Grudet, better known as Madame Claude. Known as the real-life queen of Paris’s underground sex industry, she rose to prominence in the 1960s and 1970s as the head of an elite escort service catering to the rich and powerful. *Madame Claude* is both a critique of the Parisian elite and an exploration of the underbelly of power and prostitution. The film follows her rise to power, maneuvering through Paris’s high society. She must maintain control over her business and her girls while navigating her relationships with powerful men, law enforcement, and the media.

Françoise Fabian plays the role with a calculated mix of elegance and emotional detachment. Madame Claude is not merely a madam running a prostitution ring; she is a powerful businesswoman who views her trade as a professional enterprise. She carefully selects and trains her call girls to meet the standards of her elite clientele, ensuring that discretion and class are maintained at all times.The film delves into her life, offering a glimpse into a world of wealth, influence, and corruption, while also portraying the vulnerabilities and complexities of its central character. Set in a time of social and political change.

*Madame Claude* addresses several significant themes, including power, sexuality, and the intersection of legality and morality. The movie examines Madame Claude and her call girls, navigate a world wilst commodified, while also finding ways to assert their own agency. Another prominent theme is the corrupting influence of power. Madame Claude’s business is deeply intertwined with political and corporate power structures, illustrating how the rich and powerful manipulate society’s rules to serve their own interests. The film also touches on the complicity of law enforcement and the media, showing how those in power turn a blind eye to corruption when it benefits them.

The tension between secrecy and exposure is central to the film. Much of Madame Claude’s power stems from her ability to keep secrets—both her own and those of her clients. However, as the film progresses, it becomes clear that the walls of secrecy are beginning to close in.  David Evans, a photojournalist, investigates the secrets of Madame Claude’s business. His growing interest in her world creates a sense of intrigue and suspense, suggesting that her glamorous empire might not be as unshakable as it seems.

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Quiet Days in Clichy is a  film directed by Jens Jørgen Thorsen, based on the semi-autobiographical novel by Henry Miller. The film chronicles the bohemian lifestyle of the 1930s in Paris, France. The movie, much like the novel is explicit and hedonistic. In fact the novel, published in 1956 was banned in the US and several other countries. “Quiet Days in Clichy” captures the essence of the bohemian lifestyle with raw honesty and a distinct European sensibility. Jens Jørgen Thorsen’s direction stays true to Henry Miller’s unapologetic exploration of sexual freedom and existential angst.

Joey (Paul Valjean), an aspiring writer, and Carl (Wayne Rodda), his Danish photographer friend, revel in the carefree and permissive atmosphere of Paris. The film’s episodic structure, characterized by a series of vignettes, mirrors the fragmented and transient nature of Joey and Carl’s lives. Joey is both charismatic and introspective, embodying the conflicted artist torn between hedonism and the pursuit of literary greatness. Carl is somewhat of an antagonist to Joey, his carefree and impulsive nature is completely unhindered, highlighting the contrast between the two friends’ approaches to life.

Their days are marked by aimless wanderings, literary discussions, and indulgence in the city’s vibrant nightlife. The film delves into their interactions with various women, exploring themes of love, lust, and the complexities of human relationships. While their lives appear to be a continuous cycle of pleasure and debauchery, underlying these experiences is a profound search for meaning and authenticity.

One of the film’s strengths is its portrayal of Paris as a character in itself. The cinematography vividly captures the city’s charm and decadence, from the bustling streets to the intimate cafes. The black-and-white aesthetic enhances the nostalgic and timeless quality of the narrative, immersing viewers in the ambiance of 1930s Paris.

Paris in the 1930s was a hub for expatriate artists and writers, providing a fertile ground for creative exploration and intellectual exchange. The city’s liberal atmosphere attracted figures like Miller, Ernest Hemingway, and F. Scott Fitzgerald, who found inspiration and camaraderie in its vibrant cultural scene. While it may not appeal to all tastes, it remains a significant cultural artifact, capturing the spirit of an era marked by artistic rebellion and sexual liberation.

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“Looking for Mr. Goodbar” is a compelling, if unsettling, film that offers a raw and unflinching look at the complexities of human desire, as well as the risks associated with sexual liberation. Diane Keaton delivers a powerhouse performance, capturing the character’s defiance, vulnerability, and ultimate tragic descent of Theresa Dunn. Theresa is a deeply relatable figure, despite her often self-destructive choices because of Keaton’s nuanced portrayal. By day a proper school teacher for the deaf, by night a “swinging single” picking up strangers in New York City‘s seedy 1970s bars. Her search for fulfillment comes as a consequence of unhealthy self image and a personal desire that conflicts with social expectations.

Richard Gere’s portrayal of Tony is equally noteworthy, as he embodies the charismatic yet dangerous allure that draws Theresa into her nocturnal world. Gere’s performance is both seductive and menacing, providing a stark contrast to Keaton’s more introspective and conflicted character. A catalyst for her double life. The supporting cast, including Tuesday Weld as Theresa’s free-spirited sister and Tom Berenger as the film’s chilling antagonist, contribute to the film’s rich tapestry of characters and themes. Weld’s performance adds a layer of complexity to the family dynamics that shape Theresa’s psyche, while Berenger’s chilling portrayal of Gary underscores the film’s themes of danger and vulnerability.

Richard Brooks’ direction of “Looking for Mr. Goodbar” is masterful, blending gritty realism with moments of surreal intensity. The film’s moody lighting and authentic depiction of 1970s New York nightlife, enhances the narrative’s sense of disorientation and emotional depth. The soundtrack, featuring a mix of disco hits and haunting melodies, further immerses the audience in the era and the protagonist’s tumultuous inner world.

“Looking for Mr. Goodbar” is not an easy film to watch. Its candid depiction of sex, violence, and existential angst challenges viewers to confront uncomfortable truths about the pursuit of identity and fulfillment in a world rife with contradictions and peril. Even today, with the boundaries of identity redefined, the liberal expression of feminine sexuality is not without it’s pitfalls. The allure of strength and aggression is undeniable as well as dangerous. The film’s ending is both shocking and inevitable, serving as a powerful commentary on the risks of living a life untethered from conventional morality and safety. The film’s climax is a harrowing depiction of Theresa’s final night out. She meets Gary (Tom Berenger), a volatile and unpredictable man, who she brings back to her apartment. The encounter turns violent, leading to a brutal and shocking conclusion that underscores the dangers inherent in her search for freedom and self-worth.

Decades after its initial release, the daring and thought provoking “Looking for Mr. Goodbar” remains relevant. It is a testament to the power of cinema to explore the darkest corners of the human experience, and Diane Keaton’s unforgettable performance ensures that Theresa Dunn’s story will linger in the minds of viewers long after the credits roll. In fact, one can imaging a just as edgy retelling of the story from a modern perspective, complete with the blurred lines of masculine and feminine roles as they are played out in ever changing complex landscape of human desire and sexuality.

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Revenge of the cheerleaders was directed by Richard Lerner. The film flips gender roles on their heads when a group of high school cheerleaders decides to try and beat the boys at their own game, making a football team of girls.

The female cast was relatively uncommon in the 70s when the damsel in distress was more typical of Hollywood productions. The cheerleaders portrayed as strong and independent women, were more than capable of taking on the local football team and their chauvinistic attitudes. The message of female empowerment was seen as a feminist anthem. But unfortunately, this low-budget production was cliche, lacking depth of characters.

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An independent film, “Revenge of the Cheerleaders” was shot in 1974, but took two years to hit the theaters. Ahead of its time, it has become somewhat of a cult classic for paving the way for other all-female comedies, such as “Legally Blonde” and “Bring It On.” And while it helped increase visibility for women in the film industry, it is also credited as giving us 70/ 80s heart-throb David Hasslehoff’s first film appearance.

What really makes Revenge of the Cheerleaders stand out is that it was made at a time when competition and sexuality were mainstream. Today, female sexuality is cloistered to the adult industry and has a price tag attached to it, with a big chunk of that going to the corporate controllers of big-tech. In the 70s, female sexuality was equated to empowerment and could be either given away with a carefree spirit or used as a weapon to entrap a foe. But most of all, it was within the control of the woman wielding it.

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Furthermore, aside from the entertainment factor of professional sports, today competition is both discouraged and vilified. The very nature of female sports which were only just beginning to become widespread in the 70s have almost been annihilated in a few short years recently. So “Revenge of the Cheerleaders” is a nostalgic quirky film appealing to fans of cheerleading and sports comedies. While not the most original or well-crafted film, it still manages to entertain and inspire, acquiring a position in the pantheon of classic cheerleading movies.

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La Luna is a film by Bertolucci and it explores the intertwining themes of addiction and obsession overlaid on familial love and commitment. The movie raises thought-provoking questions about morality, familial bonds, and the pursuit of personal freedom, touching on the subjects of incest and drug addiction.

“La Luna” tells the story of Joe Silveri, a teenage boy who finds himself uprooted and in a foreign environment after his father’s untimely death. His mother, a famous opera signer, submerges herself in her work to deal with the loss, leaving her son to find his own way. Joe loves his mother, especially when she sings but as he tries to make sense of coming of age, being an American in Rome, and finding his place in the world, he longs for something he can count on, for structure and consistency. His mother, Caterina, is absorbed by her art and in contrast to her son, she is at ease in Italy, where she learned her trade. She speaks Italian fluently and surrounded by people who love and support her, she flourishes professionally. She doesn’t even realize that she has been ignoring her son until her assistant reminds her that his birthday is the next day.

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Joe overhears that she has forgotten and becomes sullen and dismissive with his mother’s attempts to make his day special. He wanders off from his birthday party with his girlfriend and his mother goes looking for him. Her world comes crashing down when she discovers that he is shooting up heroin. Suddenly her career is unimportant and she starts to obsess over her son. Afraid to be alone, feeling like a failure as a mother, she will do anything to make things right for him. She hounds him for answers but he remains aloof, believing that she is more concerned with her reputation than him. They fight, she frets, he collapses and she calls in a doctor, who tells her what to expect when he awakes. She finds his drug supplier and learns how homesick Joe has been. She tries to payoff the dealer to stop selling his drug, but he gives her a fresh supply instead, saying that her son will be needing it.

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Incapable of tough love, Caterina practically smothers her son with everything she thinks he needs. Her obsession becomes incestuous after she alleviates some of his drug withdrawal pain by groping him. She tells Joe that he is half-Italian and continues to try to seduce him, even tries to make him jealous. But he just wants the kind of tough love he needs to overcome his addiction, and become a man. She finally lets him know where to find his biological father. Will he find the parent he seeks or throw it all away, as the spoiled adolescent he has become?

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Blue Summer, directed by Frank Perry, was overshadowed by other coming-of -age films released in 1973.  This feel-good movie really captures the care-free lifestyle and casual attitudes of the youth of the time. The film never gained widespread acclaim or a cult following because of poor marketing and for targeting a mature audience without the element of nostalgia.  Despite its intriguing premise and notable cast, there are several reasons why this might failed to achieve cult classic status.

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Perhaps too “real” for the mature audiences for which it was intended,  Blue Summer highlighted the sexual attitudes of the youth at the time, but may have alienated the more conservative older generation.  Coming of age films must either be time capsules of  personal experiences, capturing memories and nostalgia, or geared to a younger audience who dream of the liberties of making their own rules.  Blue Summer failed here because it had too much sexual content for the younger audience and was too current for the older adults.

Blue Summer tells the story of a group of teenagers who spend their summer vacation experimenting with drugs, sex, and rock and roll.  While these themes are fairly common in coming-of-age movies today, they were still considered taboo in the early 1970s, so many people missed the movie. Many people may have found the film’s depictions of drug use and promiscuity shocking or distasteful.

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Despite these factors, Blue Summer has since gained a small following of fans and enthusiasts. Many people appreciate the film’s realistic portrayal of teenage life and its willingness to tackle taboo subjects. But mostly, now it can offer some nostalgia  for the boomer generation. And in this modern era of widespread pornography, the titillating soft core film has it’s own almost romantic appeal.

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