Black and White and Blue Adult Cinema From the..

Чтобы посмотреть этот PDF файл с форматированием и разметкой, скачайте его и откройте на своем компьютере.
Adult Cinema from the Victorian Age to the VCR
opyright © Dave Thompson,
Published by
ecw press
Table of Contents
In Praise of the Dirty Picture House
ThatÕs Not Porn, ItÕs Psychology
To Ella.
Miss you, Princess.
And Snarkeyyowl,
By Chrissie Bentley
It is said that a stereotype is only truly offensive (and stereotypical)
if it is true. In which case, memories of a certain Adults Only thea-
ter, in a medium-sized East Coast city in the early
s, are very
en from the outside, the building stood out like a dirty nail on
ed hand, an off-white pile that was erected in the thir
architecture and had neither been
painted nor refurbished since then. Once it had been a proud and
beautiful theater, but the mainstream movies had long ago stopped
playing there.
The place never closed. Early morning, late into the evening, and
criminating we became, able within ten minutes or so of knowing
building that evening, through the never-ending week that fol-
lowed, and probably well into adulthood.
Had I ever seen an erect penis before? Never. Had I ever watched
ejaculate? Never. Staring at the screen that first afternoon, I
realized that everything Ñ every single thing Ñ I had ever read,
heard, seen or been told about sex wasnÕt simply wrong, it was
ridiculous. There was no romance here, no handholding and no eyes
laid out by Part
of Arthur Knight and Hollis AlpertÕs mammoth
serialized article
istory of Sex in Cinema
remain largely the
same today as they wer
ith but a handful of exceptions from the late
time the landscape had so shifted that stags already seemed old-
do not know the names of the filmmakers nor, for the most part, of
their stars or distributors. We do not know when or where the films
were shot. We cannot even say with any certainty precisely who they
were made for.
Inevitably, urban legend has filled in many of those gaps.
Throughout the time I spent researching and writing this book, I
in grandly disapproving tones, that my subject matter was synony-
mous with organized crime, a world in which hapless junkies,
In fact, beyond the speculations of such publications, there is no
evidence Ñ written or otherwise Ñ to suggest that organized crime
was even aware of stag films prior to the late
s. The case for
cion is harder to pr
ove or disprove, although the evidence of
oneÕs own eyes, watching the faces in the films, leads one to disagree
with it, simply by turning one of the stag filmsÕ most publicized and,
in this instance, accurate faults Ñ the actorsÕ absolute inability to
If they werenÕt taking part of their own free will, and enjoying
every minute of it, you could read it in their eyes. Every other emo-
tion, from ecstasy to impatience, from shock to shyness, is lit up like
neon sign. But one can count on two hands the number of films
fear, terror or dread can be registered. And why is that?
Because stag films were made for stag audiences Ñ loud and bois-
ous gatherings of predominantly (if not ex
ely) male view
ordinary Joes who wanted to see ordinary people having ordinary
sex. No kinky stuff, no whips and chains, no kids and no fear.
That promptly dismantles another popular misconception Ñ
degradation. In fact, the vast majority of movies Ñ certainly
American ones Ñ shot before those watershed late
This innocence is, of course, comparative. A Òdirty filmÓ Ñ that
look at those other things, there is no need to analyze why people
like to look at pictures of other people having sex.
Yes, there is a degree of avarice involved, jealousy perhaps, longing
maybe. But do those same emotions not occur when one looks at an
the day, shamelessly Òobscene.Ó They were, according to most pop-
ularly held definitions of the word, unerringly ÒpornographicÓ (or,
at least, Òflagitious,Ó the term preferred by
om the minute production began until the moment the
vie ended, they were
percent illegal. In every conceivable
ena, where the law ended, the stags began.
ndiana politician Will H. Hays was selected to oversee
the morality of the motion-picture industr
y, heading up the newly
founded Motion Picture Producers and Distributors of America Inc.
Effectively a heavily empowered watchdog, the Hays office essen-
tially spent its first eight or nine years studying both the movie
Stag films. Blue movies. Smokers. Beavers.
masks or even pulled ladiesÕ stockings over their heads. And, in one
memorable movie, the lovers Ñ a woman at her ironing board, a
trying to keep their camouflage in place, itÕs a wonder they accom-
And black socks. Why did the men in these films so rarely take
their socks off? And why were those socks so often black that their
very mention quickly became another euphemism for a sexy film?
Someone would tell you they were off to see some Òblack socks,Ó
and you knew they werenÕt talking about a baseball scandal.
The films were usually in black and white. And silent. A few
hardy entrepreneurs toyed with color and sound, but it didnÕt really
make a difference, any more than
e seldom searching for a master class in the
latest movie techniques, and half of them didnÕ
the film was even in focus. Just so long as there was plenty of wrig-
the audience was happy. More than happy Ñ it was boisterous, and
often boastful as well, because there was always one guy in the room
whoÕd done it all and was only too happy to tell everyone else about
it. Very loudly.
It was a communal experience, after all Ñ a room full of guys
stoked on alcohol and adrenaline, the air thick with smoke and
heavy with voices. Some people called the films Òsmokers,Ó because
Õs what a lot of men did while they were watching them, until
the fog was so all-pervading that the screen was barely visible.
Others called them Òstags,Ó because thatÕs where a lot of them were
shown, at the no-holds-barred, men-only parties thrown to bid
ye to a friend on the eve of his marriage.
But they could as easily have been called Òfrat filmsÓ or Òdare-date
have been known to travel under. ÒBlue movies,Ó because that color
has been associated with the loudly ribald and obnoxiously obscene
ever since it was first hijacked from the New England Puritan lex-
icon, where it contrarily denoted rigid moral and religious obser-
ÒBeaversÓ and Òcoochie reels,Ó because those words had slang
connotations that could not be mistaken. In London in the
eferred to as ÒCharlie flicks,Ó a term derived
from the same ingenious double rhyming slang that gives us the
Masterpiece Theatre
-esque insults Òa right CharlieÓ and Òa
k.Ó Charlie Smirk was a jockey who rode for the
Berkshire Hunt. Smirk rhymes with Berk, and Hunt, of course,
Whatever one chose to call them, viewing such movies was a rite
of passage, a young appr
tunity to prove to workmates
that he knew which end of a woman was up, a college boyÕs chance
and more.
bypasses the one-dimensionality of their subject matter, did stag
films. Punk was constructed around excitement, spontaneity, imme-
diacy Ñ if a song could not make its point in three minutes flat, it
was dead. Stag films had around ten minutes, but the principle was
Both were made, for the most part, by people with no more
training and expertise than they could pick up from a library book.
Punks, sniffed the serious musicians of the day, could barely play
their instruments. Stag-makers, movie buffs still insist, scarcely
knew one end of a camera from the other.
And they all reveled in a subterranean, almost subcultural outlaw
for Harlene, who promptly overdoses and dies. Mac and Rex disap-
pear to dispose of the body; Boy Wonder is left alone with MacÕs
girlfriend, Miss Cake (Jessica Harper), to contemplate the fate of the
unfinished film. The main sequences were already in the can. All
that remained to be shot were the inserts Ñ the close-ups that dis-
tinguish the suggestion of sex from the full-bloodied actuality of it.
And Miss Cake believes she can help.
wasnÕt the first movie to revolve around a stag film.
Double Face),
with Klaus Kinski, from
ears later, with Michael Caine, both based their respec-
tive her
Õ behavior around a glimpse of a familiar figure in a stag
(KinskiÕs dead wife and CaineÕs missing niece respectively). But
was Dr
eyfussÕs first motion picture since
American Graffiti
arper was still the bewitching ingenue whose startling per
e the high spot of Brian De
Phantom of the Paradise
It was also one of those rar
e Brits got to see
Neither is
characterization especially believable. For all
umors, myths and urban legends that surround the involve-
ment of ÒnameÓ persona in these unnamed epics, only one example
has ever been proven true, when B-movie legend Ed Wood turned
his hand to anonymous hardcore in the late
e wer
e no Hollywood Boy Wonders in the story of stags,
and no disgraced Griffiths showgirls, either. (Or, if there were, they
story of hardcore erotic film leaps almost unimpeded from Thomas
to Russ MeyerÕs
The Immoral Mr. Teas
The situation is changing, though. In
Association of Moving I
mage Archivists conference hosted its first
ever ÒDirty MoviesÓ panel, in front of what author and historian
Eric Schaefer described as Òa standing-room-only audience . . .
charged with a sense of both relief and excitement: relief that,
Uncensored Oral History of the Porn Film Industry
probably the
single most important account of the modern er
otic movie trade
currently in print. Stags do not even feature in the treatment, as the
authors instead trace their subjectÕs lineage no further back (or
of the erotic genr
e, the history of erotic film is told through the story
of the mainstream studios, big and small, that spent cinemaÕs
There were no rewards for the stag man. Even the most obscure
experimental movie director can dream that his vision might one day
reach a larger audience, if only to shock and horrify them. Even the
tawdriest less-than-B-movie director could hope that someone
might recognize his untapped potential and pay his way to
Hollywood. But the stag-maker had no ambition beyond making his
movie and collecting his dough; had no dreams of stardom or noto-
it meant they werenÕt watching what was actually taking place on the
screen, which meant, in turn, that the movie was a failure.
tag films are the cinemaÕs folk art, if one halts that disciplineÕs
The director Marcel Pagnol once caught his
cameraman with some pornographic footage
that the latter was shooting on the sly. ÒWasnÕt
film?Ó asked Pagnol. ÒNo,Ó said the cam-
eraman, Òthe problem was creating a story to
make the sex credible.Ó
oseph Slade
eed Not B
MuteÓ (
Les Culs d
the Golden Bottom
), dissolves to
view of a countr
than the first, pours him a drink and informs him what is really on
the menu Ñ herself.
With every scene ushered in by one more in a dizzying panoply
of excruciating puns, each allying some form of physical intimacy
with a foodstuff, the cavalier samples each ÒdishÓ in turn: the
major caveat being the fact that just a fraction of this archive exists
It has been estimated that no more than
vies Ñ that is, hardcor
e erotic movies shot prior to the late

e still in existence, although that figure applies only to
the American contribution to the genre. Argentina, B
razil, Cuba,
France, Germany, Great Britain, Hungary, Mexico, the Scandina-
vian nations and Australia all possessed very active sex-film indus-
tries at one time or another, and they were simply the leading pro-
ducers. Other nations turned out smaller quantities, until it seems
unlikely that there was any developed (or developing) nation that
titiously cut out by unscrupulous hands; beer would be spilled,
frames would be scratched; simple wear and tear would take its toll.
Some prints, the lucky ones, disappeared into private collections.
Others, however, might be confiscated by the law, and then
in many filmographies, with an approximate date in the late
It was an ignominious fate for so historic a movie, but at least it
emains available. One cannot even imagine how many other stags,
equally entertaining, equally well-made, have been lost forever.
Certainly that was the fate awaiting another of the movies known
to have existed at the same time as
uls dÕOr
Also a French
The Voyeur)
was shot, according to movie
historian Lo Duca, a y
and one can safely pre-
e of its thrill derived from a
clandestine viewing of another coupleÕs less-than-surreptitious love-
making Ñ in a park, perhaps, or some similar public space.
One is also safe to assume that, in the spirit of smoke and fire,
there were two stag movies, there were plenty more as well.
History, unfortunately, has not recorded the names of those others,
but one thing is certain: no sooner had the motion-pictur
been perfected than somebody was making motion pictures with it;
and, if nudity and sexuality were not among the very first things to
pass through the lens, then that
e arts that erotic imagery has not sensed the
possibilities that a new technology offers, long before most people
have heard of the technology itself.
The early history of the motion pictures, traced through the
endeavors of such pioneers as Eadweard Muybridge, Thomas
dison and the brothers Lumire, is alive with the potential for film
the most intimate aspects of human relations.
s, utilized a series of still cameras, each triggered a
uybridgeÕs best-
known creation, but when Edison began purchasing sequential-
action photographic plates from him in the late
ver the man
Õs researches went far beyond the trotting
ponies and gamboling wildlife that other pioneers were so keen to
From a selection of
plates, Edison discovered no less than
nudes or partial nudes Ñ
Black Maria was more than a workshop, however. It also offered
secure environment wherein the team could work without fear of
the prying eyes that might otherwise have objected to the extremes
Edison went to in search of salable subjects for his films.
Boxing, for example, was illegal in the United States at that time.
The Black Maria hosted a boxing match regardless, and the ensuing
ÒcoochieÓ was common slang for vagina), it also starred an Egyptian
Columbus Exposition in
Chicago was still the subject of condemnation and complaint, three
er performance, one observer fumed, Òis not dancing. It
and jerking of the body, such as tends to excite passion.Ó
There was a degree of truth to such denunciations. No matter
growth and popularity of the movies. According to Charles Musser,
Òthe Edison staff often filmed coochee coochee dancers.
Significantly, few of these films were ever listed in Edison cata-
logues, and then only long after their production. This suggests that
body of Edison films were circulated more or less clandestinely.Ó
But official attempts to suppress the potential evils of the motion
picture were in vain and, again in
Filmmakers across the Western world took their lead from such
movies; either that, or they dreamed up similar scenarios in their
own right, and all grew more daring as the physical boundaries of
film increased. By the turn of the century, single films of one or even
two minutes in length were commonplace and, in
lot more than they deliv
ed. For moviegoers, however, the thrill
was no less powerful because of that. Again, we must recall an age
of such innocence that tablecloths still touched the ground, so as to
cover up the furnitureÕs sinful legs, and even the lightest suggestion
of forbidden fruit was the height of daring. But that age of compar-
ative innocence was about to come to an end.
The precise chronology of the commercial
hardcore erotic film will never be pinned
actual realism, they offered little more than any of the other tricks
tures that may have been committed to film during these formative
Around the same time as producer William Selig was restaging
the Colorado landscape in the California desert for such silent clas-
ynching at Cripple Creek
The Hold-up of the Leadville
Cripple C
reek itself boasted its own aspiring moviemaker.
wed him to appro-
priate a movie camera from one of his bosses, this fast-thinking gen-
tleman Òwas friendly with some of the girls that worked on Myers
Avenue [the cityÕs notorious red-light district], and he used to film
them playing with each other. Then heÕd put on shows for the other
mine workers, who would then head for the bordellos to try and
find the girls from the films.Ó
Like so much of Cripple CreekÕs illustrious history, these films
ere lost long ago. But if one entrepreneur had the idea in that city,
then it would certainly have been shared in others. Soon erotic
In November
first municipal censorship board, expressly to stem the explosive tide
of lewdness and prurience perceived to be flooding out of the
moving picture houses.
The following year, New York mayor George McClellan dealt
with the same fears by physically closing down all of the cityÕs movie
Argentina, too, moved swiftly to the forefront of the excitement.
Growing fat on its booming meat and wheat export industry, and
benefiting from a boom in western European immigration that
raised the standard of living to unparalleled heights, Argentina
movie would be forthcoming. Even allowing for a sudden run on
one particular theme, however, the customer base was so small that
Moreck estimates no more than five prints were ever taken from any
one negative, while the time and expense involved in shuttling
movies across the oceans was such that any monopoly Argentina
might once have claimed was soon to be cut down by local,
European-based suppliers.
In Italy, though the shadow of papal disapproval hung over
almost any remotely enjoyable experience, an erotic-film industry
was in place long before the production of the countryÕs oldest sur-
Suor Vaseline (Sister Vaseline)
the genreÕs most time-honored plot devices, the Peeping Tom who
watches through a keyhole as a woman masturbates alone in her
bedroom, then enters the room to have full sex.
German journalist Kurt Tucholski, a fervent supporter of the
belief that ÒlowÓ forms of entertainment should be granted as much
coverage and appreciation as the higher arts, recalled several further
titles and plots from this period in his account written for the Berlin
The Stage
eening that T
showtime approached: ÒNo one spoke aloud. But then the wall
became white . . . [and] it began. And everybody laughed. I
the earliest stags, particularly those that dispensed with any kind of
storyline, wrapped up within two or three minutes.
Die Frau des
Wife of the Corporal
), however, was a lot longer,
maybe as many as ten minutes and, judging from
description, the military mŽnage could easily have been a dry run
for the tabloid revelations of on-base wife-swapping that transfixed
the American media some forty years later.
All told, Tucholski described perhaps an hourÕs worth of ribald
entertainment, and all so ÒvicefulÓ that, once the audience had
vacated the screening room and passed into an adjoining restaurant,
it was to discover that the landlord had recruited no less than twenty
prostitutes to administer to their needs!
ucholski called the venue where the screening took place a
Jacques leaped aboard the boat and was transported to the mid-
harbor Isla Maciel, where a huge arc light hung over a large hall and
sign read Cinematogr‡fico Para Hombres Solo (Movies for Single
Men). Policemen stood at the door, searching the patrons as they
entered the building, confiscating knives, knuckle dusters and
weaponry, and then the films began, a kaleidoscope of intercourse,
fellatio, sodomy, coprophilia and lesbianism Ñ and all displayed,
Jacques realized, to drum up customers for the brothel next door.
Interestingly, Jacques declared all the films to be of German origin.
Jacques was not the only future literary figure to experience the
joys of Barracas, as playwright Eugene OÕNeill revealed in spring
ast for Car
wenty-six at the time, OÕN
eill had already lived a very full life.
warrant was not forthcoming. This industry, which has sprung into
existence within a few months, furnishes amusement at so-called
ÔstagsÕ and smokers given by private clubs or individuals to which
admission is by Ôinvitation.Õ Owing to the fact that the[se] invita-
tions . . . were limited to a select list, the police were powerless to
while the last one could sit there till doomsday for all the good it
The first golden age of European stag films
with the outbreak of the
eat War. One by one, as more nations
were drawn into the conflict, and more and
more young men were lured onto the vast
killing fields of the western front, so all
attempts to echo normal, prewar life and
eation slipped away.
cross the ocean, of course, life continued as before. The United
urope consumed itself, and
brightly stepped into any business breaches that the continentÕs pre-
occupation had suddenly rendered vacant.
It is, therefore, no coincidence that what is generally regarded as
the oldest American stag movie in existence,
ree Ride
dated (by the Kinsey I
less than a year after the cam-
erlin, Paris, London and Budapest. American
businessmen had already assumed EuropeÕs prewar preeminence in
such disparate worlds as fashion, confectionary and legitimate film.
Why not dirty movies as well?
In fact, this scenario is extremely misleading. Although European
imports certainly constituted a sizable proportion of the films avail-
able in the States, America was no slower in both manufacturing and
Wise Guy; photographed by Will B. Hard; titles by Will SheÓ),
through to the action itself.
It is this professionalism that led Buffalo State University pro-
fessor Frank A. Hoffman to point out that Òthe relative smoothness
of production shows clearly that experiments in the genre must have
been carried out for some years before that time.Ó
It also gave rise to some remarkably inventive theories regarding
the filmÕs origin, including one that describes it (Òunfairly,Ó writes
Brownlow) as one of D.W. GriffithÕs early works. It isnÕt, although
the notion is extraordinarily entertaining. From
The Birth of a
early erotic film insists that the actors were drawn from the lowest
end of the social spectrum Ñ the homeless, the mentally ill, drug
For a smooth-talking operator looking to cast his latest erotic
opus, it might take nothing more than a few calming words, a few
more of encouragement, a couple of drinks and a handful of lies (ÒI
know for a fact that the guys over at
love my workÓ), and heÕd
innocent. However, the rise of the American stag film did coincide
women for immoral purposes. Over the next five years, virtually
every state in the union had passed laws expressly aimed at pro-
hibiting the keeping of brothels, or otherwise profiting from the
earnings of prostitutes.
One of the first casualties of this new wind was also among the
most famous. ChicagoÕs Custom House Levee had, after all, enter-
tained thousands of visitors during the six-month WorldÕs Fair in
ccording to the reformist W.T. Stead, author of the tract
Christ Came to Chicago
this one district was home to no few
ty-six saloons, thirty-seven brothels, eleven pawnbrokers and an
opium den. For many years, the area was so lawless that the police
did not even enter it. By the end of
wever, all had been
ther, equally renowned neighborhoods fell in its wake: BostonÕs
Company, the industryÕs first concerted attempt to prove that it
could be trusted not to corrupt the American people.
It was also a supremely self-serving cartel. The
controlled every aspect of the filmmaking business, from the patents
applied to the necessary equipment, through the usages to which
that equipment could be put, and on to the venues in which it could
be utilized. Furthermore, it allowed non-members less than two
months, until the end of January
ainfully aware of the
direction in which the political winds were blowing, what choice
did they have? Many smaller operators, however, opted not to heed
masterÕs voice. Foreshadowing the controversies that rage
whose very name was synonymous with the silver screen.
The areaÕs population soared accordingly. In
ollywood, religiously devout midwesterners for the
most part. B
the population had soared to o
God scarcely got a look in any longer
Many of the young women arrested for soliciting and prostitu-
their profession, proclaimed themselves actresses. Their logic was
impeccable. Even the dimmest cop would have known that far more
young women aspired to the silver screen than could ever actually fit
If the closure of the brothels gifted enterprising filmmakers with
ready influx of willing, adventurous and well-experienced talent, it
also presented them with a serious problem. As already noted, the
uption than any comparable piece of legislation in American
for waiting patrons was universally taken for granted. Prohibition
brothels were among the leading sources for good quality illicit
alcohol. Indeed, many madames later reported that they made more
money from selling booze during the Prohibition era than from
their main line of business. And the police knew it.
Movies could still be screened in private, rented out to trusted
citizens or shown after-hours in courageous theaters. The bordello-
centric freedoms that exhibitors had once enjoyed, however, seemed
upted out of the showrooms to convey the ultimate status symbol
short of a phenomenon. One contemporary observer even compared
The Greek
Cheater (Part O
But wherefore part two?)
w operators even labeled their films, as a precaution
against accidental discovery, and one could, if so inclined, now
argue that the development of the stag movie was curtailed by the
very men who ensured its popularity. But given the excesses to
which erotic cinema traveled, once longer vistas were readily avail-
able, it might be more accurate to say the limitations ensured the
stagÕs purity. If you only have ten minutes of film, youÕre less likely
Ingenuity was key to a successful road show. Several sources tell
of enterprising projectionists who, at the end of the evening, would
would be interested in making a film of their own. All they needed
On occasion without number, the revelers gathered for a so-called
stag night would be regaled, not with the latest in all-action, all-
natives; that is, nonstop glamour and striptease reels; shorts
extolling the benefits of exercise and nudism; officially sponsored
health films; military warnings on the dangers of venereal disease;
and the like. One disgruntled customer even recalls attending a
screening where the opening film was
The Story of Menstruation
y Walt Disney and the
personal products industr
Õs schoolgirls.
Not all these substitutes were necessarily a disappointment.
Artistic modeling films, for example, were notoriously revealing,
en within the confines of the law. Seldom exceeding two to three
minutes in length, they comprised lingering vistas of one or more
Others would simply collect their fee ahead of time and then never
show up.
Such iniquities were not confined to the erotic trade, just as stags
not the only movies being road shown at the time. Many film-
makers, finding themselves unable (or unwilling) to break into the
established cabal of movie distributors, chose instead to circumvent
the financial and cultural inhibitions that dominated the ÒofficialÓ
circuit and take their films on the road themselves. And road
showing itself was not necessarily a disreputable occupation.
Keyhole Portraits
be purchased or obtained, or . . . manufacture, draw, or print, or in
any wise make any of such articles.Ó Penalties for contravening these
However, he sought not only justice (as he declared the suppression
of vice to be). He also sought publicity for his cause, and proof that
having ascertained that the bedroom in which they were found was
indeed StanleyÕs, the bookmaking was forgotten and he was charged
Stanley launched a series of appeals, a long and laborious process
that finally wound up in the Supreme Court in April
the court transcripts noted, Ò
the requirement that warrants shall
particularly describe the things to be seized makes general searches
under them impossible and prevents the seizure of one thing under
warrant describing another. The agents were acting within the
authority of the warrant when they proceeded to the appellantÕs
upstairs bedroom and pulled open the drawers of his desk. But
when they found . . . not gambling material, but moving picture
them no authority to seize the films.Ó
More importantly, however, the justices declared that the Òmere
for such a drastic invasion of personal liberties guaranteed by the
First and Fourteenth Amendments. Whatever may be the justifica-
tions for other statutes regulating obscenity, we do not think they
reach into the privacy of oneÕs own home. If the First Amendment
means anything, it means that a State has no business telling a man,
sitting alone in his own house, what books he may read or what
films he may watch. Our whole constitutional heritage rebels at the
thought of giving government the power to control menÕs minds.Ó
What the ruling did not address was what actually constituted
That remained the decision of the individual states. But
modern state of affairs, where the obscenity laws tend (with certain
exceptions) to end once you close your own front door, had finally
In many ways StanleyÕs case was an anomaly. Private possession
of obscene material was seldom pursued into the courts, the author-
ities sensibly understanding that it was the makers, not the viewers,
of obscene matter that posed the greatest threat to their own vision
of puritanical utopia. Many mor
obscenity charges were leveled
only because the opportunities for printed matter to stray into the
wrong hands were far greater, but because the Òguilty menÓ were fre-
Stag audiences could be rounded up as often as the local police
department deemed necessary. But they were often all that would be
caught. The road-show operators would have run the moment the
first nightstick came through the door and, although the police
would promptly impound any film equipment he might have left
behind, there would be little hard evidence to be garnered from that,
although an almost-certainly apocryphal tale does credit one rural
police chief with issuing an arrest warrant for the actors Dick Hard
and Lotte Jizz, names he noted at the end of one particular stag.
Likewise, the entrepreneurs who warehoused stag films were fre-
Prostitutes and publishers, photographers and procurers, back-
Maryland, received information that there was a screening of stag
movies taking place in the heart of their jurisdiction. They rushed
to round up the miscreants, but were surely shocked to find them-
selves raiding a local branch of the American Legion, an organiza-
tion that traditionally campaigned vigorously for tighter moral stan-
dards. Fortuitously, they had also forgotten to secure a search war-
rant, and the case against the Legionnaires was dismissed.
No less than GilmoreÕs anecdote, this particular incident proved
While the United States was throwing legis-
lation hard and fast at the perceived tidal
wave of filth that was threatening to engulf
the country, other nations were seeking their
own ways of repairing the moral fiber of
obscenity, albeit marred by some very peculiar dichotomies.
It was now no longer an offense for full nudity (or Òbeauty
particularly brutal and degrading form of white slave trade lived
on, preying on runaways and immigrants. At the other end of the
social scale, however,
lesmaisons closes
closed houses,Ó werenÕt
only legal, they wer
e among the most opulent and luxurious venues
in France, palatial, civilized establishments that many visitors,
French and foreign alike, regarded as the ultimate symbol of Gallic
Such venues as Le Chabanais (in Victorian times, a favored haunt
for both the future King Edward VII of England and the Belgian
King Leopold), Le Sphinx, Chez Suzy and The One Two Two were
spoken of in the same tones of reverence and awe as the Opera House
NathanÕs films were seldom less than ambitious. He prided him-
same poses as the figures in the painting, the woman in her loverÕs
arms, as they prepare to tumble onto a bed. The question that has
exercised generations of subsequent art lovers as they gaze upon the
canvas was Ñ what happened next?
Sadly, as it transpires, not much. According to Nathan, the
couple are suddenly disturbed by the womanÕs elderly husband.
While her lover scrambles out of sight, she somehow convinces her
suspicious spouse that sheÕs feeling unwell and would prefer to be
from the stylistic nuances of their known peers. One popular theme
them the offer that the viewer has probably been expecting for the
past five minutes. They can both have him Ñ and they do, which
turns out to have been their intention all along.
Hotel dÕnudiste
Nudist Bar
. Two young women enter a hotel
bar, order drinks and then commence car
essing one another. The
barman affects to ignore them, until he realizes one of them is sud-
synonymous), at least not exclusively. Rather, pornography emerged
into European culture during the sixteenth century as a literary
mographies note merely as ÒLatin.Ó
One very likely candidate, however, is
El Satario
The Devil
offering a case study of how difficult it can be to precisely date a stag
Claiming it to date from Argentina, cir
e proclaimed
l Satario
today, although none hav
w they arrived at
ed by a donkey; a priest being
blown by a saint . . . these were images that stepped beyond the tra-
ditional values of blasphemy and into the realms of revelation Ñ the
revelation, that is, that the priests and nuns who preached celibacy
and more, and who formed such a disapproving barrier against any
possibility of their flock enjoying sex, were themselves going at it
like rabbits and having a wonderful time.
Perhaps the most heavy-handed, but unquestionably effective,
commentary upon the papal rape of Mexico was delivered by
The filmÕs opening scenes, of a young couple having sex,
Germany tolerated its erotic film industry,
France encouraged it, and Mexico politi-
cized it. Other countries simply swept the
Illinois, was dominated by Jake Guzik, the son of Al CaponeÕs
former bagman. Guzik Junior regularly commuted to Phoenix,
Arizona, to shoot Òwild sex orgies . . . obscene soirees where every
If the evil tentacles of the Mob were not pulling the strings of
Ironically, it was precisely the same freedoms and prosperity that the
reformers insisted were at risk from the onslaught of filth. The Great
Depression might have laid waste to great swaths of the nationÕs for-
tune and confidence but, before it hit, the United States was in the
thrall of the New Economic Prosperity, emerging triumphant from
the trenches of the Great War to assuredly take her place at the fore-
front of the world.
From the flappers dancing the night away in the most chic hotels
such shameless behavior, to Charles LindberghÕs epic transatlantic
the birth of jazz music to the property boom that changed the face
of Florida, the boundless promise that America had always r
sented to the world was about to come to fruition.
Consumerism was king. In less than twenty years, the ultimate
The advantages offered by these new cameras were manifold.
The dangers inherent in the old style nitrate-based film stock were
Sex was as crucial an element in this newfound freedom as any
other attainment. ÒShe will tell you where you stand in her catalog,Ó
ex-Flapper continued, Òand, if she wants you badly enough, she will
come out in the open and work for you with the same fresh and vig-
orous air that you would work to win her.Ó
One of the keenest observers of the flapper phenomenon was
Eleanor Rowland Wembridge, a contributor to
ofit, non-partisan
bright young thing decides to become an artistÕs model, answering
an ad in the local newspaper. Much demur giggling ensues as she
strips to pose, and even more follows once the artist lays his paint-
brush down.
Tapping into the stagsÕ tradition for coarse humor, meanwhile,
The Pick-Up
y asking if ÒyouÕve heard about the girl
our story is about that girl. . . .Ó Shot in the hills above L.A., the film
established by the end of the
s. ÒThe topics do not vary,Ó com-
plained Ado Kyr
ou. ÒOne can find whole series of films employing
the same plot. There is the theme of the convent gardener, on whom
the nuns vent themselves; that of the highwayman who attacks and
violates a solitary woman; that of the lavender fields which call a
appear happy to indulge the handsome housebreaker who disturbed
them in the night Ñ indeed, they totally exhaust the poor chap.
Which, of course, is when they call the police and have him hauled
HycockÕs Dancing School
sees the most fashionable new dance crazes
executed both naked and as lew
dly as possible. A decade later, as
Coffee, Tea or Cum
explored the erotic possibilities of Melvin J. AndersonÕs recently
xercise Machine.
Newlyweds were an obvious source of inspiration. From the late
Honeymoon Cottage
words ÒMike Hunt sent meÓ (say it quickly). Shot in what looks
very much like a genuine dental surgery, the
Slow Fire Dentist
awakens a gassed patient by massaging her vagina, while a caption
a new way to r
evive them.Ó And
The Hot Hotel
any seen on screen before.
turbating man and a greedy-eyed flapper, for example) that they
beggar belief. The best-known of all such efforts, however, are those
whose very existence might well be apocryphal. Certainly they have
never been seen by anything remotely approaching a reliable source.
Popeye fandom, for example, has long murmured of the exis-
tence of a stag-style sailor-man reel, which was allegedly created by
employees of the real PopeyeÕs own creators, the Fleischer Studio in
New York. Why they did it can only be surmised, as can the reason
why they then chose to screen the movie for their bosses, Dave and
Max Fleischer.
well-worn legend insists that all concerned were first fired and
then prosecuted for the unauthorized use of company materials and
The veracity of this tale is tested, however, by its simi-
larities to the almost identical tale of Walt DisneyÕs most unexpected
of the purchaser. If he looked like he could afford the higher price,
thatÕs what he was charged.
Neither could they be described as a rough and ready substitute
for any other commodity that had been forced out of business by
the prevalent economic climate. Rudely drawn but lasciviously
In later years, makers of stags would echo several themes
broached by the Bible writers, and it is not unusual today to find
animated stags described as Bible-like in their own right. The afore-
mentioned apocrypha notwithstanding, however, few stepped fur-
ther beyond the realm of make-believe than to hijack another of the
BiblesÕ favorite themes, readily recognizable parodies of other
Sunday FunniesÐstyle cartoon characters. Among these, the greatest
is surely
Sex-Capade Thru Comic Land
t that (re-) intro-
ers to LilÕ Abnormal, Rick Dacy, Darn OlÕ Duck and a
Dogwood who delights, of course, in doing it doggy style.
In this particular universe, a philandering Popeye and a mastur-
bating Minnie Mouse would not have raised an eyebrow.
The United StatesÕ most notorious single
reserved for both real and cinematic sex sessions.
For all Kansas CityÕs countrywide renown, however, the films on
show here would have been local productions, unseen beyond the
immediate environs. With the exception of material emanating from
such much-traveled hubs as L.A. and New York, a movie made in
one locale rarely traveled far, unless an operator relocated to another
children and great-grandchildren to dote on. And that, it transpired,
was why she didnÕt want to talk about her moviemaking. Not one of
ever, $
was an enormous amount of money, Òmore than I earned
in I donÕt kno
w how long at work. Plus, I also got the impression
from Sidney that the request was not one that he was happy about
Sidney was on board, he was earning a fortune from them, all tax-
free, no questions asked.Ó
Sidney shared his largesse. ÒI was still living at home with my
worrying about angles. . . . The next film we made, he had a whole
you have to remember that the camera is your audienceÕs eyes, but
theyÕre not only watching you, theyÕre watching everything that
youÕre doing. So you want to make sure they can see what you want
them to. This might sound very conceited, but you also want to see
what you look like from different angles, or doing different things.
goodbye. ÒHe was very diplomatic,Ó Joan remembered. ÒHe always
congratulated people on their performance, even if theyÕd been
do believe, if anybody ever tried anything on Ñ making threats or
whatever Ñ SidneyÕs partners would soon have changed their
minds. Plus, you have to remember what they were complaining
ments and positions, or any of the hundred other minor nuisances
of Riley! If anyone was being degraded or exploited, it was the men
who paid money to see the films. I donÕt know how much rentals
were, but I know they werenÕt cheap Ñ plus thereÕd be the cost of
the hall, or wherever it was being shown, and everything else. And
Home-movie-making equipment con-
tinued taking tremendous strides through-
s. But
brought the most
How many fantasies open with such a sentence? How many hot
Scenarios built around gambling were popular. Bouts of strip
poker were a regular launching pad for all manner of unclothed
The day-to-day business of living, too, featured heavily.O
especially true-to-life drama, aptly titled
eaming ro
w that sent both to bed in separate rooms. Neither of
struck a chord with most middle-aged
than worship on his mind (although the mask heÕs wearing should
have tipped her off), but she peels off her Sunday best as enthusias-
ignore, she winds up on her knees regardless.
One emergent lifestyle that does not appear to have appealed to
Seeing what is going on, he steals the girlsÕ clothes and rows back
to the yacht, leaving the girls marooned. He will rescue them, he
says, only if they promise to do everything he asks of them. Of
course they agree, but even as one of their number is submitting to
his attentions, the others are plotting mutiny. And when he comes
above deck to collect his next victim, they pounce, tossing him over-
board and sailing away Ñ proof that, no matter how inviting they
might look, you shouldnÕt mess with nudists. Consequently, very
few stags do.
Viewers of modern erotic movies are well aware that the industry
is built around certain visual principles, without which the film
might as well be scrapped before it is even processed. But there were
such conventions in the past.
Without entering into a debate regarding the makeup (both
physical and emotional) of the modern Òporn star
vintage counterpart, still there is a studied, even stony indifference
to the twenty-first-century cast that was not present before: the
sense that the actors truly are
ery facial expression
rect level of desire, lust and hunger.
Particularly during the years when even ÒprofessionalÓ stag-
makers were essentially amateurs Ñ that is, any time before the
industry began considering itself an industry, during the late
mainstream media discovered the cult of wife-swapping during the
the woman may with advantage take the more active part . . . and
herself, most successfully give Ñ instead of receiving Ñ the genital
Sex was a voyage of discovery, then, for even the most promis-

Hillbillies Frolic
standing, just two stags stand out as indicative of the genr
Õs opinion
of birth control.
novelty condom, with a gently spiked tip, causes some merri-
and harmonic beauty beforehand, she suddenly pauses for a split
second, frozen in mid-movement. Her eyes bulge comically in sur-
prise, and then she reels around as sperm cascades out of her mouth.
Words are exchanged; she is clearly requesting some warning for
that is true in most every other cinematic endeavor. Once the
ÒactionÓ starts, however, the actors are limited only by their own
imaginations, the demands of whoever may be ÒdirectingÓ the film
and the limitations of the camera itself.
The hand-cranked clockwork cameras with which the vast
majority of amateur productions were shot were capable of filming
around thirty seconds of continuous action before the built-in gov-
ernor stopped the camera, as it began to slow down. It would then
need to be rewound before filming could recommence. (One can
identify these breaks in a movieÕs production by the appearance of a
sudden lighter, flash-like, frame.)
wed the moviemaker to reposition his or her cast without the
Of all the resources that the curious researcher can bring to bear
the most useful allies. No less than firmly situating a stag film in its
geographical context, it is next to impossible to place more than a
handful in any kind of chronological sequence.
Occasionally, of course, the movie will flag its place in history.
sumably that morningÕs newspaper, with its front page consumed by
the tragic collision of two aircraft, a DC
and a Super
ver the N
ew York borough of Queens on December
e such obvious clues, however, and the researcher is often
sonage than President RooseveltÕs daughter Alice was asked to leave
it doesnÕt illuminate!).
noted a steady increase in these figures as time passed, still the
percent was little more than double the number of
theless abound. Mirroring
Stiff Game
Õs all-male
ark Avenue
mixed-race lesbian scene (ÒNo depr
ession here!Ó chortles a caption.
stag milieuwere fellatio and irrumation (the two terms are not syn-
onymous). Thirty-seven percent of stags dated to the
ose toward
percent on either side of World War II, then continued climbing to
percent during the
percent in the

percent since that time.
ce then complains that Òcunnilingus occurs in only
both the makers and the cast of the stags were responding to
that initially startles for the ease with which it crosses the generation
gap, a true spring-autumn affair.
The movie opens with an elderly male servant coming across
some lewd playing cards in his female employerÕs bureau. He is also
much taken by the texture and scent of her underwear and has just
started masturbating when the lady of the house and one of her girl-
friends walk in. One assumes he will be disciplined; instead, the two
If Theodore Van de Velde can be credited
behavior, he can likewise stand accused of
dismissing certain others.
Many cultures regard human (and other
creaturesÕ) urine as an aphrodisiac Ñ in
Indian Express
this ver
eva Sangh naturopathy hospital in
urgapura. W
s, many people in the United S
shared a similar belief (or
rophilia was already a familiar image in erotic photography
Miss Park Avenue Takes Her Bath
introduced it to the world of
ving pictures. H
aving been interrupted during her bath by the
arrival of her classics teacher (there is no explanation why he, too,
Miss Park Avenue
Takes a Bath
away, however, he instead urinates over Miss Park AvenueÕs breasts,
an action heralded by a caption announcing ÒThe Golden Shower.Ó
(This now-common term might actually have been of the film-
makerÕs own creation; first popularized in gay circles, the expression
is otherwise unrecorded prior to the postÐWorld War II era.)
Likewise dating from the early
The FarmerÕs Daughter
finds its heroine seducing a hired hand after urinating into a pail
Stiff Game
Even mor
e extreme was
The Passionate Farmhand
movie that
bathtub and urinating over her, although only as the final act in a
seriously weird sequence of events; he has, by this time, already
inserted candles into both her vagina and anus, which he then pro-
that a caption describes as Òthe old
candle trick but in a modernized way called flaming youth.Ó There
is also a scene of her wiping his ass before inserting her tongue
(accompanied by the caption, ÒYou must have had spinach for
dinnerÓ). The fact that he saved the urine till last, however, indicates
that audiences, as well as Rufus, clearly viewed it as a fitting climax
to the earlier debauchery.
Within a few short years, however, urophilia was a dying delight,
an assassination that can be placed firmly at Van de VeldeÕs door.
deal Marriage: Its P
one hindrances to suc-
t would be misleading to portray
Ideal Marriage
toÓ guide for the aspiring stagmaker
cannot be overlooked. Anal sex was utterly ignored by Van de Velde
and, correspondingly, the act rarely appears in period American
stags. Indeed, on the few occasions when it does, the angles are usu-
ally such that it is difficult to be certain exactly what is taking place.
erhaps predictably, given the filmÕs head-on assault upon all
boundaries of sexual taste and convention, the act is implied during
the latter part of
Miss Park Avenue Takes Her Bath
via the captions that both herald the scene (ÒHe asses her [a] ques-
tionÓ) and conclude it (ÒSheÕs a three-way girlÓ). It is also shown in
Strictly Union
No matter what profession they might ordinarily ply, underem-
ployed prostitutes or unemployed actresses, part-time dancer or full-
time housewife, the females in the majority of stag films, particularly
those dating from the
e, are the girl, the woman and,
guy who works in the store down the road, the delivery boy who
youÕve never really noticed, the butcher, the baker, the candlestick-
maker. They are Everyman, and every man can identify with them,
while at the same time reveling in the pure escapism of sexual fantasy.
Sandy Brody, described by
ManÕs World
Braker] S
, recalled the erotic film trade of the late
s: ÒHiring . . . wasn
Õt har
d. John advertised for them in local trade
papers and he got all the girls he could use. Very few women who
ed the ads turned down the money
And John was very fair. He
gave any woman who showed up at least some work, even if she were
aging and not particularly attractive. ÔIn this business,Õ he said, ÔthereÕs
no limit to the number of different tastes. We have customers who
prefer seeing the old bags to seeing beautiful young girls.ÕÓ
Of course, realism can be taken too far.
Viewers of writer Steven MoffatÕs British television comedy
original, not the appalling remake misguidedly unveiled
will doubtless remember the episode that concerned itself
ent reason. The episode was called, with per-

ÒHow to Make It as a Male Porn Star,Ó an anonymous Q&A
sequence within Jenna JamesonÕs
How to Make Love Like a Porn Star,
features Òone of pornÕs leading menÓ confessing, ÒItÕs tough when
come,Õ and the director yells, ÔHold that motherfucker out,Õ and the
guys with the camera are trying to focus. Some come shots youÕve
seen are always out of focus and fucked up Ñ thatÕs because the guy
said, ÔI canÕt hold it.ÕÓ
In the days when there was no cutting-room floor upon which to
their job as best they could, camouflaging the incident wherever
Taking its lead from the massive success of the
e vehicle
Grand Hotel
The Girls from Apartment
introduces Òtwo girls, who are fugitives from the Grand Hotel,Ó
inviting a couple of men to their apartment for a par
e are told, Òin peppy form,Ó Mike and Ike Òbelow the
would if Mike (or Ike) hadnÕt just been paid a visit by the Melty Man,
misfortune that leaves his female partner with little to do but flop
the flaccid organ in the air, presumably until the director calls for
He nuzzles her nipples. She rolls her eyes heavenward. He kneels
the absolute boredom in her eyes, the sheer ennui with which she
regards the entire affair. When the film finally runs out, itÕs not
merely the end of a movie. ItÕs a mercy killing.
Thankfully, some actors were able to make a virtue . . . even a
plot device . . . out of their nervousness, as ÒRich,Ó a frequent stag-
s, recalls: ÒOne of the very old films I
emember well was a guy laying on his back in a hospital, naked,
with a soft cock. The nurse came in and he v
animatedly showed
her his prick, almost crying and complaining that it was limp
while four could keep it up for a full day and night. The radio man
devours a handful and is, indeed, good to go, at least until the end
The strongest (and the cruelest) commentary on the subject,
however, was delivered by an early-
Ecstasy in Platinum
Õs infidelity driv
es her impotent husband to murder ...
or, at least, attempted murder. Spying on her latest liaison, he grabs
double-barrel shotgun and opens fire at close range, only to dis-
cover, ÒMy God, the gunÕs empty!Ó No surprise there, one can
imagine the wife replying.
One can both condone and condemn the stagsÕ open acknow-
same predicament, no matter how hard his partner is striving to
Where the stags are at their most successful, then, is in conveying
some sense of the sex actÕs natural realities, psychological, spiritual
and emotional Ñ areas habitually lacking from modern efforts. Few
of the men and women seen onscreen were what would today be
regarded as ÒprofessionalsÓ; fewer still were sufficiently accom-
plished as actors to mask their natural feelings from the camera. The
The United States entered World War II in
following the Japanese
arbor. And, as the atten-
tions of the country as a whole shifted, so
did the focus of American erotica.
This shift is best documented by the
wartime stag
Torchy, the Red Hot Red Head
The movie is touchingly conventional and
when many of the filmÕ
audience Ñ soldiers serving overseas Ñ
.Ó You catch their eyes uncertainly seeking out instructions, or
else they nudge one another . . . ÒHey, I think he
Õs talking to you.Ó
Even those things that should come naturally Ñ like taking off his
vest Ñ seem to require a lot more effort than it ought to, while the
is clearly less than she expected from a member of the self-appointed
shamed and demoralized Hitler picks up a nearby revolver and (with
remarkable historical precognition) shoots himself in the head.
In the same way that one views MexicoÕs post-revolution output
as political artifacts, one could argue that films such as these went
some way toward legitimizing stag films amid the culture of the
times, Òdoing their bitÓ to negate the Nazi menace, proving that
must have seen, or at least had described to them, these fresh
Herman Goering had lusted where once Cary Grant had played,
while German soldiers stood guard outside Le Chabanais. Clearly,
not only symbolized the corruption that had con-
ocious Fr
ench soul. They were also largely
responsible for it.
new phrase entered the vocabulary.
Collaboration horizontale
wise remained in business throughout the
occupation) who, under any circumstances bar rape, accepted a
German invader into her bed.
Paris councilwoman Marthe Ricard led the charge, and was
already garnering considerable support for her mission when
adame de Gaulle, the wife of the newly elected French president,
revealed her own personal dislike of FranceÕs brothel culture. That
was the end for the embattled bordellos. O
FranceÕs most beloved tourist attraction.
Prostitution did not end. Even Ricard conceded that the closures
were little more than Òa step toward abolition.Ó As occurred in
America thirty years earlier, the brothels simply shifted under-
ground and, as much as possible, carried on as before. The stag
movies that emerged from these now-straitened circumstances,
however, reflected the new, hard-line attitudes toward love and life,
just as the venues wherethey were now available were some steps
ther down the social scale from the palatial surroundings in
once view
ÒThe axis of MarseillesÐLyonÐParis is the base of these circuits in
France,Ó Ado Kyrou revealed in
Femmes Infideles
the heroine is aroused by a work by the turn-of-
the-century G
erman humorist Freiherr von Schlicht,
Perfidious Women
). The camera closes in on a handful of the
ous illustrations, before following the reader to
Un Realization de MŽzig
(French for ÒejaculationÓ),
La Femme au
The Woman in the Portrait
). Dating from around
wel offers up a v
number of other, non-sexual, and even non-cinematic, media, as a
character from a painting (in this case, a statuesque S
(including a bicycle, whose pedals power the device), at which point
Numerous other French flagellation flicks dating from this
movie shot with an exquisite eye for close-ups and
sufficient assurance on the part of the actr
ess that it is obvious sheÕs
done this kind of thing before. And so she has. This strikingly
The end of World War II in
flooded the cities of America with several
hundred thousand y
oung men versed in the
ways and wiles of European sexology, it also
unleashed a tsunami of military surplus
equipment Ñ everything from clothing
and water bottles to typewriters and tanks.
first acknowledged the usefulness of film with the
establishment of a special department within the Signal Corps in
and, by the outbreak of World War II, the service boasted three
separate facilities for film and still-photo processing, the photo-
ar College in Washington, D.C.,
and two motion-picture production facilities, in Fort Monmouth,
N.J., and Wright Field in Ohio. Photographic training took place at
the Signal Corps training center at Fort Monmouth.
The armyÕ
first four Signal Photographic Companies were
organized in
rd and
eutenant and six enlisted men,
comprising still and motion photographers, drivers and one clerk.
Two further companies, the
th, were formed during
Developing it, however, remained problematic. It was illegal for
any lab to process film stock that depicted nudity, sexual activity or
anything else that could be construed Òobscene materialÓ; anybody
dropping such film off would be promptly contacted and asked to
give permission for the prints and negatives to be destroyed (it was
also illegal for a lab to destroy a customerÕs property without their
express permission).
or many would-be filmmakers, this presented an intractable
movie of a topless Tempest Storm in
for example, there was
mm Koda-
chrome, and that was to an official K
ocessing laboratory.
But that was out of the question. ÒBells would ring,Ó Meyer later
recalled, Òlights flash, a big sign probably went on and off on the
wall winking Ôtits tits tits.ÕÓ
But there was a way around it, and one that Meyer was probably
not alone in considering: ÒThe film was delivered very personally by
sexy young French girl named Susie, who gave the Kodak lab man
to define what he meant by ÒpornographicÓ: ÒMale and female sexual
relations, abnormal or cohabiting in the nude. It was filth.Ó
American backroom studios over the next twenty years would not
have any bearing on their quality. Indeed, if the genre can ever be
said to have become either hidebound or fossilized, it was now, as
the earlier comparative handful of filmmakers was joined by a bat-
each film, at that time, was not even of academic interest. It was
enough, simply, that it would now be preserved.
Many of these plucky survivors were gathered from the discarded
stock of merchants who had, in the past, either sold or warehoused
their holdings. But, like archaeological remains that are carelessly
hauled out of their environment and disseminated, undocumented,
around the museums and collections of the world, their point of
origin has long been forgotten. In these instances, the seller was
the sexual techniques of Mom and Pop. The makersÕ own thoughts
on the subject are, nevertheless, likely to be the same. Writing in
The Moving Image
chivist Dwight Swanson documented
one such discov
ery, found within a donation to the Northeast
Over the next four years, until he was busted (on an unrelated
George reckons he produced in excess of fifty Òreal
ÕÓ movies, a run that ended only when ÒI got
greedy and tried to move into other [unspecified] things.Ó Most of
his movies were shot using the same clockwork Bell & Howell
camera with which he made the ill-fated first film; most were
printed by the same contact. The cast, however, shifted as George
introduced various friends and acquaintances to what quickly
proved a lucrative line of work.
ÒThere were four or five shops within an hourÕs drive that I could
take films to, who I knew would pay a fair amount, cash up front,
and I used to play them off against one another Ñ ÔWell, the guy
ver in Englewood said heÕd give me a hundred for it,Õ that kind of
storylines and plunge straight into the sexual action, the vast
majority of Cuban efforts offered little more than a festival of rut-
ting (and not particularly imaginative rutting at that), with their
most remarkable moments deriving from the script more often than
explosion in home-movie tech-
Kensey Report
employed in a business that calls for a great deal of travel (such as a
salesman or truck driver) ordinarily purchases
reels of film
from a distributor and sells to r
Alpert report on a subterfuge that American Customs once came
across: ÒA cardboard tube of the kind used for protecting a rolled-
photo or poster. In this case, it was the print of an illustration
from a Hans Christian Andersen fairy tale, and could be seen by
opening the end of the tube. But upon removal of the brown wrap-
ping paper, the examiner found that still another wrapping had been
tightly wound around the outside of the tube and sealed with plastic
tape. Beneath it he found a
-foot length of stag movie film
No less a personage than sexologist Alfred C. Kinsey, working
through the late
to build his eponymous instituteÕ
egularly ran afoul of these regula-
tions. Every week, the mail would bring him fresh erotic photo-
felt themselves to be under just as much pressure as the wantons and
victims that urban legend insists were forced to make the stags.
Although a few certainly shared their employerÕs exhibitionist streak,
and some went even further (Kinsey himself often insisted on taking
part in the experiments, to the exception of his chosen partnerÕs
own spouse), others agreed to be filmed having sex only because
they believed they had no alternative. The wife of one unnamed
Kinsey employee complained to an interviewer of Òthe sickening
pressureÓ she was under to have sex on film with her spouse and
other staff members: ÒI felt like my husbandÕs career at the institute
stag around the middle of the
s, courtesy of an obliging member
of the local police department.
were definitely a few movies around where you had to wonder how
observation backed up by the anonymous midwestern distributor
quoted by Knight and Alpert. Discussing
The Private Lives of the
foursome comprised of three teens and an older
The building was already engulfed in flame when the fire brigade
arrived; Jerome himself drove up soon after, and of all the posses-
sions on the premises, the ones he seemed most concerned about
were some canisters of film he claimed were related to some work
heÕd done for the government. He offered an on-the-spot reward of
to any fireman who could rescue the precious canisters. He
ved from the gutted wreckage the fol-
lowing morning was handed not to Jerome, but to the police.
Suspicious of the manÕs concern for its contents, the officers fixed up
projector and screened the film onto a wall. What they saw was
certainly sensitive, but it could have had little relationship to any
vernment project. The film showed a series of explicit sexual
encounters involving Jerome and an estimated twenty different girls,
if ever crossed in American stag films. Violence, too, was seldom
portrayed, a taboo that might seem surprising to those who would
condemn the stag as a misogynistic fantasy, but which loses that
impact when one considers the true nature of the fantasies the films
tapped into.
The whole point of stags was to portray life as their audience
believed it
udely, why resort to phys-
ical threats when what you want is already being offered on a plate?
handful of American stags do venture into threatening terri-
tory. From the late
Double Date
focuses on a house-proud
earing sunglasses and, improbably
, a fez. Heedless of her
admittedly diminishing protests, he half-strips the bed and then
shot as a dare. An anonymous correspondent, claiming familiarity
with the movieÕs creator, writes, ÒIt was the girlÕs idea to bring the
monkey suit, and the first glimpse of his penis confirms this. (From
around the same time,
The Wolfman
is constructed around a similar
two or more people having abandoned sex on camera), the genre
Show business always fascinated the makers
The Modern Magician
zeroes in on the conjuror the Great
Hokum and his attempts to impress B
londie with a succession of,
admittedly, eye-opening stunts. He compliments her on the color of
her underwear and, when she asks how he knew, he produces the
attached itself, during the
s, to the aviation trade. Utilizing genuine footage of an auto-
gyro, the dir
The Aviator
opens with a contemplation of the sights a pilot might enjoy from
ch (although most of them seem to demand that young
e in homes with glass roofs). Eventually, one particular
woman catches his eye. He lands his machine and plunges into
the uncompromisingly titled
Hunter is best remembered for her appearance as only the ninth
centerfold, in August
onroeÕs famous nude calendar pose Ñ
Õs debut issue). She also enjoyed roles in

however, each was as innocent as another. In
Casbah Slave
reaking fr
ee, she embarks upon an extravagantly teasing dance,
baring all down to the flimsiest of coverings. But that covering is
never removed.
unter also appeared in
er Girl
writhing that allows her to play up her Monr
oe resemblance to the
hilt. But her best-known short Ñ indeed, her best-known piece of
which the topless Hunter is primarily engaged in rolling an apple
through her cleavage and down her torso, and drinking from a
bottle of Coke. It is mild titillation at its most harmless. One would
like to know what kind of off-camera instruction causes her to
down her front, but the film is no more or less revealing than any
other she appeared in.
Somewhere down the historical line, however, a print emerged
that had been shaved of its opening credits Ñ those frames that
would have introduced Hunter by name and given the movie a title.
In their stead, there appeared a new title,
The Apple, the Knockers
y young Marilyn Monroe.
is unclear precisely when this switch took place. Rumors of a
Monroe stag film circulated throughout her career, continuing
Õt think it hurt her popularity at all.Ó
Indeed it did not. Even posthumously, MonroeÕs status as
AmericaÕs number one all-time sex goddess remained firmly in place,
with even crude, second-generation reproductions of her own photo
shoot passing gleefully from hand to hand. The existence of a piece
oe in the flesh, but also revealed
By the time the clip showed up in director Bill OscoÕs
where it was tastelessly inter
onroeÕs funeral, neither distributors nor viewers
doubted that it was indeed Marilyn. (A second copy of the film,
absent OscoÕs additions, but still devoid of its original captions,
moved onto the American
college and cinema circuit, distributed by
Grove Films within a collection of stags and early experimental
Hollywood Blue
was conceived as a celluloid equivalent to
Monroe stag to have surfaced over the years, although the majority
have been shot down very quickly Ñ author James Haspiel, a close
friend of MonroeÕs, correctly identified the Arline Hunter fraud very
Shortly after MonroeÕs death in
wever, rumor of her
ement in one particular stag grew so loud that her second hus-
band, Joe DiMaggio, offered $
for the original negatives and
ce, DiMaggio continued protecting MonroeÕs interests long
The film was said to date from
shortly after
Õs interest in the affair, with DiMaggio withdrawing his
own offer shortly after
The movie the
eral underground
anthologies of purported Monroe
stags) was, in fact, nothing more than the
The Kensey
shorn of an opening sequence in which ÒMarilyn
young man, armed with a very arousing questionnaire. The most
commonly circulating print, however, opens with the cast already in
Having gone some way toward undressing one another and
and fold it into a bed. The Òperverted sex actÓ follows a few minutes
later, as ÒMarilyn,Ó seemingly less than impressed by the initial
course sequence, makes her way slowly down her par
and treats him to some very enthusiastic and conclusive fellatio, an
act that one of MonroeÕs closest friends later described as both the
actressÕs favorite sexual position, as well as a key element in the
breakdown of her marriage to DiMaggio. He, apparently, consid-
ered it unnatural, and refused to indulge his wifeÕs passion.
The session ends with ÒMarilynÓ laying the now-flaccid organ
back on his thigh and then very peremptorily dressing and seeing
her visitor to the door.
The Kensey R
equently numbered b
seems incredible that the M
Swedish experts instantly pronounced the film to be the real
thing; they were even able to establish an approximate date for its
production, that sad interregnum around
espite many (and continuing) claims to the contrary
called ÒSwedish movieÓ was
investigated. Clad in
, chunkier than in her moviemaking prime and a lot
e coarsely featured, the blonde actress first poses and then plays
with a proffered electric vibrator Ñ the kind that had to be plugged
into the wall. She and her watching co-star then fall into a none-
made it onto the screen from another direction, by taking the lead
role in a series of stag movies.
Little is known about any of them. She has been credited with
appearing in the aforementioned
The Casting Couch
s heroine should dispel that particular fantasy.
Another movie allegedly involved her in a lesbian situation; another
saw her initiate and exhaust a gang bang; and another,
The Plumber
rawford with vaudeville comedian Harry
Green, a former lawyer who would go on to a small degree of cine-
Green was apparently no stranger to stag movies. He is one of
several stars (Harold Lloyd is another) credited with playing the
bespectacled dupe Anthony Browning in
ted seaside romp in which Browning, a simple soul
who still believes in mermaids and fairies,Ó persuades three sun-
, he assumes it is bashfulness that prompts them to
insist he can only have them through a hole in a fence. In fact, the
secrecy is down to the fact that they have just located a goat Ñ and
On the Beach
frequently turns up on anthologies.
The Plumber
er, has vanished from view. Indeed, beyond the obvious con-
notations of its title, we know nothing more about it, allegedly
chased every existing print in
the same time she married Douglas F
The Plumber
and insecurity, chaffing at being the butt of much slanderous gossip,
CrawfordÕs efforts won her. Jordan explained, ÒWhen [Crawford]
was trying to break into the studios, she got nowhere until several
...executives were given a private screening of her stag film. They
sat open-mouthed as they watched the woman with the slim figure
wear out a group of men. The movie became the hottest item on the
underground screening-room circuit around Hollywood and, in
order, Miss Crawford won a studio contract.Ó
similar story appears in MonroeÕs own
My Story
en Hecht shortly after her marriage to Joe DiMaggio in
but unpublished for twenty y
eafter. Crawford is not men-
tioned by name, while the content of the stag itself is diluted con-
siderably from JordanÕs description, to become an albeit Òvulgar and
suggestiveÓ two-reel nude dance. The end result, however, was the
ÒEvery movie producer or director who saw the stag film became
haunted with the nude performer,Ó Monroe recounted. ÒThey vied
for her services as if she were the only female on tap, and the only
who started all the rumors swirling in the first place.
ÒJoan was an ideal working girl, someone with a past to hide,
Thomson. ÒAnd the studio publicity people
painted that picture vivid. They spread stories that there were stag
movies in existence Ñ from hot Texas days Ñ of a very young Joan
doing unspeakable but very watchable things.Ó
CrawfordÕs denials were no more convincing than MonroeÕs to
the audience whose personal fantasies were made flesh by the sup-
posed existence of these films. Neither were those issued later in the
decade (and beyond) by supporters of those other celebrities who
supposedly supplemented their pre-Hollywood earnings with a
quick dash through the stag scene, all the more so since those
otests invariably relied on one basic truism to prove the indi-
vidualÕs innocence. As
ManÕs Exploits
magazine airily sniffed, ÒOnce
[a stag reel is] released, the members of the cast ar
Occasionally, however, a celebrity can shake off the rumors by
actually stepping out and demonstrating precisely how he or she dif-
fers from the celluloid doppelgŠnger.
ersonal Touch
themselves (or allow themselv
es to be convinced) that the movieÕs
female lead was a young Barbra Streisand. Aired in heavily censored
form by Al GoldsteinÕs New York public access
ersonal Touch
her hands around the guyÕs you-know-what. There they were: short,
stubby fingers! Definitely not mine. So all you would-be buyers,
donÕt waste your money. Actually, the idea of me in a pornographic
film is preposterous! Me, right? Who was an usher in a legitimate
theater, and hid my head so nobody would remember, after I
became famous, that I had showed them to their seats!Ó
(Interestingly, the same couple that shot
The Personal Touch
in another movie,
which has never been ascribed to
Mistaken identity is an easy trap to fall into. Viewers of adult
movie star John ÒLong Johnny WaddÓ HolmesÕ earliest stag movies,
s, were so taken by his resemblance to (appropriately)
t to Beaver
smond that both Holmes and Universal
Studios w
ere prompted to issue denials. The real Osmond, the
happily married and working for the
ab Hunter has been linked with the mid
Love Me Tender
(no relation to the Elvis Presley movie) and Kim Novak with the
The Call Girl
The Barker
oung Jayne
tedly captured going at it with a breathtak-
ingly unglamorous paramour in the mid-
ere, ho
wever, the scandal-mongers are certainly grasping at straws.
Although the womanÕs hairstyle certainly matches the future actressÕs
earliest blonde mound, her other most renowned attributes are
decidedly absent. (Mansfield makes a less contentious appearance in
drugged her and forced her to perform, at gunpoint, in a stag film
he was making in his hotel room.
It is a horrific scenario, but little of that is apparent in the movie.
Barr appears neither stoned nor scared, and her interaction with her
partner has a sparkling energy that suggests she was enjoying every
do it by choice. . . . I wasnÕt lured. I was taken, done and that was
Nevertheless, she continued reveling in her sexuality, as an
actress, stripper, dancer and nude model. Elected one of
ÒMelody enjoyed working before the hot eye of
the camera. As she applied the final touches to
her makeup, she wondered how many stag
films she had made? Fifty? Sixty? At least that
many, she decided.Ó
heila Faye,
umor and innuendo wer
sible for forging the greatest of the mythologies
that surrounded the world of stag films, the
printed page was equally liable for the wealth of misinformation,
suspicion and disdain that formed around the nuts and bolts of
His experiences, however, were not wasted. His debut novel,
They Shoot Horses, DonÕt They?
drew heavily upon autobiography,
Should Have Stayed at Home
when he followed McCoy into the world of clandestine movie-
Rough on Rats
ate eyeÓ Anthony Martin is on the
trail of some missing film reels, at the same time pursuing a relation-
Õs subject matter. ÒDeath Stalks Stag Party Girls,Ó
screamed the subtitle, while the lurid back-cover blurb only height-
ened the anticipation.ÒJerry,Ó it announced, is Òa screen actress.But
youÕve never seen her in the movies. She appears only in pictures
shown at smoky stag parties.Ó
hardest decisions were laid out in black and white. By the time the
Korean War ignited in June
tion for their sources. The shocking saga of wealthy pedophile Ivan
Jerome, for example, was employed to illustrate the depraved depths
stag producers might sink, even though JeromeÕs collec-
ate viewing only and had no corr
with the movies being made for commercial distribution.
Occasionally, however, the pulps got lucky, not only stumbling
upon a genuine exclusive, but Ñ by so doing Ñ opening up what
the neighboring suburbs where both military and civilian personnel
were living. With that expansion, there came a new informality.
ÒKey clubsÓ became popular: at the end of an evening, the assem-
middle of the room, to be drawn at random by the wives. The owner
of the selected key would become the womanÕs partner for that
evening. (A typical key party is depicted in Stanley LongÕs
Primitive London
Õs novel
and subsequent movie
The Ice Storm
entertainingly portray
Life on Mars
wife-swappingÓ was just another featur
tions with which to titillate its readership and which, having done
so, would then mov
onto the next monthÕ
This time, however, was different. No sooner had that issue hit
the newsstand than the incoming mailbag was suddenly bulging
with enthusiastic responses from
readers. Some were already
more were members of even more exclusive sex clubs, devoted to
three-, four- and even more-somes, husband- and wife-only soci-
several other period films, it also suggests that only the best-looking,
best-built and best-endowed youngsters were members of this partic-
ular club. There is not an ounce of middle-aged spread in sight.
Truer to life are those movies where the assembled cast run the
movieÕs stills photographer was a young Scotsman named John
destined to become one of the U.K.Õs most infamous
makers of stag movies.)
The Wife Swappers
swapping circle in California accepted into its ranks a
new r
ecruit, delegating him their cameraman for an evening,
assigned to film their activities for a short movie to be shared among
What they proposed was not illegal; the California Supreme
Court had already ruled that the private production of sexually
explicit photographs and home movies was legal, provided they were
for personal use only. Step beyond that line, however, and the law
was merciless, as this particular circle discovered when it transpired
film to the stag circuit, he had also been busted by the vice squad.
And now the cops were after them as well.
The club members were arrested, and the charges mounted up.
Not only were the swappers complicit in the creation of a commer-
also guilty of adulterous behavior and of
indulging in sexual perversions Ñ oral sex was, at that time, illegal
None received any harsher punishment than probation and sus-
pended sentences, but the accompanying newspaper coverage
ensured that they suffered far greater than that. As one of the wives
explained, ÒWe are now second-class citizens. My husbandÕs claim
for unemployment insurance [he was fired when the case became
ery remote. I have been on
the verge of a nervous breakdown since our arrest. This mess has
uined our reputation, taken our life savings and caused grief and
humiliation to our children and other members of our family.Ó
the purported effects of the pulps on their readership. The late-
Tonight at
is one of several in which the heroine warms up for
her date by r
the Supreme Court handed down
The floodgates opened, and once again the world of stag movies
was at the forefront of the deluge. Except now, the books were no
longer fiction. They were textbooks.
Author Anthony CrowellÕs
Stag Films Õ
as Òa Barclay House
cho-Sex Study,Ó its stated premise was to educate readers into the
mores of the ÒmodernÓ erotic movie. (Other titles in the series
Dangerous Lovers
The Auto-Erotic Female
ion pictures of definite pornographic char-
acter have been made for a long time,Ó announced the introduction.
ÒBut never as they are made today.Ó The industry (Òand it
rowell declared) Òhas come of age and todayÕs films use
only the most beautiful girls, the most handsome studs, and there
the trade by accident; some would-be directors
erable time and effort offering potential cast members a crash course
in the basics of moviemaking.
eference work,
Stag Films Õ
tÕs then two-year-old
As a standard-bear
e of future stag exposŽs, high on inci-
dent if not information, however, it was peerless. But it was also one
of many books that hit the stands over the next couple of years.
The educational worth of Larry HarrisÕs
The Stag Film Report
might best be summed up by the chapter documenting the state of
taly, Mexico,
Great Britain, Australia, Africa Ñ yes, the whole of Africa, neatly
defined as a single country, Òso highly diversified and complex,Ó
whose censorship policies were at the Òwhims and fanciesÓ of
er Òpolitical party [is] in control at the time.Ó I
The Stag Film Report
as the stag-movie phenomenon, just one appears to have treated its
runner of his
Movie and Video Guide
appeared in
Promising both Ò
the basic plots and the dialogue of those Ôsexy
moviesÕ you see advertised,Ó
Stag Movie Review
is extraordinarily
selective in the movies prŽcised. J
ust forty
-foot films were
discussed and revie
ed, as compared to the
tures described in the similarly siz
ideo Times
our Movie Guide to Adult Video Tapes and Discs
and a half later.
wever, it more than compensated
From Toronto, Ontario, Supreme Films offered ÒFrench stag
movies, direct from France
.Ó From a P.O. Box in
L.A., Studio
ed Òten great stag showsÓ for $
and threw in
mm movie viewer for just another $
ovie Club Guild of
Burbank offer
ed Òthe startling and dynamic party films formerly
seen only by HollywoodÕs inner circle of sophisticated producers!Ó
The Hollywood Color Club pledged, ÒWeÕll do anything to please
alued customer,Ó and Titan Stag Films promised the
s Ògreatest adult movie bargain Ñ ten stag movie subjects for
Trade D
escriptions Act might have been bent somewhat by
the wording of the ads . . . and if one assumes a stag movie must
sexual activity, it certainly was. But still, you got what you paid
en supposedly reputable sour
reviews of specific movies, for example Ñ could not be trusted.
Japanese sci-fi/crime flick
The Love Robots
as Òa feature length [actually, a shade over one
ed stag film,Ó the minds that isolated that
quote within the filmÕs publicity material were clearly hoping that
potential American viewers would be unaware of precisely what
their movies up, printing strange, often hippie-oriented photos left
over from [the publisherÕs] girlie titles.Ó
Fiction-driven or not,
Wildest Films
Torrid Film Reviews
Daring Films & Books
Cine Femmes
Fiery Films
followed in
Cinema Scorchers
Cinema Close-Up
Wild Screen Reviews
The Erotic Cinema
arrived during
ush; several of them were, indeed, conscientious enough to
ensure that the movies they discussed actually existed. Neither were
they all driven by the stag industry. The mid- to late-
ere the
age of David F
riedman and Russ Meyer, directors who all but blue-
printed the so-called sexploitation movie blockbuster, and whose
equently all the recommendation a
new film required. Their work, and that of their manifold imitators,
constituted a large proportion of the movies under discussion in this
new breed of movie magazine.
Other favorite arenas, however, were less clear-cut. For this was
also the era of the hippie, a social and cultural revolution that, once
one bypasses the stereotypical imagery with which the term is now
saddled, represented one of the most important artistic flowerings of
alongside screenings of hardcore erotic movies Ñ performances that
would end with a full-scale orgy taking place on the dance floor.
Had such entertainments taken place, however, San Francisco is
undoubtedly the place where they would have happened, for devel-
oping alongside and within the hippie culture was a vibrant film-
making community that would, almost single-handedly, change the
face of the erotic-movie business forever.
As the boundaries surrounding acceptable
sexual behavior receded through the
s, technological innovation
anced. Color stag films wer
increasingly common, as costs continued to
prove. ÒStudios are elaborate,Ó an unnamed
tto Ward.
The era when filthy pictures were taken by
handful of stag-makers even began experimenting with sound,
although most quickly learned it was not worth the effort. ÒTerry,Ó
student at the same University of Pennsylvania where, seventy
years before, Eadweard Muybridge was making his stop-start films
naked weightlifters, tried shooting a ÒtalkieÓ stag in
e remembers spending so long Ò
More experienced filmmakers enjoyed greater success. Dating
from as early as the late
Shipwreck Kelly
action with a salty voice-o
er, straight out of a period pulp maga-
zine. Others eschewed speech for an accompanying menagerie of
grunts, groans and gasps, likewise dubbed in during post-produc-
tion. The early-
Blue Heat
ocess with a scene in which the young woman
ecruited to add her moaning to a movie discovers she works best if
the technician duplicates the onscreen action with her.
Other movies, however, had less inclination for realism. More
than one film from the era includes the sound of a woman
screaming in orgasm at the same time as a penis disappears down
her throat, or some similarly implausible (not to mention physically
impossible) scenario.
ome filmmakers even lay
Sound was an important innovation, however Ñ not in the road
izedÓ merchandise. Already an illegal operation for both the owner
of the premises and his customers, the addition of the viewing
booths simply opened up another avenue of profit, without materi-
ÒTony,Ó a self-described grandfatherly Midwesterner who ran a
small store in Des Moines, Iowa, during this period, explains, ÒIf the
ÒRich from OaklandÓ describes his own experiences in such an
establishment: ÒThe first machines were flat on top, and you looked
down into them. They had
-foot reels on the projectors, and it
e or six quarters to go thr
ough the entire movie. The timers
werenÕt very accurate so the time varied. When you put in a quarter,
it started and ran for a while and, when it stopped, it didnÕt go back
to the beginning, it just stopped where it was. The next quarter
started it up and continued from where it was until the timer ran
out again. If you wanted to see the entire film, you had to keep put-
ting in quarters.
ÒThe action started fairly soon after the movie started, so you
really didnÕt waste much money. The hook was if you wanted to see
started installing solid walls and doors. ÒIn the early days,Ó Rich
concluded, ÒI even had men offer to suck me off right there in the
porn shop.Ó
Author Steven Ziplow found the residue of such encounters
when he Òtook a stroll around the area of
terms of plotlines and scenarios, but in the appearance, availability
and, above all, adventurousness of the very actors and actresses
employed in the films.
It would, to reiterate a now familiar point, be a grotesquely
sweeping generalization to say that the majority of performers seen
in early stag movies were less than attractive, although many passing
Rather, the filmmakers worked with the materials they had at hand
the workmate who thought itÕd be good for a laugh, the would-
be actress whoÕd been would-be for too long, the neighborÕs bored
wife, whoever. Beggars, as they say, could not be choosers and, if a
film-maker was stuck with a forty-year old man with a paunch and
bald spot, and a heavyweight woman with more cellulite than
acter as the ugliest woman ever seen in a stag, the titular nightmare
indeed. This may or may not be accurate, but she is certainly
responsible for some of the most unerotic oral sex ever filmed.
The problem with the beatnik movies appears to have been that
nobody involved with the production seemed to know where to find
real beatnik, or at least how to approach one. A similar difficulty
arose around attempts to shoot an erotic rejoinder to
The Wild Ones
of impressive-looking Harley motorcycles and staging an orgy on
and around them (as in
Hot Pips and Pipes
e everywhere, as H.C. Shelby
Stag Movie Review
ippie and co-ed themes are
dominant in . . . stags presently
. There are the off-beat films which
and likewise shameless in its depiction of sex and nudity: ÒI bought
few . . . and shared them with my friends, all of whom thought it
was so groovy that we were winning the sexual revolution. We had
absolutely no doubt that hippy porn was made by and for hippie,
and we gobbled it up.Ó
Later in life, a more cynical approach crept into her outlook.
Such magazines as
Sexual Freedom Now
Ankh Life Symbol
and, with a weary inevitability,
were produced by precisely
e than certain that a good pr
of the stag films now being produced were likewise the work of film-
makers who didnÕt care a fig for love and peace, but who knew a
Others, however, were shot by genuine hippies Ñ or, at least,
absolutely in tune with the moods and desires of
the time and who viewed erotic art with the same antiauthoritarian
sentiments as the libertines and subversives of centuries past. They
The Telephone Call
featured a woman seemingly engrossed in a
phone conversation, no matter what her man was doing at the time.
tÕs only as the movie progresses that it becomes apparent that who-
everÕs on the other end of the line is well aware of precisely whatÕs
One especially watchable stag,
The UndertakerÕs Dream
ed with the concept of necrophilia, although the viewer must
wonder, is it still necrophilia if the corpses awaken?
And others still seemed dedicated to breaking down the naive
notion that the viewer was still witnessing ÒrealÓ people having sex,
by encouraging their (primarily female) stars toward greater feats of
exhibitionism, while inadvertently blueprinting a notion that the
De Renzy was fascinated by the entire process; Kaminski was an
excellent teacher and, by the time de Renzy left the service and
moved to San Francisco in the early
Brody describes a similar movie as her own first experience as a stag
actress. ÒÔOkay,Õ the director said, ÔHereÕs the plot. YouÕre a masseuse,
Gone with the Wind?Õ
utes long. But it was still a thrill to walk down M
and see my ass staring back at me from a flyposter on the wall.Ó
It was at the Screening Room that de Renzy first came into con-
tact with Art and Jim Mitchell, brothers who were likewise destined
itchell ever saw was
Both brothers enlisted in the U.S. Army, Jim in
Artie in
(he only narro
Other beavers, however, were more inventive and, for anybody
who believed that a movieÕs title must surely have some link to its
content, extraordinarily intriguing. Who, after all, could resist
Swedish Hang-gliding Beavers
e fairly straightforward, a (usually)
slow striptease ending with the girl falling onto her back and parting
her legs, and then manipulating her flesh in close-up. And the more
flesh she manipulated, the more the audiences loved it. Soon,
moviegoers were being tempted with both beaver films and
beaver films. Other variations followed. The immortally titled
Ruthless Shaved Beavers
succinctly summarizes one;
Frisco Beaver
noun for beavers, sadly
ÒcolonyÓ), the lesbian party
arrel of Beavers
wraps up a third.
itchells ruled the world of beavers and, befor
ere feeding a str
mm films into San FranciscoÕs Tenderloin
ofit that a well-r
rake in, Òprimarily because of the typical $
and because the theaters are usually open for at least
as Seattle, Dallas, D
Francisco that most caught its attention. ÒLocal sources . . .
estimated that the gross box-office receipts for an average
ater in that city are appr
per week, and a
few v
y successful theaters gross as much as $
Now the
New York Times
chimed in: ÒWhat distinguishes San
Francisco from any place else, [ho
wever,] is the style with which
reclining on a couch when she is disturbed by the entrance of a
nubile young visitor. They embrace, and slowly the girl is undressed,
to be caressed and kissed by her lesbian lover. But then the older
woman undresses and suddenly reveals that she isnÕt really a woman
after all. But thatÕs okay, because after a momentÕs stunned hesita-
tion, her partner reveals that sheÕs not really a lesbian.
What an older generation might now call ÒwomenÕs libÓ moved
in Ñ or, at least, an acknowledgment that men did not always have
things their own way. An English offering,
Escort Agency,
ted by
PeelÕs exotic leatherwear. Fellow enthusiasts on both sides of the
Atlantic were soon more than happy to walk where the master
balked, and at the same time that San Francisco commenced her rise
to the apex of American sex-film production, so London Ñ after a
painfully slow start Ñ found herself undertaking a similar journey.
Great BritainÕs stag industry can be dated
certainly enjo
ed (or, perhaps, endured) a
most peculiar reputation, at least if historian
Curt Moreck is to be believed: ÒEngland,
which manufactures such films in the main
for South Africa, [favors] flagellation, and the
oes. Sexual cruelty also
plays an important role in its erotic literature and graphics.Ó
The Baking F
is the earliest British stag for which w
written documentation, although no copy of the movie is known to
e survived. In fact, with the exception of a handful of dubiously
attributed movies from the
ar II period that the industry commenced
its slow struggle into life.
London vice developed hand-in-hand with the gradual transfor-
mation of a once-prospering west-end neighborhood known as
SatanÕs Children
housing the small business expired, they were acquired by shady
foreign in origin, smuggled in fr
om other countries to wreak their
evil influence upon otherwise chaste Britons. French bondage
movies were especially (and predictably) popular, as Ado Kyrou con-
firmed when he recalled, in
rance is the greatest exporter of
by a brief opening sequence in which the traffic is clearly driving on
the right. French traffic, like American, drives on the left.
Of course, some themes were so quintessentially English that no
that played, for example, on the English girlÕs traditional love of
evertheless, the various deceptions worked. ÒWe must face it,Ó
the fiercely Conserv
Kilmuir, during the second reading of BritainÕs Obscene Publica-
tions Bill in
rossly obscene films in houses or the rooms of
And so they were, with the institution of a package of antiobscenity
laws that remained essentially unchanged for the rest of the century.
It was a difficult regime to enforce, relying as often on luck as
anything approaching good old-fashioned police work. Public dis-
plays of mucky movies were, nevertheless, broken up with consider-
able regularity, and in some often surprising locations. According to
VillainÕs Paradise
author Donald Thomas, a summer
Fisher & Ludlow car plant in Castle Bromwich was apparently only
minutes shy of catching the night shift watching a blue film show;
two years later, a
a.m. visit to a radio factory in Prittlewell, Essex,
oup of workers r
Soho however, was even harder to police, particularly during the
s, when genuine hardcore productions vied for shelf space
Included among this latter number was a company with the defi-
antly alluring name of Stag Films, the astonishingly prolific mid-
Louis Miller. The pair are estimated to have produced well over
ys of the nudist life, before turning
Nudist Memories
Finally the pair fled back home, but made the mistake of dis-
Incredibly, the boy was promptly arrested and sentenced to two
Squad and headed up for most of the
by the legendary
the first Briton ever to become a millionaire from erotic entertain-
truth behind this assertion is difficult to confirm. PhillipsÕ
moviemaking career lasted a mere eight years, beginning with his
first crude black-and-white
tly after his release, he
committed suicide over an unrequited love affair.
He was certainly prolific, however. At the same time as he was
shooting his first films, Phillips was also importing movies from
ectors Curt Nilsson and Lasse Braun (in
penis, were essentially test-piloting the first genuine Òspecial effectÓ
in adult-cinema history Ñ a thin tube, inserted into the mouth
alongside the erect penis, through which a suitably colored liquid
(probably milk) was pumped at the moment of Òclimax.Ó
Unconvincing though they may be, the resultant cascades ensure
SatanÕs Children
features some of the most electrifyingly messy
urthermore, the scenario is played out with such obvious enjoy-
ment that any technical shortcomings are readily subsumed by the
realization that films such as this were physically rewriting the laws
of the erotic short, abandoning the hitherto unbreachable notion
foursomes have ever choreographed that moment to such striking
Movies such as these represented the hierarchy of London film-
makers: other operators worked lower down the pecking order.
Anthony FrewinÕs masterful novel
London Blues
taps into the enduring mystique surrounding Christine K
eeler). But
these people, too, were responsible for some fascinating movies.
Part-Time Job
zine; asked for more, and impressing all who saw his work, Lindsay
soon found himself conducting regular shoots for the British
of Òrespected
Ó British girlie magazines.
He eventually moved further afield, freelancing in the under-
world of hardcore European publications, and it was through these
connections that Lindsay took his first steps into motion pictures.
ast amounts of money the field had to offer. Little, if any, of
LindsayÕs early work is recognizable today Ñ like so many of his
contemporaries, he was working so far underground and on such
thirty-plus movies a year, filming in London, Frankfurt and the
and despite the anodyne nature of the scenes in question,
still it was a crucial inclusion. I
n the same year that the Michael
the more lucrative glamour work. He did not push, he did not
the following yearÕs
Am Curious Ñ Blue(Jag Šr Nyfiken Ñ BlŒ)
took their titles from the colors of the S
lobbies who complain that television is turning their children into
obese, foul-mouthed couch-bound psychopaths. Geoffrey Shurlock,
BreenÕs chief assistant (and later successor), recalled the day when
anthropologist Hortense Powdermaker was granted permission to
inspect the office files and discovered paperwork pertaining to the
decision to excise a close-up of an elephantÕs genitalia from one par-
ticular movie.
Railing against the absurdity of such a demand, she delivered a
damning indictment on everything the code and its upholders stood
for. A furious Shurlock, however, refused to accept her condemna-
tion. ÒIf Miss Powdermaker,Ó he wrote, Òshould ever see the sex
organs of an elephant projected on a
-foot outdoor drive-in screen
cheapest gear they could lay their hands on. There was a whole
world out there that wanted to see more, and was willing to pay for
the privilege of doing so.
They organized. In November
o-Jemco Film Co. in Dallas, convened a
was being followed. ThatÕs how paranoid I was. But I did it, I
walked into this room and the next thing I know, IÕm in bed with
these two beautiful girls Ñ and it was nirvana. I had no problem
creating the fourth wall Ñ it was like, ÔGo ahead and film, IÕm
death, decay and madness Ñ is genuinely surprising. In later years,
with the likes of the Mitchells and others turning out full-length
erotic feature films, the brief span, but long-lasting premise, of
would pro
ve a lingering influence.
There was, ho
ever, a moment when it looked as though nobody
They were also smart enough to realize that freebies were not the
only way to a movie criticÕs heart. In August
k as mere Òdirty movies,Ó the
Mitchells unveiled
wed from the graveside of her recently deceased hus-
band to her home, where she masturbates to the sound of Gregorian
The movieÕs first audience was as assemblage of local journalists.
All professed themselves thoroughly impressed. Later, film historian
John Hubner went so far as to describe
as Òa significant
eary annals of American sex films. The lizards in
sharkskin suits in New York who were making beavers that featured
lifeless, tattooed hookers would never have used a Gregorian choir
in a film. The smooth operators in L.A. who cranked out loop after
as devoid of feeling as an industrial film that follo
can of soup from the vat to the shipping crate, would never have
come up with a storyline that involved a grieving widow.Ó
Alex de Renzy, too, was becoming increasingly well-versed in the
to the new climate. Released in rapid-fire succession over the next
year or so,
The Marriage Manual
Sexual Education in Scandinavia
Acts of Love
Man and Wife
He and She
(the latter pair pro-
y Matt Cimber
, Jayne MansfieldÕs husband at the time of
Alex de Renzy tested the educational waters with a short untitled
stag movie in which a naked young woman sits and discusses, in
very matter-of-fact language, precisely what turns her on, evi-
dencing her own excitement by gently masturbating while she
speaks. Reminiscent of French director Bernard NathanÕs
Je Verbalise
vie represented a major departure from
He was still recuperating from a near fatal and seriously disfig-
uring motorcycle accident when, in November
k to film that yearÕs Copenhagen Sex Fair, the first industry-
wide celebration of the Danish authoritiesÕ decision to legalize all
footage ever to be shown in ÒmainstreamÓ American cinema and,
Opening, inevitably, with
Free Ride
The Histor
y of the Blue
eled on through
On the Beach
Buried Treasure
Keyhole Portraits
The NunÕs Story
t Aleck!
and de RenzyÕs own
The Masseuse
selection that even today
e stags having been rediscovered and reissued to the
public, is difficult to argue with. Certainly no history of the genre
could be without them. The entire experience wrapped up with
another de Renzy production, a mini-documentary that follows a
young couple through the filming of a stag movie at the Screening
Room itself.
istory of the Blue Movie
wealth of follo
wise mining the stag archive for the
majority of their length, but shot through with either documentary
or interview material: Bill OscoÕs
Hollywood Blue
British dir
just beginning to produce, films with titles like
The Nine Ages of
Some Like I
t Sexy
It did feature a lot of nudity,
ched from one sexual situation to
another and, at a time when air hostesses were up there with nurses
stereotypes, it featured a lot of uniformed lovelies as well. Plus, it
Three weeks after opening,
The Stewardesses
had grossed $
vie in town, including
Love Story
By May
ilm Festiv
total was derived fr
e seventy theaters nationwide.
The movie gathered further plaudits when it was r
was actually being reedited, even while it played in the theater.
Almost from the moment
The Stewardesses
started its run, and cer-
olling in, Silliphant r
recut footage and sharpened the dialogue, and then ensured that the
prints in the projection booth were altered on a weekly basis. Fans
her nymphomania, Mona was still a virgin. The question was,
would she remain one by the time the film was over?
In a corner of the industry where
The Stewardesses
oss was considered miraculous,
performed at least as well. It
even pr
illage Voice
critic to describe director
Osco as the closest thing the er
vie industry had to its own
Fellini. The
New York Times Sunday Magazine
responded by dub-
enzy the industry
Õs Jean-Luc Godard. Now all it needed
was a Busby Berkeley, a visionary who could choreograph the genreÕs
elevation out of the art house and into the cinematic mainstream.
This vacancy would not remain unchallenged for long. Leasing
an old warehouse on San FranciscoÕs Potrero Hill, the Mitchell
be seen cavorting in the bloody warm flesh-tones of color film, all
in gigantic close-up, on select screens throughout our fair city.Ó That
same cityÕs police department sounded almost resigned when it con-
ig Apple now hosted Òabout
an assortment of sub-moral titillations.Ó
illage Voice
reported on a visit to the Mine Cine, a picture
omise of Òwatching an
actual pornographic film being made. But my appreciation is cut
short when the ÔdirectorÕ appears from behind the curtain with a
camera that resembles a
Brownie pinhole . . . [and] directs [a]
Chuck Traynor had been involved in stag
movies, he claimed, since the early
when he took a part in Ò
a nudist camp movie.
On my first shoot, they wasted a whole roll of
film because, when I squatted down with my
back to the camera, my balls were showing.Ó
was an inauspicious start, but a fe
ears later, around
Traynor landed another part, following a
Already regarded as among AmericaÕs top glamour photogra-
phers, YeagerÕs move into motion pictures was inspired wholly by
the success of Russ MeyerÕs
The Immoral Mr. Teas
she declared, so could she, ev
en if it did require Yeager and her hus-
e life savings Ñ into the project.
oom Eleven
was a voyeuristic study of all the things that hap-
pened in one room in a hotel o
The Immoral Mr. Teas
ed the filmÕs erotic content. ÒThere was no dirty language, no
producer, the late Ted Snyder (he was shot to death on his Miami
front lawn in
), and soon the two women were shooting
spoke for many when she said, ÒThe problem . . . was, no matter
how into it [Boreman] seems to be, the fact is, she really doesnÕt look
good while sheÕs doing it. Her face is all screwed up, thereÕs veins and
tendons sticking out. SheÕs not sucking the cock in, sheÕs vomiting
out. ItÕs just not attractive, and any guy on the receiving end of
that is going to be thinking, ÔWell, it feels great, but does she have
Donald Gilmore identifies as a cocktail waitress from Chicago), and
the wife by the physician, who proceeds to school her in the art of
Then, as the couple leaves, he addresses her by name . . . Mrs.
Lovelace and, for the next three
she remained
years when she contrarily established herself as its most v
Likewise, from the moment it was released in
Deep Throat
established itself as, unquestionably, the best-known, the most-dis-
cussed and the most ov
eranalyzed er
otic movie in history. Every
second of the movieÕs preproduction, filming and promotion has
in forums whose participants range from pr
But old ladies were spotted in the audience as well, and everybody
The noble stag did not die immediately. For
Jazz Jag
according to the
Adult Video News,
Òaffluent swingers, to people that
literally are living in a trailer home. People shooting in mansions,
eople having sex in the snow
As Timlake discusses this, however, one cannot shake the impres-
who submit their sex lives to the scrutiny of HomegrownÕs viewer-
ship, but also everybody who, over the past hundred years or more,
has bared all and more for cameras that care nothing for Òperson-
ality,Ó ÒfameÓ or awards Ñ people who simply enjoy what they do
and donÕt care whoÕs watching.
Blue VanitiesÕ James ÒDaleÓ Chastain agreed: ÒItÕs only my
opinion, of course, but I feel that the producers today have never
heard of the words ÔteaseÕ or Ôerotic.Õ The videos today are being
made for the younger buy
have been forgotten about. The girls today all look alike, blonde,
fake boobs, ugly tattoos, shaved with body piercing. I can still
remember when women wore earrings in their
ÒWe look for . . . people who like having real sex,Ó Timlake con-
cluded. ÒFor us, itÕs all about the heat in the scene, and they have to
Heat and happiness Ñ there are precious few other words in the
English language that can more succinctly sum up the stag movie at
ot all of the films that fall into the milieu are great works of art;
not all explode with enthusiasm and exuberance. Some are, indeed,
as workmanlike as the most gratuitously protracted modern adult
ut when the cast is in form and the cameraÕs working correctly,
when the flesh is willing and the Melty ManÕs away someplace else,
great stag movie isnÕt merely the closest thing to sexual perfection
itÕs possible to witness without resorting to private fantasy. Some-
My thanks to everybody who contributed to this book, most of all to
Chrissie Bentley, for her invaluable assistance in tracking down both
films and filmmakers, and for introducing me to many of the indi-
viduals whose words and memories appear in this book.
Chrissie, in turn, would like to acknowledge the website and the overwhelming response she received
from its membership when requesting personal memories and rec-
ollections of the stag era. For reasons of their own, the majority of
these sources either requested total anonymity or suggested an alias
who helped bring the beast to life: Anchorite Man; Bateerz and
family; Blind Pew; Mrs B East; Bob and Jane, whose entire life has
been described as a stag film (scratchy, old and largely incomprehen-
sible); Chris T; Gef the Talking Mongoose; the Gremlins who live in
the heat pump; Jo-Ann Greene and K-Mart (not the store!); Karin,
Bob and Elsa; Geoff Monmouth; Mrs Nose; Naughty Miranda;
Nutkin; Oliver, Trevor and Captain Tobias Wilcox; Sandy, Tony and
Macey, Sonny; a lot of Thompsons; and Neville Viking.
.David T. Beito,
From Mutual Aid to the Welfare State Fraternal
.Charles Musser, interview in
Edison: The Invention of the Movies
.Quoted by Ray Phillips,
.Moreck, op. cit.
.Gerald R. Scott, ÒSome Nudity Becomes Art to the
Year Vice
Foe,Ó N
w York
Sunday Mirror Magazine
Section, February
.Donald H. Gilmore, PhD,
Sex & Censorship in the Visual Arts,
.Quoted in Moreck, op. cit.
.Gilmore, op. cit.
.ÒJoan,Ó interview with author, summer,
.Theodore van de Velde,
Ideal Marriage: Its Physiology and
(Random House,
.Candy Barr interview, ÒBurlesque queen, ex-con, Jack RubyÕs
Õs first (r
eluctant) star and a real lady,Ó
Joseph Slade,
Journal of Film and Video,
.Jenna Jameson with Neil Strauss,
How to Make Love Like a Porn
tar: A Cautionar
y Tale
(Regan Books,
.Alpert and Knight, op. cit.
uoted byJosh Lewin, ÒShe Handles Public R
CaliforniaÕs Biggest Porno Factory,Ó
ManÕs World
.Jameson and Strauss, op. cit.
.Quoted by David Kerekes,
Jolly Hockey Sticks!Fleshpot: CinemaÕs
akers & Taboo Breakers,
ed. Jack Stevenson
ritical Vision,
.Quoted by Turan and Zito, op. cit.
.ÒRich from Oakland,Ó email interview with author, March
.Quoted in John Nichol and Tony Rennell,
Tail-End Charlies:
The Last Battles of the Bomber
Thomas Dunne
.Di Lauro and Rabkin, op. cit.
.Kyrou, op. cit.
.Quoted by Jimmy McDonough,
Big Bosoms and Square Jaws
(Crown Publishers,
.Testimony to the U.S. Senate Judiciary Committee, Subcom-
mittee to Investigate J
uvenile Delinquency (hereafter
.Dwight Swanson, ÒHome Viewing: Pornography and Amateur
ilm Collections: A Case Study
The Moving Image,
.ÒGeorge,Ó e-mail interview with author, March
.Quoted in
ManÕs Exploits,
op. cit.
The Report of the Commission on Obscenity and Pornography,
.Alpert and Knight, op. cit.
ames H. Jones,
lfred C. Kinsey
WW Norton & Co.,
.Anonymous, e-mail interview, March
ÒRich from Oakland,Ó op
.ÒGeorge,Ó op. cit.
.DiLauro and Rabkin, op. cit.
.Alpert and Knight, op. cit.
anÕs Exploits
op. cit.
op. cit.
anÕs Exploits
op. cit.
Shelby, op. cit.
Anonymous, e-mail intervie
, June
.Anonymous, e-mail interview, March
Quoted by Ted Jordan,
.Phil Hall, ÒSmart Alex,Ó
Film Threat,
.Candy Barr interview, op. cit.
.De Lauro and Rabkin, op. cit.
.Horace McCoy,
Should Have Stayed at Home
(Alfred E Knopf
.William Francis,
Rough on Rats
(William Morrow & Co.,
.Quoted by Simon Sheridan,
Keeping the British End Up: Four
(Reynolds and Hearn,
.Quoted in Knight and Alpert, op. cit.
.Paul V. Russo,
The Report of the Commission on Obscenity and Pornography
.ÒThe porn capital of America,Ó
New York Times Sunday
.Moreck, op. cit.
.Gilbert Kelland,
Crime in London
(Grafton Books,
.Kyrou, op. cit.
.Quoted by Anthony Frewin,
London Blues
(No Exit Press,
.Simon Sheridan,
Keeping the British End Up
(Reynolds &
.Michael W., e-mail interview with the author, February
.Quoted by David Hebditch and Nick Anning,
Porn Gold: Inside
aphy Business
(Faber & Faber,
.MaryÕs suicide note, quoted in
Come Play With Me: The Life and
ilms of Mar
y Millington
(Fab Press,
.Quoted by Les McNeil and Jennifer Osborne,
The Other
Hollywood: The U
ncensored Oral History of the Porn Film
(Regan Books,
.Carol Connors, interview,
Midnight Blue,
.Quoted by McNeil and Osborne, op. cit.
.Quoted by Crowell, op. cit.
.Bentley, interview with author, March
.Moffit Timlake, interview, ÒHomegrown Video: The Ultimate
Amateur Ev
Adult V
.Chastain, op. cit.
.Timlake, op. cit.
ManÕs Guide to the Sexual Scene
(International Publications,
Adult Video News
(various issues).
Bookleggers and Smuthounds: The Trade in Erotica
(University of Pennsylvania Press,
The Celluloid LoveF
east: The S
tory of Erotic Movies
e and William S. Ruben (Lancer Books,
ilm Censorship in B
om Dewe
atthews (Chatto &
Cinema au Naturel: A History of the Nudist Film
by Mark Storey
aturist Education Foundation I
Doing Rude Things: The History of the British Sex Film
avid McG
illivray (Sun Tavern Fields,
Fleshpot: CinemaÕs Sexual Myth Makers and Taboo Breakers,
ed. Jack
tevenson (C
ritical Vision,
orbidden Films: C
ensorship Histories of
oca (Checkmark Books,
Girls Who Do Stag Movies: Intimate Interviews with Female Sex Stars
(Melrose Square Publishing Company,
Grindhouse: The Forbidden World of ÒAdults OnlyÓ Cinema
by Eddie
Muller and D
aris (St. MartinÕs Griffin,
Historical Dictionary of American Slang
by Jonathan E Lighter
ollywood v Hard Core: How the Struggle over Censorship Saved the
odern F
ilm Industry
by Jon Lewis (New York University Press,
International Exposure: Perspectives on Modern European Pornography
ed. Lisa Z. Sigel (Rutgers University Press,
ItÕs a ManÕs World: MenÕs Adventure Magazines, the Postwar Pulps
frey (Feral House,
The Lov
erÕs Tongue: A Merry Romp through the Language of Love and
y Mark Morton (Insomniac Press,
agazines: The Rich O
Porno Copia: Porn, Sex, Technology and Desire
by Laurence OÕToole
erpentsÕ T
Sex and the Teenage Girl
by Denham S. Farnsworth (Council
ublishing Corp.,
ex Industry
It is impossible to compile an accurate
record of every stag film made, or even
those known to have survived.
The following catalogs those that are
currently available to the North American
Smart Aleck!
Please note: dates and attributions are approximate.
(Classic Stags: Volume
(Classic Stags: Volume
Adventures of Christine, The,
(Classic Stags: Volume
Affairs of Jane Winslow,
(Classic Stags: Volume
Agents Office,
(Classic Stags: Volume
All Day Sucker,
(Classic Stags: Volume
All Hands on Dick,
(Classic Stags: Volume
All Six,
(Classic Stags: Volume
Amateur Nudes,
(Classic Stags: Volume
(Classic Stags: Volume
tags: Volume
Announcer, The,
(Classic Stags: Volume
BallinÕ the Jack,
(Classic Stags: Volume
BallinÕ, early
(Classic Stags: Volume
(Classic Stags: Volume
BallÕn Babes,
(Classic Stags: Volume
Banana Split,
(Classic Stags: Volume
(Classic Stags: Volume
Bar Room Pickup,
(Classic Stags: Volume
Barbara and Steve,
(Classic Stags: Volume
Bare Interlude, late
(Classic Stags: Volume
Bareback Rider,
(Classic Stags: Volume
Barker, The,
(Classic Stags: Volume
Bashful Bo, The,
(Classic Stags: Volume
ish, The,
tags: Volume
Bashful F
isherman (See
Fisher Woman
oom Fr
tags: Volume
Bathroom Whims,
(Classic Stags: Volume
Beach Bums I,
(Classic Stags: Volume
Beach Bums II,
(Classic Stags: Volume
Beachcombers, late
(Classic Stags: Volume
Beat Me Daddy,
(Classic Stags: Volume
Bed Party,
(Classic Stags: Volume
Bed Session,
(Classic Stags: Volume
Bed Time,
(Classic Stags: Volume
tags: Volume
tags: Volume
Big Blow,
(Classic Stags: Volume
Big Boy,
(Classic Stags: Volume
it Tease,
ill Collector, The,
(Classic Stags: Volume
Black and White,
(Classic Stags: Volume
Black and White,
(Classic Stags: Volume
Black Impulse,
(Classic Stags: Volume
lack Mar
Blanco y Negro,
(Classic Stags: Volume
(Classic Stags: Volume
Blonde Hitchhiker, The,
(Classic Stags: Volume
Blondie and Friend,
(Classic Stags: Volume
Blondie Blondell (See
Matinee Idol
low J
ob, The,
(Classic Stags: Volume
Blow Me Down,
(Classic Stags: Volume
BlowinÕ With Blondie,
(Classic Stags: Volume
Blue Belle (Pts.
(Classic Stags: Volume
Blue Denim,
(Classic Stags: Volume
Blue Plate Special (Pt.
(Classic Stags: Volume
Bob and Carol,
(Classic Stags: Volume
Bookie, The,
(Classic Stags: Volume
riend, The,
tags: Volume
Boy Next Door,
(Classic Stags: Volume
Boy Wanted,
(Classic Stags: Volume
Boys Will Be Boys,
(Classic Stags: Volume
(Classic Stags: Volume
Breakfast, The,
(Classic Stags: Volume
Buns Hai,
(Classic Stags: Volume
Burglar, The (
Share and Share Alike),
(Classic Stags:
tags: Volume
tags: Volume
Busty and Lusty,
(Classic Stags: Volume
Busty Babe,
(Classic Stags: Volume
tags: Volume
usy Club,
(Classic Stags: Volume
Busy Girl,
(Classic Stags: Volume
Butcher Boy,
(Classic Stags: Volume
Butt Humper,
(Classic Stags: Volume
Call for Dr.
oaring Twenties)
Call Girl,
(Classic Stags: Volume
(Classic Stags: Volume
Camera Bug (
Susie the Model),
(Classic Stags: Volume
Camera Man, The
(Classic Stags: Volume
Camera Shy,
(Classic Stags: Volume
(Classic Stags: Volume
Card Game,
(Classic Stags: Volume
Carry On,
(Classic Stags: Volume
(Classic Stags: Volume
Casting Couch, The,
(Classic Stags: Volume
Caught in the Act,
(Classic Stags: Volume
Caught With The Girlfriend,
(Classic Stags: Volume
Census Taker,
(Classic Stags: Volume
artners, early
(Classic Stags: Volume
tags: Volume
China Girl,
(Classic Stags: Volume
(Classic Stags: Volume
Clean and Horny,
(Classic Stags: Volume
Clean Floors,
(Classic Stags: Volume
Close Ups,
(Classic Stags: Volume
Clown, The,
(Classic Stags: Volume
Club, The,
(Classic Stags: Volume
(Classic Stags: Volume
Coffee Br
tags: Volume
tags: Volume
Cramming Students,
(Classic Stags: Volume
Crazy Cat House,
(Classic Stags: Volume
Crib Time,
(Classic Stags: Volume
(Classic Stags: Volume
Custom Fit,
(Classic Stags: Volume
Daily Duty
(Reel Old Timers Volume Eight)
Dance Fever,
(Classic Stags: Volume
Dancing Party,
(Classic Stags: Volume
Dancing Teacher,
(Classic Stags: Volume
Dancing Teacher,
(Classic Stags: Volume
(Classic Stags: Volume
DebbieÕs Doctor (See
Nympho, The
tags: Volume
tags: Volume
Desk, The,
tags: Volume
Double Date
(Reel Old Timers Volume Two)
Double Dildo,
(Classic Stags: Volume
Double Play,
(Classic Stags: Volume
Double Trouble,
(Classic Stags: Volume
Down the Hatch,
(Classic Stags: Volume
Dr. HardonÕs Injections,
(Classic Stags: Volume
First Experience,
(Classic Stags: Volume
Fisher Woman (
Bashful Fisherman),
(Classic Stags:
e Way Free for All,
(Classic Stags: Volume
Flat Tire, The,
(Classic Stags: Volume
Flower Girl,
(Classic Stags: Volume
For Bernie,
(Classic Stags: Volume
For Johnny,
(Classic Stags: Volume
Forced Entry,
(Classic Stags: Volume
Forced Entry,
(Classic Stags: Volume
Forest Friends,
(Classic Stags: Volume
Gay Girls,
(Classic Stags: Volume
Gay Times (Merry-Go-Round Pt.
(Classic Stags:
entlemen Prefer Blondes,
(Classic Stags: Volume
George and the Hillbilly,
(Classic Stags: Volume
Girl Farm,
(Classic Stags: Volume
Girl in Need,
(Classic Stags: Volume
Hairdresser, The,
(Classic Stags: Volume
Hairdresser, The,
(Classic Stags: Volume
Hammock Roll,
(Classic Stags: Volume
Handyman, The,
(Classic Stags: Volume
Handyman, The,
(Classic Stags: Volume
Happy Birthday,
(Classic Stags: Volume
Hot Lovers,
(Classic Stags: Volume
Hot Magazine,
(Classic Stags: Volume
Hot Panties,
(Classic Stags: Volume
Hot Party (see
Girls From Apartment
(Classic Stags: Volume
House Calls,
(Classic Stags: Volume
How to be Pals,
(Classic Stags: Volume
Hunter, The,
(Classic Stags: Volume
HycockÕs Dancing School,
(Classic Stags: Volume
(Classic Stags: Volume
Hypnotist, The,
(Classic Stags: Volume
In Crowd, The,
(Classic Stags: Volume
owwow, no date
tags: Volume
(Classic Stags: Volume
tags: Volume
(Classic Stags: Volume
(Classic Stags: Volume
(Classic Stags: Volume
Interview, The,
(Classic Stags: Volume
Intruder, The (See
Bellhop, The
(Classic Stags: Volume
Invitation Only,
(Classic Stags: Volume
Invite Me In,
(Classic Stags: Volume
Junkies and The Nightmare (
Opium Den), no date
Stags: Volume
Just FishinÕ,
(Classic Stags: Volume
Just Folks,
(Classic Stags: Volume
Just in Time,
(Classic Stags: Volume
Just Lovers,
(Classic Stags: Volume
Kensey Report,
(Classic Stags: Volume
Keyhole Portraits,
(Classic Stags: Volume
Kid Sister, The,
(Classic Stags: Volume
Kill the Giant
(Fucking in the Fifties)
Killer Diller,
(Classic Stags: Volume
(Classic Stags: Volume
Kim and Stev
y Cunt,
(Classic Stags: Volume
Knockers Up,
tags: Volume
Kooky Party,
(Classic Stags: Volume
Lady Dreamer,
(Classic Stags: Volume
Lady Pays Her Bills (Pt.
(Classic Stags: Volume
Lapping It Up,
(Classic Stags: Volume
Las Dos Amantes (Pts.
(Classic Stags: Volume
Late Date, A,
(Classic Stags: Volume
Late Supper,
(Classic Stags: Volume
Les Make Love,
(Classic Stags: Volume
tags: Volume
Love Burglar, The,
(Classic Stags: Volume
Love In,
(Classic Stags: Volume
Love Is A Ball,
(Classic Stags: Volume
Love Me Do,
(Classic Stags: Volume
Love Me Tender,
(Classic Stags: Volume
Love Nest,
(Classic Stags: Volume
Love Triangle,
(Classic Stags: Volume
Lover Come Back,
(Classic Stags: Volume
(Classic Stags: Volume
Lovers Frenzy,
(Classic Stags: Volume
Lovers, The,
(Classic Stags: Volume
Lucky Babysitter,
(Classic Stags: Volume
tags: Volume
ucky Four,
(Classic Stags: Volume
tags: Volume
Lust Lady,
(Classic Stags: Volume
Magic Made Easy,
(Classic Stags: Volume
Magic Room,
(Classic Stags: Volume
Magic Room,
(Classic Stags: Volume
Magician, The,
(Classic Stags: Volume
Maid Is Made,
(Classic Stags: Volume
Maid Service,
(Classic Stags: Volume
Making Up,
(Classic Stags: Volume
tags: Volume
an Wanted,
tags: Volume
(Classic Stags: Volume
Matinee Idol (
Blondie Blondell),
(Classic Stags: Volume
MayÐDecember Romance,
(Classic Stags: Volume
MemberÕs only,
(Classic Stags: Volume
Men Are Everything,
(Classic Stags: Volume
Merry Four,
(Classic Stags: Volume
Merry Go Round, The (Pts.
(Classic Stags:
erry Trio,
(Classic Stags: Volume
Mexican Lovers,
(Classic Stags: Volume
(Classic Stags: Volume
Midnight ÕTil Dawn,
(Classic Stags: Volume
(Classic Stags: Volume
tags: Volume
Miss Park Avenue,
(Classic Stags: Volume
Mix and Snatch,
(Classic Stags: Volume
Mixed Relations,
(Classic Stags: Volume
Model, The,
(Classic Stags: Volume
ModelÕs Interview,
(Classic Stags: Volume
Modern Gigolo, The,
(Classic Stags: Volume
Modern Magician, The,
(Classic Stags: Volume
Modern Pirates, The,
(Classic Stags: Volume
tags: Volume
e Than Friends,
tags: Volume
tags: Volume
My Girl,
(Classic Stags: Volume
Naughty But Nice,
s, Striptease
(Classic Stags: Volume
tags: Volume
Naughty Kitty (
(Classic Stags: Volume
Nautical Nudes,
(Classic Stags: Volume
New Frolic, A,
(Classic Stags: Volume
New Ways (Merry-Go-Round Pt.
(Classic Stags: Volume
New York Honeymoon,
(Classic Stags: Volume
News Reader,
(Classic Stags: Volume
Night School (Pts.
(Classic Stags: Volume
(Classic Stags: Volume
Nite Club,
(Classic Stags: Volume
Nite Club,
(Classic Stags: Volume
No Hang Ups,
(Classic Stags: Volume
Nooner, The,
(Classic Stags: Volume
Not Tonight Henry,
(Classic Stags: Volume
Nun, The,
(Classic Stags: Volume
Nuts To You,
(Classic Stags: Volume
Nylon Man, The (Pts.
(Classic Stags: Volume
Nympho, The (
DebbieÕs Doctor),
(Classic Stags:
n My Tail,
(Classic Stags: Volume
the Beach (
tags: Volume
On the Patio,
(Classic Stags: Volume
One Enchanted Evening,
(Classic Stags: Volume
One for the Road,
(Classic Stags: Volume
One Hot Night,
(Classic Stags: Volume
One-Eyed Queens,
(Classic Stags: Volume
Onesy, Twosy, Threese,
(Classic Stags: Volume
Open Your Mouth and Say Ooh!,
(Classic Stags: Volume
Opium Den (See
Junkies and The Nightmare
Orgy Time,
tags: Volume
tags: Volume
tags: Volume
OrientalÕs Dream, An,
(Classic Stags: Volume
Other Woman, The,
(Classic Stags: Volume
(Classic Stags: Volume
Paid in Full (
Two Unloaded Guns),
(Classic Stags:
ajama Game,
(Classic Stags: Volume
tags: V
(Classic Stags: Volume
Party Girl,
(Classic Stags: Volume
Party Time,
(Classic Stags: Volume
Patient in Room
(Classic Stags: Volume
Radio Repairman, The,
(Classic Stags: Volume
Rainbow Express,
(Classic Stags: Volume
Read Me a Story,
(Classic Stags: Volume
Real Cool Man,
(Classic Stags: Volume
Reluctant Hobo, The,
(Classic Stags: Volume
Rent Collector,
(Classic Stags: Volume
(Classic Stags: Volume
Revels of
(Classic Stags: Volume
Revolving Bed,
(Classic Stags: Volume
Ring Around the Rosy,
(Classic Stags: Volume
Ring Me Up,
(Classic Stags: Volume
Roaring Twenties, The (see
Free Ride, A
tags: Volume
obber, The,
(Classic Stags: Volume
tags: Volume
Roman Orgy,
(Classic Stags: Volume
Sewing Room, Color,
(Classic Stags: Volume
Sex Addicts,
(Classic Stags: Volume
Sex and More to Come,
(Classic Stags: Volume
Sex Capade Through Comic Land (
What Got Grandpa Hard?
(Classic Stags: Volume
Sex Treatment,
(Classic Stags: Volume
Sexy Honeymooners, The,
(Classic Stags: Volume
Share a Joint,
(Classic Stags: Volume
Share and Share Alike (see
Burglar, The
hare Alike,
(Classic Stags: Volume
She Knows Her Onions
(Authentic Antique Volume One)
SheÕs a Peach,
(Classic Stags: Volume
hip Wreck Kelly,
(Classic Stags: Volume
hopping Run D
tags: Volume
Should a Gentleman Offer a Lady a Joint?,
(Classic Stags:
how Offs,
(Classic Stags: Volume
Shower Power, late
Classic Stags: Volume
Shrew, The,
(Classic Stags: Volume
Shy Lovers,
(Classic Stags: Volume
Side by Side,
(Classic Stags: Volume
Sisters in Heat,
(Classic Stags: Volume
tags: Volume
erÕs, The,
tags: Volume
Skinny Minnie,
(Classic Stags: Volume
Sleeping Beauty,
(Classic Stags: Volume
walker, The,
tags: Volume
(Classic Stags: Volume
Slip and Slide, late
(Classic Stags: Volume
Slippery Eel, The,
(Classic Stags: Volume
Smart Aleck!,
(Candy Barr)
(Classic Stags: Volume
(Classic Stags: Volume
Social Call,
(Classic Stags: Volume
Sock It to Me,
(Classic Stags: Volume
Solitaire Miss,
(Classic Stags: Volume
(Classic Stags: Volume
(Classic Stags: Volume
Susie the Model (See
Camera Bug
Swappers Cir
(Classic Stags: Volume
Swedish Massage,
(Classic Stags: Volume
Tipsy Neighbor, The (Pts.
(Classic Stags: Volume
Tit for Tat,
(Classic Stags: Volume
(Classic Stags: Volume
Vice Probe,
(Classic Stags: Volume
Village Ball, The,
(Classic Stags: Volume
Village People,
(Classic Stags: Volume
Virgin Bride,
(Classic Stags: Volume
Vision, The,
(Classic Stags: Volume
(Classic Stags: Volume
Waiter, The,
(Classic Stags: Volume
War and Piece,
(Classic Stags: Volume
Weedheads, The
(What Got Grandpa Hard?)
Weekend Rendezvous,
(Classic Stags: Volume
Your Place or Mine,
(Classic Stags: Volume
Yum Yum Girl,
(Classic Stags: Volume
Bride and Groom,
(Classic Stags: Volume
(Classic Stags: Volume
(Classic Stags: Volume
Daily Duty,
(Classic Stags: Volume
Dos Amigos,
(Classic Stags: Volume
El Satario,
(Classic Stags: Volume
El Tio,
(Classic Stags: Volume
Free For All,
(Classic Stags: Volume
dener, The,
tags: Volume
oliday (Pts.
(Classic Stags: Volume
tags: Volume
(Classic Stags: Volume
Jumping Beans,
(Classic Stags: Volume
Kutie Kut Ups,
(Classic Stags: Volume
La Senora Y La Criada,
(Classic Stags: Volume
Las Primas,
(Classic Stags: Volume
Masked Pussies,
(Classic Stags: Volume
Mexican Dreamer,
(Classic Stags: Volume
Novios Impacientes,
(Classic Stags: Volume
ne Hung Low
tags: Volume
Un Accidente Afortunado,
(Classic Stags: Volume
Un Ladron En La Alcobo,
(Classic Stags: Volume
La Franais, late
Vintage Erotica Anno
Amour Et Ballerine,
Vintage Erotica Anno
intage Er
otica Anno
Vintage Erotica Anno
Au Clair de la Lune,
Vintage Erotica Anno
Vintage Erotica Anno
Cherry Pickers,
(Classic Stags: Volume
Danseuse aux Seins Nus,
Vintage Erotica Anno
Le Verrou,
Vintage Erotica Anno
Le Voleur E
Vintage Erotica Anno
(Classic Stags: Volume
Les Aventures de Ben Ali,
Vintage Erotica Anno
Vintage Erotica Anno
Les Deux Columbines,
Vintage Erotica Anno
Les Deux Roses, late
Vintage Erotica Anno
onsieur Gross Bitt,
Vintage Erotica
Artist, The,
(Classic Stags: Volume
Backdoor Coach,
(Classic Stags: Volume
Hot Rocks,
Classic Stags: Volume
(Classic Stags: Volume
(Classic Stags: Volume
Judo Lessons,
(Classic Stags: Volume
Kinky Lez,
Classic Stags: Volume
Kinky Lovers,
(Classic Stags: Volume
Lady Lovers,
(Classic Stags: Volume
Late Date,
(Classic Stags: Volume
Little Girl Lost,
(Classic Stags: Volume
(Classic Stags: Volume
Love for Three,
Classic Stags: Volume
Love for Sale,
(Classic Stags: Volume
tags: Volume
(Classic Stags: Volume
tags: Volume
Man Crazy,
Classic Stags: Volume
Message Treatment,
Classic Stags: Volume
Miss Bohrloch,
Mary Millington Collection
tags: Volume
More Arts and Crafts,
(Classic Stags: Volume
More Beatnik Bedlam,
(Classic Stags: Volume
More Suds and Sex,
(Classic Stags: Volume
Music Masters,
(Classic Stags: Volume
tags: Volume
Pussy Galore,
(Classic Stags: Volume
(Classic Stags: Volume
Rare Capture,
(Classic Stags: Volume
Rear Admiral,
(Classic Stags: Volume
Ring Up for Love,
Classic Stags: Volume
Classic Stags: Volume
SatanÕs Children,
(Classic Stags: Volume
School Girls Dream,
Classic Stags: Volume
School of Hard Cocks,
(Classic Stags: Volume
Schoolgirl Lust,
(Classic Stags: Volume
Wild Night,
(Classic Stags: Volume
Young Lust,
(Classic Stags: Volume
s, European
(Classic Stags: Volume
All Day Sucker,
s, German
(Classic Stags: Volume
Beat Me Daddy,
s, European (
Classic Stags: Volume
Cara Nanie,
s, German
(Classic Stags: Volume
Cock vs. Dildo,
s, German
(Classic Stags: Volume
Das Loch,
s, German
(Classic Stags: Volume
Deep Caresses,
s, European (
Classic Stags: Volume
Deer Garden,
s, Danish
(Classic Stags: Volume
s, German
(Classic Stags: Volume
Even Thiev
tags: Volume
FrŸhlingÕs Serwachen,
s, German
(Classic Stags: Volume
Gli Sponsali de Cicillo,
s, Italian
(Classic Stags: Volume
Gross Plans,
s, German
(Classic Stags: Volume
Le Trou,
s, Italian
(Classic Stags: Volume
Love Happy,
s, European
(Classic Stags: Volume
Once Around for the Dealer,
s, German
(Classic Stags: Volume
Pick Up Artist,
s, German
(Classic Stags: Volume
tags: Volume
uor Vaseline
tags: Volume
Three for the Road,
s, German
(Classic Stags: Volume
Time for Love,
s, European
(Classic Stags: Volume
s, German
(Classic Stags: Volume

Приложенные файлы

  • pdf 10959262
    Размер файла: 2 MB Загрузок: 0

Добавить комментарий