![\"\"](\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2019\/03\/BlueMovieTerrySouthern_bk_cvr.jpg\")
Terry Southern’s naughty 1970 novel BLUE MOVIE.<\/p><\/div>\n
After author Terry Southern collaborated with Stanley Kubrick on Dr. Strangelove<\/strong> (1964), the author published the 1970 novel Blue Movie<\/strong>, in which a director makes the most expensive hardcore film with stars, and the only place it can be seen is in a cinema in the tiny principality of Liechtenstein.<\/p>\n Southern’s novel has gone through several on again \/ off again unproduced film adaptations (including fleeting interest by Kubrick), but every now & then a filmmaker will toy with and perhaps produce a film in which adult content is simulated, integrated with Hollywood actors (Nymphomaniac<\/strong>),<\/strong> or the cast actually engages in some graphic actions, whether it’s required for the character or it’s a creative gamble.<\/p>\n <\/p>\n The poster for WILD ORCHID 2: TWO SHADES OF BLUE \/ aka WILD ORCHID 2: BLUE MOVIE BLUE (1990).<\/p><\/div>\n After the box office and home video success of Wild Orchid<\/strong> (1990), Zalman King needed another project, and no doubt the Wild Orchid brand was too good to abandon, so in spite of making a wholly different erotic drama called Blue Movie Blue<\/strong>, that title became an appendage to Wild Orchid 2<\/strong> (1991).<\/p>\n The drama about a teen becoming a hooker at an elite whorehouse and being rescued by an unlikely hero has zero connection to Wild Orchid<\/strong>, but the rebranding probably helped give the film extra push, especially when it barely enjoyed a theatrical release in spite of being a more lush and dramatically sound drama \u2013 and possibly King\u2019s best film as auteur.<\/p>\n But in the 1970s, a blue movie probably didn\u2019t have the suburban-chic veneer of 1980s productions and beyond. When Toronto\u2019s City TV was struggling to establish itself, its late night time slot featured the Baby Blue Movie<\/a>\u00a0– softcore naughties.<\/p>\n Alberto Cavallone’s BLUE MOVIE (1978).<\/p><\/div>\n Perhaps the most infamous film to use the name, at least in the realm of Eurotrash, is Alberto Cavallone\u2019s Blue Movie<\/a>,<\/strong> a 1978 arty \/ experimental \/ nutbar drama in which a rape victim is degraded by her saviour and degrades herself in scenes that are eruptive and grotesque (and maybe more than a little unhygienic).<\/p>\n Cavallone\u2019s drama is a fusion of misogynistic shocks and experimental cinema, but it\u2019s a grotty little monstrosity which uses its title to lure, promise tease, and just layer assorted psychological & physical torment.<\/p>\n Perhaps that\u2019s why Blue Movie<\/a> <\/strong>(1971) from Holland’s Wim Verstappen is the more satisfying container that delivers softcore sex, nudity, humour, absurdity, and social commentary that goes beyond the sexual revolution.<\/p>\n Aerial view of the planned Dutch housing community Bijlmer \/ Bijlmermeer.<\/p><\/div>\n There\u2019s an important commentary (at least that\u2019s what I think exists) by director & co-writer Verstappen and producer Pim de la Parra) on idyllic futurism as erected by the government in the planned community of Bijlmer \/ Bijlmermeer<\/a>, a massive Brutalist creation which was pitched as a microsmic city of the future for young professionals, but went through some tough times in the coming decades.<\/p>\n Toronto’s early planned community Thorncliffe Park.<\/p><\/div>\n Toronto\u2019s equivalent \u2013 smaller, but not exactly dissimilar \u2013 is Thorncliffe Park<\/a>, a planned community of white apartment buildings and corporate headquarters on large sloping lands which also ran into tough times when the young professionals moved out, and by the 1990s, crime was leaving deep bruises before the area was revitalized into a rich multi-ethnic community.<\/p>\n Save for the nearby Ontario Science Centre<\/a> and Leaside Towers<\/a>, the architecture of the area isn\u2019t Brutalist, but sleek mid-century designs of corporate headquarters, like Coca-Cola and Bata, which were later eradicated for urban banalities.<\/p>\n I stress architecture here because in the cited films, the domiciles, hotels, offices, photo studios, and leisure areas of the respective characters are connected to the worlds created by others, or co-opted as secret rooms for naughty or repugnant behaviour.<\/p>\n![\"\"](\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2019\/03\/WildOrchid2_poster_m.jpg\")
![\"\"](\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2019\/03\/BlueMovie1978_poster_m.jpg\")
![\"\"](\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2019\/03\/Bijlmer_plan.jpg\")
![\"\"](\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2019\/03\/Thorncliffe_Park_early_1970s_s.jpg\")