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A modern thriller, a sequel to a beloved film, a revisionist western, and three films celebrating their 50th anniversary await you this week! Read on to find out more about this sexy sextet of films released on June 24 in Movie Nudity History!

2016: The Neon Demon

Following his international breakout success with Drive in 2011, Danish director Nicolas Winding Refn delivered a wildly divisive follow-up with 2013's Only God Forgives. That divisiveness continued into his next effort, The Neon Demon, released on this day four years ago to mixed reviews and general audience apathy. It is, however, easilythe director's most skinsational film with plenty of nudity to be found in this tale of a sixteen year old named Jesse (Elle Fanning) who moves to Los Angeles to pursue a career in modeling.

She signs a contract with an agency run by Christina Hendricks' Roberta, which seems like the beginning of her dreams coming true, but everything quickly turns into a nightmare. Other models like Gigi (Bella Heathcote) and Sarah (Abbey Lee) grow envious of the attention lavished on Jesse, while a makeup artist named Ruby (Jena Malone) seems like a potential ally and grounded friend, but turns out to be much more duplicitous than Jesse first thought.

If you've seen any of Refn's films, you likely know that things are headed pretty steadily downhill for Jesse and that whatever you think is about to happen pales in comparison with the actual nightmares the director conjures up. Even the always benign and comforting presence of Keanu Reeves proves to be a bait and switch by the director, intending to once again subvert the audience's expectations.

Jena Malone officially sheds any traces of her good girl child actor days with a haunting performance in the flick, going topless for a shocking scene late in the film and also, ahem, taking great pleasure inthe corpse of Cody Renee Cameron at her other job working in a morgue...

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Perhaps the film's best known nude scene, however, comes courtesy of Bella Heathcote and Abbey Lee, who share a shower 96 minutes in...

1983: Porky's II: The Next Day

**Portions of the following text are excerpted from our SKIN-depth Look at the Porky's Franchise...

A little over a year after the release of the original film—and with it still playing theatrically in some parts of the country—the Porky’s franchiseshouldhavebeat its own path and tried to define itself as being more than just a one-trick pony by continuing the adventures of our main characters and watching how the events of the first film have changed them. Instead the movie opens with, I kid you not, a pop quiz about the first film before launching into a greatest hits montage using footage from the first film over the opening titles.I suppose that having come out in the nascent days of home video, most people could have legitimately forgotten what happened in the first film, but still, this is just lazy.

When the movie proper starts, we see Pee Wee’s in bed AGAIN. So we’re just gonna do the first movie over again, it seems, only this time he CAN’T get a boner, womp womp. So he rather tastefully uses a native woman in a National Geographic then does his classic Tarzan yell. Then Mom comes in and, zoinks, finds Pee Wee's boner chart, making her eyes bulge out of her head.

It goes on and on like this for the film's first thirty minutes or so, only with a lot more treacly sentimentality. A dramatic dialogue scene betweenKaki Hunterand Dan Monahan goes on for an interminable length and feels like watching an Acting 101 scene study. I understand that's not what anyone is coming to Porky's II for, but the scene runs longer than the film's only female nude scene, so it's worth mentioning.

That's right, there's no shower scene redux here, odd considering they're not shy about repeating virtually every other big moment from the first film. Instead the film's only nudity comes fromCisse Cameron, who plays a prank on poor Pee Wee by pretending to die just before they can have sex in a graveyard...

It's a funny bit of physical comedy, but for a sequel to a boob comedy, these are the only boobs in the movie. What happened guys? I know Bob Clark was in full-on family mode trying to getA Christmas Storymade, but this sequel is far too wholesome compared to the original. Some scenes have so much dead air in them, it's as if you could imagine Jean Shepherd's Christmas Story narration playing over the silence.

The KKK stuff seems ill-advised at best, but in case you haven't seen the movie, the school's Shakespeare festival comes under fire from a local religious fanatic. When he can't get it shut down, he turns to the KKK to support his ban as the production had cast a native Seminoleteenager in the role of Romeo, meaning he'd have to kiss Kaki Hunter's pure as the driven snow white girl Juliet. The prankster boys, of course, get the upper hand on the Klan, exposing their influence in local politics and leading them into a trap to get beaten senseless by the assembled Seminole community.

This sort of half-assed social commentary is present in the original film as well with the reconciliation between the meek Jewish kid and the bullying Tim. It didn't really work in that movie and it certainly doesn't work here, but you've got to admire Bob Clark for trying.

1971: McCabe Mrs. Miller

**Portions of the following text are excerpted from our SKIN-depth Look at Robert Altman's Films Part One...

In 1971, director Robert Altman was hot thanks toM*A*S*H's box office and awards season success, and Warren Beatty was the biggest actor/producer in the industry. Since taking the reins on producingBonnie Clyde, Beatty had built a reputation as a shrewd businessman with an eye for films that he could produce and star in. At the time he was also in a relationship with British actressJulie Christie, making them a perfect pairing for first-time producer David Foster (The Thing,The Mask of Zorro) and his adaptation of the book "McCabe."

Set in the Pacific Northwest during a typically terrible mid-19th Century winter, the film tells the story of a man named McCabe (Beatty) and his dream of building a saloon/whorehouse in the small town of Presbyterian Church. He partners with the other name in the title, an experienced madam named Mrs. Miller (Christie), and business booms, eventually attracting the attention of some rather unscrupulous business men.

Being set predominantly in a whorehouse means there's quite a bit of skin in the flick, though the film's natural light interiors make a lot of it hard to see.Maysie Hoy,Linda Sorenson, andJanet Wrightplay three of the tavern's best call girls, all of them going fully nude throughout the film's second act...

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If nothing else, Altman helps to normalize nudity in film—an American mainstream tradition only three and a half years old at this point—by presenting it very matter of factly. These are working girls showing their wares, cleaning themselves, and servicing their customers. It's pretty great that Altmanequated nudity with normalcy and matter of factness. This helped to make the very notion of showing naked women on film more acceptable as "part of the story's integrity," one of those phrases you hear bandied about from time to time. The film is set in a whorehouse, it would be weird to see exclusively clothed women hanging out there.

1970: Myra Breckinridge

On This Day in Movie Nudity History: June 24

The first of three films released on this day 50 years ago is definitely the most controversial of the bunch. Based on Gore Vidal's 1968 novel of the same name, the star-studdedMyra Breckenridgestarts with film critic Rex Reed playing a man named Myron Breckinridge, who travels to Switzerland for gender reassignment surgery, morphing into the gorgeous Myra, played by Raquel Welch! Myra gets a job teaching etiquette at an acting school run by John Huston's Buck Loner, but ends up teaching the women femdom techniques. She eventually reveals her plan is to enact"the destruction of the last vestigial traces of traditional manhood in the race in order to realign the sexes, thus reducing population while increasing human happiness and preparing for its next stage.”

The film's supporting cast includes Jim Backus, John Carradine, George Furth, Toni Basil, a young Tom Selleck, and Hollywood legend Mae West, appearing in her first film in over 25 years. Farrah Fawcett is also on hand, in only her second film role, as the object of Myra's affections. Farrah plays Mary Ann, who is in a relationship with über-male Rusty (Roger Herren), that is until Myra kidnaps Rusty and penetrates him with a strap-on, causing him to dump Mary Ann and driving her directly into the arms of Myra.

Although Myra tries to convert Mary Ann into a lesbian—or at least a bisexual—her attempts ultimately prove unsuccessful. She does prove successful in getting Farrah Fawcett to do her very first nude scene on screen, though, with her left breast popping out of her top while they're in bed together, and Farrah also sports a completely see-through gown at one point in the film...

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As you'll see, the common thread running through all three films released on this day 50 years ago is that they were all box office bombs, relative to their budgets and expectations. This film has gained a substantial cult following over the ensuing decades, but it's still looked at as one of the bigger failures of its era.

1970: Catch-22

**Portions of the following text are excerpted from our SKIN-depth Look at Mike Nichols' Films

MikeNichols became the first motion picture director to net a one million dollar salary for directing this ill-fated adaptation of Joseph Heller's scathingly funny anti-war novel, also released on this day fifty years ago. Fully loosed of the restrictions placed on his two prior films—Who's Afraid of Virginia Woolf and The Graduate, both made in the waning days of the Hays Code—Nichols was free to deliver a real-deal R-rated film, letting the f-bombs fly and bringing us some nudity that wasn't cleverly disguised through editing.

Catch-22made a bit of history, featuring one of the first mainstream full frontal nude scenes from the lovelyPaula Prentiss, who tempts our hero Yossarian to attempt to get himself declared insane, grounded as an airman, and kicked out of the military...

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Later in the film, we catch Yossarian in bed with a toplessOlimpia Carlisi...

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There are many factors which contributed to the film's failure to connect with audiences, not least of which beingRobert Altman'sM*A*S*Hhaving covered a lot of this same ground six months earlier. The film certainly has its fans, but it's more of a companion piece to the book than it is a standalone effort to be enjoyed by anyone who hadn't read Heller's novel. At the same time, it can't really be enjoyed by anyone who has read the book, because of all the cuts and condensations made to the story.Catch-22the film, therefore, finds itself in its own Catch-22.

Even still, the film has plenty of terrific supporting performances, and Alan Arkin's portrayal of Yossarian is pretty iconic. Try reading the book again after seeing the film and not picturing Alan Arkin in your head.And, if nothing else, Art Garfunkel's appearance in the film inspiredone of Paul Simon's greatest songs, so there's that.

1970: Darling Lili

**Portions of the following text are excerpted from our SKIN-depth Look at Blake Edwards' Films...

Finally on this day fifty years ago came director BlakeEdwards' biggest misfire, commercially anyway, that couldn't have come duringa more crucial time in his career.1970'sDarling Liliwas greenlit in the wave of big budget, studio-bankrupting musicals that swept the country in the late 50s and early 60s. Made on a budget of $25 million—over $165 million in 2020 dollars—this project was the first professional pairing of Edwards and his new wife, Oscar-winnerJulie Andrews. The two met when Andrews became attached to the project in 1967 and romance bloomed between the seemingly unlikely pair.

While it was mostly ignored by critics at the time, being far too focused as they rightly were on the film's extravagant spending, the film is actually a rather charming deconstruction of both the musical and the spy genre. Andrews is radiant in the title role, a British cabaret singer during WWI who isactually a German spy, tasked with seducing and ultimately destroying aceAmerican pilot William Larrabee (Rock Hudson). Of course, she ends up falling for him, which only complicates matters.

Andrews' first flash of flesh came in this flick, where she wows the crowd with a burlesque routine, her right nipple briefly popping out of her top, which in turn pops an aristocrat's monocle right out of his eye...

Then at the end of her routine, she ditches her top entirely and we can briefly see her entire left breast as she makes a quick exit...

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