Reflecting upon the monumental films that are celebrating their half-century this year, it becomes apparent that the class of 1974 offered a diverse and memorable cinematic landscape. That year ushered in seminal works like ‘Chinatown’ and ‘The Godfather Part II’, exuding class and dramatic gravitas. Comedic genius Mel Brooks gave audiences reasons to laugh with ‘Young Frankenstein’ and ‘Blazing Saddles’, while mystery aficionados were treated to adaptations of Agatha Christie’s whodunits, ‘Murder on the Orient Express’ and ‘Ten Little Indians’.
The era was also defined by the thrilling suspense of the disaster genre with ‘The Towering Inferno’, ‘Airport 75’, and ‘Earthquake’. The more risque side of cinema was not forsaken, featuring R-rated comedies like ‘Flesh Gordon’, ‘Going Places’, and ‘The Swinging Cheerleaders’, alongside the erotic drama ‘Julia’ and the cult classic ‘Wide Open’. Indeed, the contrast of classic and camp was the hallmark of the cinematic year of 1974 – a vibrant testament to the lurid ’70s.
Advancing to the late ’80s, societal tensions affected the portrayal of love and desire on screen, notably reflective of the AIDS epidemic’s impact. Sexual narratives became cautionary tales, with Michael Douglas’ characters in ‘Fatal Attraction’, ‘Basic Instinct’, and ‘Disclosure’ dramatically portraying the consequences of sexual indiscretion. ‘Disclosure’, in particular, became a memorable artifact for its indulgence in the techno-culture of the ’90s, lamenting issues as quaint as a corporate tiff over a CD-ROM division.
‘Basic Instinct’, directed by Paul Verhoeven, brought forth a heteronormative narrative laced with a mix of titillation and foreboding, marking a notorious point in mainstream film’s exploration of sexuality. Later, cinema witnessed tender portrayals of forbidden love in Ang Lee’s ‘Brokeback Mountain’ and Todd Haynes’ ‘Carol’. Yet, these stories often concluded without the promise of joy for their characters.
Mainstream films had concurrently adopted a period of subdued sensuality, with stars like Tom Cruise symbolizing a passionless era, despite his role in the sensually charged ‘Eyes Wide Shut’. As new millennia matured, however, representations of intimacy on film and television regained their complexity and vitality. The crucial role of intimacy coordinators has emerged to ensure on-set safety and consent, as seen in the second season of ‘The Deuce’ and perpetuated in series like ‘Bridgerton’ and ‘Euphoria’.
Apart from profound debates, contemporary media also encapsulates the joy and variety of sexual experiences. The series ‘Sex Education’ playfully inspects the lives of libidinous British teenagers, and ‘Minx’ delves into the provocative world of adult publications. Meanwhile, ‘Obsession’ and ‘Sex/Life’ revive the classic ’90s erotic thriller formula, echoing the tension and drama that once gripped audiences.
Oscar-nominated director Adrian Lyne contributed a fresh take on the erotic thriller with his 2022 film ‘Deep Water’, starring Ben Affleck and Ana de Armas. Luca Guadagnino’s ‘Challengers’ adopts a more nonchalant attitude toward on-screen intimacy, depicting the interconnected lives and amorous dynamics of three tennis players with a raw edge of modern sensuality.
Even in genres not primarily focused on sexual narratives, such as the ‘The Sandman’ spin-off ‘Dead Boy Detectives’, sexual identity and attraction are explored with sincerity and nuance. Patricia Highsmith’s literary influence is acknowledged in the representation of sex and relationships, as her landmark novel ‘The Price of Salt’ offered an early blueprint for affirmative depictions.
For those longing for the nostalgia of the ‘90s, the decade’s hallmarks return anew with reboots of classics like ‘Fatal Attraction’ and ‘Presumed Innocent’, beckoning viewers with their timeless allure and suspense. The evolution of erotica in cinema demonstrates a rich journey from sensationalism to a nuanced, inclusive portrayal of the breadth of human desire.
