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13 December 2019
Ana De Sade
12 December 2019
11 December 2019
10 December 2019
9 December 2019
Starlutz celebrity database
Welcome to a database of celebrity nude and sexy scenes. Here you will find many clips you have never seen before. Mostly they are taken from films of thirty years ago or more, when nude scenes in films and TV were guilt-free and plentiful. The criteria for inclusion are personal and hence extremely vague. As a guide, those clips that stand out as original or funny are favoured. This means you are more likely to find obscure actresses from unfashionable countries such as Brazil or East Germany here rather than famous Hollywood stars.
The nude clips are mostly taken from versions of films found in various places on the internet. Often the image quality is poor, but that's not the point. Seeing actresses, favourites and unknowns, unclothed in unusual and amusing situations is what this site is all about.
Updated 13 December 2019 Allona Amor
Tag-ulan noon, ang bukid ay basa (Cesar S.B. Abella, Philippines, 1999) ✭ ✭ ✭ ✭ ✭
with Aki Alavilla, Melanie Gomez, Fernando Montenegro and Diego Salvador
Typical Philippine melodrama whose title translates as It Was Rainy, the Field Was Wet. Going by the first screencap you might add And I Guess it Was a Case of Mass Hysteria. Either that or a visiting drama masterclass from the Batley Townswomen's Guild. In reality young rural Filipina ladies spend little of their time up to their ears in buffalo dung, and are in fact practically addicted to habits of personal cleanliness. Without which Philippine films would be full of yawning longueurs with absolutely nothing happening at all.
Allona's mother has rigged up a hand-pumped shower bath for her right there in the paddy field. Handy if she has another dung fight, but today I think she's just been working hard. She doesn't omit a good 'rummage' in the usual place before getting dressed behind the wickerwork screen (with it's generously-sized peeping holes). The delicately pretty young girl is soon married off, judging by her hesitation in the marriage vows more to please her mother than anything else.
Allona's new husband is wealthy yet not conspicuously aged or repellent, and provides her with a fine home and (of course) bathroom, which she is not remiss in putting to good use. But hints of greasiness and not-quite-rightness about this man are confirmed when he starts shooting the servants.
Revenge! The couple are making love when the lights go out, so what does chappie do? Decide that darkness is more romantic and make a mental note to send for a man about it in the morning? Or head to the fuse box and see to it himself? Fuse box every time of course, and wifey can wait - he's the man of the house after all and must do what he must. Big mistake. When the murderer comes for Allona herself she dashes down the stairs and through the sitting room completely in the nude! But she's the lady of the house after all and can do what she wants modesty not withstanding. Besides, the only male left alive in the house is the one chasing her with the knife. Hide in the bathroom then, she's always felt safest in the bathroom...
Mr. Skin has a page for Allona Amor - click here for more of her pics & clips!
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Updated 12 December 2019 Ana De Sade
Oficio de tinieblas (Archibaldo Burns, Mexico, 1981) (featuring Ana De Sade as Marcela) ✭ ✭ ✭ ✭ ✭
with Aurora Clavel, Enrique Lizalde, Julissa, Manuel Ojeda, Monica Miguel, Lilia Prado, Malena Doria, Lupita Lara, Tito Junco, Ignacio Retes, Eduardo Cassab and Guillermo Gil
Another mostly thankless role for Ana in this very amateurish critique of land reform in 'thirties Mexico. She does get to dominate the opening titles though, as a holy innocent on her first visit to the big city.
It's a shame the nice lady who called Ana into her shop as she passed by, eyes demurely cast to the ground, turned out to be a procuress of such swift and merciless efficiency. The two of them had a nice mistress-servant thing going on for a minute, the girl kneeling on the floor so shyly like that, but matters come to a head far too quickly.
Ana is ushered across the courtyard into the quarters of a 'tired businessman' specimen who expertly decants her from her smart and attractive ethnic clothing and sets about raping her naked on the bed. Nothing to enjoy about that, but the scene afterwards where she dresses her skinny body with her long dark hair now ragged and unkempt is very stimulating. And she told that shopkeeper what's what as well! Still in trouble with her mum though.
Mr. Skin has a page for Ana De Sade - click here for more of her pics & clips!
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Updated 11 December 2019 Katrin Saß
Bis daß der Tod euch scheidet (Heiner Carow, East Germany, 1979) (featuring Katrin Saß as Sonja Wallner aged 23) ✭ ✭ ✭ ✭ ✭
with Michèle Marian, Martin Seifert, Berko Acker, Renate Krößner, Peter Zimmermann, Werner Godemann, Henny Müller, Alfred Struwe, Angelica Domröse, Horst Schulze, Carl Heinz Choynski and Georgi Gogow
East German marital drama following Katrin from the happiest day of her life to, well let's say a short time afterwards. There's a deeply subversive theme running through it: keep your husband off the booze. Hide it. Put it on top of the kitchen cabinets where he can't reach.
Katrin learnt the way to a man's heart at her mother's knee: yep, through his stomach. She puts a glorious amount of effort into her feckless husband's meals. Young housewives can even pick up some tips from her, like keeping the casserole warm by tucking it under the bed pillows. Handy if you're hopelessly stuck in the past. But why not, it was the best time to be alive, an age of plain white knickers, pink nipples, and unchecked armpit hair.
Domestic bliss then, until hubby starts coming home half-cut all the time. Katrin bumps into bubbly ginger chum Renate Krößner one day and the pair drag each other round the shops, picking up a little something here and there, maybe a beer or two. Not their fault the man of the house mistakes their happy partying for drunken revels. Ouch.
The booze-fueled beatings recur with monotonous regularity, though not quite as hair-triggered as they've been edited down to seem here. Katrin organises a 'twenties flappers night at home and it goes down like a lead balloon. Maybe her fault for not thinking things through: that's a lovely little see-thru number she's got on, but what was hubby to wear for instance?
Katrin is bunking up with Renate at her place for a scene that contains no nudity but is included as clearly pivotal (and you do see both girls dragged out of bed in their pants). Husband hammers down the door roaring drunk to beg his errant wife's forgiveness. The resulting 'reconciliation' on the carpet has poor Renate cowering in tears. And yes it does establish a pattern that drags on and on depressingly. And yes it does all end depressingly, at Renate's own wedding of course.
Mr. Skin has a page for Katrin Saß - click here for more of her pics & clips!
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Updated 10 December 2019 Vicky Palma
Gamiani (Ismael González, Spain, 1981) (featuring Vicky Palma as Gamiani) ✭ ✭ ✭ ✭ ✭
with Andrea Albani, Bernard Seray, Rocío Freixas, César Bonet, Emilio Siegrist, Lupe Barrado, Verónica Ribo, Lorna Green and Fernando Moreno
In this adaptation of so-called 'classic' literary erotica Countess Vicky gets off to a strong start in the first clip by entering the frame naked holding hands and kissing with another girl. This is a continuation of a scene with Andrea Albani, so consider the foreplay already done and dusted. We'll skip most of the lovemaking too because it's just plain tedious, and rejoin after Andrea has had her 'orgasm'.
Here's an interesting poser for those who have 'threesomes' and the like all the time: what do you say if you suddenly feel an irresistible urge to slip away and practise some depraved vice all on your own for a while? Do you wait for a natural lull in proceedings and excuse yourself with the minimum of explanation, as if for a 'visit' to the lavatory? It seems the politest way. The Countess, though otherwise her manners and charm grace the drawing rooms of the cream of society, just rudely tears herself away whenever she feels like it, making no qualms about voicing her explicit desires aloud and making the most unambiguous of hand gestures. One of the perquisites of nobility.
In the first clip you can see The Countess abandoning Andrea to slitch herself while watching in the mirror. The girl looks on with her characteristic amused tolerance before welcoming a handsome young man aboard. Any ordinary woman would see no use throwing up her arms in dismay at the situation, and just go and stare glumly out of the window until the couple were done. But no, she has to selfishly tug and wrestle until she finally makes herself the 'filling in the sandwich'.
The Countess's offences against decorum are even worse in the second clip. Bolting from her companions raving with the desire to be thrashed and buggerised she staggers panting and naked down the corridor where she has a special room for it. It's an interesting little room by the way. Threadbare, bleak, and decrepit, as if abandoned since its occupying housemaid was tragically worked into her grave. I wish we could have seen more of it.
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Updated 9 December 2019 Diana Conca
Sexo sangriento (Manuel Esteba, Spain, 1981) (featuring Diana Conca as Laura) ✭ ✭ ✭ ✭ ✭
with Vicky Palma, Ovidi Montllor, Mirta Miller, Rosa Romero, Carlos Villafranca, Vicenç Manel Domènech, Gloria Sancho and Ramon Ferre
Murky modern gothic video nasty in which Diana and her lesbian girlfriend Vicky Palma are on a wintry motoring tour of the Spanish mountains. A third girl (Rosa Romero) accompanies them, but being not lesbian (merely 'bi-curious') plays a lesser part in the proceedings.
When their car breaks down in suspicious circumstances and a handsome lady (Mirta Miller) appears out of nowhere to offer her assistance the girls are not alarmed. One look at the woman's stocky physique and sensible shoes assures them she is not Luciana Paluzzi out of Tragic Ceremony; the girls were not born yesterday but have seen that one and this definitely isn't it. So they gladly accompany her to her grand but decaying mansion - the ominously looming one on the hillside.
When assembling a cheap shocker out of a bunch of clichés it's vitally important to pick the right ones; it's just as important as selecting the best stock themes from the music library. Happily this film succeeds in both. Wishing to give back a little for her hostess's hospitality Diana agrees to pop into her studio and be painted in the nude. Yes this woman has artistic tendencies as well as the motherly kind of lesbian ones. But most women get like that once they reach a certain age.
Obviously Diana is a little uncomfortable at first, having to make small talk while perched naked upon a wooden stool, feeling a little like she's on the 'loo' as women call it. And why does The Countess (not her real name it just slipped out) insist on making her wear that massive gold medallion - that's just bloody suspicious if you ask me (cf. Monica Swinn in Draguse).
Never mind, no one's going to find out any guilty secrets; the artist promised to hide the finished painting in the attic. Reassuring in one way, but on the other hand Diana, being a girl, is madly curious to see how it turned out. And being no ordinary girl but a gothic heroine, thus never willingly seen to be lacking in pluck, she creeps upstairs at midnight to view the hidden artwork by the light of a single candle...
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Updated 6 December 2019 Raquel Evans
Jarretelles roses sur bas noirs (Gérard Loubeau, France, 1981) (featuring Raquel Evans as Madre de Sybille aged 25) ✭ ✭ ✭ ✭ ✭
Raquel gets to queen it as the lady of an isolated country house in this sado-voyeuristic Franco-Spanish thriller. Quite a shabby, almost dilapidated house I couldn't help noticing, and not one a lady of her station would believably occupy. But as a base of operations for a group of trash filmmakers evidently it was ideal.
Isa Kara plays her lady's maid, a rather plain colonial import, new on the job and unsure as yet of the scope of her duties. Hence plenty of opportunities for imposture by an employer of mild lesbian tendencies every time she feels just a little bit 'frisky'. 'I know, I'll pretend to show her where the bikinis are kept' is Raquel's bright idea for today. 'Wait, let me show you how to put these things on' she continues, making a gentle play for the collar of the girl's frock. Duly Lady Muck gets a right eyeful and looks well pleased with herself for making the most of an afternoon that would otherwise have been spent alone in the house.
The idea of going outdoors to swim is exposed as a blind when the women are confronted by the unavoidable fact that not only is it still midwinter but the pool is neglected to the state of murky-watered dereliction. So they retire to what looks like the lumber room to practise acts of lesbianism which are so generic and dull I'm going to ignore them and pretend they're still at the cosy-chat-and-hand-on-the-knee stage of female friendship, which is where we find them in the second clip.
The naïve maid answers the door to an armed twosome holding a pair of girls, the blonde one being Eva Lyberten. Another girl about to be mixed up in all this bad feeling is Berta Cabré, Raquel's daughter if the synopsis is to be believed. With the negligible difference in ages Raquel might be entitled to consider this a bit of a cheek, though she could as easily take it as a compliment to her maturity and dignity of bearing.
Alas, these are the qualities about to take a hammering as the thugs order Raquel to strip. No wait a minute, why not order the maid to strip the lady instead? Clearly it's the better idea. I liked the brave way she refused to cover her private parts, but nevertheless couldn't help her hands clutching half into fists as her clothes were slowly removed. And a touch of anxious self-consciousness can also be seen in her movements as she carefully steps out of her knickers. But relax, she gets off lightly in the end so we'll take our leave of things there.
Mr. Skin has a page for Raquel Evans - click here for more of her pics & clips!
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Updated 4 December 2019 Marina Daunia
Le evase - Storie di sesso e di violenze (Giovanni Brusadori, Italy, 1978) (featuring Marina Daunia as Diana) ✭ ✭ ✭ ✭ ✭
with Dirce Funari, Lilli Carati, Ada Pometti, Artemia Terenziani, Ines Pellegrini, Filippo De Gara, Zora Kerova, Angela Doria and Franco Ferrer
Back in 'seventies Italy the country house tennis team siege will soon reach its violent conclusion, but meanwhile a few beers have been shared in the dayroom - for want of a better word what I call the place the hostages are kept. Marina glides in pausing only to pat nervously at her hair (because even hardened lesbian convicts have their insecurities). Now is the perfect time for she and sweet young Dirce Funari to retire sleepily to the bedroom, lost amongst the confusion of people being led away to vomit.
These two have some history between them, but Marina proves she can be surprisingly gentle once she has the object of her desires alone and compliant. Makes all that fumbling on the sofa look a bit silly now doesn't it? And needless to say that wrestling bout on the hearthrug she's done her best to forget. But do bear in mind absolute mayhem reigns in the house while all this breast-stroking, pants-loosening, and butterfly-kissing is going on.
The normal reaction of two naked women woken by screams and gunfire is to dash about in a tizzy putting on each other's clothes back to front. No doubt it's to avoid such confusion that Marina punches Dirce unromantically in the face before grabbing her dress and legging it. Tragically she collapses in a naked heap on the floor before she even reaches the end of the corridor, gunned down by a treacherous former comrade. But then it was always going to be one of these girls or the other (cf. Lucy Mafra in Reformatório das Depravadas).
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Updated 3 December 2019 Andrea Albani
Gamiani (Ismael González, Spain, 1981) (featuring Andrea Albani as Fanny aged 21) ✭ ✭ ✭ ✭ ✭
with Vicky Palma, Bernard Seray, Rocío Freixas, César Bonet, Emilio Siegrist, Lupe Barrado, Verónica Ribo, Lorna Green and Fernando Moreno
Severely toned-down adaptation of a notorious piece of nineteenth century pornography starring Andrea as delightful young Fanny - my favourite name for a girl. By coincidence Vicky Palma has my favourite name for an (ever-so-slightly) older woman - The Countess. This lady's eye is caught by Fanny at an evening gathering as she plays the piano - one of the most becoming accomplishments in a young girl I think. And I've certainly never heard a standard drawing room upright played quite as beautifully as does Fanny.
After a few smiles and pleasant words in the hallway The Countess leads the virginal Fanny upstairs to bed. They undress with a touch of awkwardness, Fanny casting her clean white knickers aside with the practised grace she learned at finishing school, belying her shy anticipation as she waits for the kissing to start. For a moment I thought it was going to turn into a wrestling match, but soon The Countess has her fingers buried comfortably between Fanny's thighs, only withdrawing them to draw them moistly across her breasts. We'll cut things there for the moment, as the same old goes on forever with nothing markedly new or exciting on show.
Much later on Fanny and The Countess are naked again having big hugs when that wickedly manipulative lady decides the two are to share a drink together, slipping into each measure a dose of something which she is not altogether honest about. Then it's back to the grind again, starting with brief oral followed by the icing on the cake: lesbian missionary. On top or not: which is best? Something us blokes will never know. Speaking of which, there's been a young chappie hiding in the cupboards spying on these two all along, something I've hesitated to mention because it reflects badly and all that. He bursts in too late, hauling The Countess's lifeless body aside to find dear Fanny alas already dead. You could have guessed something sad was going to happen when that song started playing. One of those gorgeous pieces of cheese that has spoken parts in it, and you wonder whether they might be your favourite bits...
Mr. Skin has a page for Andrea Albani - click here for more of her pics & clips!
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Updated 2 December 2019 Dirce Funari
Le evase - Storie di sesso e di violenze (Giovanni Brusadori, Italy, 1978) (featuring Dirce Funari as Claudine aged 21) ✭ ✭ ✭ ✭ ✭
with Marina Daunia, Lilli Carati, Ada Pometti, Artemia Terenziani, Ines Pellegrini, Filippo De Gara, Zora Kerova, Angela Doria and Franco Ferrer
Italian trash in which four escaped female convicts hijack a bus full of young tennis players and hole up in the house of the very judge who sentenced them to prison in the first place. Basically it rips off the plot of Killer's Moon then, but is a qualified success due to paying attention to the basics such as characterisation, pacing and especially cinematography. It alternates an atmosphere of sweat-drenched realism with starkly shadowed gothic menace.
Dirce plays a shy and primly dressed young thing - possibly the team nurse - whose fringe is forever falling in front of her eyes. We have the advantage over her of knowing glamorous convict Marina Daunia (cf. Casa privata per le SS) is an insatiable sexual predator skilled at subtly manoeuvring herself into positions of ascendancy over the weak and vulnerable. One to keep an eye on. If only she'd known...
Alone together, Marina sets about Dirce in the approved and correct method of seducing a reluctant young woman, ie. tanking her up on sherry then making understated patting motions on the cushion of the sofa immediately adjacent to herself, here reinforcing the gesture with a gun (she's an escaped desperado and hasn't got all day). The problem with this method is it takes an incredibly swift motion of the hand to get it inside the victim's blouse for any sort of 'action' before she starts wriggling and squealing more than is consistent with her having loyal friends on call in the room next door.
The second attempt is more direct: the good old hand-across-the-mouth-and-pin-her-down-by-the-shoulders trick. Dirce was off her guard and Marina made the most of it, chloroform or no. The plan would have worked too if it hadn't been for a fatal flaw: that rugged young man Dirce was nursing for a bullet wound. The resulting fiasco is enormous: the naked young girl trying to drag off Marina by the ear as she flails about on top of the wounded man, half the house coming running with guns, everyone screaming and shouting... How do people ever live these things down? Mortifying. But for a certain kind of dysfunctional personality these scenes are practically an everyday occurrence. Marina goes on to play for the girl yet again for instance, but that's for another time...
Mr. Skin has a page for Dirce Funari - click here for more of her pics & clips!
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Updated 29 November 2019 Eva Lyberten
Jarretelles roses sur bas noirs (Gérard Loubeau, France, 1981) (featuring Eva Lyberten as Maya aged 23) ✭ ✭ ✭ ✭ ✭
Slick piece of sociopathy in which two retro-styled thugs chase down young women and rape them - wherever possible in slow motion and to self-consciously inappropriate music.
The opening scene is nice though. Eva arrives home one Christmas evening in a pretty white dress and is given some money! She takes off all her clothes while the cheque is being written out incidentally, by the hand of the sort of young man who seldom sees the light of day. He keeps his back to her with the practised indifference of one too myopic to see much anyway. I reckon he's her brother.
It's not long until the nastiness starts. Eva and girlfriend are chased into a cave by the posing pair of hooligans and raped. Generally unpleasant, but Eva does look enticing in a vagabondish sort of way with her clothes hanging off her in rags.
Mr. Skin has a page for Eva Lyberten - click here for more of her pics & clips!
28 November 2019 Diana Conca in 'Esas chicas tan pu...'
26 November 2019 Teresa Gimpera in 'Más fina que las gallinas'
25 November 2019 Berta Cabré in 'Jarretelles roses sur bas noirs'
18 November 2019 Sofía Fernández in 'Esas chicas tan pu...'
15 November 2019 María Luisa San José in 'Más fina que las gallinas'
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