From ENDLESS NIGHT.
Ah, Britt Ekland and a starburst filter. They go together like, like Michael Winterbottom movies and suddenly losing all will to carry on living.
As Jonathan Ross said to Britt, after referring to her famous dance in THE WICKER MAN, “thank you for helping me through those difficult teenage years.”
Caution: not “work safe” —
I first saw THE WICKER MAN late one Friday night on a b&w portable TV in my bedroom. Typically it was a Hammer horror or something similar. As a teenager I would watch the late (10.30pm) movie on STV, and if it wasn’t good I’d retune the set to Grampian, a channel that broadcasts to the Highlands, but which could just about be received, in crackly form, from my aerial. If the second movie wasn’t good I would just go back and forth between the two bad movies, hoping for “good bits”. These would either be the arresting images that can crop up even in the lamest horror film, or glimpses of nudity.
And then THE WICKER MAN shows up and completely blows my mind. This was no glimpse! “She’s totally naked and this is going on for AGES!” I thought, in so far as I was capable of thought at the time. Only rarely would I discover scenes like this. It didn’t have to be nudity. I remember the kissing scene with Monroe and Curtis in SOME LIKE IT HOT impressed me as powerfully erotic, although the fact that it kept cutting to Jack Lemmon dancing with Joe E Brown was somewhat off-putting.
Interestingly, Britt appears in a second prolonged bit of ’70s erotica — in GET CARTER. Although that, too, is rudely interrupted: “What’s the matter with you, tummy trouble?”
Anyhow, here’s to Britt.