The year is 40,000. After peaceful floating in zero-gravity, astronaut Barbarella lands on the frozen planet Lythion and sets out to find renowned scientist Durand Durand in the City of Night, Sogo, where a new sin is invented every hour. There, she encounters such objects as the Excessive Machine, a genuine sex organ on which an expert artist of the keyboard, in this case, Durand Durand himself, can drive a victim to death by pleasure, a lesbian queen who can make her fantasies take form in her Chamber of Dreams, and a group of ladies smoking a giant hookah which dispenses Essence of Man through a poor victim struggling in its glass globe. You can not help but be impressed by the special effects crew and the various ways that were found to tear off what minimal clothes our heroine seemed to possess.Written by
The film was made prior to actress Jane Fonda's "politicization" and maturation, and the evolution of her political persona. When asked to defend the film in the context of her feminist political views, she had no choice but to accept it. She couldn't rewrite history, despite the obvious "sex symbol" nature of the Barbarella character, which feminists felt exploited women. See more »
After making love to the angel, Barbarella gets a new outfit. It is not explained where she got this from. See more »
Stand by for a message from Dianthus, President of Earth and Rotating Premier of the Sun System.
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In the opening credits, the letters in the words move around in an attempt to obscure Barbarella's nudity. See more »
In 1968, all the legislative rules about not showing female nudity were applied by the Australian Film Censorship Board, when BARBARELLA was classified (SOA) SUITABLE ONLY FOR ADULTS. - - - The Australia Film Censorship Board ordered the elimination of "all shots of female nudity" i.e. Australia Film Censorship Board insisted that the brief female nudity is never seen by Australians. - - - In 1968 BARBARELLA quickly became a cult movie film outside Australia, because under the pretext of Jane Fonda completely removing her spacesuit, Jane Fonda does a revealing zero-gravity striptease during the 4:49 minutes of opening credits, whilst the title theme song is performed by The Glitterhouse. Bright white animated titles are used, where the letters forming the words, move around in an attempt to obscure Barbarella's nudity, plus there is visual blurring to hide Jane Fonda's incomplete nakedness. - - - Projected in glorious SPLICE-ARAMA, BARBARELLA when shown in Australian cinemas on its first theatrical release, at the request of the Australian Film Censorship Board the movie had all nudity eliminated. Because of large number of censorship cuts in the opening credits to remove all the female nudity, the title theme song also had some lyrics cut. These are the six sequences of cuts during the opening credits sequence:- Before the title sequence says "David Hemmings" cut 3:46 to 3:47 left breast and nipple, then cut 3:41 to 3:56 right breast and nipple, then cut 4:08 to 4:14 left and right breast and nipples. Before the title sequence says "Dino De Laurentis" cut 4:15 to 4:17 left breast and nipple, then cut 4:30 to 4:43 right breast nipple then left breast nipple. Before the title sequence says "Roger Vadim" cut 4:45 to 4:50 left breast and nipple then right breast and nipple. - - - Inside her spaceship, cut 8:32 to 8:34 brief rear view of Jane Fonda - - - In the labyrinth sequences, the topless women, cut 32:42 to 32:45 then cut 33:38 to 33:50 then cut 39:29 to 39:40 - - - All the topless women plus the woman suspended from the ceiling, in the city of Sogo sequences, cut 71:21 to 71:41 then cut 72:52 to 73:01 - - - See more »
If you're looking for a cult classic, they don't come much stranger than sexed-up and super-silly BARBARELLA, the peculiar tale of an intergalactic secret agent (Jane Fonda) sent to a rebel planet to find a mad scientist named Duran Duran (Milo O'Shea.) Directed by Fonda's then-husband Roger Vadim, the film is less concerned with creating a coherent storyline than it is in finding inventive ways to strip Fonda of her already skimpy outfits.
In this it is remarkably successful, and Fonda actually has both enough sex appeal and round-eyed innocence to carry the thing off, emerging as something like a Barbie doll; John Philip Law strikes a similar note as the sexy but equally innocent "angel" Pygar. The designs are 1960s psychedelic with as many Freudian twists as the film's makers can come up with, and when all is said and done you can't help but roll your eyes in amusement.
True enough, BARBARELLA was probably much more entertaining back in the days LSD, and indeed one might read the entire thing as an acid trip time machine. No one in the cast takes the film very seriously, and neither should you; when all is said and done it has all the depth of a pancake, not so much funny as merely amusing and appealing to a very high-camp sensibility. But as cult movies go, it ranks right up at the top. Give a party and show it on a double bill with FLESH GORDON! Gary F. Taylor, aka GFT, Amazon Reviewer
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