International man of mystery Diabolik and his sensuous lover Eva Kant pull off heist after heist, all while European cops led by Inspector Ginko and envious mobsters led by Ralph Valmont are closing in on them.
John Phillip Law,
Anthology film from three European directors based on stories by Edgar Allan Poe: a cruel princess haunted by a ghostly horse, a sadistic young man haunted by his double, and an alcoholic actor haunted by the Devil.
Three go-go dancers holding a young girl hostage come across a crippled old man living with his two sons in the desert. After learning he's hiding a sum of cash around, the women start scheming on him.
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
Who gives up the pill? Who takes sex to outer space? Who's the girl of the 21st century? Who nearly dies of pleasure? Who seduces an angel? Who's the bird in the gilded cage? Who conveys love by hand? Who strips in space? See more »
The movie's main English language trailer featured the following statement: "We wish to thank the following planets for making this picture possible: Lythion, Jupiter, Venus, Saturn, Earth and many special guest stars!". See more »
When Barbarella first has to go down for a crash landing, she puts her right arm up to her head. In the next shot her left arm is up to her head. 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, she 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 - - -
The greatest psychedelic science fiction sex comedy ever made!
I first saw 'Barbarella' on TV as a small child in the 1970s and along with 'The Omega Man', 'One Million Years B.C.', and 'Jason and the Argonauts' the movie blew my tiny little mind! I think my interest in cult and bizarre began from seeing this classic slice of 1960s psychedelic trash for the first time. This is one of the silliest movies ever made, but still one of the most entertaining. Jane Fonda, then at the peak of her sex kitten period (history lesson - this was before "radical Jane" and "corporate Jane"), has never looked lovelier than in this movie, and manages to really pull off Barbarella's wide-eyed innocence. Anita Pallenberg (co-star of 'Performance' and then Keith Richards' "old lady") is stunning as The Great Tyrant, even if her voice is dubbed, and her handful of scenes with Fonda are unforgettable. The rest of the eclectic supporting cast includes cult favourites John Phillip Law ('Diabolik') as Pygar, the blind angel, David Hemmings ('Profondo Rosso') as Dildano a revolutionary, and Milo O'Shea ('Theatre Of Blood') as renegade Earth scientist Duran Duran. 'Barbarella' contains some of the most striking and surreal images of the 1960s (the doll attack scene is one of my all time favourites!), and is definitely one of the most bizarre science fiction movies ever made. Like many of the 1960s more excessive movies it is a real love it or hate it proposition. I love it of course, and think it, Russ Meyer's 'Faster Pussycat! Kill! Kill!', and Roger Corman's 'The Trip' are the three greatest 1960s trash classics. This is simply absolutely essential viewing for all 1960s buffs, science fiction or otherwise. Long live 'Barbarella'!
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