Guilty PleasuresSchool Girl, 1971, David Reberg, U.S

This is, be warned, a Really Guilty one. But what’s the point of Guilty Pleasures if there’s no guilt involved? Listen, folks: one reason that a critic, like anybody else, goes to movies is to see beautiful people doing naughty things. In a word: sex! So flash back to the early 70s, when porn was briefly chic, and its makers fearlessly tested the bounds of legal behavior. Back then, hardcore had a naive vitality. It also produced a mini-masterpiece, School Girl, directed (pseudonymously) by San Francisco’s Paul Gerber and starring the sweetly enthusiastic Debra Allen as a college student researching a paper on local subcultures. She chooses the swinger scene, which leads to a half-dozen specialty numbers: boy-girl, girl-girl, group grope. In the most intriguing scene, a lithe young woman “directs” an erotic encounter with her husband and Debra. As firm and bossy as any auteur, the woman finally joins the deux to make a ménage à trois. It’s a funny, telling comment on how directors bring an audience’s gamiest desires to life, and on how power helps define any human relationship. But School Girl is also, ho-boy, sexy—or it wouldn’t be a guilty pleasure, would it?
Next: There's Something About Mary,1998, Bobby and Peter Farrelly, U.S.
Guilty PleasuresThere's Something About Mary,1998, Bobby and Peter Farrelly, U.S.
Difficult as it may be to believe, movie critics are human, too. They share everyone’s secret, primal need for jokes about bodily functions and cruel pet tricks, especially when they are as well-orchestrated as they were by the Farrelly brothers in their 1998 hit. Their outrages against common decency were balanced by their fundamental good nature. Maybe their people were doofuses, but they were also the always likable victims of their own klutziness.
Next: Anatomy of a Murder, 1959, Otto Preminger, U.S.