Scène de Kentucky Fried Movie (1977)
Détails de la scène
| Durée: 289 sec.. | Nudité: yes | Créateur: zorg |
| Nouvelle taille de fichier: Loading... | Son: yes | Ancienne taille de fichier: 279 mb |
| Format de fichier: AOMedia Video 1 (WebM/AV1) | Résolution: 1920x1040 | Ajouté: 2017-10-16 |
Actrices dans cette scène
Nom de naissance: Betsy Genson
Date de naissance: N/A
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Nom de naissance: Lenka Novak
Date de naissance: 1957-05-12
Lieu de naissance: Shewsbury, United Kingdom
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Noms alternatifs: Lenka Novakova, Hana Byrbo, Lonka Berova, Olivia Paddon, Olivia Elliot
Caractéristiques physiques: N/A
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Biographie complète
Buxom and shapely blonde bombshell Lenka Novak originally hailed from Sweden. Novak started out in the entertainment industry as a nude model in Europe at a very young age. Lenka appeared in many European adult publications that include Mayfair and the UK edition of Penthouse. Novak eventually moved to America and embarked on a brief acting career in several exploitation movies that were made and released in the mid to late 1970's. Moreover, Lenka was also featured in such men's magazines as Oui, Playboy, and Juggs. Novak got married and went on to focus on having a family after calling it a day as an actress in the late 1980's.
Nom de naissance: Marilyn Joi
Date de naissance: 1945-05-22
Lieu de naissance: New Orleans, Louisiana, United States
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Noms alternatifs: Tracy King, Tracy Ann King, Ineda King, Marilyn Joy
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Biographie complète
Marilyn Joi is an American actress who appeared in a number of exploitation films during the 1970s. She starred in several films by Al Adamson and played the henchwoman Velvet in Ilsa, Harem Keeper of the Oil Sheiks. Her most famous role is Cleopatra Schwartz in Kentucky Fried Movie.
Nom de naissance: Nancy Mann
Date de naissance: N/A
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"Nancy Mann, a busty blonde, debuted alongside approximately a dozen other women as 'The All American Beauties' in the 1959 comedy film 'Laffing Time'. A decade later, she appeared in two notable films that solidified her status within cult cinema. In John Landis's raunchy 1977 comedy 'The Kentucky Fried Movie', Mann shared a scene with Betsy Genson and Lenka Novak, baring her breasts. Also in 1977, she starred in the explicit film 'Fantasm Comes Again', engaging in a Sapphic encounter with adult film actress Candy Samples, where both women displayed full nudity. Nancy Mann remains an iconic figure for enthusiasts of vintage adult cinema."
Nom de naissance: Tara Strohmeier
Date de naissance: 1955-04-12
Lieu de naissance: Alameda, California, United States
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Noms alternatifs: Rose Cypress
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Tara Strohmeier was an attractive, appealing, and energetic actress who worked with pleasing regularity in entertainingly trashy 1970's drive-in exploitation fare. With her cute face, curly mass of frizzy dark hair, smoldering blue eyes, buxom, shapely figure, engagingly sweet'n'sassy upbeat personality, and boundless vitality, the alluring brunette was a substantial and delightful asset to any given film she appeared in. Tara gave a hilarious performance as aspiring B-flick starlet Jill McBain in the uproarious "Hollywood Boulevard." Other notable roles include an enticing teenager in "The Student Teachers," a saucy prostitute in the exciting blaxploitation blast "Truck Turner," a foxy model in "Cover Girl Models," and Claudia Jennings' sister in the terrific "The Great Texas Dynamite Chase." Strohmeier also had a memorably sexy bit in the sidesplitting sketch comedy hoot "The Kentucky Fried Movie." Tara appeared in three films for director Jonathan Kaplan and often acted in movies for Roger Corman's prolific grindhouse studio New World Pictures. Moreover, Strohmeier acted in the enjoyable comedy features "Malibu Beach" and "Van Nuys Blvd." for the rival exploitation outfit Crown International Pictures. Alas, following her bit part in the made-for-TV thriller "11th Victim" Tara suddenly stopped acting. She now lives in Orange County, California.
Détails
Noms alternatifs: Alicia Digart, Ann Biggs, Ann Biggs, Debbie Bowman, Marie Brown, Uschi Dansk, Ushi Devon, Julia Digaid, Ursula Digard, Alicia Digart, Beatrice Dunn, Francine Franklin, Sheila Gramer, Ushi Inger, Cynthia Jones, Astrid Lillimore, Marie Marceau, Astrid Lillimore, Beatrice Dunn, Cynthia Jones, Debbie Bowman, Francine Franklin, Julia Digaid, Marie Brown, Marie Marceau, Sheila Gramer, Ursula Digard, Uschi Dansk, Ushi Devon, Ushi Inger
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Biographie complète
born 1948 in Saltsjö-Duvnäs, Sweden, left home at 16 for Paris and Italy before settling in the U.S. in 1967. After being encouraged to model while working as a multilingual translator (German, Italian, Spanish, Swedish, Danish, Norwegian, French, English), she ventured into softcore films, gaining prominence after meeting filmmaker Russ Meyer. Retiring in 1989 following an illustrious career, Digard now splits time between Palm Springs and North Hollywood.
À propos du film: Kentucky Fried Movie (1977)
Année de sortie: 1977
Nation: United States
Titre alternatif: Hamburger film sandwich, Hei me nauretaan, Hej, vi skrattar, I trella den ehei oria, Kino z Kenthucky Fried Theater, Locura yanqui, Made in USA, Ridere per ridere, To pio trello theama ston kosmo
Réalisateur: John Landis
Scénariste: David Zucker, Jerry Zucker, Jim Abrahams
Production & Genre
Producteur(s): Producer: Robert K. Weiss
Executive Producer: Kim Jorgensen
Sociétés: Kentucky Fried Theatre, Taurus Film, United Film Distribution Company (UFDC)
Genre: Comedy
Récompenses & Similaires
Récompenses: N/A
Similaire:
Mots-clés
Mots-clés: commercial, journalism, manipulation of the media, satire, sketch comedy, television producer, tv ratings
Histoire
Kentucky Fried Movie is an ensemble comedy film consisting of various sketches that parody different genres and aspects of popular culture in the late 1970s. The segments are loosely connected and include spoofs on news programs, commercials, adult films, kung-fu movies, disaster films, blaxploitation films, spy thrillers, mafia movies, and the concept of being watched through television.
Résumé
Released in 1977, Kentucky Fried Movie is a satirical sketch comedy directed by John Landis. The film serves as a commentary on various aspects of popular culture during its time, including journalism, media manipulation, and the fear of constant surveillance. Despite not having an overarching narrative or recurring characters, the movie's various segments are tied together by their shared comedic purpose.