This scene gets its sexy edge from the fact that Jo Anne Bates only wants a head & shoulders shot, but is cajoled into the full monty for the photographer's (and our) benefit. Her slowly evaporating embarrassment shifts an otherwise fairly routine sequence up by at least one star.
Ms Scarabelli seems to adopt a "If you can't beat them, join them" in the final section of this film, shedding her clothes for a end-credit clinch. By keeping us waiting until the fade-out, she remains the more memorable of the ladies on view, even though (if I recall correctly) a well-placed leg preserves some slight modesty.
The elder of the two Michelle sisters, Ann provides both the most and the most satisfactory nudity in this film. Even when reluctantly stripping in an early scene, you sense she feels the power of her sexuality, signposting the movie's finale.
She eventually quit acting to set up as an agent in London.
One of the refreshing things about this show is that it didn't only cast women with artificially inflated cleavages. Case in point: Saxon Trainor, who here dallies with the chef whilst their latest creation sets. Seeing her petite breasts covered in chocolate makes for a nice counter to Jane Horrocks' smiliar but rather less erotic scene with David Thewlis in Life is Sweet.
How the heck Ed Wasser can watch his extremely hot wife getting her pressure points seen to by the neighbourhood masseur without recognising her immediately is beyond me, given that her only disguise is a wig and sunglasses (indeed, that's all she's wearing).
On the other hand, maybe he does and that's the point: he certainly seems to value her more when she gets back later. If so, it's one of the few examples of tv erotica using that staple of porn fiction, "I get off on seeing my woman with other men". Yeah, right; if you were hitched to this girl, you'd nail the door shut from the inside.
European actresses often seem more at ease with full nudity than their US contemporaries, and now a long line-up which includes Helen Mirren, Emmanuele Beart and Jenny Agutter can add Margot Stilley to the list. Where she goes even further, of course, is performing in real sex acts onscreen, collaborating in easily the most explicit mainstream release ever in the UK. She's pretty, lithe, acts very naturally, appears to give an excellent blow-job and is highly enthusiastic in the final penetration sequence. Hopefully, we'll see more of her - both as an actress and a 21st Century sex icon.
Carol Hawkins, former star of the UK comedy show Please Sir! and its rather less well-received spin-off The Fenn Street Gang, provides brief nudity and is tortured to death by James Robertson-Justice and Charles Hawtrey, who have clearly decided to murder their agents soon as shooting wraps. The torture scenes were extensively cut for the UK release.
Lesbian encounters with Linda Hayden
No one in their right mind, or even slightly out out of it, would go so far as to call Fiona Richmond a great actress. Famed for her faux memoirs in the porn magazines owned by then-boyfriend Paul Raymond, her appearance in this movie (originally known as Expose, but presumably adjusted to jump aboard the Straw Dogs controversy) is easily overshadowed by the performance of the enigmatic Linda Hayden and the creatively constipated Udo Keir. Having rejected Keir, Hayden makes a pass at Richmond, who reacts as though her libido had shifted up several gears whilst leaving her brain in neutral. The final seduction is almost mechanical, rather as was the way Richmond desported herself in an earlier scene with Keir, twisting upon the bed and moving a leg up to hide her public hair with the skill of a finishing school alumni sliding herself out of a low-slung sportscar in front of twenty photographers. Deeply average, and those curious breast - which appeared to have been formed in a pudding bowl - do not help in the least.
After the shower
I'm disappointed that some folks on this forum sit there with a stopwatch in one hand (and we can guess what's in the other), noting the exposure of Ms Agutter's nipples but failing to recognize the erotic buzz in the scene, particularly the way she bites her lip as David Naughton slides down to pleasure her orally. She's a great actress, and this is a very nice scene (albeit too brief).
Allegedly based upon a true story director Peter Walker saw in a Sunday newspaper, this film remains Lynn's sole lead role (although Robin Askwith appeared in many other films before concentrating on his stage work). The most revealing scene is her photosession, which also acts as a gentle reminder that a sideview could often be quite sexy in the days before luxuriant pubic hair went the way of eight-track stereos and flared trousers. (Talking of which, Askwith appeared at a film festival in September 2005, and I could swear he was wearing the same white t-shirt and torn jeans he donned for Confessions of a Window Cleaner. Same haircut, too.)