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*Casino Baseball Bat Scene Uncut VideoSean Connery and Daniela Bianchi, ’From Russia With Love’
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This list does not claim to highlight the most gory or disgusting scenes (i.e. Scatological terrors from 120 days of Sodom), but rather, scenes that due to their content or taboo subject matter are the most.United Artists via Everett CollectionIn one of the first Hollywood sex tapes (that Hollywood actually intentionally produced), Bond (Connery) and Tatiana Romanova (Bianchi) are filmed in the sack by Rosa Klebb (Lotte Lenya). We shamefully admit that we wish we had a copy.Casino Baseball Bat Scene Uncut VideosSean Connery and Honor Blackman, ’Goldfinger’United Artists via Everett CollectionBy the time Bond (Connery), ahem, penetrates the seemingly impenetrable Pussy Galore (Blackman), the spy recognizes the necessity of privacy. Throwing a parachute over the couple to shield from government relief, Bond quips, ’Oh no, you don’t! This is no time to be rescued.’ Seems pilot Pussy wasn’t the only one who knows how to glide down a landing strip.Sean Connery and Claudine Auger, ’Thunderball’Casino Baseball Bat Scene Uncut GameUnited Artists via Everett CollectionWhile scuba-diving for a bomber under the sea, Bond (Connery) goes even deeper (pun intended) when he finds Domino (Auger) swimming as well. After stepping out of the ocean — which reacts to their love-making with a suggestive surge — Bond quips, ’I hope we didn’t frighten the fish.’ That’s one way to fish for compliments.article continues below adSean Connery and Molly Peters, ’Thunderball’United Artists via Everett CollectionSure, Bond’s (Connery) methods of romancing Patricia Fearing (Peters) are questionable — seducing her by telling her it’s the one way she won’t get fired following a nearly deadly incident at her health farm — but the subsequent steam room sex scene, during which Peters becomes the first Bond girl to appear nude via silhouette, is unquestionably sexy.Roger Moore and Madeline Smith, ’Live and Let Die’United ArtistsThe spy’s ’Live and Let Die’ Rolex has the distinction of being Bond’s (Moore) least and most useful gadget over the course of 23 films. The magnetic watch fails to protect him from the wrath of Mr. Big’s alligators, but it does prove useful when undoing the magnetic Miss Caruso’s (Smith) dress.Roger Moore and Barbara Bach, ’The Spy Who Loved Me’United Artists via Everett CollectionThe spy who loved Anya Amasova (Bach) — for 90 minutes, anyway — asks the KGB agent to strip out of her clothes for some nautical nookie. And during the act, Bond (Moore) and Anya’s superiors get a first-hand look at what happens when Bond rocks the boat.article continues below adRoger Moore and Lois Chiles, ’Moonraker’United ArtistsTurns out getting lost in space with James Bond (Moore) would be a good thing. In the final moments of ’Moonraker,’ Bond and Dr. Holly Goodhead (Chiles) live up to the Bond girl’s name by rolling around in the sub-zero hay. Of course, they’re discovered by Bond’s government colleagues: ’I think he’s attempting re-entry, sir.’ A sex scene that was, figuratively and literally, out of this world.Roger Moore and Maud Adams, ’Octopussy’United Artists via Everett CollectionWhoever said laughter is the best medicine clearly didn’t see Bond (Moore) cure himself from Khan (Louis Jourdan)-related injuries through a roll in the sack. Where can we find such love potion?Roger Moore and Grace Jones, ’A View to a Kill’United Artists via Everett CollectionOne of Bond’s most sexually dominant paramours, May Day (Jones) doesn’t even allow Bond to take advantage of his patented punnery. ’I see you’re a woman of very few words,’ Bond (Moore) tells her as she climbs into bed, to which she responds, ’What’s there to say?’ Now, that’s what we call a Bond woman.article continues below adPierce Brosnan and Famke Janssen, ’GoldenEye’United Artists via Everett CollectionXenia Onatopp (Janssen) certainly does like to be on top — of Bond’s (Brosnan) shoulders, that is. Armed with her penchant for squeezing men to death with her thighs, Xenia attacks Bond, only to begin seducing him in a way that would make Christian Grey blush. The duo never actually does the deed, but how could Xenia not make it onatopp of a sexy Bond list?Pierce Brosnan and Teri Hatcher, ’Tomorrow Never Dies’United Artists via Everett CollectionM (Judi Dench) dispatched Bond (Brosnan) to seduce trophy wife Paris Carver (Hatcher) for information on her conspiring husband, Elliot Carver (Jonathan Pryce) — and, based on the a few lingerie-friendly shots, both Bond and audiences were lucky she did. Paris, however, wasn’t — she was murdered shortly thereafter by her own husband. Talk about a dangerous affair.Pierce Brosnan and Sophie Marceau, ’The World Is Not Enough’United Artists via Everett CollectionOne way to get over the groan-worthy ’I thought Christmas only comes once a year’? Watch Bond’s (Brosnan) tryst with Elektra King (Marceau), which begins and (unfortunately) ends with a bang.article continues below adDaniel Craig and Eva Green, ’Casino Royale’Sony Pictures via Everett CollectionDuring the most romantic love scene in the Bond franchise, Vesper Lynd (Green) visits an ailing Bond (Craig) and speeds his recovery with the following sultry declaration, ’You can have me anywhere.’ The fact that Bond responds with nary a pun — ’Whatever is left of me, whatever I am, I’m yours’ — shakes (not stirs) us to the core.
The art of cinema has always been the most controversial of expressions. Authors, painters, sculptors, poets, and musicians all freely craft their spirited mosaics without fear of being censored. Still a relatively young art form, it is held as common belief that there are some things that should never be allotted to the screen. Sex, murder, gore, and even something as small as coarse language suffer the woes of over-censorship.
Why? Good question. Some believe that consuming “vile media” and “sinful entertainment” could turn the most harmless of beings into the worst of crazed lunatics that feast solely on the virgin blood of infants. Could that be? Perhaps. But even the earliest of Neanderthals drew themselves some of the most violent and brutal cave paintings.
Though it is clear that the plague of the MPAA isn’t soon to cease, it is becoming more prominent for films to feature excessive content without being condemned for it. Thanks to the bravery of a few fearless directors, it is becoming increasingly accepted to flex one’s morbid curiosity. Today, we delve deep into the enthralling history of these insatiable provocateurs and the notorious scenes that pushed the envelope and shattered the boundaries of cinema as we know it. Here are the top ten torture scenes in cinema history.
(CAUTION: Spoilers Ahead!)
10. True Romance – The Sicilian Scene
After fabled American folk singer Tom Waits finished reading the screenplay for Quentin Tarantino’s outstanding anti-caper tour de force “Reservoir Dogs” he complimented the script as being “pure poetry”. While that may have been a bit of an overstatement, Tarantino is genuinely the type of screenwriter that is gifted to the world of cinema only once in a million moons. He is able to write as easy as he can walk.
Combining sharp entertaining wit, cool quips, and fierce, gut-punchin’ monologues, Tarantino clasps the ungodly power of creating impossible, worthy prose. His track record of twelve spotless screenplays are as holy as the twelve apostles. Most average screenwriters would remove their left nut and sacrifice a new born puppy with it just to have written one measly line of throwaway Tarantino dialogue.
Hell, there’s a good chance that a few of them could be spotted digging through Tarantino’s trash basket like starved racoons in the middle of an aching night. But before Quentin was considered Hollywood’s boy wonder, he punctiliously penned what is maybe his most sterling scribe in the dusty, gloomy corridors of a rundown California garage; “True Romance”.
“True Romance” is a whimsically violent lovers on the run story that also serves as a loose biographical portrait of Tarantino’s own life pre-success. Focusing on the rambunctiously impulsive life of teenage pop-culture fanatic “Clarence Worley” (Christian Slater), the film energetically observes its thrill seeking protagonist’s daily driftings from attending double bill kung fu flicks on his birthday to hanging out in the shabby corners of bars and raving about the king himself; Elvis.
Possibilities and avenues seem infinite and endless, as they do in anyone’s youth, to Clarence until one faithful night when he intertwines lives with sweet as pie call girl “Alabama” (Patricia Arquette). The two wandering souls become instantly bonded to one another and spontaneously decide to get hitched.
What seems like a happy ending falls immediately sour when Clarence settles to kill Alabama’s ruthless pimp Drexl (born to screen by method shape-shifter Gary Oldman) and ends up accidentally swiping a suitcase full of angelic narcotics. From there the film accounts the pair’s turbulent run from law and outlaw akin and the eventual catastrophe of their undying adoration.Casino Baseball Bat Scene Uncut Video
To give Tarantino all the credit for this magnum masterpiece would be practically a mortal sin. For the late criminally underrated director Tony Scott puppeteers the script more masterfully and delicately than Tarantino could have ever dreamed of. It’s true, Tarantino’s version could have been on par with Scott’s, but here it seems Scott captured something remarkably gritty and subtle. He allowed the stone cold sensational cast to play characters rather than caricatures.
A prime example is one of the film’s two torture scenes known as “The Sicilian Scene”. Christopher Walken perfectly personifies evil as a mob boss caught amidst a vendetta sort of mood while questioning Clarence’s father (played by Denis Hopper). Although Chris Walken is only on screen for a bare 10 minutes, he imperiously steals the entire show.
This is a torture scene where the torturer is scarier and more effective than the actual torture itself. Walken’s icy presence seeps through the screen and sends chills down the viewers spine as he plainly announces himself as the antichrist and throws answer inducing punches into Hopper’s steal mug. Within his black, soulless eyes, one can see they are not reviewing an actor playing a character. They are reviewing an actual demon unearthed from hell. A merciless demon that’s presences alone makes this torture sequence a terror for the ages.
For the small amount of blood and suffering, this scene surprisingly resonates due the award worthy performances of two of cinema’s most enigmatic and virtuoso thespians to ever grace the silver screen.
9. Only God Forgives – Chang’s Punishment
Danish avante-garde auteur Nicholas Winding Refn was furiously propelled into the American spotlight with his cool as ice heist thriller “Drive”. After winning best director at Cannes as well as the celluloid hearts of every cinephile, Refn was faced with the once in a lifetime choice of selling out to the machine or remaining under the radar as an art house savior and legend. With his spiritual follow up feature “Only God Forgives”, it was more than clear that he chose the latter.
Though the film was unfairly reviled by critics, “Only God Forgives” is rapidly becoming a cult phenomena. Featuring some of the most savage scenes ever conceived alongside some of the most tranquilly meditative beauty frames, the film is like descending reluctantly into a dreamy nightmare hellscape limbo where the worst of worst men and women are cursed to roam a gorgeous waste among one anothers’ putrid souls. Not exactly the feel good movie of the year, the picture attributes profound themes of spirituality, morality, family, and revenge. Beneath it all, lies something to be examined and admired through rewatches in years to come.
Out of the hour and half run time, there is about an hour of fetshized violence. The film eerily drifts from one disturbing act of human cruelty to the next like some twisted symphony of atrocity. Prostitutes being casually thrown around as punching bags, a young man receiving an unrelenting clobbering until he is no more than mince meat, wombs and chests being sliced and diced and dissected as if it be a social norm are among the galore of gore projected on screen. Many of which stand out, there is one particular sequence that ingrains deeply in the viewers mind like a bad acid flashback.
This scene, dubbed here as “Chang’s Punishment”, boasts an unforgiving angel of vengeance, known by the name of “Chang”, interrogating an Australian thug about the death of a working girl’s father. Setting the scene in a magnificently stunning, perfectly pink Thai karaoke club, Refn manipulates us into gaping in awe at the illustrious, flamboyant architecture and sweet, light music just before dropping us into wincing in cringe at the agony and suffering of a helpless suspect.
The cocky Aussie convict rests easy in a lavish chair enjoying the reposeful aura of the club when he is suddenly interrupted and questioned by police. When he refuses to give up information, the police bring Chang in for backup. Chang, not exactly known for his pacifist ways, begins his part in the interrogation by skipping right to the verdict and punishment.
His wrath opens by nonchalantly borrowing a set of hair pins from a bystander and stabbing them harshly through the guilty one’s arms, and into the arms of the chair. The man screams. Having his prey pinned right where he wants him, Chang takes a slow stroll about the place and finds himself an additional two sharp ornaments. He returns and pierces them into the wailing man’s legs to hold him further. Still not satisfied, he recoils himself to a nearby fruit bowl and removes from it his next tool: a small but sharp razor blade.
With it he slices the man’s eyes to blindness. After the man is pinned down like a rabid animal and viciously blinded, the horror is over, right? Nope. Chang finds himself an ice pick and slowly deafens the man by stabbing it deep into the softs of his ear drums. Trails of blood river from the man’s ears and eyes as he shrieks out in intolerable yelps of pain. It’s a tough one for the viewer to swallow, and even the most desensitized soldier might find trouble getting through it, but still it exists as one hell of an entertaining torture scene!
8. A Clockwork Orange – The Ludovico Treatment
Four words: Singing. In. The. Rain. Four words that are eternally changed in one’s mind after witnessing the deviant madness of Stanley Kubrick’s “A Clockwork Orange”. Some call it social satire, others despise it as a glorification of sadistic mischief, “A Clockwork Orange” is a viewing experience like no other before or since. Like tumbling into a wicked vaudevillian horror show, the film sweeps us away to a dystopian world familiar yet foreign in which teenage street gangs rule the roads and citizens exist in their own isolated paranoia.
This is a film that, at the time, violently shook the preconceived notions of cinematic decency. It was scorned, burned, banned, and pulled from a mass of theaters for it’s unapologetic explicit nature. There are almost too many notoriously controversial scenes from this film that classify as “torture”. But one in particular, is so hauntingly unforgettable that even an indefinite amnesia couldn’t erase it.
Alex DeLarge is an average teenage sociopath who enjoys indulging himself and his little droogs in nightly spats of ultra-violence and forced in-out, in-out upon weepy young devotchkas. Betsson online casino erfahrungen. Though sometimes he just likes to sit back, relax, and toast a tall glass of Milk-Plus. Eventually his playful acts of delinquency catch up with him though, and he is arrested for murdering a wealthy cat-lady with a hefty piece of phallic art during a robbery gone wrong. This in turn leads to jail, and jail leads to an experimental treatment known as “The Ludovico Treatment”.
The Ludovico Treatment begins with a patient, in this case Alex, bound in a straight jacket and strapped to the confines of a chair within an empty movie house. Then, a halo of wired probes are placed upon the patients head for scientific monitoring and management of the process. Next the patient’s eyes are forced open with clamps that hold them from blinking and a montage of sadism begins projection before them on the screen.
It doesn’t sound so bad, except that after about a minute’s passing, the real treatment starts to kick in. The patient begins to feel a gut-wrenching sickness from which they cannot rid. All while a doctor keeps the patient’s pupils wet with eye drops. As if eye drops on their own aren’t torture enough!
This scene becomes particularly hard to watch due to the realistic nature of actor Malcom McDowell’s (Alex) reactions. He gags and screams and pleads for help. “STOP IT! STOP IT! PLEAAAASSSE!”, he begs. Perhaps because during the filming of the experiment, Kubrick prolonged the take for a time longer than he promised and old lucky Malcolm ended up actually scratching the surface of his cornea. Such is art…
7. Reservoir Dogs – The Infamous Ear
There’s never quite been a young talent to explode into prodigal indie stardom with as much ferocity and audacious style as Quentin Tarantino. His debut heist feature “Reservoir Dogs” just about measured on the Richter scale at the 1992 Sundance Film Festival.
Critics and audiences alike were so breath-taken by the scathing originality, quotable dialogue, and unpredictable narrative, that it was suggested that complementary inhalers be handed out before additional screenings to prevent sudden fits of astonished asthma (this part isn’t actually true, but people did pretty much lose their minds). One critic even compared the film’s impact to that of the first foot

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