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In the days before the film industry's stringent Production Code was established in 1930 (known as the Hays Code after Will Hays, the head of the Motion Picture Producers and Distributors of America - MPPDA) and strictly enforced after 1934 to regulate "morally offensive" content, many silent and 'Pre-Code' taboo-breaking films contained adult-oriented material. In addition to nudity, sexuality and violence, they included candid depictions of drug use, prostitution, lawlessness, and religious blasphemy.

Since the abandonment of the Hays Code in the late 60s, and the fairly recent establishment of various rating systems, sexual or erotic films with even small amounts of nudity have become more abundant. They often include frank adult content, violence and explicit language, or just suggestions of eroticism or sensuality. Teen sex comedies, erotic dramas or thrillers, sexploitation films, and other films dealing with sexual content are included in this wide-ranging category.

The Earliest Films:

Shortly after the Lumieres conducted the first public screening of a film (in December 1895), pioneering French film-maker Georges Melies directed the very short B/W 'adult' film Après Le Bal (1897, Fr.) (After the Ball, Bath) with one of the earliest nude scenes in film history. Reportedly around the same time, "blue movie" pornographer Eugene Pirou pioneered the risque film (called "smoking concert" or stag party films) when he produced the slightly erotic Le Coucher de la Marie (1896, Fr.) (aka Bedtime for the Bride) in which Louise Willy performed the first strip tease onscreen during a bathing scene -- the short pornographic film (of which only a few minutes exist) was directed by Léar (real name Albert Kirchner).

Another similar film was Fatima’s Coochie-Coochie Dance (1896) a short nickelodeon kinetoscope/film of a gyrating belly dancer named Fatima (well-known for her dancing shows at the Columbia World's Exhibition in 1893). It became the first film in which a scene was censored - for her gyrating and moving pelvis - it was covered up by what appeared to be a white picket fence (a grid-like pattern of white lines).

The very first kiss on film was between a Victorian couple seen in the Edison kinetoscope The May Irwin Kiss (1896) (aka The Kiss, or The Irwin-Rice Kiss in a filmed scene from the stage play The Widow Jones). This titillating short 20-second film, with a close-up of a kiss, was denounced as shocking and pornographic to early moviegoers and caused the Roman Catholic Church to call for censorship.

And Eadweard Muybridge's primitive motion studies (from 1884-1887) included test footage with cinematic glimpses of naked men and women. Lois Weber's and Paramount's 4-reel silent film Hypocrites (1914) featured full female nudity in the guise of an unclad lady (Margaret Edwards) - 'the Naked Truth' - who occasionally appeared as a transitional plot element between scenes.

Audrey Munson (a real-life model) first appeared artistically nude in George Foster Platt's controversial Inspiration (1915) from the Mutual Film Corporation, as a sculptor's model. It was the first known film in which a leading actress stripped down to be naked, making her the first nude film star. Munson also appeared nude in another silent film, Rea Burger's 7-reel Purity (1916), in a dual role as a spirit figure and as an artist's nude model named Purity/Virtue.

Theda Bara: The Vamp and First Sex Symbol

Sex was portrayed in the earliest films as something exotic and foreign. The original vamp and first movie sex goddess, the full-bosomed Theda Bara, starred in a number of early silents for the Fox Film Corporation - her first lurid, slinky vamp appearance (and first lead role) was in Fox's melodramatic A Fool There Was (1915), in which she portrayed a worldly, predatory woman who stole a married man away from his wife and child. Her most famous line in this film was: "Kiss me, my Fool!" She became known as "the wickedest woman in the world." Although she played other non-vampish roles, her vamp appearances were destined to be the most lucrative.

Other suggestive, femme fatale vamp roles were in Herbert Brenon's Sin (1915), The Devil's Daughter (1915) - her third vamp film, and in The Tiger Woman (1917). She was also most notably seen nearly nude with the contours of her breasts held by two curving gold asps in her first film made in Hollywood - the very successful Cleopatra (1917). Bara's 'come-back' picture, The Unchastened Woman (1925), was a remake of an earlier 1918 film. [Most of Bara's films, however, are currently unavailable because few of the film prints have survived.]

Other Early Silent Films and Their Sexy Film Stars:

For the most part, the silent years were not known for explicit sexual content. However, there were some exceptions:

• the first American feature-length sex film was Traffic in Souls (1913) (aka While New York Sleeps) - it was a "photo-drama" expose of white slavery at the turn of the century in NYC, although the film exploitatively promised steamy sex in its advertisements; this was one of the first films to understand that 'sex sells' although its producers worried that a 'feature-length' film wouldn't be successful; another vice film with the same historical theme of revealing the world of prostitution was The Inside of the White Slave Traffic (1913); Damaged Goods (1914) and The Sex Lure (1916) were similar melodramatic, "exploitation" films advertised as containing the "Shocking Truth"
  
  
• A Free Ride (1915) (aka A Grass Sandwich) was reportedly the earliest-known US silent stag ('men only') or pornographic film - with explicit sex scenes of a wealthy man picking up two females with his model-T and then having sex with his hitchhikers by the side of the road. Its comic titles foretold its plot: Directed by A. Wise Guy, Photographed by Will B. Hard, and Titles by Will She. Because these kinds of films (with increasingly explicit amounts of nudity and sexuality) were completely illegal, they were shown in all-male locations, clubs, etc., not in mainstream theaters
  
  
• Australian-born swimming and diving champ Annette Kellermann (the "Esther Williams of the silent era") caused a stir when she was seen naked with her flowing hair under a waterfall in director Herbert Brenon's and Fox's fairy-tale Daughter of the Gods (1916) - she was the first major female star to appear nude on screen (see also the next item)
  
  
• in the same week, another female lead appeared nude for the first time in a feature film on screen - 16 year-old blonde starlet June Caprice (a Mary Pickford look-alike), in Fox's melodramatic Cinderella tale The Ragged Princess (1916), who appeared in a prolonged, nude swimming sequence
  
  
• director D. W. Griffith threatened virginal and innocent Lillian Gish's defilement in the controversial The Birth of a Nation (1915), and his extravagant set of Babylon in Intolerance (1916) included half-naked, lightly-draped women in love temples
  
  
• in Jack Conway's The Penitentes (1916), fanatical Roman Catholics staged actual crucifixions on Good Friday, with one crucifix holding a nude girl
  
  
• director Richard Oswald's film Anders als die Andern (1919, Germ.) (aka Different From the Others) was reportedly the first representation of male homosexuality ("the third sex") in a feature-length film, and the first screen depiction of a gay bar (with gay males and butch females); the two ill-fated lovers were prominent pianist Paul Korner (Conrad Veidt) and his young music student, Kurt (Fritz Schulz); the film had a tragic ending (suicide for Korner) due to the effects of blackmail (threats of exposure), jail time for violating anti-homosexuality statutes, and the social stigma of being outed
  
  
• Cecil B. DeMille's Male and Female (1919) included Gloria Swanson's notorious, half-clad disrobing scene in preparation for a lavish bath in a sunken tub
  
  
• Yvonne Gardelle appeared naked as temptress demon-wife Lilith to Adam in a pantomimed Garden of Eden prologue sequence in The Tree of Knowledge (1920), directed by Cecil B. DeMille's brother William; press kit materials tauted: "An old legend says that the tempter in Eden was not a serpent, but a beautiful women, Lillith, the demon wife of Adam before Eve was created"
  
  
• nude bathing/swimming scenes were evident in The Isle of Love (1918) (recut and re-released in 1922) and The Branding Iron (1920)
  
  
• Rudolph Valentino wowed audiences as a passionate Latin lover with his portrayal of a dashing Arabian sheik in romantic fantasies including The Sheik (1921), Blood and Sand (1922), and Son of the Sheik (1926)
  
  
• in Fred Niblo's Ben-Hur: A Tale of the Christ (1925), in two-color Technicolor, a remarkable segment showed rows of bare-breasted flower girls dancing in a pageant/procession as they tossed flowers to the crowd lining the street
  
  
• a decadent orgy scene and semi-nude musicians in Erich von Stroheim's silent operetta The Merry Widow (1925), and the sexually-excessive depiction of a wickedly-decadent Queen Regina in von Stroheim's tawdry, grotesque and fragmentary film Queen Kelly (1929)
  
  
• screen lover John Barrymore starred in Don Juan (1926) with Mary Astor and Estelle Taylor, a film with a record number of kisses (reportedly 127)
  
  
• romantic lead John Gilbert (the sexy successor to Rudolph Valentino) played opposite exotic vamp Greta Garbo in her star-making film Flesh and the Devil (1926)
  
  
• Lili Damita, Hope Hampton, and Sue Carol all briefly appeared in the nude in respectively - Michael Curtiz' Red Heels (1925, Austrian) (aka Das Spielzeug von Paris), the melodramatic Lover's Island (1925), and the lost film In Line of Duty (1931)
  
  
• flapper icon Clara Bow, dubbed the "It" girl during the 20s and one of the earliest sex symbols, appeared nude as Hula Calhoun in an opening bathing scene, and performed a sexy hula dance, in the romantic comedy Hula (1927)
  
  
• American actress Louise Brooks was featured as an amoral and insatiable cabaret star/prostitute Lulu in G. W. Pabst's classic German silent film melodrama Pandora's Box (1929, Ger.) with blatant sexual themes, a memorable lesbian dance/tango scene with Countess Anna Geschwitz (Alice Roberts) during Lulu's wedding party, and her murder by the infamous 'Jack the Ripper' killer with a gleaming knifeblade stuck into her stomach during an erotic embrace
  
  
• actress Kay Johnson starred as a wicked woman in Cecil B. De Mille's bizarre Madam Satan (1930) - a film that challenged the code with a racy party sequence aboard a zeppelin
  
  
• German expressionistic director F. W. Murnau's last film (co-scripted with pioneering documentary film-maker Robert J. Flaherty) presented a lush tale of ill-fated native South Seas love (with flower-garlanded, bare-breasted native dancers) and the breaking of a sexual tabu (filmed entirely on location in Tahiti) - a very-late black/white silent film Tabu: A Story of the South Seas (1931) - and an Oscar-winning effort for Floyd Crosby's cinematography

The 'Naughty' Pre-Code Days:

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