Film Censorship: P #2





The Porn Brokers

Directed by John Lindsay – Laurence Barnett  / 1973 / UK / IMDb

In March 1974, a 2708.00-meter (98:59) 35mm print of THE PORN BROKERS was passed with an R-rating. To achieve this, Consolidated Exhibitors had to remove 30.48-meters (01:07) of footage. The Censorship Board had demanded the cuts because of ‘indecency’.


A ‘reduced version’ of THE PORN BROKERS was next classified in October 1982. This time, Blake Films had a 2633.28-meter (96:15) 35mm print passed with an R-rating.

The reason given for the rating was sex, which was described as being:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Justified


In February 1984, Blake Films had a 96m videotape passed with an R-rating. It was awarded for the same reasons as the October 1982 submission.

THE PORN BROKERS was released on tape by Palace Vibrant Video with a running time of 94:54.



THE PORNBROKERS (1973): Softcore vs. Hardcore versions

Thanks to Mike for this comparison.

Palace Vibrant Video (Aus) – 94:54
X-rated version (US) – 76:42

I located the Australian version of THE PORNBROKERS through e-bay, and compared it to our US print.

These two versions of THE PORNBROKERS are very different, and contain footage that is exclusive to each. Both are edited completely differently. An exact side-by-side comparison would be a nightmare.


Some observations.

The X-rated version is missing most of the credits that are shown being printed out by a typewriter. The PVV has the full credits.

The X-rated version contains non-stop hardcore. This is either film, or still shots. It also includes bestiality stills of a woman and a horse. This is missing from the PVV version.

The PVV version only shows a handful of hardcore stills. The filmed sex is softcore. There is however some graphic female masturbation footage.

The PVV version contains an interview with UK artist Nicholas Treadwell. This is missing from the X-rated version.

The X-rated version contains a hardcore scene with two guys and a girl on a park bench. This looks like it was filmed in the US, as one of the actors appears to be Jamie Gillis. This is missing from the PVV version.

The making of John Lindsay’s WET DREAM short runs for around 30 minutes in the PVV version. The X-rated version shortens it considerably, but does include hardcore footage.

The Lasse Braun interview is longer in the PVV version.


The interview with Dutch pornographer Joop Wilhelmus is much longer in the PVV version. It also contains an interesting audio cut.

Joop Wilhelmus in PVV version: “…the same child of mine can sit in front of a television set at seven o’clock in the evening, and see the seven o’clock news, and see how in Vietnam, the Americans are destroying a people, you know, a very poor people, in any disgusting way you can imagine, and even some ways you can’t imagine.”

Joop Wilhelmus in X-rated version: An audio cut has been made to remove “ in Vietnam, the Americans are destroying a people, you know, a...”

In the longer PVV version, Wilhelmus continues talking about how the Scandinavian countries were the first to oppose the Vietnam war.

Joop Wilhelmus's daughter, joins him and her mother, and sits silently while the interview takes place. Wilhelmus talks about how he has allowed his daughter to see any pornography from a very young age, and that he is more concerned about violence. This is in both versions, and although it is a bit unsettling to watch, it is only what he is saying that is controversial. However, this scene took on a completely new meaning when I found an entry for Wilhelmus on Dutch Wikipedia. It claims that he produced a child pornography magazine called Lolita, and in the late 80s was charged with the rape of his daughters. He served four years in prison, and died in 1994.


Overall, THE PORNBROKERS is an interesting snapshot of the early-70s European sex industry. Of the two versions, the PVV one is the more interesting. It contains longer interview footage, and extended shots of locations such as the Copenhagen and Hamburg red-light districts. As I mentioned, they are edited completely differently, so deducing what was censored from the PVV version would be very difficult.

Incidentally, in April 1973 the BBFC banned THE PORNBROKERS in the UK. It was only passed with an X-rating in 1977 after being censored down to 58:40! 


The Pornbrokers (1973) - Palace Vibrant Video [au] VHS





Pornography in Hollywood

aka The Blue Box

Directed by Carlos Tobalina / 1972 / IMDb

In September 1980, an 1857.90-meter (67:43) print of PORNOGRAPHY IN HOLLYWOOD was banned because of sex. It was said to be:
Frequency: Frequent
Explicitness/Intensity: High
Purpose: Gratuitous

A 1543.60-meter (56:16) 'reconstructed version' was also banned in November 1980. The sex was now only found to be:
Frequency: Infrequent
Explicitness/Intensity: High
Purpose: Gratuitous

The film was finally passed with an R-rating in February 1981; in the form of a 'second reconstructed version' that ran 1509.95-meter (55:02). The sex had been further reduced to be:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Gratuitous

In all cases, 14th Mandolin was the applicant.

It was released on their King of Video label in the early 1980s.

In the mid-1980s, 14th Mandolin retitled it THE BLUE BOX, and released on their Pink Video label.


Pornography in Hollywood (1972) - King of Video [au] VHSPornography in Hollywood (1972) - Pink Video [au] VHS





The Porno Kings

aka Les Pornocrates

Directed by Jean-Francois Davy / 1976 / France / IMDb

In March 1977, a 2493.60-meters (90:53) print of LES PORNOCRATES was banned because of 'indecency'. A heavily censored 1645.00-meter (59:57) 'reconstructed version' was passed with an R-rating in July 1977.

Consolidated Exhibitors was the applicant.


Review by Simon
The French DVD of LES PORNOCRATES runs 83:15, and has English subtitles. It includes many hardcore sex scenes throughout the film, so it is understandable why it lost 30 minutes to the Australian censor.

Some of Jean-François Davy's other films had problems in Australia. These include MECHANICAL BANANAS (1973), EXHIBITION (1975), and PROSTITUTION (1975).





Portraits of Women

Directed by Jorn Donner / 1970 / Finland / IMDb

In March 1972, an 8010-feet (89:00) print of PORTRAITS OF WOMEN was censored by 174-feet (01:50) to remove 'indecency'.

Roadshow Distributors released the cut R-rated print theatrically.





The Possession 

Directed by ? / 1974 / USA / IMDb

In December 1981, a 658.60-meter (60:01) 16mm print of THE POSSESSION was banned because of sex, which was described as being:
Frequency: Frequent
Explicitness/Intensity: High
Purpose: Gratuitous

A censored 493.65-meter (44:58) version was passed with an R-rating in March 1982. The sex was now found to be:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Gratuitous

14th Mandolin was the applicant.


Review by Simon
THE POSSESSION (onscreen title, POSSESSED) was released on DVD by After Hours Cinema in the US as part of their GRINDHOUSE POSSESSION TRIPLE FEATURE COLLECTION. It also includes THE DOCTOR DISCIPLES and THE MEDALLION.

At 58:02, the film runs slightly shorter than the one submitted for rating. The 15 minutes of censorship would have been to the hardcore sex. There would be little to recommend about the film with this gone.





Possession of Emanuelle

Producer L.A. Prods / 197?/8? / USA / IMDb link required

In August 1981, a 481.20-meter (43:51) 16mm print of POSSESSION OF EMANUELLE was banned because of sex, which was said to be:
Frequency: Infrequent
Explicitness/Intensity: High
Purpose: Gratuitous

GL Film Enterprises was the applicant.





Predator 2

Directed by Stephen Hopkins / 1990 / USA / IMDb

In January 1991, an uncut 107m 35mm print of PREDATOR 2 was passed with an R18+ (Assaultive coarse language, Drug abuse, Some graphic violence) rating.

Hoyts-Fox-Columbia Tristar chose to censor the print down to 105m to remove the more explicit scenes of violence. For their efforts, in March 1991, they were awarded a more commercial M (Assaultive coarse language, Frequent violence) rating. The introduction of the MA15+ rating was still two years away.

It was this version that was released theatrically and on tape by CBS/Fox Video. Thanks to Stephen F. for the cover scan.

Movie-Censorship has a comparison between the M-rated CBS/Fox Video tape, and the uncut version. It documents cuts to six scenes, that total 42.5 seconds.

GnC Films has produced a video that examines the Australian censorship history, and shows the location of the cut footage.



R18+ video release

20th Century Fox Home Entertainment re-released PREDATOR 2 on video as part of a 10th ANNIVERSARY DOUBLE PACK that included the original film. The tape was M-rated.

Thanks to Peter F. for pointing that PREDATOR 2 was re-released on video in an uncut R18+ version.
Predator 2 was released UNCUT on VHS
Time on VHS 103:28 (approx) (Fox Logo and Credits included) (PAL)
Time on DVD (Special Edition) 103:33 (PAL)



Uncut on DVD

In 2001, Fox Home Entertainment released the uncut R-rated print of PREDATOR 2 on DVD. This restored around 40 seconds. Michael D's has a detailed look at the missing footage.


Ironically, at the same time we were given the chance to see the extra footage in PREDATOR 2, the original PREDATOR (1987) was for the first time given a censored release in Australia. This was due to Fox Home Entertainment sourcing a cut print.



Re-rated MA15+

In March 2005, disc one of the PREDATOR 2: SPECIAL EDITION was passed with an MA15+ (Drug use; High level violence; Medium level coarse language; Medium level sex scene) rating. Twentieth Century Fox Home Entertainment released it on DVD.


Despite the re-rating, the cover of the April 2008 release still carried the M (Assaultive coarse language, Frequent violence) rating.
Peter F. confirms that despite the lower rating, it was still uncut, and that: runs for 103:35, 2-seconds longer than the special edition DVD (MA15+).


The two-disc DEFINITIVE EDITION DVD, and October 2009 Blu-Ray, are both correctly labeled with the MA15+ rating.


Predator 2 (1990) - CBS/Fox Video [au] VHS 1Predator 2 (1990) - 20th Century Fox Home Entertainment [au] VHS 2


Predator 2 (1990) - Fox Entertainment [au] DVD1Predator 2 (1990) - Fox Entertainment [au] DVD 2Predator 2 (1990) - Fox Entertainment [au] DVD 3Predator 2 (1990) - Fox Entertainment [au] DVD 4Predator 2 (1990) - Fox Entertainment [au] Blu-Ray





Pretty Wet Lips

aka Women in Peril

Directed by Carl Stanfill / 1974 / USA / IMDb

In September 1974, a 2224.00-meter (81:04) print of PRETTY WET LIPS was banned because of 'indecency'.

A cut 2012.00-meter (73:20) version was refused in November 1974. The following month, the Films Board of Review confirmed this decision of Film Censorship Board.

The same 2012.00-meter (73:20) print of was resubmitted for possible classification in November 1976. However, once again it was banned because of 'indecency'.

In all three cases, Blake Films was the applicant.


In March 1981, a heavily censored 669.70-meters (61:01) 16mm print was submitted under the title WOMEN IN PERIL. This was banned because of sex and violence, which were found to be:
Frequency: Frequent
Explicitness/Intensity: High
Purpose: Gratuitous

A 633.70-meter (57:45) version was refused in September 1981. The violence had obviously been toned down, as now, only the sex was found to be:
Frequency: Frequent
Explicitness/Intensity: High
Purpose: Gratuitous

It was Refused Registration for a third time in March 1982 in a 'second reconstructed version' running 623.50-meter (56:49). The sex was described as being:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Gratuitous

However, 'sexual violence' was now also listed as a reason for refusal.

In these three cases, 14th Mandolin was the applicant.






Directed by Norman J. Warren / 1978 / UK / IMDb

In September 1979, a 2314.70-meter (84:22) print of PREY was submitted for classification. It was passed with an R-rating after 6.4-meters (00:14) of ‘excessive violence’ was removed.

Greater Union Film Distributors released the censored version theatrically.


Several of Norman J. Warren's films had problems in Australia. As well as PREY, HER PRIVATE HELL (1968) was cut for an SOA-rating, and both SATAN’S SLAVE (1976) and TERROR (1978) were both censored for R-ratings.



PREY: The censored scene

Review by Matt
The UK Anchor Bay DVD runs 77:43 (PAL).

The 14s removed by the Australian censor would have been taken from the climatic scene where Anders kills and eats Jessica. It runs as follows.

73:08 to 74:17 – Anders and Jessica are having sex. He begins to get rough, and starts to change into his real Alien self. He kills Jessica with a bite to the neck. Jo enter the room and sees him over the body of Jessica. He turns and looks at her.

Note, the Anchor Bay DVD is not uncut. It contains a version of the film that is missing four minutes. This full version was released on VHS by Comet Video in the US, and in Canada by Studio One. This would have been the version (minus the 14s) that played theatrically in Australia.

Using the Canadian tape as a reference, Wikipedia lists the missing footage as:

At 00:30:00, Jessica talks to Anders about being scared, Josephine talks about music, in the bedroom Jessica and Josephine argue about Anders, and finally in the kitchen Jessica and Anders talk. This sequence is three and a half minutes.

At 00:36:15 a 10 second shot of Anders sitting in a chair is deleted,  

At 01:15:00 a door opening is shortened by 1 second,

At 01:21:15 a 10 second sequence of Anders eating flesh and Josephine running down a corridor is deleted.

Until the 2004 Anchor Bay DVD, all British prints were also cut during the cannibal scene.



Featured in TERROR ON TAPE (1983)

The censored cannibalism scene from PREY (identified as ALIEN PREY) was shown in the TERROR ON TAPE (1983) compilation. This was banned by the Censorship Board in March 1985.

Daybill image courtesy of


Prey (1978) - Greater Union Film Distributors [au] Daybill     Prey (1978) - Censored Scene 01Prey (1978) - Censored Scene 02





Prison Girls

Directed by Tom DeSimone / 1972 / USA / IMDb

In June 1974, a 2044.90-meter (74:32) print of PRISON GIRLS was censored by 56.69-meters (02:04) for an R-rating. The cuts were made to remove 'indecency and excessive violence'.

Roadshow Distributors was the applicant.


Review by Simon
Print from
Running time - 94:32 (NTSC) (not including the MGM intro)

The print of PRISON GIRLS that I viewed ran 20-minutes longer than the 74:32 version that was submitted to the Censorship Board. This indicates that it was pre-cut before being rated.

The sex is softcore, but of the more explicit kind. It makes up a good deal of the running time, so it is easy to see why so much footage was trimmed.

The cuts for 'excessive violence' may have come from these two scenes.

20m approx: A 30-second sequence where Mike strips and beats Kay.

43m approx: A 7-minute sequence where Hawk and his gang strip and humiliate Joyce. She is eventually raped by Ken and Hawk.





Prison Heat

Directed by Joel Silberg / 1993 / USA / IMDb

In 1993, Warner Home Video had a 91m videotape of PRISON HEAT banned by the OFLC.

A 95m version was passed with an R18+ (Medium level violence) rating in June 1993. We are unsure why this version was four minutes longer, and if it was ever released.



PRISON HEAT: The sexual violence

Thanks to Simon for this look at the uncut version. All the scenes that he mentions are documented in this Schnittberichte report.

The US Cannon Video release runs 91:08. The OFLC definitely banned the film for sexual violence. Here are the scenes that I suspect would have been the problem.

28:25 to 29:30 – Hellena throws Bonnie to the ground, and tears off her top. She then puts her hand down Bonnie’s underwear and sexually assaults her.

35:10 to 36:30 – Saladin pulls off Bonnie’s top and pushes her over the desk. He rips off her underwear and rapes her. This is probably the most explicit sexual assault scene in the film and would have definitely have been the main cause for the ban.


These following scenes are not quite as strong, but some may have been a problem.

48:40 to 48:50 – Bonnie is told to strip naked. She does so while looking scared.

51:10 to 52:50 – Bonnie is shown naked on the floor of the shower as Saladin is getting dressed. He says, “Soon you will learn to enjoy this” before he leaves. She walks to the mirror, smashed it, and holds a piece of glass to her wrist.

73:55 to 74:20 – Saladin tears Bonnie’s top open and rubs her breasts. He demands she tell him what is going on. She refuses so he slaps her to the ground. He tells the Lebanese brothel owner that she is his.

75:38 to 75 51 – The Lebanese man is shown on top of Bonnie as she fights back.

77:50 to 78:25 – Bonnie continues fighting the Lebanese man and stabs him in the back before Saladin returns.





The Private Afternoons of Pamela Mann

Directed by Radley Metzger / 1974 / USA / IMDb

In June 1976, a 2309.40-meter (84:11) print of THE PRIVATE AFTERNOONS OF PAMELA MANN was banned because of 'indecency'.

Regent Trading Enterprises were the applicant.


It was Refused Registration again in November 1981. The 2280.60-meter (83:08) print was banned because of sex, which was described as being:
Frequency: Infrequent
Explicitness/Intensity: High
Purpose: Gratuitous

Blake Films were the applicant.


A 75m videotape of THE PRIVATE AFTERNOONS OF PAMELA MANN was passed with an X18+ (Contains sexually explicit material) rating in August 1997.

The AXIS Group were the applicant.





Private Lessons

Directed by Alan Myerson / 1981 / USA / IMDb

In August 1981, an 86-minute tape of PRIVATE LESSONS was banned because of the 'sexual exploitation of a minor'

Star Video was the applicant.


In November 1981, a 2370.60-meter (86:39) print was once more banned because of the 'sexual exploitation of a minor'. Sunn Classic Productions appealed to the Review Board, but lost in December 1981.

Here is how CINEMA PAPERS saw it at the time.
Private Lessons, the inane banning of which was reported in the previous issue went to appeal in December, but the Films Board of Review rejected the film.
Australia, it seems, is about the only country that won't be seeing this film.

Following the ban, PRIVATE LESSONS was censored down to 2323-meters (84:40) and resubmitted for classification.

This proved to be to no avail, as this 'reduced version' was Refused Registration in May 1982. Again, the reason was the 'sexual exploitation of a minor'.

PRIVATE LESSONS was finally passed in July 1982. The R-rating was awarded for 'adult concepts'. This third submission ran 2112.11-meters (76:59), and was described as the 'producer's reduced version'.

This heavily censored print did not prevent the Censorship Board from insisting on a further 0.5-meters (00:02) of cuts before awarding the R-rating. This final snip of the scissors was once more for the 'sexual exploitation of a minor'.

It was this censored version, missing over ten minutes of footage, that went on to be released theatrically in Australia.

In all cases, Sunn Classic Productions was the applicant.



Censored and banned video releases

Following the theatrical release, Rigby-CIC Video released PRIVATE LESSONS. This heavily censored tape ran 77:12.

In August 1983, PRIVATE LESSONS was yet again banned because of the 'sexual exploitation of a minor'. The tape submitted by Howard Smith Industries ran 86-minutes, which may have made it uncut.

In February 1984, it became law for all videotapes to be classified. The censors began the slow task of reviewing all the titles that had been released up until that time. They finally got to the Rigby-CIC Video release of PRIVATE LESSONS in November 1984. It was confirmed with an R-rating, which was awarded for 'sexual allusions'.



Censored DVD release

It would be over twenty years before PRIVATE LESSONS was again classified in Australia. In September 2005, the OFLC passed Umbrella Entertainment's VHS with an R18+ (Adult themes) rating. The DVD was released in January 2006. The fact that Umbrella submitted the film on VHS maybe provides a clue to what version they eventually released.

The running time of the full screen DVD was 77:12, exactly the same as the old Rigby-CIC VIdeo released twenty-three years earlier. It looks like Umbrella decided to play it very safe with PRIVATE LESSONS. Perhaps they sensed that the intervening years had not made it any easier for the subject matter to pass the censors.



PRIVATE LESSONS: The censored scenes

Despite being censored of nearly ten minutes of footage in Australia, it is not easy to identify what was removed. This may have something to do with the print being the 'Producer's reduced version'.

Here is a rundown of the scenes that may have been a problem and subjected to cuts.


At 22m approx: Ms Mallow undresses in front of Philly. This scene does not seem cut, but it is the most obvious place for the often-mentioned full frontal nudity.

At 30m approx: Philly shares a bath with Ms Mallow. There is possibly a brief cut (the missing 2s?) after Ms Mallow says, "I'll wash your shoulders". Philly then smiles nervously. It seems slightly cut between this and the next front on shot where Ms Mallow kisses Philly on the cheek.

At 39m approx: Philly and Ms Mallow arrive home and are going to have sex for the first time. The scene ends after Philly leaves the room when he senses Ms Mallow does not love him. Nothing seems cut here.

At 48m approx: Ms Mallow and Philly have sex for the first time. This scene has definitely been modified as none of the sex is shown. Philly shouting, "Ms Mallow are you okay" plays out over a slow motion pan over the bedroom floor. The footage seems to have been deliberately slowed to mask a cut.

At 73m approx: Ms Mallow and Philly say goodbye. The scene ends with them collapsing on the bed together. Nothing seems cut here.


The IMDb makes a mention of a TV version that removes the opening credits scene of the couple in the car, and of Philly sharing a bath with Ms Mallow. This is not the version we have on DVD and VHS.


In February 2006, Artisan in the U.S. released a 25th Anniversary DVD. Reviews mention that a couple of scenes of full frontal nudity have been optically fogged. Note that our version contains no full frontal nudity at all.


In February 2006, the Cinema Club label in the UK released PRIVATE LESSONS on DVD. Like Australia, the film has always had problems with the censors. So it was not surprising that that the DVD was also cut.

From Melon Farmers.
Cuts were made in several scenes under the Protection of Children Act. Basically every shot where you could see Kristel's nudity and the boy in the same shot was removed. The scenes affected were the striptease, the bath scene and the two sex scenes. In the storyline the boy was meant to be 15 years old


Private Lessons (1981) - Rigby-CIC Video [au] VHSPrivate Lessons (1981) - Umbrella Entertainment [au] DVD





Private Nurse

Directed by Gerard Kikoine / France / 1978 / IMDb

In July 1979, a 2139.54-meter (77:59) print of PRIVATE NURSE was censored by 17.30-meters (00:38) for an R-rating. The cuts were made to remove ‘indecency’.

Blake Films was the applicant.


Roadshow launched their Vibrant Video label in late 1982 with PRIVATE NURSE as one of their initial offerings. All of the following submissions are presumably referring to this release.

In February 1984, a 78m tape was passed with an R-rating. It was awarded for sex, which was said to be:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Gratuitous

Blake Films were again the applicant.

That month also saw Pakenham Video Library awarded the same rating to an 80m tape.

It was again classified with an R-rating in May 1985. The 76m tape was submitted by Roadshow Home Video. The sex was described as being:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Gratuitous

Daybill image courtesy of 
Video image courtesy of AussieRoadshow


Private Nurse (1978) - Blake Films [au] Daybill     Private Nurse (1978) - Roadshow's Vibrant Video [au] VHS





Private Obsession

Directed by Lee Frost / 1995 / USA / IMDb

In 1995, Peacock Films had a 103m print of PRIVATE OBSESSION banned by the OFLC.


The plot concerns a man who kidnaps and hold prisoner a feminist fashion model. The plot is sleazy, and Shannon Whirry spends much of the time topless, but it contains zero scenes of sexual violence.

There are two instances where she seduces her captor in an effort to escape. However, these are not scenes that should have resulted in an RC-rating. We can only speculate that the Classification Board did not approve of the overall plot of the film.

The uncut U.S. DVD from Image ran 100:51.





Private Parts 

Directed by Paul Bartel / 1972 / USA / IMDb

In October 1972, a 2440.00-meters (88:56) print of PRIVATE PARTS was banned because of 'indecency'.

The decision was confirmed by the Films Board of Review in December 1972. The unsuccessful appeal was made by MGM/BEF Film Distributors.





Pro-Ball Cheerleaders

aka Pro-Ball Hookers

Directed by Jack Genero / 1979 / USA / IMDb

In November 1979, a 1739.50-meter (63:24) 'pre-censor cut version' of PRO-BALL CHEERLEADERS was banned because of 'indecency and indecent language'.

A 1561.73-meter (56:55) 'reconstructed version' was passed with an R-rating in April 1980. It was awarded for sex, which was described as being:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Gratuitous

In both cases, Greg Lynch Film Distributors was the applicant.

The Censorship Board noted in May 1980:
Title of film show as PRO-BALL CHEERLEADERS (April 1980) has been altered to PRO-BALL HOOKERS


In July 1981, a 70-minute tape titled PRO-BALL CHEERLEADERS was banned because of sex, which was described as being:
Frequency: Frequent
Explicitness/Intensity: High
Purpose: Gratuitous

A.Faiman was the applicant.


PRO-BALL CHEERLEADERS was released on tape in the early 1980s by Fantasm Video. It appears that none of their catalogue was rated, as it contains bestiality titles such as HIM, HER AND PETS and ANIMAL LUST, as well as the perpetually banned WATER POWER (1977). They appear to have been a mail order only operation, that existed prior to the February 1984 introduction of the X-rating.

Image courtesy of AussieRoadshow


Pro-Ball Cheerleaders (1979) - Fantasm Video [au] VHS frontPro-Ball Cheerleaders (1979) - Fantasm Video [au] VHS rear





The Prodigal Son

Directed by Sammo Hung / 1981 / Hong Kong / IMDb

Note: A Hong Kong film with the same title was passed with an M-rating in March 1981. This was a different film, that was produced in 1976.


In April 1982, a 2982.90-meter (108:44) 'pre-censor cut version' of THE PRODIGAL SON was passed with an R-rating.

It was awarded for violence, which was said to be:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Gratuitous

Grand Film Corp was the applicant.


In January 2005, an uncut DVD of THE PRODIGAL SON was passed with an R18+ (Medium level violence) classification.

Universal Pictures Video released it on DVD in May 2005.


The Prodigal Son (1981) - Universal Pictures Video [au} DVD





The Professionals

Directed by unknown / 197? / USA / IMDb link required

In December 1980, a 559-meter (50:56) 16mm print of THE PROFESSIONALS was censored by 12.40-meters (01:07) for an R-rating.

The cuts were made to remove sex, which was said to be:
Frequency: Infrequent
Explicitness/Intensity: High
Purpose: Gratuitous

The sex in the censored R-rated versions was:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Gratuitous

14th Mandolin was the applicant.

As well as releasing it theatrically, they also issued it on their King of Video label.






Directed by Jean-François Davy / 1975 / France / IMDb

In May 1977, a 2977.00-meter (108:31) meter print of PROSTITUTION was banned because of 'indecency'.

Roadshow Distributors was the applicant.


Review by Simon
This is an interesting documentary by Jean-François Davy about prostitution in France.

I find it hard to understand why Roadshow did not resubmit the film in a censored version as the sex in the 102:09 version that I viewed is only really shown in three scenes. These are Eva giving a client a blowjob, and then cleaning herself up after sex (12m), and brief shots of her having sex (36m).

The longest is a 02:30 sequence that takes place at 79m. It is also the most explicit in the film, and briefly shows Eva giving a client a blowjob. This appears to be for real, despite it being obscured by the dim lighting. They then have sex, before she cleans herself up. The man then goes into a rage, throws her on the bed and begins to beat her. Three women run into the room and eventually throw him out. The whole sequence is obviously staged, as the camera operator does not flinch as the assault takes place, and he lingers on Eva as she lies crying on the bed. The IMDb lists Claude Janna as playing Eva. I assume the rest of the interview subjects are real prostitutes, as they certainly come across convincingly enough.

Roadshow could have easily removed the offending sex scenes that the censor found to be indecent. Maybe they felt that what was left would not have been appealing to audiences as it consists of a series of prostitutes talking about there profession.





Prostitution Italian Style

Directed by Italo Zingarelli / 1970 / Italy / IMDb

In June 1972, an 8799-feet (97:46) print of PROSTITUTION ITALIAN STYLE was censored by 132-feet (01:27) for an R-rating. The cuts were made to remove 'indecency'.

Roadshow Distributors were the applicant.





The Psycho Lover 

Directed by Robert Vincent O'Neill / 1970 / USA / IMDb

In May 1978, a 2194.40-meter (79:59) print of THE PSYCHO LOVER was censored by 11.00-meters (00:24) for an R-rating. The cuts were made to remove 'indecency'.

Natan Scheinwald Productions was the applicant.



Censored to remove sexual violence

Thanks to Simon for this information.

Something Weird’s DVD of THE PSYCHO LOVER is a double-bill with HEAT OF MADNESS (1966). The film goes under its original title of THE LOVING TOUCH, and is copyrighted 1969.

The plot involves a serial killer who rapes and strangles his female victims. This is a sleazy little gem, and it is easy to see why the Censorship Board demanded cuts.

Two scenes at 2m and 14m involve Marco raping and killing women. The latter also shows him having sex with the body. Cuts would probably have been made to one or both of these attacks. Two other women are attacked at 34m and 77m, but neither result in onscreen rape or murder.

Something Weird’s DVD runs 81:34 (NTSC), which compares to 79:59 for the version submitted to our Censorship Board, which may indicate pre-cutting.





Pure Shit

aka Pure S

Directed by Bert Deling / 1975 / Australia / IMDb

The Australian censor demanded modifications to the advertising material associated with this title.


In August 1975, a 954.00-meter (86:56) 16mm print of PURE SHIT was registered under 'Festival Conditions' without eliminations.

The Festival Conditions were:

For showing no more than twice at Sydney and/or Melbourne/Adelaide/Brisbane/Perth Film Festival and then exported.

In addition, it was:

Passed subject to the condition that the word 'Shit' (including the word 'Shit in the title) is not used in any advertising.

At the time, one of the functions of the Censorship Board was to:

To examine advertising in relation to imported films and Australian films as required, under the provisions of both Commonwealth and State legislations.

The film was retitled PURE S, and went on to screen at Festivals.


Censorship News
Cinema Papers Issue 7, November 1975
The other film at the Perth Festival to strike trouble was Bert Deling's PURE SHIT — a fictional film written and acted by Melbourne drug addicts. An appeal was lodged against the Censor's refusal to classify it on the grounds of its title, and the film was finally passed for festival screening. Its position regarding general release, however, is still unresolved.


 It was under this new title that the same print was passed with an R-rating in November 1975.

A. Pelling and Apogee Films was the applicant.



Bert Deling on the Censorship controversy

Bert Deling Interview
Cinema Papers issue 12, April 1977

CP: We understand that you have run into censorship problems with PURE SHIT.

DELING: Yes. Most people have the idea that censorship is less of a problem in Australia than it’s ever been, which is just not true. The problem is in the nature of censorship itself, since nobody can write legislation which specifically states what is going to be censored and what is not. So much of it comes down to the taste of the person who is the censor, and interpretations of what censorship should be and how it should function vary astoundingly, depending on the personality of the man in that job.

Now, we have a person who sits in that position in Australia — Mr Richard Prowse — whose concept of prevailing public standards varies drastically from my own, so that over the past few years I have been in confrontation with him on many occasions and have had more than a taste of how censorship functions in this country.

I have had a lot of problems with him over PURE SHIT, to the degree that he has insisted that all advertising matter be presented to him for approval. We got into a situation where we had a poster designed in Melbourne, and knew we had to present it to him, but the artwork was running late, and we looked at the poster and thought well, there’s nothing on that that anyone could take exception to, and had it printed. He objected to a line on the poster — “the next best thing to dying” — so all the posters had to be scrapped. We were summoned, and the director of the Australian Film Institute and I spent four hours in D-24 making statements to the Vice Squad! They haven’t yet proceeded with those, so we don’t know what is going to happen about it.

Anyway, in my opinion, dying is the worst thing that can happen to anybody, and the next one is being addicted to smack.

When we went to Sydney, I went on 2JJ and talked about the problems that I had had with censorship. I didn’t say anything that hadn’t actually happened. I described the situation exactly as I just described it to you, and our censor freaked out. He told the AFC that I was not to make any more statements about him anywhere.

I didn’t think he could make that stick, because there is no legislation that says that a critic of the film censor is not allowed to speak in public, but he said that he would not give television clearance to clips of PURE SHIT if the agreement wasn’t entered into. These particular clips had run on the 6.30 news on four television channels in Adelaide General Exhibition time, but Mr Prowse was going to say that they were not suitable for screening at any time in Sydney.

My response to that was to say, “Let’s go him — this is not something that he has power to do”, but the AFC decided we would agree to it. The other stipulation that we were supposed to agree to was that I wasn’t going to talk about the film itself at all on air. I was allowed to talk about drugs, but not about the film. We gave those two undertakings to Mr Prowse to get those clips through. That was not what I wanted to do, but it was the decision that the AFC made, because they have to live with Mr Prowse for the next 20 years. But his exercise of power is absolutely arbitrary.

What we have is a situation where somebody has been given reasonably limitless powers to interpret as best he can, and Mr Prowse is doing that within his perception of the role. The problem is that he is doing it secretly, with no real check on how he is interpreting the legislation under which he is given power, and, at least for people like me, the experience of the exercise of that power has been fairly disturbing.

I don’t want this to sound like a specific attack on an individual. That individual is in a position where he is being employed to exert his taste, and that is a situation which shouldn’t be allowed to occur, because even in the best of circumstances we all have blind spots.

We are getting situations where the distributors don’t bring certain films into this country because they know they won’t get through, and other films that come in are having certain parts of them removed. We are being isolated from types of information which are readily accessible in other western capitalist countries. So the rest of the world moves on, while we tend to wallow in this comfortable 1950s kind of space.


Bert Deling interview with Andrew Leavold May 10, 2009

DEILING: And to my total, genuine amazement, the film got banned. No certificate allowed. It was going to be screened at the Perth Film Festival, that was its first big appearance, and we'd just got some media going about it, not a lot but some. They said "just one screening, and then..." The frustrating thing about the censorship issue is, as soon as you shine the light on the fucker - his name was Proust, Martin – what he did was scuttle back into the darkness and let the film go! It wasn't like a passionate commitment to the thought that this film should not be shown; it was that he had a mild dislike of the film so he thought he'd ban it!

LEAVOLD: And assumed you'd roll over in the process!

DEILING: Precisely. So we shined the light. We got an R certificate. Every piece of media and advertising had to go over his desk. He had to personally sign off on everything. That's what he wanted. So the first night of screenings in Melbourne, the Vice Squad turns up and rips down our posters.


Interview with Bert Deling, director of Pure Shit June 5, 2009

CRIKEY: Audiences are much more liberal in many ways nowadays, but when you’re watching the sort of footage in Pure Shit of people injecting, it’s still very hard hitting, no doubt about that. I wonder how bloody hard hitting it must have been for people watching it in the 70s.

DEILING: This guy [Richard Prowse] had been sitting there very quietly as the censor for many years. He was a one-armed person, I presume a war person. In other countries they give blokes like that the job of driving lifts. Well this guy got to be the censor. He’d just be quietly working away in his little cave, you know.

It (the film) was banned out of hand. We figured that the only way to deal with this was to actually shine a light into this organised cave and have him come blinking into the light. So we did. And the minute he had to come out to defend what he’d done, he un-banned it! Now let’s think about that for a second. He banned a film that was supposedly so damaging to the whole human cosmos that no one should see it, but then when he had to stand up and defend it he immediately went ‘ok you can have it.’ It was done on a whim because one way or another it makes no sense.

CRIKEY:The title is very provocative. Would you have considered giving it a much tamer title?

DELING:Yeah. We were stirring. That was the whole point – the free publicity. Ultimately what he (the censor) said to us was ‘call it Pure S and we’ll give it an R.’ We went ‘fine.’ We thought we might have to change the title completely. We had no money. We couldn’t get publicity. We couldn’t pay for ads and stuff, so we thought we’ve have a little stir.


Pure Shit (1975) - Original uncensored artworkPure Shit (1975) - Censored AFC artwork



DVD release

In May 2009, PURE SHIT was re-submitted for classification for the first time in thirty-four years. The Classification Board awarded it an R18+ (High impact drug themes) rating.

Beyond Home Entertainment released the film in a three-disc DVD box set.

Beyond Home Entertainment PURE SHIT DVD Promotion
They Banned It...
They Slammed It...
Finally, after more than 30 years lost in the wilderness, Bert Deling’s 70s masterpiece, PURE SHIT, is released for the first time on DVD.

In 1976 the Australian underground spewed out the most controversial film ever made about the heroin subculture. Four junkies desperate to score in a world with too many rules and death lurking only a cubicle away. PURE SHIT speaks truths never mentioned in polite society. Its tools are speed, rock ‘n’ roll, humour and kaleidoscopic colour.

Originally the Commonwealth censor deemed PURE SHIT unclassifiable. The Australian public was denied access to one of the funniest, most beautifully written, and masterfully performed portrayals of drug addiction ever committed to celluloid.

Suppressed as it was, it was hardly enough to stifle the film’s energy. For several years a deteriorating 16mm print toured festivals and underground screenings leaving an indelible mark on those lucky enough to view it.

Like the legend surrounding the first albums by The Velvet Underground and The Ramones, both of which wielded influence far beyond their initial sales, PURE SHIT has permeated the work of film directors Rolf DeHeer (BAD BOY BUBBY), Richard Lowenstein (DOGS IN SPACE) and Jon Hewitt (REDBALL) – not to mention the obvious homage in Gus Van Sant’s DRUGSTORE COWBOY!

The groundswell of love and support for PURE SHIT has been incredible and comes from a diverse group that includes the likes of Warren Ellis (musician), David Stratton (author and film critic), Bob Ellis (filmmaker & critic) and John Flaus (critic and actor).

PURE SHIT carries with it an aura of mystique and legend. Made for less than $20k through funds secured from a drug and alcohol agency and dubious “other sources”, it is a film that some believe SHOULD NEVER HAVE BEEN but MOST CERTAINLY WAS! And now, thanks to the painstaking work of the National Film and Sound Archive and the commitment of Beyond Home Entertainment, WILL FOREVER BE!

More than just a DVD release, PURE SHIT is a serious film event. As such it comes with deluxe packaging containing a two DVD set with over four hours of lovingly compiled material. Included amongst the extras are two featurettes, ‘A Pure Shit Reunion’ and ‘Rollin with Bert and Gaz’. It also features in depth interviews with maverick director Bert Deling, producer Bob Weis, lead actor Gary Waddell, cinematographer Tom Cowan, editor John Scott, and a variety of celebrity guests who either appeared in the film or are keen to voice their support for it. Without doubt, this is the definitive PURE SHIT collector’s edition.

The third disc, a soundtrack CD featuring never before released material, is the icing on the cake and is a story unto itself. Composed by Martin Armiger (The Sports) it features his band The Toads, Red Symons (Skyhooks) and Jane Clifton. As Martin explains, the original quarter inch tapes of the PURE SHIT soundtrack were thought lost, but after an exhaustive search through the dust and clutter of Red Symons warehouse, there they were – literally music to the ears of Oz rock enthusiasts.

There is already a significant buzz surrounding this much loved classic’s imminent release. A number of special event screenings, all featuring guest panelists, have been organised in capital cities across the county.

Hilarious, cutting, prophetic, kinetic and compassionate; PURE SHIT is Australian cinema at its very best. As The Bad Seeds’ Warren Ellis eloquently puts it, “PURE SHIT is Pure genius!”

16 page booklet, OZ Rock Soundtrack CD, Director & Actors Commentary, Interviews: cast crew & celebrity guests
Mini Featurettes: ‘Pure Shit Reunion’, ‘Rollin’ with Bert and Gaz’, Stills gallery



The Australian Censorship Board's treatment of advertising material 

In April 1974, the Chief Censor, Richard Prowse, discussed in an interview how the Board dealt with advertising material.

An Interview with the Chief Censor, Mr Prowse: The Censor Speaks
Cinema Papers issue 2, April 1974

CP: How do you see the direction of Australian censorship?

PROWSE: Well of course this will depend a lot on Government policies, both Australian and State. As I understand it the general policy is that adult people should be free to read, see and hear whatever they wish. The second point being of course that people who don’t want this sort of material should not be subjected to it.

CP: Is this where the censorship of advertising material comes in to it?

PROWSE: Yes, because we are much tougher on advertising material than we are on the film itself, the reason being that by its very nature advertising material is freely available to everybody, even the youngest children and it is displayed in places where it is readily available to people who don’t want to see it.


In a January 1977 interview with Cinema Papers, Janet Strickland, the Deputy-Chief Censor said that one of the four functions of the Censorship Board was:

To examine advertising in relation to imported films and Australian films as required, under the provisions of both Commonwealth and State legislations.

This area of Australian censorship is not very well documented, as unlike actual film cuts, these types of alterations to advertising material were never listed. Until the 1980s, many film posters were still being modified to remove nudity, weapons, violence etc.

We intend to document this area as more information becomes available. For now, we have three titles listed in our database where changes were made.


Pure Shit (1975) - Beyond Home Entertainment [au] DVDPure Shit (1975) - Beyond Home Entertainment [au] DVD 2





Pussy Talk

aka Pussy Talk - Le sexe qui parle

Directed by Claude Mulot / 1975 / France / IMDb

In January 1976, a 2513.60-meter (91:37) print of PUSSY TALK was banned because of 'indecency'. Filmways were the applicant.


Hardcore sex was eventually allowed in Australia with the introduction of the X-rating in February 1984. Blake Films had an 88m tape of PUSSY TALK passed with this classification in August 1984. It was awarded for sex, which was found to be:
Frequency: Frequent
Explicitness/Intensity: High
Purpose: Gratuitous


Palace Entertainment Corporation was no doubt aiming for an R-rating when they submitted a tape of a 70m 'edited version' in August 1988. Instead, they received an X-rating, despite the sex now being classed as:
Frequency: Infrequent
Explicitness/Intensity: High
Purpose: Gratuitous

A 70m tape was passed with the same rating and for the same reasons in September 1988. On the same day, a slightly more censored 69m version received an R-rating for sex, which was now found to be:
Frequency: Frequent
Explicitness/Intensity: Medium
Purpose: Gratuitous

The R-rated PUSSY TALK was released on the Palace Vibrant label, and ran 69:26.


Pussy Talk (1975) - Palace Vibrant Video [au] VHS rearPussy Talk (1975) - Palace Vibrant Video [au] VHS front





Put Your Devil in My Hell

Directed by Bitto Albertini / 1973 / Italy / IMDb 

In August 1974, a 2368.50 (86:20) print of PUT YOUR DEVIL IN MY HELL was censored by 1.5-meters (00:03) for an R-rating. The cuts were made to remove 'indecency'.

Cinema De Franco was the applicant. The daybill poster lists Greg Lynch Film Distributors.

Daybill image courtesy of 


Put Your Devil in My Hell (1973) - Greg Lynch Film Distributors [au] Daybill



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