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In the Spotlight
Most Famous PG Underwear Scenes in Cinema
by Jaden
A few of my writer contemporaries wrote posts recently that related their website’s topic to underwear. I couldn’t resist but to join in the fun.
Here is my countdown of the most famous *PG-esque sexless underwear scenes of the last four decades.
Lost in Translation (2003)
Never have granny-panties looked so good as on Scarlett Johansson in the opening scene of Lost in Translation, written and directed by Sofia Coppola.
The scene is written like this:
INT. CHARLOTTE’S ROOM - NIGHT
The back of a GIRL in pink underwear, she leans at a big window, looking out over Tokyo.
CUT TO:
Melodramatic music swells over the Girl’s butt in pink sheer
underwear as she lies on the bed.
TITLE CARDS OVER IMAGE.
Sixteen Candles (1984)
Written and directed by John Hughes, Molly Ringwald plays a teen girl named Samantha who gives her panties to the high school geek in exchange for information about the boy she likes, Jake.
Played by Anthony Michael Hall, Farmer Ted the geek tells Jake about Samantha, “I mean, not many girls in contemporary American society today would give their underwear to help a geek like me.”
Like Lost in Translation, these are not the sexiest panties, but the scenes written around these underwear are priceless!
Samantha’s best friend tells her, “Last night at the dance, my little brother paid a buck to see your underwear.” Samantha screams.
Risky Business (1983)
By far one of the most famous non-sexual underwear scenes is Tom Cruise dancing in his tighty-whities, singing to Bob Seger’s “Old Time Rock ‘n Roll,” just after his parents leave him alone in the house.
Written and directed by Paul Brickman, I think this scene is so famous because it is something to which we can all relate. It is that embarrassing performance that most of us would never do in front of anyone else. It is that private moment alone in your underwear using some inanimate object as a microphone as you sing at the top of your lungs to your phantom audience. Come on, you know you have done it. Tom Cruise goes over the top in this scene, it was sort of the precursor to Oprah’s couch, and we love him dearly for it.
Alien (1979)
Writers Dan O’Bannon and Ronald Shusett didn’t specifically write in the script what Ripley was or was not wearing, but director Ridley Scott made a fine choice dressing tough and sexy actress Sigourney Weaver in white cottons. Again, as with the other three movies, these are not the sexiest underwear and the scene has nothing to do with sex, but the way the underwear are worn and the way the scene is shot, makes for a lasting impression.
What is your favorite PG-esque underwear scene in cinema?
You may see Melissa’s brilliant panty twist on writing at Writing Forward in her article called Briefs are Not Just Underwear. Melissa was inspired by Brett Legree from 6 Weeks who wrote about why blogging for profit is like collecting underpants.
*PG-esque: Some of these movies are R-rated, but none of these underwear scenes are sexual.
Script Snip: Midnight Cowboy
For your education in screenwriting, in the Script Snips section are snips of classic, cult, award-winning, or just plain bad screenplays. You be the judge.
“Midnight Cowboy”
1969
Screenplay by Waldo Salt
Novel by James Leo Herlihy
INT. NEDICK’S - DAY
… Ratso staring up into camera, holding his breath.
RATSO
Don’t hit me, I’m a cripple.
Joe’s hand falls on Ratso’s shoulder.
JOE
Oh, I ain’t gonna hit you, I’m
gonna strangle you to death…
The cigarette in Ratso’s mouth burns into his lip. He jerks
spasmodically, choking on smoke as he rips skin away with the
butt and drops it in his coffee cup.
JOE (CONT’D)
… only first I’m gonna turn you
upside down and shake you out right
here and now.
Coughing, eyes tearing, Ratso empties his pockets on the
counter, finally producing: sixty-four cents, a few sticks of
gum, an almost empty cigarette package, a book of matches and
two pawn tickets. He raises his eyes, somehow ashamed. Joe
kicks the toe of Ratso’s loafer.
JOE
What’s in your socks?
RATSO
Not a cent, I swear to God, I swear
on my mother’s eyes.
Ratso removes his loafers and shakes them, glancing at the
counter man. His socks don’t even conceal his toes.
Disgusted, Joe shoves Ratso’s small pile back at him.
RATSO (CONT’D)
You keep the sixty-four cents. I
want you to have it.
JOE
It’s sticky. What you do, slobber
on ‘em? I wouldn’t touch ‘em.
Joe should leave — Ratso obviously has nothing tangible to
offer — but Joe hesitates, lighting a cigarette as Ratso
pulls on his loafers.
RATSO
How do you like that O’Daniel,
flipping out like that? I wanted to
get in touch with you when I heard,
but I been laid up with this
cold…
Ratso touches his chest, forcing a cough which continues
itself beyond his intention.
JOE
You want some free medical advice,
shut your goddam mouth about that
night.
Script Snip: Annie Hall
For your education in screenwriting, in the Script Snips section are snips of classic, cult, award-winning, or just plain bad screenplays. You be the judge.
“ANNIE HALL”
Written by Woody Allen and Marshall Brickman
EXT. MANHATTAN STREET-DAY
A pretty Manhattan street with sidewalk trees, brownstones,
a school; people mill about, some strolling and carrying
bundles, others buried. The screen shows the whole length of
the sidewalk, a street, and part of the sidewalk beyond. As
the following scene ensues, two pedestrians, indistinguishable
in the distance, come closer and closer toward the camera,
recognizable, finally, as Alvy and his best friend, Rob,
deep in conversation. They eventually move past the camera
and off screen. Traffic noise is heard in the background.
ALVY
I distinctly heard it. He muttered
under his breath, “Jew.”
ROB
You’re crazy!
ALVY
No, I’m not. We were walking off the
tennis court, and you know, he was
there and me and his wife, and he
looked at her and then they both
looked at me, and under his breath
he said, “Jew.”
ROB
Alvy, you’re a total paranoid.
ALVY
Wh- How am I a paran-? Well, I pick
up on those kind o’ things. You know,
I was having lunch with some guys
from NBC, so I said… uh, “Did you
eat yet or what?” and Tom Christie
said, “No, didchoo?” Not, did you,
didchoo eat? Jew? No, not did you
eat, but Jew eat? Jew. You get it?
Jew eat?
ROB
Ah, Max, you, uh…
ALVY
Stop calling me Max.
ROB
Why, Max? It’s a good name for you.
Max, you see conspiracies in
everything.
ALVY
No, I don’t! You know, I was in a
record store. Listen to this- so I
know there’s this big tall blond
crew-cutted guy and he’s lookin’ at
me in a funny way and smiling and
he’s saying, “Yes, we have a sale
this week on Wagner.” Wagner, Max,
Wagner- so I know what he’s really
tryin’ to tell me very significantly
Wagner.
ROB
Right, Max. California, Max.
ALVY
Ah.
ROB
Let’s get the hell outta this crazy
city.
ALVY
Forget it, Max.
ROB
We move to sunny L.A. All of show
business is out there, Max.
ALVY
No, I cannot. You keep bringing it
up, but I don’t wanna live in a city
where the only cultural advantage is
that you can make a right turn on a
red light.
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