Scouring the video store shelves in search of something interesting I feel like I should see often yields surprising results, but I wasn’t quite prepared for the surprise I got from BARBARELLA: QUEEN OF THE GALAXY. I had a vague idea of what it was (kitschy sci-fi cult classic was my understanding), but, to my initial delight (but eventual disappointment), I had more in store, but perhaps also much, much less.

BARBARELLA is a bizarre, psychedelic tale of the sexual awakening of the titular (no pun intended) character, played by an startlingly young and alluring Jane Fonda, a woman sent by the Government of the Republic of Earth to search for scientist Durand Durand. Durand, whose spacecraft disappeared somewhere near mysterious planet Tau Ceti, is the creator of the Positronic Ray, a weapon of unspeakable power which the Earth government wish to retrieve before it falls into unfriendly hands. After crash landing on the planet, Barbarella encounters various odd people and creatures, all of whom seem to exist in a primitive world of sexual liberation. 41st century society has moved on from archaic penetrative intercourse it seems, opting instead for a meditative melding of ‘psychocardiograms’ (think the virtual sex from DEMOLITION MAN, but less exciting), and Barbarella is initially appalled at the idea, yet after around 20 seconds of coercion from a creep in a bear suit, experiences the pleasures of the flesh for the first time. And so begins the erotic adventures of Barbarella, which include making love to a blind angel, being propositioned by a one-eyed dominatrix who may not be what she seems, and having her body literally played like an organ by the nefarious Durand Durand.

Unfortunately, it all sounds a little racier than it is. There’s plenty of innuendo and double entendre (one of the characters is named Dildano!), but really it’s not pushed far enough, and the film is a little tame. There are laughs to be had, and Fonda is fully committed to the campy lunacy of the script but BARBARELLA doesn’t really live up to its cult status. The spectacularly low-budget sets and effects, Fonda’s ever-changing and increasingly revealing outfits, and the fun and funky psychedelic lounge music throughout stand out as highlight, but it’s far from a good movie. Amazingly Fonda turned down both BONNIE AND CLYDE and ROSEMARY’S BABY to make this, so I guess you have to give her credit for the effort, and perhaps some chemical accompaniment would work in BARBARELLA’s favour (as I’m certain there was plenty on set). It’s the sort of film which you know you’re going to like or hate before even starting it, and I’m not surprised that it has its fans. Unfortunately, I’m not one of them.


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