Linda Hutton, Candy Clark, Adrienne Larussa, Claudia Jennings – The Man Who Fell to Earth (1976)

The Man Who Fell to Earth (1976), directed by Nicolas Roeg, is a sci-fi drama starring David Bowie as an alien navigating human society. Below are details on the nude scenes involving Linda Hutton, Candy Clark, Adrienne Larussa, and Claudia Jennings, based on available information:
Linda Hutton (playing Elaine): Hutton appears in a scene with Rip Torn’s character, Nathan Bryce, where she removes her shirt to reveal a purple bra, then her bra, exposing her breasts. They engage in playful activity on a bed, with Hutton snapping photos. Another moment shows her sitting up in bed topless, reviewing the developed film of their encounter. These scenes, lasting about 1-2 minutes, juxtapose intimacy with the film’s surreal tone, notably paralleled with Kabuki theater imagery.

Candy Clark (playing Mary-Lou): Clark has multiple nude scenes with Bowie’s Thomas Newton. One shows her topless in a bathtub, washing her hair, observed by Newton. Another, later in the film, depicts her as an older Mary-Lou, revealing breasts, pubic area, and buttocks during an erotic sequence involving a handgun, noted as one of the film’s most provocative moments. A body double was reportedly used for some shots to portray her aging character. These scenes, spanning several minutes, underscore the characters’ emotional and physical connection.

Adrienne Larussa (playing Helen): Larussa is featured in a sex scene with Rip Torn’s character, crawling into bed naked and engaging in explicit activity, with brief shots of her breasts, pubic area, and buttocks. The scene, lasting around 1-2 minutes, emphasizes Bryce’s casual relationships with students, marked by cheeky dialogue.

Claudia Jennings (playing Peters’ wife, uncredited): Jennings appears fully nude in a brief pool scene, showing breasts, pubic area, and buttocks as a man lifts her from the water and hugs her. This moment, under 30 seconds, is incidental but fits the film’s theme of fleeting human connections.

These scenes align with Roeg’s fragmented, avant-garde style, using nudity to explore alienation, desire, and human fragility rather than for mere titillation.