Alice In Wonderland An X Rated Musical Fantasy 1976 May 2026

Final rating: ★★★ (Three stars out of five—one for ambition, one for the soundtrack, and one for the sheer audacity of making the Cheshire Cat a mime who only appears during orgasms.) The film is currently available on several cult streaming services (like Something Weird Video) and has been released on an unrated Blu-ray by Vinegar Syndrome, fully restored from the original 35mm negative. Viewer discretion is strongly, strongly advised.

The opening number, “Follow the Rabbit,” sounds like a rejected Carpenters B-side played through a broken speaker. The Tweedle brothers’ ode to swinging, “Two Is Company (But Three Is a Party),” has a genuine country twang that feels wholly out of place in a psychedelic dreamscape. The true showstopper, however, is the Queen of Hearts’ power ballad, “Croquet,” in which she belts: “With a swing and a smack / I’ll never look back / My rules are the only ones true.” Alice In Wonderland An X Rated Musical Fantasy 1976

In her dream (or is it?), she spots the White Rabbit—not a frantic, waistcoat-wearing puppet, but a bearded, nervous man in a fuzzy suit who keeps checking his pocket watch. She follows him down a literal "rabbit hole," which the film inelegantly portrays as a dark, damp tunnel. Final rating: ★★★ (Three stars out of five—one

The performances range from the professionally dubbed to the hilariously off-key. It is said that director William B. Norton (who also wrote the score under the pseudonym “Norman Simon”) forced the actors to record their vocals live on set, rather than in a studio. The result is a raw, warbling sound that adds to the film’s uneasy, dreamlike quality—like hearing a nursery rhyme while you have a fever. To understand the film, one must understand the “porno chic” moment of the early-to-mid 1970s. Following the success of Deep Throat (1972), The Devil in Miss Jones (1973), and especially the mainstream crossover of The Opening of Misty Beethoven (1976), producers were desperate to legitimize adult films by giving them plots, sets, and—most bizarrely—musical numbers. The Tweedle brothers’ ode to swinging, “Two Is

Carroll’s Alice had long been a target for psychedelic reinterpretation. The 1960s had given us Jefferson Airplane’s “White Rabbit” and the dark, druggy film Alice’s Adventures in Wonderland (1972) starring Fiona Fullerton. It was only a matter of time before someone realized that the story’s inherent themes of transformation, power dynamics, and bizarre rules lent themselves to the adult industry.

Director Norton claimed in a rare 1998 interview that he intended the film to be a “feminist critique of Victorian repression.” He argued that Alice—by saying “yes” to every adventure, sexual or otherwise—was taking agency in a world that wanted to silence her. Most critics, then and now, roll their eyes at this. The film is not The Story of O . It is a commercial product designed to get a reaction.

For fans of the surreal, the obscure, or the simply bizarre, this film is a rabbit hole worth falling into. Just don’t expect to come back with your sense of propriety intact.