Taboo Iiiiiiiv 19791985 Better !!top!! Jun 2026

This self-aware mystique, combined with genuine sonic brutality, sets it apart from earlier volumes, which were merely angry, and later volumes (1984-85), which became self-parodic.

The years 1979–1985 bracket:

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How the series , like the 2017 BBC series. taboo iiiiiiiv 19791985 better

Collectors immediately used the term as a shorthand for the series’ deliberate opacity. By the second volume (1980-81), the typographical chaos began. Volume II was printed as “TABOO //” on some copies and “Taboo II///” on others. But the third release—the fabled iiiiiiiv —is where the “better” debate ignites.

The keyword’s bizarre spelling, likely refers to a specific, ultra-rare mispress of what should have been Taboo IV (1982) or perhaps a compilation of volumes 2 through 6. However, archival research from bootleg forums (now defunct) suggests that Taboo IIIIIIIV (often styled as 8 in Roman numeral chaos ) was a double-cassette box set released only in the summer of 1983.

The early franchise succeeded because it blended psychological melodrama with high-quality cinematography. Rather than relying on mindless sequences, the first four entries treated their forbidden subject matter with genuine narrative weight. Collectors immediately used the term as a shorthand

When we talk about groundbreaking cinema, a specific period from 1979 to 1985 stands as a true Golden Era—a time when a single series of adult films shattered conventions, sparked widespread controversy, and left a permanent mark on the entertainment landscape. The series, helmed by director Kirdy Stevens and centered around Kay Parker’s legendary portrayal of Barbara Scott, did more than just push boundaries; it opened an entirely new chapter in adult cinema, elevating it from anonymous, plotless loops into story-driven, emotionally complex, and genuinely cinematic art. This article explores the origins of the taboo breaking series, its most essential entries, and why the films made between 1979 and 1985 remain superior to almost everything that came after.

Finally, the production quality and tone of the 1980 original represent a specific moment in adult film history that the sequels failed to recapture. The cinematography, the soundtrack, and the pacing of Taboo mirrored mainstream cinema of the era. It was a film that crossover audiences could watch not just for arousal, but for narrative interest. As the industry shifted in the mid-80s toward the "video age," the sequels adapted by adopting the faster-paced, plot-light style that dominated the home video market. They became products of consumption, whereas the original was an exercise in cinematic storytelling.

The early Taboo films treat their characters as real people with motivations, regrets, and emotional journeys. Barbara Scott is not just a sexual fantasy; she is a woman who has been rejected by her husband for her perceived frigidity, who struggles to find work and companionship, and who ultimately gives in to a desire she knows is wrong—only to be overcome with guilt and shame. Later entries in the series (from Taboo V onward) largely abandon this psychological nuance in favor of non‑stop sex scenes with minimal plot. As one reviewer notes, “Taboo V is the worst out of the whole series because it is lacking story and has too long of pauses between the sex scenes to incorporate plot it doesn’t even have”. But the third release—the fabled iiiiiiiv —is where

From the anxious, gentle touch of the original to the bold, assured direction of Taboo IV: The Younger Generation , the Taboo series between 1979 and 1985 represents a high point not just for adult film but for independent cinema as a whole. The combination of strong scripts, committed performances, and cinematic artistry makes these films better than most of what followed in the franchise and better than much of what the genre has produced since. They remain a compelling testament to a time when even the most forbidden subjects could be explored with courage, intelligence, and soul.

. Elias’s work had become legendary in certain circles—tapes passed hand-to-hand like illicit substances. The stories he told now were about the collision of technology and the human soul. He filmed synthesized music performances that sounded like machines crying and captured the frantic energy of the burgeoning club scene, where the fashion was armor and the dance floor was a battlefield.

First, the spelling: Taboo IIIIIIIV is deliberately broken. Proper Roman numerals for the year range would be (MCMLXXIX–MCMLXXXV). But the string “IIIIIII” (seven I’s) followed by “V” suggests: