Tribute to Sue Longhurst | Most iconic sensual roles and tickling scenes

Sue Longhurst is an English actress who became one of the most recognizable faces of the vibrant British sex comedy genre during the 1970s. Born on January 27, 1943, in Bognor Regis, England, her path to stardom was initially unconventional. She trained at the prestigious Royal Academy of Music and originally worked as a music teacher. However, encouraged by her model sister, she eventually shifted careers to pose for magazines, book covers, and television commercials—even spending a year and a half advertising Player’s cigarettes before transitioning fully into acting.

Longhurst made her official acting debut at the age of 27 in the 1971 Hammer Horror production Lust for a Vampire, playing a boarding school student. That same year, she demonstrated her versatility by working as an uncredited stunt double for Susan George during a dramatic fire scene in Sam Peckinpah’s Straw Dogs.

As the decade progressed, she quickly found her niche in “saucy” X-rated comedies, landing memorable roles that defined her career. One of her most famous performances came in 1974 as the nymphomaniac housewife Jacqui in Confessions of a Window Cleaner, a film that went on to become the highest-grossing British movie of that year. She also gained international exposure starring as the greedy aristocrat Lady Alice Faversham in the 3-D Swedish-American comedy What the Swedish Butler Saw (1975), sharing the screen with legendary actress Diana Dors. Longhurst reteamed with Dors the following year to play Lady Cockshute in Keep It Up Downstairs. The absolute pinnacle of her commercial success arrived with the 1977 smash hit Come Play With Me, where she played Christina, the girlfriend of an inept gangster. The film achieved legendary status by running continuously for nearly four years in London’s West End.

Following a spell of illness, Longhurst retired from the acting profession in 1981, leaving behind a brief but highly impactful filmography. Today, she is celebrated as a cult icon and a vital symbol of a uniquely permissive era in British cinematic history. Rather than fading into obscurity, her contributions to the genre have been heavily re-evaluated and honored by film historians.

She returned to the spotlight in 1996 to reflect on her career in the tongue-in-cheek BBC2 documentary Doing Rude Things, which chronicled the history of British sex films. Her status as an elder statesman of the genre was further cemented when she wrote the foreword for the first edition of Simon Sheridan’s acclaimed historical book, Keeping the British End Up. Now living quietly on the south coast of England, Sue Longhurst is remembered not just for her onscreen charisma and bold performances, but as an essential figure in the preservation of 1970s British pop culture.

Sue Longhurst’s sexy scenes

Lust for a Vampire (1971)

In her acting debut, Sue Longhurst plays a schoolgirl at a boarding school.

Secrets of a Door-to-Door Salesman (1973)

In this early sex comedy, Longhurst portrays a character named Penny. This film marks her first major step into explicit erotic cinema, featuring highly popular nude sequences.

Keep It Up, Jack (1974)

Longhurst takes on the role of Virginia in this production directed by Derek Ford.

The Over-Amorous Artist (1974)

Also known under titles such as Just One More Time, this film features Longhurst as Sue Street. Her role heavily embraces the era’s adult comedy tropes.

Can You Keep It Up for a Week? (1974)

Longhurst steps into the role of a consultant psychiatrist named Mrs. Bristol. Playing on the comedic irony of her professional title, her character is involved in extensive nudity.

Confessions of a Window Cleaner (1974)

In one of her most famous and celebrated roles, Longhurst portrays the nymphomaniac housewife Jacqui. She is central to one of the most iconic erotic-comic sequences of 1970s British cinema, where her character aggressively takes the virginity of the naive Timothy Lea (played by Robin Askwith) inside a kitchen completely covered in foam. This memorable sequence is documented across multiple images and video clips.

Girls Come First (1975)

Serving as the sequel to The Over-Amorous Artist, this movie features Longhurst simply playing a character named Sue. She continues her run as a prominent fixture of the genre, contributing to the film’s adult themes alongside a young Hazel O’Connor.

What the Swedish Butler Saw (1975)

Also released under titles like Champagnegalopp and A Man with a Maid, this international 3-D production casts Longhurst as the greedy aristocrat Lady Alice Faversham. Loosely based on a Victorian erotic novel, the plot centers heavily on her seduction inside a converted “love nest”. Consequently, Longhurst spends a vast portion of her screen time entirely in the nude.

Keep It Up Downstairs (1976)

Starring alongside Diana Dors, Longhurst plays the upper-class character Lady Cockshute. Her role blends high-society satire with the typical low-brow sex appeal of the era.

Come Play with Me (1977)

In the biggest commercial hit of her career, Longhurst plays Christina, the glamorous girlfriend of an inept gangster. Acting alongside Mary Millington, her role combines crime satire with plenty of adult appeal.

Tickling scenes with Sue Longhurst

In the 1975 Swedish-American sex comedy What the Swedish Butler Saw (also known as Champagnegalopp or A Man with a Maid), Sue Longhurst plays the greedy British aristocrat Lady Alice Faversham. The film, shot in stereoscopic 3-D and based loosely on a famous 1908 anonymous Victorian erotic novel, features a highly specific and prolonged erotic comedy sequence centered around tickling.  

The scene takes place after the protagonist, Jack Armstrong (Ole Søltoft), successfully entices Lady Alice back to his “lair”—a former madhouse that he has meticulously converted into a luxurious, hidden “love nest”. Once inside the secluded room, Jack uses the privacy of the lair to launch a playful yet systematic assault on Alice’s virtue.  To break down her defenses and force the haughty aristocrat to submit to his affections, Jack restrains Lady Alice and subjects her to an intense, extended session of body tickling. Because the movie was filmed using a specialized single-lens 3-D process designed to create an immersive depth of vision, the sequence is staged to emphasize the physical interaction directly toward the camera lens.  

Throughout the scene, Sue Longhurst spends much of her screen time entirely in the nude, reacting with a mix of dramatic laughter, squirming, and performative protest as her feet and sensitive areas are targeted. Adding a bizarre layer of Victorian farce to the eroticism, a pantomime version of Jack the Ripper pops out from behind secret wall panels during the sequence, frantically ogling the nudity and Alice’s tickle-induced reactions from afar.

The entire scene serves as the movie’s primary erotic set-piece, translating the explicit dominance themes of the original Victorian text into a lighthearted, visually experimental piece of 1970s sexploitation. 

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