onscreen

FROM Barbie to Harley Quinn, it’s fair to say Margot Robbie has range when it comes to her on-screen roles – and the actress has had her fair share of X-rated on-screen romps too.

And with new romance flick Wuthering Heights just days away from it’s Valentine’s release, fans are set to see Margot, 35, getting very steamy with co-star Jacob Elordi, 28.

In fact, fans have even dubbed some scenes in the film’s trailer “softcore porn”.

However, this won’t be the only time Margot has stripped down for a role, as we take a look at some of her steamiest movie moments.

Full frontal nudity

It was Martin Scorsese’s The Wolf Of Wall Street that launched Margot’s career into the juggernaut it is now, as she starred across from leading man Leonardo DiCaprio in the comedy thriller.

Portraying his ultra-confident wife Naomi, Margot didn’t hold back during the 2013 role – which got extremely X-rated.

A REAL GEM

Margot Robbie turns heads in Chanel velvet ballgown & diamond necklace in Paris

TAYLOR MADE

Margot Robbie wows in VERY expensive necklace once owned by Elizabeth Taylor

During the film, Margot is seen completely nude for a full frontal sex-scene with Leonardo’s stockbroker character Jordan.

And following the film’s release, Margot admitted that being completely naked was her idea.

After director Martin suggested she could be in a robe, Margot replied that it didn’t feel genuine to the character.

“That’s not what she [Naomi] would do in that scene.

“The whole point is that she’s going to come out completely naked —that’s the card she’s playing,” Margot explained during an appearance on the Talking Pictures podcast. 

The film also sees Margot seductively pushing a drooling Leo away with her stiletto heel in a scene which depicts the power she holds in sex.

While one scene showed Margot and Leonardo’s characters having sex on top of stacks of cash, the former later admitted she was left with a multitude of paper cuts from filming naked on the money stacks.

“If anyone is ever planning on having sex on top of a pile of cash: don’t,” joked Margot.

Steamy pole dancing

In 2018 noir thriller film Terminal, Margot portrays unassuming waitress Annie who is actually working strategically as an assassin.

As part of her act, Annie uses her sexuality to get what she wants from men and to distract them.

And a good job she does at that.

In one scene, Margot strips to black lacy lingerie and matching stockings, with her hair styled in Hollywood curls and a deep green lipstick making her mouth and eyes pop.

She then performs a seductive pole dancing routine at a strip club, which leaves her male counterparts fawning on the stage sidelines.

Steamy shower scenes

From one criminal activity to another, Margot portrays a bank robber on the run in thriller Dreamland, which was released in 2019.

While taking shelter, she develops a romantic relationship with Eugene Evans, played by Peaky Blinder’s star Finn Cole.

As their bond deepens throughout the film, the pair are seen having some steamy moments – including a shower scene.

In the scene, Margot and Finn are completely naked in the shower together as they have a very sexually-charged moment.

Provocative dance moves

In a film all about decadence and outrageous Hollywood behaviour, Margot portrays a rising “IT girl” movie star who grapples with her own internal struggles in 2022 movie Babylon.

Starring alongside Brad Pitt, Margot’s character Nellie is acting out a scene when she is provocatively dancing on top of a bar.

With bright red lipstick on and her blonde locks in a wild curl, Nellie breaks out into a manic dance during the scene, which includes the starlet flashing her underwear by bending over.

Margot’s performance may have been good in the film, but the box office showed that Babylon wasn’t the hit many expected it to be.

Admitting she is “shocked” by the film’s failure to capture the audience, Margot previously said: “I love it.

“I don’t get it either. I know I am biased because I am very close to the project and I obviously believe in it, but I still can’t figure out why people hated it. I wonder if in 20 years people are going to be like, ‘Wait, “Babylon” didn’t do well at the time?’

“Like when you hear that ‘Shawshank Redemption’ was a failure at the time and you’re like, ‘How is that possible?’”

Ultra X-rated

Wuthering Heights is set to hit screens next week, and from what we’ve seen so far, there will be a fair amount of sexual tension between Margot and Jacob Elordi’s character.

Margot plays protagonist Catherine Earnshaw from Emily Bronte’s classic novel set in wind-swept Yorkshire, which depicts her epic romance with Heathcliff, played by Jacob.

The first teaser trailer for the feature film sees suggestive imagery used in scenes showing the kneading of bread and breaking of eggs.

Margot is also seen with fingers over her face before servant Heathcliff’s sweaty back, presumably in a moment of intimacy, is captured.

Other moments show character Catherine’s heart beating strongly before scenes flick to her hand in the mouth of the Earnshaw family’s foster son.

Catherine is also seen blindfolded while the final scene in the trailer sees Heathcliff ask her: “Are you alright, do you want me to stop?”

She simply replies: “No,” while holding his hand.

He is then seen opening her corset and sliding his hands over her face before fans were left bemused at scenes showing a finger being inserted into a fish’s mouth.

Fans have already reacted strongly to the snippets of action they’ve seen so far – with comments all along a similar line.

One wrote: “Just saw the teaser for #WutheringHeights and it is way worse than I expected… is it me or is it giving soft porn vibes???”

Another mused: “#WutheringHeightsMovie is the 50 Shades Of Grey we never got.”

While director Emerald Fennell has described the film as “primal” and “sexual”, Margot said in December that it is more about the romance.

“Everyone’s expecting this to be very, very raunchy. I think people will be surprised,” she explained.

The star added: “Not to say there aren’t sexual elements and that it’s not provocative — it definitely is provocative — but it’s more romantic than provocative”.

It is painful to have to write about Catherine O’Hara, so alive and lively a presence, in the past tense. O’Hara has lived inside my head — is it too corny to say my heart? — from “SCTV” to “Schitt’s Creek” to “The Studio,” on whose second season she was scheduled to start work, when she died, Friday at 71.

Any appearance constituted a recommendation for — a benediction upon — whatever she was appearing in; you felt she would only say yes to things that used her well, that sounded fun or interesting, and that her casting reflected well on the project and people who cast her. I think of her not as a careerist, but a Canadian. Of joining “Schitt’s Creek,” she said when I interviewed her in 2015, “it took me a few moments to commit, [but] I already trusted [co-creator, co-star] Eugene [Levy] as a writer and an actor, and as a good man who I could stand to spend time with.”

This is how it began for her, in Toronto, where her brother Marcus was dating Gilda Radner, who was in “Godspell” with Levy and Martin Short. “And it was really watching Gilda when I realized, ‘cause I’d always liked acting in school, that it was actually a local possibility. And then she got into Second City theater, and I was a waitress there — it’s like I stalked her — and then she did the show for a while and then took on a job for the National Lampoon. So I got to understudy or take her place — I got to join the cast, and Eugene was in it. It was really just the luck of having a professional actor suddenly in my life.”

As an “SCTV” early adopter, O’Hara was first attractive to me because she was funny, but she was also beautiful — a beauty she could subvert by a subtle or broad rearrangement of her features. Though fundamentally a comic actress, her characters could feel pained or tragic beneath the surface — even Lola Heatherton, one of her signature “SCTV” characters, an over-exuberant spangled entertainer (“I love you! I want to have your babies!” was a catch phrase) is built on desperation. Among many, many other parts, she played a teenaged Brooke Shields singing Devo’s “Whip It!,” Katherine Hepburn, a depressed Ingmar Bergman character, and, most memorably, chirpy teenage quiz show contestant Margaret Meehan, buzzing in with answers before the questions are asked, and growing tearfully undone as the host (Levy) becomes increasingly angry.

Elsewhere, she played a forgetful suburban mom in “Home Alone,” the work for which she’s arguably best known, given its ongoing mainstream popularity; an ice cream truck driver messing with Griffin Dunne in Martin Scorsese’s “After Hours”; and a tasteless art snob and indifferent mother in “Beetlejuice,” where she met her future husband, production designer Bo Welch. She shone in three Christopher Guest movies, paired with Fred Willard in “Waiting for Guffman” as community stars; opposite Levy in “Best in Show,” as a dog handler with a lot of ex-boyfriends; with Levy again in “A Mighty Wind,” as a reuniting ‘60s folk duo; and in “For Your Consideration” as an aging actress dreaming of an Oscar. In the great Netflix miniseries “A Series of Unfortunate Events” (also designed by Welch), she played an evil optometrist, the sometime girlfriend of Neil Patrick Harris’ Count Olaf, dark, cold, sexy. Last year, she picked up a supporting actress Emmy nomination as a dethroned but not knocked down executive in “The Studio”; she’s fierce and funny. And, though she was fundamentally a comic actress, she could play straight, as in the second season of “The Last of Us,” penetrating opposite Pedro Pascal as his therapist, and the widow of a man he killed.

Lived in across six, ever-richer seasons of “Schitt’s Creek,” Moira Rose is certainly her crowning achievement, a completely original, Emmy-winning creation whose quirks and complexities were embraced by a wide audience; going forth, she’ll be a reference to describe other characters — a “Moira Rose type” — with no explanation needed. With her original, breathy way of speaking, stressing odd syllables and stretching random vowels to the breaking point, her mad fashions and family of wigs, Moira is a sketch character with depth. Of all the Roses, she’s the one most resistant to adapting to their motel world, to coming down off the mountain, but she is as needy as she is condescending, and underlying her fantastic, tightly structured carapace is a fear that’s terribly moving when it shows through the cracks.

Eugene Levy and Catherine O’Hara in scene from “Schitt’s Creek.” The actors worked together frequently over the years.

(PopTV)

“I like to think she’s really threatened by this small-town life — because she’s been there, you know?” O’Hara said back when the series began. “That just makes it more threatening in my mind. And I like to think of her as more vulnerable than just snobby or superior. I think it’s way more insecure.”

Her tentative acceptance of her circumstance, as well as the show’s overarching arc, finds expression in the series finale, where, all white and gold, in flowing robes with long blonde locks cascading from beneath a bishop’s hat, she tearfully conducts the marriage of her son, David (co-creator Dan Levy). Speaking of a sort of wind of fate, she says, “All we can wish for our families, for those we love, is that that wind will eventually place us on solid ground. and I believe it’s done just that for my family in this little town, in the middle of nowhere.” You might cry, too.

I had the luck to speak with O’Hara several times over the run of the series. The last was in Canada, a day or two before the last day of filming. We sat on the apron of the Rosebud Motel, looking across the muddy parking lot to where fans were gathered on the road above.

“They’re there as much for each other as for us. It’s almost that we don’t have to be there, but we brought them together somehow.” That’s what actors and the stories they tell, give us — the joy, and sometimes the pain: A world of strangers, united in this awful moment, out of love for Catherine O’Hara.