The Ribald Tales Of Canterbury 1985 Classic [new] Jun 2026

A cobbler, overlooked by the wager at first, finally demanded his turn between the second and third ales. His voice was low and grainy. He spoke of feet as confessions—how people reveal their secrets in the way they walk, the shoes they hide in corners. His tale concerned a magistrate who wore mismatched shoes to elude creditors, and a young woman who could not walk without wincing because she bore a child by a noble. The cobbler stitched both shoes and fates, bargaining not in coin but in silence.

The rain lashed against the street-level windows. The bus was delayed indefinitely.

Upon its release in 1985, the film found a receptive audience in the thriving video rental market. It stood out on the shelves of video rental stores due to its historical premise, offering an alternative to the contemporary, urban settings that dominated the industry at the time.

III. The Salty Mariner

In 1985, a film emerged that would shake the very foundations of cinematic convention. , directed by Michael Apted, is a bawdy, irreverent, and sidesplitting adaptation of Geoffrey Chaucer's 14th-century masterpiece, The Canterbury Tales . This unapologetic romp through the classic work of literature is as much a product of its time as it is a timeless tribute to the power of storytelling.

and detailed set designs, which elevate it above the typical adult films of its era. Despite its explicit nature, the film maintains a lighthearted, comedic tone with a "wonderfully goofy" synth-based carnival soundtrack. Availability and Legacy

One could argue that the film, unintentionally perhaps, critiques the hypocrisy of the clergy (through the lecherous Friar) and the transactional nature of marriage (through the Wife of Bath) far more crudely, but not necessarily less effectively, than a polite literary lecture. It is folk art. Unpolished, ugly, and distinctly human (despite being drawings). the ribald tales of canterbury 1985 classic

The film retains the original framing device: a group of pilgrims traveling from the Tabard Inn in Southwark to the shrine of Thomas Becket in Canterbury. To pass the time, the Host proposes a storytelling contest. However, unlike Chaucer’s Knight, Miller, or Wife of Bath, this version’s pilgrims are a menagerie of cartoon stereotypes: a randy Friar with a visible "third leg," a buxom Nun who isn’t as devout as she seems, a dim-witted Knight, and the standout character—a lecherous, anthropomorphic Pardoner who looks suspiciously like a fox.

Set in the 15th-century English countryside, the film follows a group of noblemen and women on a pilgrimage to Canterbury. To pass the time, the travelers engage in a contest proposed by their hostess: each puts 20 pence into a pouch, with the winner being whoever can tell the most erotic and "ribald" tale.

Want a longer version, a version in verse, or a specific character expanded into a full tale? A cobbler, overlooked by the wager at first,

Director Bud Lee combined adult themes with a lighthearted comedic narrative structure.

Similarly, the film found a second life on late-night television networks, which regularly broadcast edited versions of softcore exploitation films after midnight. For many cinephiles of a certain age, memories of the film are inextricably linked to catching snippets of it on a fuzzy television screen during the early hours of the morning. Why It Holds "Classic" Status in B-Movie Circles

The film's tales are a highlight of the movie, offering a range of comedic styles and themes. Some of the most notable tales include: His tale concerned a magistrate who wore mismatched

For modern audiences, the film offers a unique dual appeal: it is both a genuinely entertaining comedy and a fascinating artifact of a bygone era of filmmaking. Whether you are a fan of Hyapatia Lee, a collector of exploitation cinema, or simply someone looking for a raunchy good time with a surprisingly high level of craft, "The Ribald Tales of Canterbury" delivers an experience that is as absurd as it is unforgettable. It remains a testament to a time when even the grungiest genres were shot in glorious 35mm, graced with elaborate sets, and treated with the ambition of a major motion picture.

The 1980s was a definitive decade for exploitation cinema, a period when filmmakers frequently raided the vaults of classic literature to justify high-concept, eroticized entertainment. A prime example of this phenomenon is The Ribald Tales of Canterbury (1985), a film that attempted to fuse the structural brilliance of Geoffrey Chaucer’s 14th-century masterwork with the unabashedly lowbrow aesthetics of mid-80s adult comedy.