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Pacific Banana is a 1981 Australian sex comedy film directed by John D. Lamond and starring Graeme Blundell, Robin Stewart, and Deborah Gray. The film is a lighthearted, raunchy adventure that epitomizes the cheeky sex comedies that emerged during the late 70’s and early 80’s, a genre known for its bawdy humor and casual approach to sexuality.

The film’s plot revolves around the comedic misadventures of Martin “Banana” Lassiter, played by Graeme Blundell, who is a co-pilot for the fictional Pacific Banana airline. Martin suffers from an embarrassing problem: every time he is sexually aroused, he becomes temporarily incapacitated. This peculiar affliction puts him in some compromising situations throughout the movie, as the story takes us through sexual escapades and a series of comedic errors.

Robin Stewart plays Paul, an uninhibited pilot whose flirtatious tendencies often get both him and Martin into trouble. Paul’s hedonistic ways contrast sharply with Martin’s bashful nature, adding a layer of comedic friction between the two characters. The dynamic duo finds themselves caught in a whirlwind of hilarious scenarios involving tourists, their incessant boss, and the women they meet while flying to various South Pacific islands.

Deborah Gray portrays the beautiful and alluring Sally, who is not only the object of Martin's affection but also central to his efforts to overcome his peculiar issue. Her character brings charm and sexual appeal to the film. Sally, along with other female characters they encounter, including the sexually liberated Melissa (played by Luan Peters), push the narrative into a series of frolicsome and titillating situations that are aimed at generating laughs and showcasing the film’s frivolous treatment of sexuality.

The movie does not aim to be a critical assessment of gender norms or provide any meaningful commentary on social issues; rather, it indulges in the era's trademark beachside aesthetic, complete with scantily clad bodies, innuendo-laden dialogue, and slapstick physical comedy. The cinematography captures the beauty of the South Pacific, contrasting the picturesque locales with the raucous and often clumsy attempts at love and sexual discovery characterized by the film's protagonists.

The humor in Pacific Banana is rooted in its absurdity and playfulness, aiming to evoke laughter through increasingly ridiculous situations. Martin’s ailment serves as a running gag throughout the film, providing a foundation for the comedic set-ups that arise. The movie is structured around the wild experiences of the flight crew, both in the sky and on the tropical islands they frequent, and makes light of the freewheeling sexual revolution that was still palpable in the early ‘80s.

The supporting cast of characters comprises a variety of stereotype-based roles, including aloof tourists, droll airline staff, and island dwellers who all play their parts in the film's comedic machinations. Although the film's humor can be seen as dated by contemporary standards, Pacific Banana is a product of its time and reflects the prevailing cinematic trends in Australian comedy during its release period.

The director, John D. Lamond, was known for contributing to the ‘Ozploitation’ movement—an era in Australian cinema during the 1970s and early 1980s that included low-budget genre films often characterized by their plentiful sex, violence, and nods to Australian culture. While Pacific Banana may not have the same cult status as other films within this category, its over-the-top approach and willingness to revel in unsophisticated humor typify the audacious spirit of the movement.

Overall, Pacific Banana is a comedic journey into the playful and ribald, one that specifically caters to audiences who appreciate the lighter, adult-oriented fare that relies upon sexual innuendos and bawdy gags. Its contributions to Australian cinema may not be profound or groundbreaking, but the film immortalizes a time when sex comedies enjoyed ample freedom of expression and entertainment was squarely focused on escapism and laughter, albeit often at the expense of subtlety and nuance.