Thursday, January 3, 2013
A beautiful blonde hooks up with a rock star, and after a night of sex and drugs, he leaves. She, though, has fallen madly in love with him, and sets out with her girlfriend across Europe to track him down. On the way, however, she gets mixed up with everyone from a gang of nasty bikers to a ring of devil worshipers.
From IMDB's user's comments:
Saucy, husky-voiced, totally liberated and uninhibited free spirit Sally McGuire (a winning performance by the lusciously bouncy'n'bountiful redhead soft-core starlet Sharon Kelly) gleefully disrupts the drab tranquility of a sleepy armpit California burg by broadcasting from the back of her mobile van. Sally's shockingly ribald pirate radio program heats up the airwaves and turns on an avid libidinous swinger audience with a tantalizingly salacious mix of raunchy music, naughty sex talk, and ecstatic moans of pure pleasure Sally makes while caressing herself, masturbating and even making love live over the air. Naturally, a bunch of comically uptight no-fun guardians of the tediously repressive status quo want to nab Sally and put her out of business, but both Sally and her rascally hillbilly engineer partner-in-crime Toby (the ever-wacky George "Buck" Flower in peak goofball form) are far too quick and wily to be easily apprehended.
"A young woman living in L.A. goes back to her family's homestead way up in the mountains for a family reunion. At first put off by her relatives' hillbilly ways, she soon decides to let her hair down and join in the fun. Before she leaves she invites them all to stop by her place in Los Angeles if they're ever in the area. They soon are, and they do."
Bethel Buckalew was a Russ Meyer without some of the finesse and craftmanship that the latter displayed during his long and prolific career. "Country Cuzzins", Buckalew's classic 1970 softcore sleaze film, might not be quite as good as his 1972 flick "The Pig Keeper's Daughte", but is still well worth a look if you're into this kind of "art" - and who isn't?
History is warped yet again by Box Office International, in this lavish, lewd and ludicrous epic by producer (Mantis In Lace) and occasional director (Secret Sex Lives Of Romeo & Juliet) Peter Perry. According to Perry's version, Julius Caesar is a corpulent grump, lamenting the drab quality of orgy talent while a concubine drapes herself across his royal presence. At the mention of Cleopatra as an exotic addition to his carnal menu, he orders his cohort Mark Anthony (`Rome's greatest lover') to Egypt to check out the talent - with a strict hands-off policy. Cut to Mark Anthony, whose hands are anywhere but off the Nubian nuptials. After a ringside seat at a virgin sacrifice and multi-racial orgy, Anthony and co return to Rome understandably knackered; Cleo and her handmaiden (!!) follow them incognito. She has a thing for Mark Anthony herself, but ambition gets the better of her, and finds the way to a Caesar's heart is through his stomach. Mark Anthony meanwhile becomes the patsy for Caesar's murder, and discovers her treachery while on the run. Exit Cleo, exit Mark Anthony, and historical accuracy is flushed down the aqueduct once more for good luck.
Thursday, December 27, 2012
After meeting at a party, Daniella (Blanca Lewin, Eternal Blood) and Bruno (Gonzalo Valenzuela) go to a cheap motel for a little after-party fun. They don't know the other's name yet, but the sex is great. Their post-coital musings reveal more than their names, however. The stranger next to them affords each the freedom to open up and discuss their wildest philosophies and deepest fears. Between bouts of love-making and more discussion, they become more personal, and soon they breach the wall of anonymity. When their darkest secrets come out, they threaten the euphoria and emotional safety for the possibility of something more.
What you first need to understand before watching Jess Franco's Paula-Paula is that it's not a normal movie. There's not script, there's a beginning and ending, but something else in between. It's actually what the title say it is, an audiovisual experience that could belong in an art gallery. I've seen stuff like this at the Museum of Modern Art in Stockholm, but this might be a little bit more sleazy...
It begins with the arrest of a young woman, Paula, who claims she's been working at a sex club since she was five, first with her dad, and later together with another woman named Paula - and now she killed her. The police, played by a butch Lina Romay, is skeptical about it, and seem to almost let her go. No one cares about her, another crazy woman... There's a cut to the interaction between Paula and Paula, in something that seem to be the first Paula's apartment. They dance, there's long psychedelic mirror-effects, slow-motion and an amazing jazz score by Friedrich Gulda (given to Franco by the children of Gulda, the composer himself is dead) and slowly it leads to the expected ending...
Anna is not so very young any more, but still a voluptuous woman and full of desire. Unlike her husband, who prefers to watch television instead of making love to his wife. Diets and aerobics fail to revive his sexual interest, and Anna turns to a fortune-teller for help. Unfortunately, the love potions also have dissatisfying side-effects and surprising results. Finally, a proper solution is found in some magic sweets: each sweet will make Anna seven years younger. Which might be rather tricky for a compulsive eater …
It has a few hardcore inserts.
After her boyfriend leaves her alone and penniless, Inga can only long for the love of another man devoted to satisfying her body and soul. Rolf, a young pop singer and musician, tries his best to seduce her, but she ultimately falls for Stig - a dashing older man and writer. Stig owns a beautiful villa, and Inga gladly becomes his personal secretary - and lover. When business takes Stig away, Inga's loneliness and unfulfilled sensual desires lead her straight into the arms and bed of Rolf. Inga's life is further complicated by the arrival of the young and beautiful Greta Tillstrom (Inger Sundh) who admits to an on-going affair with Stig and professes a blossoming attraction for Inga herself. As passions surge and forbidden lust is embraced, Inga will be forced to confront a shocking secret and reconcile an aching heart with a tireless young body that can't say no.
The misadventures of three women in the same apartment block. After being disappointed with a boyfriend who wants her to whip him and having a lesbian fling with a schoolfriend, Joelle (Maryline Guillaume) finally manages to lose her viriginity with her teacher, Hector, but they are dicovered by her father and she is kicked out of their apartment.
Martine (Carole Gire) is dissatisfied with her husband and seeks pleasure elsewhere, for example with her friend (Dolores Manta and her husband). Martine's husband finally leaves her.
Wednesday, December 26, 2012
Plot Synopsis [AMG]
Like his WR: Mysteries of the Organism, Dusan Makavejev's controversial 1974 feature Sweet Movie is firmly rooted in the principles of psychoanalyst Wilhelm Reich. In cinematic terms, this means bombarding the audience with an onset of imagery so visceral, disgusting and repellent that it "awakens" the viewer in a Brechtian manner by "short-circuiting" the audience's reactions. Sweet Movie interweaves two narratives. One begins with a trip to the "Miss World Virginity Contest," whose winner, Miss Monde 1984 (Carole Laure) is auctioned off to Mr. Kapital (Animal House's John Vernon), a Texas oil billionaire with an odd perversion. Instead of deflowering her on her wedding night, he sterilizes the terrified girl's body with rubbing alcohol and showers her in urine with his massive gold-plated penis, while an audience watches bemusedly through his bedroom window. She later escapes from her bridegroom, in a suitcase, and winds up at a wild Viennese commune whose participants indulge in public defecation and a food orgy that wraps with a massive display of gurgling, yakking, and vomiting. At the tale's conclusion, Miss Monde shoots a television commercial that involves writhing in a giant vat of chocolate, with which she is completely drenched from head to toe, as the cameras roll. The second story involves a woman, Anna Planeta (Anna Prucnal) piloting a candy-filled boat down a river, with a massive papier-mache head of Lenin on the prow and a lover in-tow who is a refugee from the Battleship Potemkin.
A young, expecting couple depart for a weekend getaway when they are lured to a country villa by another couple under the guise that the male of the latter recognizes the younger man as an old college acquaintance.
After some Ouija board dabbling gone awry, the young couple find themselves stranded by a storm and reluctantly agree to spend the night with their hosts. An orgy, dead dog, murder, suicide, and a couple of "return from the deads" later, our two protagonists successfully flee their captors only to find the nightmare may not be over after all.
"Escalofrío" aka "Satan's Blood" has some extremely erotic scenes, primarily so because of the lovely Mariana Karr who plays the young, mother-to-be wife. There are also a few disturbing scenes involving cannibalism and sexual sacrifice, not to mention poor Blackey's fate.
Teresa è sensuale e procace e, rimasta vedova, scopre di essere proprietaria di un tir e di molti debiti verso Nabucco. Questi cerca di approfittare del fatto per costringerla a sposarlo. Teresa non cede e decide di ripagare Nabucco utilizzando il tir con l'aiuto di Gino, esperto camionista. Tra i due nasce un amore burrascoso e per di più le cose con il tir non vanno troppo bene. A complicare la situazione ci si mettono anche un capomafia e un barone tedesco. Alla fine Teresa accetta di sposare Nabucco, ma sull' altare... Written by Baldinotto da Pistoia
With periodic flashbacks and fantasy sequences, Exposed, in terms of its narrative structure at least, is a bit more complicated than your average sexploitation picture. While on the surface Lena is a typical, if flawed, central character the film lets us get into her head enough that even if we don't completely see her as an innocent, we can at least feel for her. Her plight with Helge and his blackmailing ways is a sticky situation to be sure and while his coercion into the world of kinky sex allows for many titillating sequences, you can't help but feel sorry for Lena. That said, she uses her sexuality to put herself in rather precarious situations and at times you almost wonder if she subconsciously wants the dysfunction that seems to follow her around. Consider this alongside the way that she's treated by most of the men in the film, whose eyes linger on her quite voraciously, and you're left trying to figure out how much of her dire situation she's put herself in, rather than found herself in.
Two emotionally distraught lovers find life is too much for them and enter an insane asylum. He is beaten and watches as she is raped. An attending physician fondles and kisses her during an examination in front of an X ray machine. The poor girl is driven to suicide, and the man learns too late of the psychological and physical assaults that led to her death in this tragic drama. This feature was invited to appear at the Venice Film Festival in 1970.