Friday, January 25, 2013
A young girl (Agostina Belli)marries a handsome and successful but brutish local butcher(Gianni Macchia) at the behest of her contessa stepmother. The new wife turns out to be frigid on their wedding night, and the couple have a big fight. The wife goes out of town to stay with her older, married sister (Ewa Aulin) and gets involved with her sister's jaded swinger friends. The husband consoles himself by picking up prostitutes and carrying on with a sexy, voluptuous neighbor (Femi Benussi) right in his new mother-in-law's villa. For some reason the mother-in-law considers this a turn-on and becomes sexually drawn to her loutish son-in-law. . .
Music composed by Ennio Morricone
Virginia, played by Shauna Grant, is a young girl who has an erotic fixation on her father. This causes a lot of problems with his latest girlfriend, who happens to be about the same age. Dad is a professional photographer and often heads out into the woods to shoot the landscapes -- or so he tells everyone. What he really does is take candid shots of couples making love. One day Virginia finds some of his photos and she gets furious. After explaining that he was hired to take the photos, Dad calms the girl, which eventually leads them to explore hidden incestuous feelings they have for each other. The lush countryside creates a very smooth, sensual feeling.
How do you create a movie based on the Christian bible in the second half of the 20th century without staging a kitschy spectacle? How do you avoid the usual parade of dead symbols and void gestures that do no longer cause the viewer to reflect upon anything else than which artistic effects are used to show the symbols and gestures? And how do you cram the Christian bible into a 1h 30min movie without resorting to filming hand-picked episodes that fit your own petty human(ist) ideas about an ideal Jesus?
For this remarkable experimental film, the provocative avant-garde legend Stephen Dwoskin gathered together a group of strangers and filmed them as they explored their fantasies over a period of five days: a project that now sounds a little like TV's Big Brother. The ceremonial gowns and make-up here not only evoke the eroticism of European horror movies but also highlight the film's interplay between performance and intimacy.
Jonas Mekas called it 'theatre of life'...
RAW TALENT, and to a lesser extent its two equally recommended sequels, is a searing indictment of the adult industry circa the mid-1980s by people who knew it well like cinematographer turned director Larry Revene and writer Rick Marx – both frequent collaborators of the late great Chuck Vincent – and producer Joyce Snyder, who had just had a hit with Ron Sullivan's sarcastic PUBLIC AFFAIRS, as the dog eat dog microcosm they clearly considered it. Not unlike every other professional environment then where people are sucked dry of imagination and creativity in order to generate more cash-flow. The film's feral tone tended to alienate a lot of established contemporary carnal critics, which may stand as the best possible evidence that its makers had succeeded in their set-up.
A couple (Carati and Cricotti) have to rent a hotel room which is really a haunted house. Well haunted is overstating it. Just old Renzo as a horny ghost who wants to get it on with Carati. Sexual frolics abound, Carati takes baths and has sex and hubby fulfills his role as cuckold.
synopsis from imdb:
A mysterious maniac is killing Madame Chlo's (Danièle Vlaminck) call-girls. Leila did not return from her mission in Moscow, and Madame is sending some of her girls to the dentist before their missions all around the world. Jacques Lefin (Jean-Yves Gautier) is the detective in charge, but as he watches the girls, particularly the beautiful Gigi (Erika Cool), he is being followed, and risking his life"
Tuesday, January 22, 2013
From Mondo Digital:
"At the height of his creative output, director Joe Sarno was known for flinging out an ungodly number of softcore films each year with a surprisingly high standard of quality. Psychological insight, intensely erotic love scenes, and off-kilter dialogue were his stock in trade with films like All the Sins of Sodom and Young Playthings, but sandwiched in between these are some really oddball ones. Case in point: Marcy, a 1968 hayseed melodrama that feels like a stylistic precursor to the country cutie smut films of Harry Novak the following decade like Sassy Sue and Country Cuzzins, albeit with a lot less of that cornpone humor. The plot also feels like sort of a deep-fried riff on D.H. Lawrence's The Fox, believe it or not, which Norman J. Warren also turned into a sex/sci-fi trash classic with Prey.
Sunday, January 20, 2013
A call-girl named Gina (Christine Lodes) decides to open up a special type of "spa" with one of her clients Francois (Ceray). Francois recruits two comely ladies Sylvie (Lucie Doll) and Sabine (Morgane)...
The gimmick is that clients in action can see other clients while they themselves are being attended to. This causes a problem when a female client, Serena, sees her husband (Pontello) in the next room. The problem is resolved with an orgy.
Four American babes on vacation in the Middle East run into trouble when they are imprisoned by corrupt army officials and that's where the fun begins. A basic soft-porn, babes-in-bondage, chained-and-caged, women-in-prison flick.
A young red haired girl (Ann-Marie Berglund) arrives at Stockholm Central. She's in Stockholm to visit her long time friend Marie. Marie's boyfriend Jan, a guy in all denim clothing, is there to pick her up. They drive around Stockholm til' late night. Later in Marie's apartment they all end up in bed. Jan needs an assistant, so he gets on the phone to call his Norwegian friend Kent (Knud Jorgensen). The redhead falls in love with Kent.
Two phony sexologists place an ad in a Greenwich Village newspaper and practice their "therapies" on the gullible young couples who answer it.
Akemi works part time to support herself and her lazy husband. One day she meets an old friend and the friend's husband. She becomes aggravated during their conversation when the couple suggest that Akemi's husband's irresponsible behavior is justifiable. As her frustration increases, she meets a woman who encourages her to experiment sexually, which in turn leads Akemi to a labyrinth world of sex and swapping.
Plot / Synopsis
Here is the much anticipated sequel to MARK OF THE WHIP, possibly the greatest of the sado-erotic cult films. The action begins immediately where the first film ended. In the original, poor Sylvia learned - firsthand - the joys of the bullwhip; now she tries to fight her addiction. But she soon learns the the sting of the lash also has a very dark side. Fans will be pleased to hear that MOTW 2 carries on from where the first film left off . Featuring many new sets and locations and a host of new stars (such as Tiffany Love) along with some well known faces (Maria Vaslova, Kate Blond) plus a special cameo by guest star Stacy Silver who is whipped for the first time ever on film. Mark of the Whip 2 features some of the strongest whipping scenes ever seen in such a movie. This one will take you on a stylishly dark journey into the depths of erotic depravity.
"...There has been for some time rumours about the origins of these features that are almost as tantalising as the films themselves. The main feeling being that a certain UK genre dealer is the man behind these productions, for long he has been exclusively the only distributor and promoter of the 'Fantom Kiler' franchise... Myself? I'm still not too sure, whether or not th rumoured top bloke is the man behind the mask (as they say) is as at this time not publicly known. But what I do know is that 'Fantom Kiler' is not the low budget amateur trash that some would expect it to be... more likely the product of a very talented and knowledgeable director who wants to maintain secrecy to his actual identity and let rip with such an outlandish endeavour, a savvy producer with the finance to make this production and a ensemble cast of simply gorgeous porn actresses who were willing to be killed in what would be an interesting and fun diversion from their usual workload...
Whether or not 'Fantom Kiler' is the product of a wary UK based exploitation aficionado or in fact a newly discovered Polish genius is yet to be 'really' known, but either way it has to be said that 'Fantom Kiler' is a massively entertaining sleazy exploitation romp that falls instantly into the category of being a SGM approved trash gem - sex and violence has never been so much fun! (Review by Alan Simpson)
Wednesday, January 16, 2013
The plot is about a trio of medical residents in their late 20's/early 30's who nevertheless like to play all kinds of juvenile pranks on each other and everybody else (like pretending to be a mortally injured patient in an ambulance in order to score a freebie from a prostitute). The ring-leader is (of course) Alvaro Vitali playing his usual aggressive and ridiculously horny man-child (anticipating Adam Sandler's "Billy Madison" character). Vitali pretty much always played an unsympathetic buffoon, but his cronies here are no better--one feigns a rare, fatal illness just to get close to a sexy female doctor (Karin Schubert) while the other cruelly abandons his fiancée at the altar. Their nemesis meanwhile, an older doctor, is a pompous boor engaged to Schubert, but even he doesn't deserve being the butt of some of these cruel jokes.
Wednesday, January 9, 2013
From Amos Vogel's Film as a Subversive Art:
One of the best recent American 'hard-core' productions turns on the 'research' done by a California college girl for her paper on 'sexual sub-cultures'. Answering kinky ads in the underground press, she meets a couple for a menage à trois (and while performing fellatio on the husband, is asked by the wife to 'move her hair out of her face' so she can watch better). She then lets herself be told by a man on the other end of a phone how to masturbate and to describe it to him at the same time; we see him masturbate as well, until both simultaneously come 'by telephone'. Several adventures later, she finally delivers her paper: "Their sex life is awful and alienated... I never participated but only observed from an academic viewpoint.' More than most, this film approaches erotic realism; despite its blatant commercialism it shows red pimples on buttocks, scratches on legs, penises that fall out amidst gales of laughter, chirping birds, ejaculations into a girl's mouth on-camera. The protagonists are 'doing their thing' without hesitation. Significantly, the two constants are teh telephone (dangerous tool of a technological age) that here spins a web of corruption; and fellatio, with which every sex act in the film begins.
Marc Stevens plays Joe Cock, a Jim Morrison by way of David Bowie circa Ziggy Stardust vocalist whose claim to fame is his uncanny ability to get it up on stage. When the film starts, his girlfriend (Tina Russell) is upset that her oral skills aren't arousing him so she blows guitar player Sean Costello in the hallway telling him she's 'always had a passion for balls.' Indeed.
The band goes on stage - Stevens lip synching to a Door’s cover (the original Doors’ song that Costello used has been removed and replaced for this release – you can’t blame After Hours for not wanting to get their asses sued off) with Costello hammering away at his guitar where this is none as Jamie Gillis keeps time on the drums. The same performers also appear in the audience in front of the stage, making you realize just how small the cast is for this Costello directed picture. At any rate, Cock can't get it up and the band is booed off the stage. They retreat to think things over and Cock's mother, 'Mrs. Cock,' helps him out (think Taboo here) before Gillis decides to give her a poke. The film ends with the news that the band has just been booked for Madison Square Gardens now that the news is out that Cock's got his erection back.
Alban has a problem and that's why he's on his psychiatrist's (B. Lahaie) couch. He somehow doesn't feel anything anymore during sex. Mentally, nothing is moving up in his grey matter, says Alban. She recommends total sex-therapy with four women. To no avail. But, thinks the cheeky Freud-scholar, Alban would be quite the catch. Wedding in Paris, drawing chalk hearts on walls, and all is well: Soul, mind and flesh are harmonically rejoined.
Double Exposure 7minutes 03 seconds
Hot Pants 5 minutes 46 seconds
The Second Coming 13 minutes 34 seconds
Daydreams from a Crosstown bus 14 minutes 11 seconds
Mumbo Jumbo 13 minutes 51 seconds
Green Thoughts 9 minuts 15 seconds
Underground, (my favourite) 10 minutes 46 seconds and
Prometheus 21 minutes 21 seconds
Extras: Complete and untouched:
- Fragments: The Incomplete Films of Peter de Rome (Ethan Reid, 2012, 43 minutes): revealing new documentary in which Peter de Rome discusses his many incomplete and unfinished films.
- Scopo (Peter de Rome, 1966, 6 minutes): when a young man arrives at an empty apartment, he is unaware that a stranger is watching him.
- The Fire Island Kids (Peter de Rome, 1970, 12 minutes): two men spend a lazy day in each other's company after one rescues the other from drowning
- Moulage (Peter de Rome, 1971, 13 minutes): humour and art collide in this study of erotic body casting.
- Brown Study (Peter de Rome, 1979, 9 minutes): an ethnographic study with a difference.
- Abracadaver! (Nathan Schiff, 2008, 10 minutes): a gruesome tale of magic and mutilation from producer David McGillivary, starring Peter de Rome.
Tuesday, January 8, 2013
IMDb reviewer wrote:
Gabriel Axel is a great director (BABETTE'S FEAST his masterpiece and HAGBARD AND SIGNE also of high quality) who I was fortunate enough to interview for Variety newspaper back in the day. I was always curious about his porno films, and SEX AND THE LAW gives us some insight into his playful approach.
Purporting to be a documentary, with a winsome femme narrator guiding us through the oddities and hypocrisies of Danish obscenity laws which supposedly got her in trouble personally, it's a light-hearted mockumentary that's hopelessly dated. By the time it was released in America in 1970 it was already dated, as Danish laws had freed up what was permissible and XXX explicitness (unlike the timid and even censored footage shown here) was all the rage in U.S. adult cinemas.
Leo (Angel Jové), a psycopath and a silent, obsessed and deeply disturbed man, concieves a progressive fascination for Bilbao
(Isabel Pisano), a striptease ballerina, who to reach the end of the month, she has to be a prostitute. Leo studies her movements and ends up kidnapping her, as if she was his object to add to his erotic collection.
La Bonne is a rather beautifully made erotic film by Salvatore Samperi, which as once
delights in the beauty of its main characters and their sexual games, while also exploring
their deeper desires and anxieties. Anna (Florence Guerin) is the much younger wife of an
upper-middle-class functionary, who, at the film's beginning, is suffering from her inability
to conceive a child. To further frustrate and confuse her, her husband's aging and care
intensive mother is sharing their home, and there is the maid, Angela (Trine Michelsen),
who has a liberated and natural attitude toward sexuality. Angela eventually leads Anna on
a journey into sexual discovery, and the two young ladies deliver a number of scenes
together that are very sexy, and actually quite innocent. The games do progressively
become more daring, and as the stakes rise, the relationship of the two women end on a
rather cruel note. However, as far as erotic films go, this film is done with a lot of style, class
Synopsis: Director Hisayasu Sato helmed this peculiar tale about a woman known as Locker Baby because she was left in a bus station locker as an infant. Locker Baby is raped by a man clad in black leather, traumatizing her still further, and driving her to sensory-deprivation therapy. Unfortunately, she is raped during the course of the therapy and becomes pregnant, leading to a denouement which any reader of the Hot Blood or Borderlands series will see coming a mile away Robert Firsching).
English-dubbed version. A relatively tame, lighthearted mockumentary featuring man-on-the-street interviews, a look inside porn shops, a narrator recounting her misadventures, and a porn shoot.