Passion in Hot Hollows (1969) - Joseph W. Sarno-Erotica Films

06/08/18

Passion in Hot Hollows (1969) - Joseph W. Sarno

Review from dvddrive-in.com:
On the surface, other than the superbly written script, this could be your standard upstate New York semi-roughie shot by any Joe-schmoe seeking to sell sex at the local Deuce theater. The print used for the transfer, apparently the last remaining element of the film, is in rough shape, so upon first viewing, none of Sarno's personal touches may be evident. But PASSION IN HOT HOLLOWS is a very special film for many reasons, and is a film the man himself is deservedly proud of. First things first: my personal fetish figure Uta Erickson, the sensual blonde of countless sexploitation films of NYC, has her largest speaking role here, shot in live sound, and proves that she WAS a real actress, portraying a deeply complex character and still finding time to look lovely, both fully clothed and displaying her beautiful body in Sarno's sexy shadowy lighting. According to Joe and Peggy Sarno, Erickson was of Norwegian descent, which would explain the European-sounding moniker, which I assume is her actual name. Erickson was a favorite of the Findlays, Doris Wishman, John Amero, and Barry Mahon, appearing in highlighted roles in many of those directors' best films (LOVE TOY, BACCHANALE, THE ULTIMATE DEGENERATE), but Sarno provides her with a superb vehicle for her Nordic beauty and superior thespian talents. He shot this back-to-back with her only other major speaking lead role, MARCY, which is still lost at the moment, and used her in several other films before this one, so it appears I'm not the only one with an affection for Uta.

Secondly, if you're expecting a brightly-lit bump-n-grinder with cavernous crotch shots and close-ups on hairy asses pounding away because the censors were less harsh on 1969's skinflicks than 1964's, think again. Instead, Sarno's sex scenes and self-love sequences are sparsely lit, with a single shaft of light highlighting impassioned faces, aroused caresses, and atmospheric performances by the excellent leads. A masturbation sequence with Uta Erickson, wherein she lays on her bed, hanging her head upside-down over the side with a look of perpetual pleasure plastered on her beautiful visage, (resembling a darker, more sinister variation of a similar scene with Marie Liljedahl in INGA) is an example of how perfectly sexy Sarno sinema really is. The pinhole lighting set-up only allows the audience to witness Erickson's looks of satisfaction as she explores herself, experiencing the excitement as both a voyeur and a participant. Camerawork is also solid in outdoor sequences, with beautiful countryside scenery providing the backdrop for Shakespearean sibling rivalry and double-crossing amongst the various characters. The theme of closeted sexuality as a dangerous social problem is one that Sarno had visited before and would many times again, but no matter how many films of his feature a scheming couple and a repressed financial/sexual target for their psychosexual games, they never wear out their welcome. - Casey Scott