Black Christmas

Too tight for pussies.

Hoping the superhero frantic frenzy stops for a while, we intentionally return to our roots with one of the finest horror films ever made (nope, neither made in Italy nor in the USA) A true canuxploitation classic from 1973: "Black Christmas",  a Canadian shocker which was eventually re-released as "Silent Night, Evil Sight" in order to avoid confusion with the blaxploitation films of the time, but it bombed once again. In the early 80s, it was broadcast on cable as "Stranger in the House" in order to snatch up some rantings. Right when the movie seemed dead, NBC decided to cancel a prime-time airing of it because it was deemed "too scary" for network television. This was all film-buffs needed to go back and discover the wonderful "cool movie that you never heard of" that is "Black Christmas".
 
Before I go on, here it goes: "Black Christmas" is one of the scariest (and finest) horror films ever made. Major credit must go to director Bob Clark (who went on to direct the epic "Citizen Kane" remake and because of legal reasons had to change it's title to "Porky's") who like John Carpenter in "Halloween", is able to create a current and simplistic creepy atmosphere. "Black Christmas" is indeed very similar to "Halloween": Both movies are themed with a particular time of year, both movies feature a killer with breathing problems who loves POV shots, and both movies have a long and slow build-up that makes the audience care for the characters that are about to get slashed. The difference is that "Black Christmas" does it much better, in fact, I think it is a superior film and I dare to say that had this film been made in Italy, it would have topped most of Dario Argento's best films. As a matter of fact, Black Christmas has all the elements of a good ol' classic Giallo.

a Sorority house...

...with one evil host.

The movie begins with a shaky POV (point of view) shot of a stranger who decides to sneak inside a sorority house in order to get some fresh meat. Now, how many films did that in the 70's? not many, and that is only one of the great assets of today's film in review. The POV shot stranger ends up being the killer and you know what? he's got no troubled childhood, no abusive past, no nothing. In fact,  We're never told why he kills, so how scary is that? a killer who kills for unknown reasons.

The cast is not your usual teen slasher stereotypes: There is the not-so-virginal sweet leading lady Jess (Olivia Hussey) who is having trouble because she wants to have an abortion. Her boyfriend Peter (Keir Duella) eventually disagrees. In the sorority house there are many other odd characters, including chain-smoking, foul-mouthed, heavy-drinking Barb (ironically played by Margot Kidder) who steals the show with the much-needed humor. Unlike the countless other slashers out there, "Black Christmas" takes time for the audience to get used to these characters and actually care for them. Unlike  "Halloween", the entire top-notch cast here gives excellent performances. Olivia Hussey is perfect as not-so-innocent Jess, Keir Duella is scary and misleading as her deranged boyfriend. And of course, Margot Kidder steals the show with an excellent and amusing take playing herself. Also noticeable is cult star John Saxon as Lt. Fuller who many years later started showing his personal love for "Black Christmas" on interviews.

My first crush.

Stunning.

The well-balanced doses of drama and comedy connects the audience to the characters on screen so strongly that sometimes, we forget it is a horror movie. And when something scary eventually happens, it comes as a total shock. Bob Clark eventually became famous for his comedies, and you can sense his upbeat sense of humor though the entire film. Recent movie audiences lost their patience, so movies like that can't be made anymore. And there is a good reason "Black Christmas" is currently labeled as a comedy at the IMDb, it is really funny. So many memorable quotes here: "These broads could hump the Leaning Tower of Pisa if they could get to top of it!" or "I'm a drunk? Here we have the queen of vodka herself!" and of course, the whole Fellatio address.

But isn't this a horror film? It really lives up to it's tag line. To begin with, the killer is not a silent invincible maniac on a Santa Claus costume. Instead, he is never seen. Most of his moments come from POV shots and dark takes. He is confined to the sorority house's attic for most of the time. How is that scary? Sound comes to play. The killer calls the sorority girls though the phone many times (early shades of "Scream", Ringu and "When a Stranger Calls") and uses some of the most disturbing voices you will ever hear. He imitates pigs squeaking, perverted dirty talk, animal noises, screaming, heavy breathing, and many other weird sounds. Does it work? Of course. This guy makes Norman Bates look like Richard Simmons.

"Seven days"

Tight situation.

These disturbing elements are all put together though the brilliant cinematography by Reg Morris, who is able to capture the silent Christmas atmosphere perfectly with the wonderful use of silent snow-covered streets and decoration. Let's face it, Christmas is a bit creepy, isn't it? It certainly will be after watching this flick. The piano score by Carl Zittrer is simplistic and effective as well. The repetitive use of Christmas carols also add up to the tension.

Ignored over the years and unknown outside the cult horror fans, this is an underrated classic that deserves much more attention that it ever got. Everything is perfect in this Canadian chiller: The atmosphere, the music, the overall spooky look, and one of the scariest villains in history. No gore (although the killings are so disturbingly shot they don't really need any) no sex, no nudity, just plain old-fashioned horror. This is "Black Christmas": Snow-covered silent streets, creepy Christmas carols, spooky use of lightening and color, scary atmosphere and the overall look of the plastic bag suffocated victim in a rocking chair staring from the attic window. Trust me, you will never go to your attic the same way again. In addition, one you think you have found out who the killer is, there is another dark surprise waiting.

Yes, hide!

Is this the killer? are you sure?

Overall, an excellent film that should by no means labeled as a B movie. This is horror at its finest and also at it most original. Here's a list containing every original item shown in the film and clearly stolen 'til agony in future horror releases, Black Christmas clearly deserves a lot more credit:

1. The Point Of View (POV) shots later used and abused by many film makers.
2. The teasing of a killer that isn't the actual killer.
3. The anonymous phone calls featuring a creepy sound and voice montage.
4. The lack of graphic violence, which works wonders for the killer's unknown motives.
5. The apparent predictability that is nothing but a facade. 
6. The time it takes in character development, something long gone in today releases. 

I'm John Saxon and I approve this film.

"Twas the night before Christmas, and all through the house, a creature was staring..." 

Here's the movie trailer:

Avengers: Age Of Ultron

We're back with new toys for you to buy.

Every decade in film history has had its hype. the 70's delivered the exploitation/sexploitation craze. The 80's delivered a massive amount of B movies in the most varied genres. The 90's had alternative films featuring drug use and abuse. The 2000's seem to have been split in two halves. One were there were many awful films, and another half where films based upon Comic Books took the lead.  Honestly, we've grown tiresome of reviewing superhero flicks. However, our Comic Book love remains untouched and as strong as ever. 

Previously we engaged ourselves in the fulfilling mission of reviewing as many Marvel Cinematic Universe films we could, so that you could get a wider picture of what's to come in the future of such universe. The long wait ends today, with the film that sets the beginning of the Marvel Cinematic Universe Phase 3.

Avengers 2, AKA Avengers Age Of Ultron is the long awaited sequel of Marvel's Avengers, perhaps the greatest success Marvel Studios have had until today. Does the sequel outdo the prequel? let's find out!

Shall we help idiot Stark stop his AI invention?

We're growing tired of your bullshit Stark.

Partially based upon some comic book story arcs (mostly Age Of Ultron & Avengers Now) the sequel is essentially about Tony Stark's latest idea (something that could greatly improve Iron Man 3's poor reputation) which is none but to mass produce his previous remotely controlled Mark 42 armor as to set up a whole army of Iron Drones (known as the Iron Legion) in order to be everywhere in a matter of a few minutes. Such technology is based upon the what we saw in Iron Man 3, only this time it works. With S.H.I.E.L.D. gone for good (see Captain America: The Winter Soldier) Stark sets up as the CEO and #1 investor of the Avengers initiative. Next to him, Captain America takes the field commander position (Stark hates the man) and Hulk, Black Widow & Hawk Eye follow directions.

The addition of Scarlet Witch & Quicksilver, which may seem a bit odd from a certain comic book point of view, although brief, works wonders. Specially Scarlet Witch which plays an important part in the climax of the film. Now, if you are expecting a background story for each "miracle" (mutant is forbidden since it's copyrighted by 20th Century Fox and here they're known as "the enhanced") you'll be disappointed. Nevertheless, we're clear that they are a product of Hydra experimentation (The Winter Soldier again) As for Vision, the other newcomer, he's modeled after J.A.R.V.I.S. and this, was spoiled a long time ago in Iron Man 3. Don't remember? Well, next to the big bunny Stark bought Pepper Pots there is a Christmas sock hanging that reads J.A.R.V.I.S. Now, the colors in the sock are green, red & yellow, which are The Vision's suit colors, clever, eh?

Black Widow is in love with two very different men.

Hello legs!

and what about Ultron? Well, Ultron is pure reprogrammed Chitauri AI and his body clearly resembles that of a T-800 from the Terminator franchise (I wish it had more comic book likeness but whatever). Also, his goal is borrowed from Skynet's program: exterminate humanity because they're violent and destructive by nature. Nevertheless, Ultron is as menacing as fuck (there are a couple of over the top moments but what the hell) He's built an army of Iron Man spare parts and he's reinforced them with Vibranium (the material he's made of. Such material is developed in Africa, suggesting a possible Black Panther reference) The Avengers are clearly outnumbered and out gunned against this new menace but, heroes will be heroes.

Just like the prequel, humor is also a key element in the sequel, an item that I consider a Joss Whedon signature move. Every joke helps us understand that the film and its characters are not to be taken seriously. Hopefully, Avengers: Infinity Wars will keep some of that humor without Whedon directing.

Screw your lame intro, get me to the review now!!
 

Avengers Age Of Ultron is everything you could expect from Marvel Studios: A thrilling non-stop action ride that depicts superheroes as we like them: Being the hero, saving the day on broad daylight and having no psychopath like inner issues. The film is clearly not made for non comic book fans or comic book films fans. This time we're briefly or quickly introduced to characters that require you to have an extra tad of knowledge of the Marvel Universe or at least to be familiar with some of its more important/known characters. Besides, the original (film) Avengers we now have more characters to look for: Scarlett Witch & Quicksilver (both only referred to as as the enhanced, the twins or the Maximoff during the movie) The Vision (who remains unnamed during the film although "the vision" is teased a couple of times) In addition we have the presence of returning characters such as War Machine, Maria Hill, Nick Fury & The Falcon.

I need to use the bathroom.

I auditioned for Terminator 5 but they said I was too cute.

Avengers Age Of Ultron may not make room for the upcoming marvel films, not at least in a wider sense. References to Captain America: Civil War are zero to none during the film, although there are certain tension moments among the Avengers members, those scenes are not in direct relation with what happens in Civil War (the comic book) Then we have the Avengers Infinity Wars connection, is it there? Well, in a way it is. Thor has a dream where he sees the future and the unexpected appearance of more infinity stones and that's it.
 
The movie opens with an immediate action sequence, with our heroes teamed up again and engaging in some very rubbery-looking action heroics. This stuff is fun, and if it doesn’t mean much it at least gives audiences this specific kind of action sequence that we haven’t really seen in a superhero movie before. People tend to think Superman is campy but I'd say campiness is where you find it. It is during this heroic battle that we are introduced to the mutant couple of Quicksilver (Aaron Johnson) and Scarlet Witch (Elizabeth Olsen from the Olsen twins that are to die for now).

So you're saying your AI has gone nuts?

Hulk Smash!

Later on there is a party scene where our heroes interact with characters from previous Marvel Studios films. This party is supposed to be a farewell party as the Avengers have finally stopped the last remaining traces of Hydra. However, during the mission they find out the true power that's behind Baron Von Strucker's intentions: For reasons unknown, he's got his hands onto Loki's scepter and his ultimate plan is to use the energy within the scepter as to create a new generation of state of the art weaponry. In addition, he's got one of the dinosaur like Chitauri vessels in his hideout. Once the Avengers recover the missing piece, Stark & Banner ask J.A.R.V.I.S. to analyze the energy contained inside the scepter and what they discover is unparalleled: there is a superior artificial intelligence contained within, which leads Stark to rethink his dream of the Ultron program (an army led by AI that would put an end to the Avengers and would contain any menace without the need for human supervision) Unfortunately, they can't figure out a way and ask J.A.R.V.I.S. to try as hard as it can before Thor takes it back to Asgard.

For some reason, Ultron already exists inside Loki's Scepter so as soon as Stark & Banner return to the party he sort of "self activates" once he becomes self aware he hacks into JARVIS and borrows the Iron Legion bodies as to begin his plan which is literally based on Stark's quote "peace for everyone". From here on, the Avengers have to get back in business and face a very difficult time, thanks to the technological juggernaut that Ultron is. 

I'm only here so you can buy the toy!

Yes, I want you to buy my action figure too.

Avengers Age Of Ultron clearly is an adequate sequel to a film that changed the way the industry and non comic book fans see superheroes. With a challenge that seems larger than life Marvel Studios and his talented selection of film makers, producers, writers and actors have achieved the impossible: To create a sequel as good as the prequel or even better than the prequel depending on how you see it. What seemed to be the curse of the film industry (sequels) has now been once again changed thanks to a dedicated team of professionals. Nevertheless, like every human made product, the film does have its flaws, and despite the fact you already know we love comic books here, I think it's fair to point a few of the flaws this magnificent sequel has:

First, the CGI which by now should be of no surprise to anyone, has minor flaws but in moments where it shouldn't fail: Iron Man's armor looks too artificial in several scenes where he's standing or not flying & fighting lots of ultrons. Also, Vision is the one who took the fatal blow. His body (unless is a close up shot) looks way beyond fake. I mean even video games got that right many years ago. Secondly, why would you add a new character in the story just to have him killed by the end of the film? I mean, it's like he/she/it wasn't part of the story at all!! Thirdly, Ultron's menace is really big, or isn't that big? His presence neither holds connection to the past of the Marvel Cinematic Universe nor does have any relationship with the future of it. If you were expecting the foundations for Avengers Infinity Wars boy you're damn wrong. Fourthly, the loose ends:

Massacre: Avengers style.

The Vision is here!

1. The main characters do not seem to have any memories from their standalone films with the only exception being Captain America (who quotes some of his past solo adventures)
2.  What is the purpose of establishing a universe of characters when they only recall what's happened in the previous Avengers film? You get the overall impression of "what does this film has to do with settling a shared universe?"
3. Do the after credit scenes matter most than an entire film? If things go on like this, I'm beginning to believe they do, and if that's the case that's one of dumbest ideas ever! "Hey, I'm making a new Marvel Studios film that holds no connection to our cinematic universe but the after credits scene is a killer, I guarantee that" This crap happened before with Guardians Of The Galaxy. 
4. How Ultron came to be? why was it inside Loki's scepter all along?
5. The Marvel Cinematic Universe is dangerously approaching the cliche zone where formulaic behavior turns a master piece into a dime a dozen movie. For example, the conflict among the Avengers was already used as an important element for plot development.
6. Whatever happened to the Iron Patriot armor?
7. The New Avengers team, seriously?

Avengers, assemble!

Together.

Overall, an adventure film that delivers 110% of pure super heroic action almost non-stop. Nevertheless, this film may not be for everyone because it adds new characters and other comic book related elements that will only be understood and therefore enjoyed by connoisseurs of the genre. My recommendation if this is your first Avengers film is to watch Captain America: The Winter Soldier & Iron Man 3 beforehand as to set mood for Age Of Ultron. Of course you can also watch the first Avengers film if you're interested in the after credits scene.

Kids will love the film, lots of action and even a recurring joke about "watching your language". Also the deeply explored human side of one of the Avengers, adds a more realistic take on the characters inside a massive universe of super powers. The whole "we do this together" motive also adds up. This time the Avengers are sure that only through team work they will save humanity from an idea apparently stolen from Superman Returns ...Ultron. The 3D scenes are also spectacular, so please watch in proper 3D to melt your brains out. 

Here's the movie trailer:

 

And here's the fake after credits scene that features Spider Man and had fans around the globe going crazy:

 

Daredevil, the Series

The man without fear returns.

Just when I was declaring we were going to take an extended vacation from posting about Comic Book adaptations, I was shot in the head (Bullseye!) with the oven fresh release (yesterday to be exact) of Daredevil, the Series.You know that a few weeks ago we were trying to cover the entire Marvel Cinematic Universe, and we almost did (there were some films we just didn't like and wouldn't want to waste time on reviewing crap) and then we were told that the forthcoming Daredevil series would be a part of such universe, so here we are again talking about comic book adaptations once more...

Those familiar with comics will know Frank Miller's run on Daredevil is up there with the highest points of his career. Other writers, such as Bendis and Brubaker, hit similar highs in their writing of the character. It's something about Daredevil that brings out incredible storytelling, whether it be the downtrodden and persevering Matt Murdock or the gritty realism of the setting in contrast to the colorful heroes that populate comic books, Daredevil has had a history of fantastic luck with having its potential tapped on paper.

Matt Murdock, the lawyer we wish we had in real life.

Justice is fucking served!

Although Daredevil has been portrayed twice on screen already (The Trial Of The Incredible Hulk & Daredevil) it is no secret that a comic book character has a better chance for a wider more accurate representation through a series of  episodes/films much like what really happens when you follow a character in a comic book. In the past we've seen serials dealing with the superhero tragedy in a way people could relate to the human side of the hero (the original The Incredible Hulk series being perhaps the best take on how human a hero can be and how mundane issues can actually affect them)

Now, that Daredevil potential has been finally tapped on the screen for good! From the first episode you can tell the property has been adapted with love and a lot of hard work. The cinematography is beautiful in every frame. The characters could not have been cast better. If this weren't actually a better deal for fans, getting 13 hours of (excellent) content, I would hope Charlie Cox could front a Daredevil movie franchise. Because he could carry it.

Matt's team.

Daredevil's protegee.

As a long term comic book nerd, and a huge fan of the Marvel cinematic universe and television properties - I wasn't sure what to make of the proposed Street Heroes development deal with Netflix, especially in light of the history with those characters in film (Affleck's disappointing Daredevil in particular). I was however pleasantly optimistic from the teaser releases.


Daredevil begins with the backstory: At nine years old, Matt Murdock was blinded by radioactive chemicals that heightened his other senses. Raised by his father, a gentle, patient, and small-time boxer, Matt learned what all superheroes must learn: how to take a beating, and how to get back up again. Fast-forward to the present, and Matt (Charlie Cox) is an attorney, along with his best friend/partner Foggy Nelson (Elden Henson) and their first-client-turned-secretary Karen Page (Deborah Ann Woll). But, of course, he leads a double life. At night, he’s a superhero — though he’s not yet referred to as “Daredevil,” nor does he have the red suit that appears in the series’ superb opening titles, though a running gag has other characters telling him to get a better costume than the flimsy all-black garb he runs around in. Matt tasks himself with cleaning up Hell’s Kitchen, which ties in to a season-long battle with the Big Bad supervillain Kingpin/Fisk (Vincent D’Onofrio, whose performance adds admirable — and incredibly creepy — depths to such an evil character).

Get ready for season two shitheads!

Justice is served.

I am breath taken with the end result. Vincent D'Onofrio is to my mind the standout star and an act of sheer casting genius as Kingpin. The menace and complexity in his voice even when he's not on screen, and the cold, calculating and distant aspect of his body language, and the delivery of his dialog, shows both the depth of his talent as an actor and the brilliance of his casting. As a long term fan of D'Onofrio - and a huge fan of the king pin in the comic book universe - I'm thrilled at the prospect of his continued involvement with the Marvel cinematic universe.

Many connoisseurs are thinking that we’re heading toward a saturation of superhero stories (and particularly superhero origin stories) in film and television. I couldn't agree more as I feel the Comic Book industry has turned his interest towards Film/TV adaptations only to cash in big. Nevertheless, in Daredevil we're offered a serious product that was definitely made with the long time comic book fans and cinematic fans alike. As a matter of fact the series pilot describes New York rebuilding after "the incident" which is a clear reference to what happened in Avengers, The Movie.

Kingpin's here losers!

The hero's suit. A combination of urban & ninja.

The sound editing for the series in general, from D'Onofrio's voice overs to the audible representations of the protagonist's enhanced senses is a triumph. It begs to be recognized and awarded. It is perhaps as integral to success of the series as the performance of any of the characters.

Also, Deborah Ann Woll who played Jessica Hamby in True Blood remains equally gifted as an actress, stunning as an aesthetic work of art, and for a moment, just a little bit more naked than she was in her prior works. Which after 71 episodes of true blood with a celebrity crush on her - has to be a acknowledged as part of the reason for my immediate fondness for the series. But as talented as she is, the show would stand as remarkable even without her.

The suit we already know it's gonna change in season 2.

In the interest of fairness, there are some rough moments in the dialogue. The visual effects have moments of awkwardness in the earlier episodes. There is a sense in a few corners of the production group finding its feet. But it does seem to level out (and up) as the story progresses.

Clearly, Marvel comics has been secretly watching The Flash's magnificent series, as Daredevil wastes no time on useless sub plots or Tier B characters. The series is straight forwarded, the action is the kind adults like (no pew pew or campiness here)  This isn't another boring Tierb type of series like Agents of S.H.I.E.L.D (honestly, made only to cash in off of the Avengers movie) is. Overall, not only for diehard Daredevil fans, but also for avid comic book fans, and pulp fiction like story fans, not for the faint of the heart though, and certainly not for children.

Here's the trailers:

Eugenie: The Story Of Her Journey Into Perverssion

The ultimate in torture!

Continuing with our grand return to the very foundations that make this blog one of the last stops to search for obscure (and not so obscure) cult films from a bygone era, we follow the career of Marie Liljedhal, the first Swedish erotica starlet to be in the international spotlight of the film industry. In case you haven't noticed, there isn't a lot of information about her on the Internet (yeah, I know it sounds crazy) and trying to find a copy of her movies on legal formats (DVD, Blu, Ray, Streaming, etc) it's not that easy. So what could be better than using our humble blog by offering room to her legacy? Besides, had she not quit the filming industry the gorgeous Christina Lindberg wouldn't have been possible so, truly, from the bottom of our connoisseur hearts "Thank you Marie Liljedhal, your legacy lives on"

Just when I thought I had seen it all, along comes Maria Rohm in Eugenie...the story of her journey into perversion, Jess Franco and Harry Towers' adaptation of  Marquis de Sade's "La Philosophie dans le boudoir." Wait, you've seen Maria Rohm in plenty of Jess Franco films. What's so special about her appearance in this one? Are you ready? She doesn't wear pants. Well, that was a bit of a letdown. Whatever do you mean? Name a Jess Franco film where the Austrian actress does wear pants. No, you're not listening to me. I'm not implying that Maria Rohm doesn't wear pants when she's bathing or having sex with her stepbrother, I mean she hardly ever wears pants..

I won't be a vampire today, rest easy.

Life is such a bore.

Eugenie... is about a beautiful young girl who becomes captivated by an older woman named Ange. Ange invites Eugenie to spend the weekend with her on her private island in Spain. What Eugenie doesn't know is Ange and her step brother/lover Mirvel have brought her to the island to seduce her (my oh my!).
 

After taking a bath with Ange and a little light kissing she is drugged at dinner and molested. The next day she wakes up not sure if it was a dream or real. As the vacation continues Eugenie is molested more and more to the point of rape and whippings. Ange and Mirvel invite a sect of Marquis De Sade followers who enter the house to kill her (what?!). Eugenie stabs Mirvel while he tries to rape her and kills him. The Marquis de Sade group decides not to kill Eugenie but instead Ange. After torturing Ange Eugenie runs off naked into the beach only to be confronted with a large graveyard of sacrificed victims. In a fit of anger and terror she runs aimlessly through the beach collapsing on the sand sobbing. 

Nice place to water my bush.

I see you've never tried anal before.

Eugenie's "journey" is a beautiful, truthful and disgusting metaphor for the perversion each one of us must go through in our lives. The difference is her journey happens in two days therefore it is much more extreme. We start as children with strange dreams. Thoughts of kissing, of touching bodies, all confusing ideas thoughts that we cannot place. This was represented before Eugene got to the island. In one scene she lays on her bed staring at a picture of Ange. This is the first hint of perversion entering her life. She is then confronted with Mirvel who confesses his crush to her. Being confronted with a powerful sexual presence such as a person or a sexual picture is a second step we can all relate to. Eugenie crosses the boundary when she first kisses Ange in the bathtub. She has now confronted a part of her that can never be taken back. As the film progresses we see each step of Eugenie's perversion. Confusion (not knowing if it's a dream or reality) Blind acceptance (kissing and touching Ange and Mirvel while stoned) Guilt and Self Hate (represented as Mirvel and Ange beating her with whips) Recovery (the bruises are gone!) More Sexual Partners, Betrayal, Anger at others, Confusion and ultimately insanity cover the rest of the film.

Lemme diddle your skiddle.

Not so tight! or else how can I swallow your cum?

The final scene where she is confronted by the graveyard represents humanity and her realization that everyone has been through this journey in some way and many have died from it. She weeps for herself and she weeps for the world, for humans, for the insanity of being human.

Not to say this is how everyone's journey is. Some are easier than poor Eugenie's and some are much harder. The simple act of accepting this as a part of life and depicting it in two days is what is so genius about Jess Franco's film.

Follow me!

OK, let's fuck right here, right now.

Expecting to see a shlocky, sex filled, Eurotrash film I was blown away by the power and brilliance of Eugenie and the Story of her Journey into Perversion. Anyone willing to be truthful when contemplating the human condition can relate and be effected by this film. Those who think Jess Franco is only a porno film maker are so wrong and this film proves him to be a far greater director, the more than meets the eye kind of film maker.

Here's the movie trailer:

Nagon att alska : The Seduction Of Inga

Back for more dick..and pussy too!

Nagon att alska, is a 1971 Swedish erotica classic that translates to English as  "Somebody To Love". The film  is nothing but the Joe Sarno's sequel to his 1968 Swedish erotica breakthrough classic "Inga". Internationally released as "The Seduction of Inga" & "Inga & Greta", the film is definitely an a la 70's style update on Inga's whereabouts. Far more explicit and less dramatic the film takes place three years after the prequel. In the original film Inga was sixteen years old and on the sequel she's already nineteen years old.

As soon as the opening titles begin, we're told by Inga herself, that her previous relationship is long over and that her budget situation has left her in deep need of finding a job as quick as she can. Living in an old building where hookers do business her situation couldn't get any worse, or could it?

Boy look at that cumface!

This is her secretary dress.

Lothar, the chief pimp of the building, turns out to be the blonde teenager who attempted to rape her a couple of years before (seen in INGA). Despite this rough history between them, he gets her a job as a secretary for a man called Stig (nothing to do with the masked car racer from Top Gear in case you are wondering), a lonely writer obsessed with his previous nymphet girlfriend, Greta. Inga and Stig begin a steamy relationship, but she becomes torn when she is wooed by Rolf, the long-haired guitar player from the apartment next door.

With INGA, Sarno departed from his standard "don't-feel-good" sexual melodramas to begin a new sub-genre in his filmography: the sexual coming of age film, with young ballerina Marie Liljedahl in a stunning return to the big screen where she's not looking for prince charming anymore. Instead, she chooses to rely on her beauty to break through. Nevertheless, just like in the original film, love has a way of finding Inga, and eventually makes things a lot more complicated and confusing in our starlet's life. 

C'mon! it's only anal!

Suck it like a man!

Like Inga this film is certainly not a soft-core pornographic film of the type that was dominating the sleazy cinemas in the 1970s, instead it is more focused on the storyline, with the sex scenes merging into the storyline and only one scene coming off as gratuitous as Inga stumbles upon the landlady of the boarding house organizing an orgy with some of the female residents who are obviously strapped for cash - this scene does seem to suggest a potential subplot of Inga being forced to prostitute herself for rent, but Sarno chooses not to exploit this. 

Instead the storyline is a rather unimaginative affair with Inga having to choose between two different men - although the arrival on the scene of blond bombshell Greta does make for some interesting ideas and brings to the fore Sarno's often re-used theme of incest, the script never captures the clever twists and turns of the first film and it can often become rather dull.

Behind the camera Sarno is solid if uninspired. Much like in Inga the nude scenes are surprisingly coy, often cutting away and always incredibly brief, while the sex scenes are filmed with oddly close-up angles(which may suggest they used other actors/actresses for the sex scenes). We rarely see a couple having sex in a complete shot, the man underneath is usually kept entirely out of frame, which may have more to do with censorship than directorial choice, but does come off as very odd particularly since one scene drags this on for about a minute. Post-production inserts were used to spice up the "Grindhouse" US print with more explicit sex scenes.

Fucking boys feels so good but...

...what about fucking girls?

Inga VS The Seduction Of Inga

When compared to the original film, The Seduction of Inga is an entirely different movie, one that doesn't match with any of Sarno's previous motifs. The film follows Inga, struggling to find happiness in her mundane life, but afraid of being tossed out of another relationship by another boy she gives her heart to. 

The pace is slow and the narrative often seems lifted out of any daytime soap opera, but with Sarno's superb cinematography, a strong performance by Liljedahl (probably her best ever), and a surprising score by Benny Andersson and Bjorn Ulvaeus (future founders of 70s supergroup ABBA!), The Seduction of Inga is a groovy sexploitation relic which is a bad introduction to newcomers to Sarno, but regular followers of the talent involved will be pleased with the results. Sarno would explore the theme of incest (which provides the blow-to-the-skull twist ending) vividly in several films through the 70s, including Daddy Darling.

One element to the film not often mentioned is the casting of blonde beauty Inger Sundh as the mysterious Greta. Inger would go on to make several Swedish and German sexploitation films, including I am a Woman III, Dagmar's Hot Pants and FLOSSIE , and she's a superb bitchy vixen here. Fans of European garage beat music of the 60s should know the romantic lead is played by Tommy Blom, who was previously a member of The Tages (whose song "You Read Me Like an Open Book" is a highlight of Rhino's "Nuggets II" boxed set)!

Inga masturbates.

Inga's perfect ass!

Marie Liljedahl gives another solid performance as Inga although, she is not required to do as many sex scenes here as in the many other films she shot since her first film with Sarno. Actor Lennart Lindberg has various film credits to his name and plays the older Stig, although his acting is not really up to the role and even in a couple of key scenes he looks completely wooden. Tommy Blom is much more effective as the young guitarist who falls for Inga while the gorgeous Inger Sundh is well worth watching as Greta. 

With equally brief sex and nude scenes helmed in a rather unexciting manner, but without such an interesting storyline, The Seduction of Inga is a rather lesser sequel to Sarno's own original film. On the plus side, Marie Liljedahl is as good as ever and the beautiful Inger Sundh makes a very good looking love rival. Certainly of interest to fans of the first film, it is not one for anyone expecting a full-on Swedish softcore fantasy.

I swallowed too many loads, I'm exhausted!

Would you be my valentine?

More about Marie Liljedhal the first Swedish Erotica Starlet

In the two short years between the INGA films, Marie Liljedahl had become a household name throughout Europe (or at least in the sleazier homes on the continent) thanks to appearances in Jess Franco's EUGENIE...THE STORY OF HER JOURNEY INTO PERVERSION (our next review) and GRIMM'S FAIRY TALES FOR ADULTS. Comparing and contrasting her performances in both INGA films reveals that she had developed as an actress, radiating a depth and intelligence she did not possess in 1967. She would appear in two more films in 1970 before calling it quits from the silver screen, letting Swedish contemporary Christina Lindberg take over as the #1 Scandinavian nymph at the box office. If she had wanted to, Marie could have been a much bigger star and more recognizable face in the world of cinema. It took two years for SEDUCTION OF INGA to see a Stateside release, leading to Marie being named Playboy's Sex Star of 1971...despite the fact that she had been retired from films for some time by then!  

Here's the movie trailer: