Buxom women,faithful husbands,uncanny atmosphere,strange _aggressivity and twisted desire,perverts ....One of the best five erotic movies ever made.
There are persons whose creativity is a constant source of delight for their admirers; plus, they have the advantage ,or the constitutive gift of the largescale. They create MANY fine, satisfying things. Their creativity is sometimes uneven; in this we see but a sign that it's an organic fact. Their lesssuccessful things reveal to analysis the secret of the failureit is that factor ,or that.
You can't lie yourself about these things. You can't cheat. You like the man as expressed in his creativity, in his reflection, in his objective thought, in his achievements. It's the most obvious thing; you begin by noticing it. There are nonetheless the works, the achievements themselves that you admire, that you savor ,and not 'the man' (who would be a mere abstraction if considered otherwise than the mind that created those plentifully pleasing things).
This is how I feel about Brass (and also about a few othersfirstly Welles, Giuseppe Patroni Griffi, Hitchcock, etc.).These persons mean movies. It's a primary factthe mere concreteness of it guides the thought.
I came to know Brass' movies when I was 18. He has been since one of the few directors whose work is a source of immediate interest for meon my side of life, hither, hereby. Speaking about his best movies (he has some flops too, this is here beside the point) I never need to plead ;I simply indicate the qualities of his movies.
The one here is among his very best films. Very atmospheric, very interesting. The woman--Katarina Vasilissa-- is maybe Brass' most beautiful gift to its admirers. This is a wonderful thing with Brasssome speak about dirty desires, etc.. Yet with Brass there is something almost touching and worthy in the act of some men looking between an actress' legsit's not dirty, it's not phony. Brass, pushing the things, gave, paradoxically, its human dimension to the act of watching erotic films.
He is not the only one to have done that. Yet he is perhaps the best, and the most conspicuous and famous. He situated the fact in its own terms; he stated it correctly. He knew what a certain audience want; he aimed exactly, and he gave that audience what was needed. Watching an erotic film is watching a (faked, usually) sexual act; or looking between an actress' legs. Well, Brass gave this activity its true and human and concrete dimensions.
There are voyeurs and spies in his films. The sexual act is spied, watched. Yet this remains within the confines of the humans. In Brass' films, the voyeurism is the act of a pervert; yet this pervert is rightly situated, if I may say so.
Francesco Casale spies Katarina Vasilissa in The Voyeur.In La Chiave, the old husband spies his horny wifewhile she pisses, or while she's in the bathtub, or simply as she sleeps. An image enjoyed by Brass is that of the woman pissing; and this may be, indeed, a fine show. Serena Grandi is seen, watched pissing in Miranda (1985). Stefania Sandrelli is seen pissing in The Key. In Senso '45 (2002) Anna Galiena pisses after a sexual act (a very healthy habit, it prevents infections).This is correlated with Brass' huge appetite for the derrières of his actresses.
It looks like Katarina Vasilissa didn't really make a career in the cinema. That's too bad. Brass worked with several able actresses (Mme Sandrelli, Mme Grandi, Mme Galiena, etc.); Katarina Vasilissa isn't one of them. But she is outstanding. Brass explores the huge _expressivity of her naked body. For me, Katarina is a legend, and a cult actress. And I can say the same things about her colleague in this movie, the strikingly beautiful Cristina Garavaglia. She deserved a real career. Yet the number of the movies made by these two actresses is certainly irrelevant, since they had the chance of making one of the best ten erotic films ever. (To give a counterexample, Mme. Kristel has an impressive careeryet she NEVER had the chance of such a film.)
The Voyeur has a certain dreamy look, a dreamy feel, enhanced by Brass flair for the grotesque and the bizarre _expressivity. Brass' cinematographic styles reaches here one of its richest moments. The Voyeur is a peak, and a feast of Brass style.
In Brass' films, the woman is essentially a mistress; if she's a wife, she's a depraved, horny one. On the other hand, in Brass' movies the husbands have an insatiable lust for their wives. They do indeed ceaselessly desire their women. In various movies, Mmes. Sandrelli, Vasilissa, Galliena have husbands that intensely desire them; while Mme. Grandi will get one at the final of her "Miranda". The male is the one who desires and sexually adores his wife.
The cinema was invented to make films like Brass' The Voyeur.
There are persons whose creativity is a constant source of delight for their admirers; plus, they have the advantage ,or the constitutive gift of the largescale. They create MANY fine, satisfying things. Their creativity is sometimes uneven; in this we see but a sign that it's an organic fact. Their lesssuccessful things reveal to analysis the secret of the failureit is that factor ,or that.
You can't lie yourself about these things. You can't cheat. You like the man as expressed in his creativity, in his reflection, in his objective thought, in his achievements. It's the most obvious thing; you begin by noticing it. There are nonetheless the works, the achievements themselves that you admire, that you savor ,and not 'the man' (who would be a mere abstraction if considered otherwise than the mind that created those plentifully pleasing things).
This is how I feel about Brass (and also about a few othersfirstly Welles, Giuseppe Patroni Griffi, Hitchcock, etc.).These persons mean movies. It's a primary factthe mere concreteness of it guides the thought.
I came to know Brass' movies when I was 18. He has been since one of the few directors whose work is a source of immediate interest for meon my side of life, hither, hereby. Speaking about his best movies (he has some flops too, this is here beside the point) I never need to plead ;I simply indicate the qualities of his movies.
The one here is among his very best films. Very atmospheric, very interesting. The woman--Katarina Vasilissa-- is maybe Brass' most beautiful gift to its admirers. This is a wonderful thing with Brasssome speak about dirty desires, etc.. Yet with Brass there is something almost touching and worthy in the act of some men looking between an actress' legsit's not dirty, it's not phony. Brass, pushing the things, gave, paradoxically, its human dimension to the act of watching erotic films.
He is not the only one to have done that. Yet he is perhaps the best, and the most conspicuous and famous. He situated the fact in its own terms; he stated it correctly. He knew what a certain audience want; he aimed exactly, and he gave that audience what was needed. Watching an erotic film is watching a (faked, usually) sexual act; or looking between an actress' legs. Well, Brass gave this activity its true and human and concrete dimensions.
There are voyeurs and spies in his films. The sexual act is spied, watched. Yet this remains within the confines of the humans. In Brass' films, the voyeurism is the act of a pervert; yet this pervert is rightly situated, if I may say so.
Francesco Casale spies Katarina Vasilissa in The Voyeur.In La Chiave, the old husband spies his horny wifewhile she pisses, or while she's in the bathtub, or simply as she sleeps. An image enjoyed by Brass is that of the woman pissing; and this may be, indeed, a fine show. Serena Grandi is seen, watched pissing in Miranda (1985). Stefania Sandrelli is seen pissing in The Key. In Senso '45 (2002) Anna Galiena pisses after a sexual act (a very healthy habit, it prevents infections).This is correlated with Brass' huge appetite for the derrières of his actresses.
It looks like Katarina Vasilissa didn't really make a career in the cinema. That's too bad. Brass worked with several able actresses (Mme Sandrelli, Mme Grandi, Mme Galiena, etc.); Katarina Vasilissa isn't one of them. But she is outstanding. Brass explores the huge _expressivity of her naked body. For me, Katarina is a legend, and a cult actress. And I can say the same things about her colleague in this movie, the strikingly beautiful Cristina Garavaglia. She deserved a real career. Yet the number of the movies made by these two actresses is certainly irrelevant, since they had the chance of making one of the best ten erotic films ever. (To give a counterexample, Mme. Kristel has an impressive careeryet she NEVER had the chance of such a film.)
The Voyeur has a certain dreamy look, a dreamy feel, enhanced by Brass flair for the grotesque and the bizarre _expressivity. Brass' cinematographic styles reaches here one of its richest moments. The Voyeur is a peak, and a feast of Brass style.
In Brass' films, the woman is essentially a mistress; if she's a wife, she's a depraved, horny one. On the other hand, in Brass' movies the husbands have an insatiable lust for their wives. They do indeed ceaselessly desire their women. In various movies, Mmes. Sandrelli, Vasilissa, Galliena have husbands that intensely desire them; while Mme. Grandi will get one at the final of her "Miranda". The male is the one who desires and sexually adores his wife.
The cinema was invented to make films like Brass' The Voyeur.