The European-style title is a bit misleading but that's exploitation marketing at work. This proto-porn sexploitation film by the great Joe Sarno bucks the 1964-1970 tide of roughies that flooded American adult theaters. There's no physical violence against women (like the Olga and Findlay Flesh trilogies) in this basic story of a New York City photographer who screws all of his models in his studio-apartment, falls for one in particular and then makes the mistake of allowing a homeless aspiring model to crash in his spare room.
They eventually have sex that leads to conflict. But there is psychological violence that the loose cannon inflicts on everyone. The girl is a Machiavellian schemer with an odd, erotic appeal who seduces two of his models and him then leaves town but not before ruining his major photo project. This gives him a nervous breakdown at the fade-out. She has an almost supernatural look about her, something I've seen in other Sarno films. The somewhat monotonous sex scenes are shot above the waist in traditional sexploitation style and the stark setting (starkly filmed as well) is claustrophobic. Sarno breaks out of this hermetically sealed environment with a drive to the beach by the photographer and his main squeeze (the girl in the poster) in a fantastic sports car I couldn't identify and a scene in the street outside his apartment.
There's never any understandable reason why his models are all sexually into the shooter, who has more body hair than Sasquatch. The women are erotic but the film as a whole is not erotic. I wonder if Sarno was inspired by Antonioni's Blow-up in the basic set-up. It's a total male fantasy story as pbutterfly writes in her review. What I found most interesting of all was the nearly constant outside background noise of Manhattan's streets, the traffic and the car horns, on the film's soundtrack. This added an immensely strange tone to the entire film because if you have ever lived in a heavily populated urban zone, this is what daily life is like 24/7. Whether this movie was recorded with live audio or was dubbed in a non-soundproof dubbing booth in mid- town Manhattan is something I couldn't find out.
They eventually have sex that leads to conflict. But there is psychological violence that the loose cannon inflicts on everyone. The girl is a Machiavellian schemer with an odd, erotic appeal who seduces two of his models and him then leaves town but not before ruining his major photo project. This gives him a nervous breakdown at the fade-out. She has an almost supernatural look about her, something I've seen in other Sarno films. The somewhat monotonous sex scenes are shot above the waist in traditional sexploitation style and the stark setting (starkly filmed as well) is claustrophobic. Sarno breaks out of this hermetically sealed environment with a drive to the beach by the photographer and his main squeeze (the girl in the poster) in a fantastic sports car I couldn't identify and a scene in the street outside his apartment.
There's never any understandable reason why his models are all sexually into the shooter, who has more body hair than Sasquatch. The women are erotic but the film as a whole is not erotic. I wonder if Sarno was inspired by Antonioni's Blow-up in the basic set-up. It's a total male fantasy story as pbutterfly writes in her review. What I found most interesting of all was the nearly constant outside background noise of Manhattan's streets, the traffic and the car horns, on the film's soundtrack. This added an immensely strange tone to the entire film because if you have ever lived in a heavily populated urban zone, this is what daily life is like 24/7. Whether this movie was recorded with live audio or was dubbed in a non-soundproof dubbing booth in mid- town Manhattan is something I couldn't find out.