Cristi_Ciopron This man with lascivious ,nasty traits and libidinous habits (on screen, at least) is a cult—actor—and one of the luckiest, either—he was the man designated by Brass to hug, fondle, embrace, touch those marvelous Brass femmes fatals—in LA CHIAVE, MIRANDA, Senso '45—some of these are mythical movies ;he made a considerable gallery of men who are never no. 1, nor Des premiers, but who nonetheless manage to have a lot—by cunning, chance or by simply being there. His role in LA CHIAVE is perhaps the most sophisticated; in SENSO '45 he is a libidinous, sleazy oldster, in MIRANDA an avid redneck …. MIRANDA is a Goldonian spoof, a fabulous Goldonian parody, and Brass' intentions are obvious beginning with the place that Branciarolli's character gets in the script. Brass never pretended that his fetish hardcore (to a certain degree) actor is a handsome man, or the first choice of a woman—in LA CHIAVE, he is the much younger son—in-law and he becomes a caprice and sexual toy of his bored ,boiled by desires sexually authoritarian and emancipated mother—in—law; in SENSO '45 he is an oldie confident that craves for some sexual attentions …;in MIRANDA he is hillbilly that is accepted in Mme. Grandi's bed only after all the more interesting sexual adventures have been consummated almost under his envious ,jealous eyes. Branciarolii is,in Brass' movies, never the one who conquers or wins, but the one who is conquered or let, permitted to win ….SENSO … is THE KEY turned upside down; the mature woman, humiliated, used for else than her body, despised. The pagan celebration of earthly love turned into a farce. It's very sentimental, because Brass intended to underline his compassion for Livia Mazzoni. Brass is a feminist director; his movies celebrate the women, usually the men are the women's victims and Brass takes delight in that. Brass ' movies are a celebration of the earthly, vigorous, egoist women. There might be about love in THE VOYEUR—only perhaps—and in SENSO …; I do not know if the notion of love ,of sentimental love is ever targeted by Brass.And yes,it is a fairly fancy game imagining various women as actresses in Brass' movies.

clivey6 A film by Tinto Brass, the purveyer of 70s-style soft porn, all stockings and suspenders, swaying boobs, bent over as$es. It belongs to another era, before video and DVD, before the freeze frame and the chapter selection. You'd have to sit and watch the titillation unfold, unable to speed things up or cut to the action.That said, the women are far removed from the hard, anonymous, blonde Croydon-facelifts of hardcore, they have a bit of va-va-vooom! Some of the couplings did put me in mind of the school librarian being chatted up by the hopeful deputy head, it's that sort of world.This film is set in Venice in the dying months of the Second World War. It has an enjoyable European sensibility that is refreshing and some of the photography of wartime Venice is lovely, especially the dawn shots, which are often used to great effect in war films, the only respite from human cruelty and betrayal, a vivid stripping back to essentials.The story is about an aristocratic woman (Anna Galiena, very good) falling for a young blond brute of a Nazi, cheating on her husband. It's all very straightforward. Generally you'd think you couldn't go wrong with a classy sex orgy featuring Nazi uniforms, cocaine and blow jobs, but thanks to the composer - Ennio Morricone no less - using oboes and trumpets to fashion a comical, inquisitive little tune better suited to the playout credits of Miss Marple Investigates on Sunday afternoon, they manage to... I can't officially recommend it - it's kind of rubbish really - but it has something going for it, you can see where Paul Verhoven got his inspiration for Black Books, and it's all a bit Allo Allo without the laughs (which some may prefer, of course).

MARIO GAUCI This is my fifth excursion in Tinto Brass territory but only the third from his (mostly) softcore entries for which he became notorious. Having seen the man in the flesh at the midnight screening of his rare pop-art thriller DEADLY SWEET (1967) during the 61st Venice Film Festival in 2004, he seemed more like a reasonably literate and genuinely larger-than-life character perennially chomping on his cigar than a dirty old man who occasionally realizes his erotic fantasies on film.Although the majority of his later films were modest exploitation stuff at best, sometimes he did seek to be taken more seriously by breaking into the mainstream and even art-house circles. The Nazisploitation epic SALON KITTY (1975) was the first of such attempts, the misconceived debacle CALIGULA (1979) was the most infamous with THE KEY (1983) being perhaps the most successful of the lot. Unfortunately, Blue Underground's 2-Disc Set of SALON KITTY has been out-of-print for some time but I do have THE KEY on VHS recorded off Italian TV.BLACK ANGEL, then, is Tinto Brass' latest bid for respectability. Based on the same source novel from which Luchino Visconti made an acclaimed movie in 1954, Brass transposes the action to the last days of WWII and, true to his nature, has the promiscuous characters indulge wholeheartedly (and explicitly, including some hardcore footage) in every sin of the flesh he can point his camera at for two hours. The major set-piece of the film is a marathon 10-minute orgy sequence which includes most of the offending footage but also quaint, risible stuff like a group of revelers marching in tow through the rooms of a château led by a naked woman proudly holding onto a huge, gold-plated phallus!For what it's worth, the plot deals with a young, blond, womanizing Nazi officer (Gabriel Garko) who sets his sights on a much older Italian aristocrat (Anna Galiena) who is only to keen to satisfy his every whim. Naturally, he is reluctant to cut down on his vices (which also include gambling) and far from happy with her overly jealous demeanor; after surprising him in bed with a much younger girl, the Italian woman eventually takes belated revenge by betraying him to his commanding officers regarding his plans for desertion. While the film as a whole is not too badly done in itself and features an Ennio Morricone score to boot, nothing especially memorable happens in it and one is hard pressed to feel sympathy for these lewd, unlikable and opportunistic characters and, consequently, the viewer's interest in the proceedings rises and sags accordingly.

Claudio Carvalho In 1945, while traveling with her lawyer Ugo Oggiano (Franco Branciaroli), who is in love with her, the wealthy forty-one years old Livia Mazzoni (Anna Galiena) recalls her affair with her lover, the German officer Helmut Schultz (Gabriel Garko). Livia is married with the producer Carlo (Antonio Salines), who is twenty-eight years older than she. The sex in their marriage is totally unsatisfactory to Livia. When Livia meets the Helmut, who is also a smuggler addicted in gambling, she feels passion, desire and lust for him, becoming his sex slave, and financially supporting him in the gamble. Later, when she meets him in Venice, dirty secrets about their relationship are disclosed. "Senso '45" has a good story, the cast has a great performance, the photography is beautiful, but I did not like this film. There are too much exposures of the naked actors and actresses, many ridiculous situations, like for example, the party in the brothel, and every situation is a motive for a sex scene. What else could I expect from Tinto Brass? This sick director, who became famous with Caligola, makes this type of soft porn movie only, and I was aware of that. "Senso '45" is only recommended for fans of this director. My vote is five.Title (Brazil): "Luxúria" ("Lust")