By Ernest Mathijs, Xavier Mendik
This moment name within the AlterImage sequence that investigates formerly under-explored components of renowned and cult cinema ( Underground U.S.A. being the 1st quantity) beneficial properties over 20 essays from an eclectic variety of writers uncovering the cult cinema of Europe. The writers think about such strange and various subject matters as Russian horror cinema, British exploitation, Belgian replacement cinema and Black 'Emmanuelle' movies. Alternative Europe additionally contains particular interviews with such 'trash' movie administrators as Jess Fano and Brian Yuzna ( Reanimator, etc.).
thanks to psyko at CG
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Extra info for Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 (Alterimage)
Signed] Herman Traeger, producer. 7 The creation of Ilsa as a composite figure cuts to the heart of exploitation cinema, particularly historiographic exploitation. Rather than a biographical portrait, even a fictionalised one like Schindler's List (USA, 1993, Steven Spielberg), Ilsa and the Italian films discussed here reduce the historical complexities of the Holocaust into its most base and readily accessible form. If we contrast Ilsa with Max in Il portiere di nottte, what is missing in the former is any of the subtleties of Dirk Bogarde's ambiguous performance in the latter: while not a 'sympathetic' or even remotely likeable character, Max is absolutely 'human' in his pettiness and in many respects embodies the Hannah Arendt description of Eichmann as 'the banality of evil'.
Although both The Pawnbroker and Love Camp 7 are American, yet very different kinds of films, the same idea of sexually assaulted women prisoners is in both, and this is a theme taken up by the Italian films that are the major focus of this chapter. The difference between films about sexual exploitation and sexual exploitation films is largely in evidence through one obvious point of comparison: L'Ultima orgia del III Reich (Gestapo's Last Orgy, Italy, 1976, Cesare Canevari) directly reworks the narrative framing device of Cavani's Il portiere di notte: in both films a dual timeframe is demonstrated between a Nazi/concentration camp past and a present tense set a decade or so later.
In Il portiere di notte Max and Lucia escape from an underground cadre of former Nazi officials, whose membership had included Max himself. The cadre wanted Max to kill Lucia as she was the only survivor who could identify his war crimes, but rather than murdering her, they barricade themselves in his flat and hope the cadre will give up and go after other targets. They do not give up, Max and Lucia are shot as they attempt to escape on foot, and the final image of the film is a long-shot of the bridge where the two small figures of Max and Lucia lie dying where they stood.