Kitty (Ingrid Thulin) runs a brothel in Nazi Germany where the soldiers come to “relax”. Recording devices have been installed in each room by a power hungry army official who plans to use the information to blackmail Hitler and gain power himself.
Depraved. Decadent. Damned. Another progenitor of the cult 1970s Italian Nazisploitation genre (alongside Liliana Cavani’s The Night Porter) Tinto Brass’s Salon Kitty is a true story transformed into outrageously transgressive erotica. Featuring the legend of European cinema, Helmut Berger.
ein herausragender film, von schwindelerregender qualität. macht und ohnmacht, und ihre umkehrung im verhältnis zwischen herren uns sklaven. weit mehr als ein film über das dritte reich. nicht das hurenhaus ist pervers. sondern die welt, in der es steht. bis heute.
Though it can be argued that it's just as crass as the other Nazisploitation films but on a bigger budget, it's far more ambitious in both scope and artistic quality. Brass deftly crafts striking imagery and smirking social satire out of the requisite explicitness, helped along by a high-caliber cast, particularly the superbly over the top Ingrid Thulin. A cult classic, and pretty easily the best of its genre.
Epic and lush, Salon Kitty is the Gold Standard for nazi sex movies (I'm comparing it to films like Ilsa, She-Wolf of the SS, not Pasolini's Salo, which although x-rated I don't really consider a sex movie). Gorgeous production design by Ken Adam, who designed Barry Lyndon and Dr. Strangelove, as well as all the best 007 pictures - including Goldfinger. 4.2*stars
Exploitation cinema wearing it's Sunday Best. Decent production values cannot disguise the paucity of social or political comment which is a thin veneer for a pseudo-kinky parade of girlie-magazine smut. Probably Brass' most accomplished work but it quickly runs out of steam after a striking first thirty minutes: all exposition and little narrative drive.
About symbolical and physical domination through sex in totalitarian socio-political context. It does not beat Pasolini’s treat in Salo but comes close. However this exploitation is more documented, stylistic and looks more realistic than the others ones on the vicious evil nazi subject (Isla, SS girls…). Helmut Berger really fits the role in this mix of supremacy and latent homosexuality.