A wealthy couple and their adult son meet a beautiful stuntwoman at a carnival who resembles a woman they had just seen in a pornographic film. Always up for adventure, the three invite her back to their mansion.
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Incredible cinematography and editing throughout. The scene where it keeps jumping between a slow shot of a door opening slowly and a shocked face left me horrified, despite not being a horror film. There's great imagery here and it's worth multiple viewings.
Film was a unique classic of intimate love making. The movie had badly dubbed voices due to the fact it was shot with no sound. But the movie provides many interesting events that the dubbed voices are looked over. The art is subtle and provides meaning to each scene or the film in general. The ending wraps up nicely with reasons for different images that are edited in throughout the film.
Very, very "meta"- a film of people watching a porn film, and occasionally appearing in it. Full of fabulous details: the iconic "drinking bird", and the film projector is a Ducati ! Filmed on location at the Balsorano castle in Abruzzo, Italy; beautifully shot and edited. Radley Metzger was the greatest auteur of the golden age of soft-core porn, 1959 (Russ Meyer"s 1st feature) to 1984 (Metzger's last).This film is
THE LICKERISH QUARTET, aside from having the best name ever for an erotic movie (Metzger's own THE OPENING OF MISTY BEETHOVEN being, ahem, stiff competition), is a decadent translucent fugue. Though it is not smut, it is also, of course, not not smut. The sex is awkward and stilted, winningly, as though shy Lady Cinema were losing her virginity. The whole thing is oddly redolent of Alain Robbe-Grillet.
Early 70s Freudian Twilight Zone soft-core, touching on heady Lacanian notions of image, projection and fantasy, that are really, really hard to take seriously when the alpha male lead has some pretty distinct Wallace Shawn in the Princess Bride traits going on. Beautifully shot on location at a 700 year old castle in Italy; watch for the opulence, the camerawork, that motorcycle daredevil scene, and film history.
An appealingly gussied up lead balloon that, projected against its own times, may have seemed to catch and release some cool air to some. Perhaps it just caught me in a censorious mood, but setting the film's gaudy aristo-psychedelic visuals to one side, its pleasures seemed restricted to unintentional comedy (fine as far as it goes) and insights into sexuality and psychology at least as dull as its line readings.