If it wasn't for the absolute degree of depravity that Nazi intoxication secreted to humanity one would have simply regarded this as a 70s arty softcore. Yet, the Sadean sovereignty over the body as the ultimate anti-teleological move is boldly announced in the impressive first 15mins. Art direction and costumes (there is brilliant index of Dix's paintings) dazzle and Brass' own editing is a masterclass in itself.
A rather historic accurate film that exploits the fact that attractive upper class Nazi girls were used as prostitute agents for the 3rd Reich. Tinto Brass deliver his most depraved and degrading movie filmed in fantastic movie sets. If you desire Teresa Ann Savoy and Sara Sperati like me it's perfect sexploitation too. A scene with a S&M Norwegian spy is fantastic as the actor clearly talks and is Norwegian too.
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
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.
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.
The sets and cinematography unfortunatey cannot heave the (pretty) weak acting and weak development. i liked the idea of a sequential repetition of cabaret-like "intermissions" which also worked as transitions, but as the film progressed, it became rather tiredsome, in particular coupled with the little development happening overall. it's a shame, since i felt that it started promising - in particular the editing.
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.
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.