An antique bed relates passionate stories about various people who have made love on it throughout the decades of the 20th century. Said folks include a sweet young virgin, a sly prostitute...
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Title: The Sinful Bed (1973)
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Cast
| Cast overview, first billed only: | |||
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Heidrun Hankammer |
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Knut Reschke | ... |
Götz Rohde
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Waltraud Habicht | ... |
Fräulein Pasulke
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Arthur Binder | ... |
Gustav Klabuttke
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Judith Fritsch | ... |
Iris Klabuttke
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Karl-Heinz Bauer | ... |
Peter Hädrich
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Lore Calvies | ... |
Frau Klabuttke
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Rebekka Susmean |
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Claus Jurichs | ... |
Karlchen Bernbach
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Dorothea Thiel |
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Herbert Übelmesser | ... |
Karlchens Freund
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Lilo Hartmann | ... |
Dienstmädchen
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Evelyn Künneke | ... |
Frau Schindler
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Renate Heuer | ... |
Eva
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Wilfried Jan Heyn | ... |
SS Mann
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Plot Summary
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Storyline
An antique bed relates passionate stories about various people who have made love on it throughout the decades of the 20th century. Said folks include a sweet young virgin, a sly prostitute who helps a jilted woman get revenge on her unfaithful husband, a German soldier fighting in World War II who's on leave for two hours, and a carefree modern couple. Written by Woodyanders
Taglines:
If Only This Bed Could Talk ... See more »Genres:
ComedyParents Guide:
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Details
Country:
West GermanyLanguage:
GermanRelease Date:
September 1974 (USA) See more »Also Known As:
The Sinful Bed See more »Company Credits
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Already aware that the film's premise was that of a bed's view of lusty events upon it through the ages, I groaned when the credits showed separate casts for the separate segments and I envisaged two people getting it together throughout the film in different costumes. How wrong, I was. This is a well constructed and shot film. I got a little confused between the 30s/40s and 50s/60s but who really cares and attention to clothing detail was certainly spot on. Indeed the final sequence representing, 'today' was a near perfect 70s erotic gem on its own, with the long hair, lean bodies and outdoor sex with camera into the sun and traffic circling around. So well and varied was this film shot, making the many couplings so surprisingly different, that it was great to discover afterwards that despite the pseudonym of Michael Alexander being applied the cinematographer here is none other than Fassbinder and Scorsese favourite, Michael Ballhaus. Shame the director didn't manage to have a similar future but hats off to all for this one.