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Das sündige Bett (1973)

R | | Comedy | September 1974 (USA)
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... See full summary »

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(as Ilja von Anutroff)
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Cast

Cast overview, first billed only:
Heidrun Hankammer
Knut Reschke ...
Götz Rohde
Waltraud Habicht ...
Fräulein Pasulke
Arthur Binder ...
Gustav Klabuttke
Judith Fritsch ...
Iris Klabuttke
Karl-Heinz Bauer ...
Peter Hädrich
Lore Calvies ...
Frau Klabuttke
Rebekka Susmean
Claus Jurichs ...
Karlchen Bernbach
Dorothea Thiel
Herbert Übelmesser ...
Karlchens Freund
Lilo Hartmann ...
Dienstmädchen
Evelyn Künneke ...
Frau Schindler
Renate Heuer ...
Eva
Wilfried Jan Heyn ...
SS Mann
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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

Plot Summary | Add Synopsis

Plot Keywords:

bed | narrator | anthropomorphism | See All (3) »

Taglines:

So many loves ... so many lovers See more »

Genres:

Comedy

Certificate:

R | See all certifications »
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Details

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Release Date:

September 1974 (USA)  »

Also Known As:

The Sinful Bed  »

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User Reviews

 
final sequence representing, 'today' was a near perfect 70s erotic gem on its own
21 February 2011 | by (United Kingdom) – See all my reviews

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.


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