If, like me, you prefer your Nazisploitation loaded with gore, perversion and nudity, with a generous side order of camp, then you would probably be best advised to goose-step straight past Red Nights of the Gestapo.
Ezio Miani plays Werner von Uhland, an SS Colonel attempting to infiltrate a select group of the bourgeoisie who are known for their dislike of Der Führer. Inviting the seven men to a secret meeting, Werner pairs each guest with a women chosen for her ability to cater for that person's specific perversion (amazingly, each guest seems to have his own unique sexual weakness).
By recording each couple with hidden microphones, Werner hopes to uncover the group's plans to overthrow Hitler's regime, whilst also gathering material for blackmail.
With a script that delves rather too deeply into the political history of the Nazis circa 1941, Fabio De Agostini's movie proves to be more concerned with factual accuracy than in delivering sleaze. Thus, we get frequent extremely dull conversations about the defection of Hess, the progress of the Wehrmacht, and anti-Nazi sentiments amongst the German intelligentsia, and not nearly enough time devoted to the lesbianism, sado-masochism, violence and extreme decadent behaviour that is normally associated with the genre (although a hilarious nymphomaniac and a female Hitler impersonator do try their best to liven up proceedings).
And with the entire movie set in a castle, rather than a concentration camp (like so many other films of its ilk), we don't even get any unnecessarily painful experimentation performed on prisoners. Shame!
Ezio Miani plays Werner von Uhland, an SS Colonel attempting to infiltrate a select group of the bourgeoisie who are known for their dislike of Der Führer. Inviting the seven men to a secret meeting, Werner pairs each guest with a women chosen for her ability to cater for that person's specific perversion (amazingly, each guest seems to have his own unique sexual weakness).
By recording each couple with hidden microphones, Werner hopes to uncover the group's plans to overthrow Hitler's regime, whilst also gathering material for blackmail.
With a script that delves rather too deeply into the political history of the Nazis circa 1941, Fabio De Agostini's movie proves to be more concerned with factual accuracy than in delivering sleaze. Thus, we get frequent extremely dull conversations about the defection of Hess, the progress of the Wehrmacht, and anti-Nazi sentiments amongst the German intelligentsia, and not nearly enough time devoted to the lesbianism, sado-masochism, violence and extreme decadent behaviour that is normally associated with the genre (although a hilarious nymphomaniac and a female Hitler impersonator do try their best to liven up proceedings).
And with the entire movie set in a castle, rather than a concentration camp (like so many other films of its ilk), we don't even get any unnecessarily painful experimentation performed on prisoners. Shame!