Archaeological team unearths a body of a young woman, who was told to be a witch buried in the bog some 300 years ago. Soon a naked woman appears and drives the men of the village crazy. ... See full summary »
Roland af Hällström
A beautiful woman sees her husband murdered, and is abducted on orders of a powerful land lord who covets her body. She may look like a tamed puma, but eventually she will find ways to find freedom and love again.
An old Gothic cathedral, built over a mass grave, develops strange powers which trap a number of people inside with ghosts from a 12th Century massacre seeking to resurrect an ancient demon from the bowels of the Earth.
Feodor Chaliapin Jr.
Laura is a bisexual nymphomaniac who often carries on with her housekeeper Andrea. When Carlos sees her bathing nude one day, he falls in love with the vivacious vixen. She willingly gives in to his amorous advances, warning him she may never be able to be faithful to just one person. The two are married, but she continues to select a series of lovers to cure her insatiable desire for sex. The repair man is her first conquest, then she takes to the street for more willing lovers. They fly to see a New York psychiatrist to cure her affliction, but only advancing age may finally cure her need for physical love. She picks up more lovers on Broadway and considers suicide as the only way out in this exploitation feature punctuated by graphic nudity.
When mentioned at all, this movie is often compared (usually unfavorably) to a Russ Meyer film largely due to to the pendulous charms of its leading lady, Isabela Sarli. However, director Armando Bo, while technically less talented than Meyer (and seemingly unable to afford a dolly) is also refreshingly much less pretentious than Meyer, and his overripe, unintentially hilarious dialogue is much more entertaining than the wry, pseudo-hip dialogue penned by Meyer collaborators like Roger Ebert. This movie mostly resembles an especially entertaining Latin American telenovela except that it was shot on filmstock before liposuction and plastic surgery was all the rage and Latina actresses looked like human beings rather than plastic brunette sex dolls.
Sarli, who was the director's real-life wife, carries the movie, of course, as an insatiable woman who destroys the lives of everyone around her with her hilariously compulsive infidelities. Sarli certainly fits the physical mold of a south-of-the-border Meyer girl, but where Meyer's actresses were all pretty much strippers and Hollywood casting couch veterans not terribly different from the promiscuous characters they played in his movies, Sarli was reputedly a nice Catholic girl who hated doing nude scenes (which is kind of like finding out that Michael Jordan hated playing basketball) and whose international career never took off due to her loyalty to her hack-director husband. Thus Sarli is actually acting here a little, and while her talent may be strictly limited, at least she HAS some talent, which is more than can be said for most Meyer girls.
The best thing about this though is the cheesy Spanish music which is even more ridiculous than the dialogue but in Spanish and put to music ("Fuego! en tu boca/Fuego! en tu corazon/Fuego! en tu alma"). Listening to this over and over while watching Sarli have her voluptuous body licked dry by her homely lesbian maid after a nude swim or dressed only in a fur coat and fondling herself in front of male strangers on the street is truly a unique cinematic experience.
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