Thriller: A Cruel Picture (1973)

A young woman, muted after a sexual assault as a child, is trained to seek violent revenge on those who have wronged her after being kidnapped and forced to work as a prostitute.

Director:

Bo Arne Vibenius (as Alex Fridolinski)

Writers:

Bo Arne Vibenius (screenplay) (as Bo A Vibenius), Bo Arne Vibenius (an original story) (as Alex Fridolinski)

Stars:

Christina Lindberg, Heinz Hopf, Despina Tomazani

Cast

Cast overview, first billed only:
Christina Lindberg	...	Frigga
Heinz Hopf	...	Tony
Despina Tomazani	...	Lip-stick lesbian
Per-Axel Arosenius	...	Frigga's Father (as Per Axel Arosenius)
Solveig Andersson	...	Sally
Björn Kristiansson
Marie-Louise Mannervall	...	Woman in village
Hildur Lindberg	...	Mother's Friend
Stig Lokrantz
Olle Nordlander
Marshall McDough	...	(as Marshal Mc Donagh)
Gunnar Palm
Pamela Pethö-Galantai	...	Young Frigga
Lennart Robertsson
Hans-Eric Stenborg

Storyline

Rendered mute after a horrific assault in the park by a sadistic old paedophile, young Madeleine tries to escape the traumatic experience living in silence in her parents' farmhouse. However, things will take a turn for the worse, when an innocent offer for a lift by a handsome stranger in a flashy sports-car leads to a nightmarish life of prostitution, abuse, and drug addiction. But when Madeleine finds out her evil pimp's cruel scheme, an irrevocable course of sweet retribution and a deadly sawed-off double-barrelled shotgun will inevitably set the stage for a bloody roaring rampage of revenge. And then, no one will ever dare to harm her again. Never again.

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Plot Keywords:

revenge | forced prostitution | vaginal lips | vaginal rape | intercourse | 

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Taglines:

The movie that has no limits of evil! (US 2005 DVD release)

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Genres:

Action | Thriller

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Details

Country:

Sweden

Language:

Swedish

Release Date:

5 June 1974 (USA)

Also Known As:

They Call Her One Eye

Filming Locations:

Drottningholm, Stockholms län, Sweden

Company Credits

Production Co:

BAV Film, United Producers

Technical Specs

Runtime:

104 min 80 min (heavily cut) 82 min (R-rated) 92 min (R-rated cut)

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.66 : 1

Did You Know?

Trivia

Christina Lindberg trained in martial arts for two months in order to play the lead role in this film.

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Goofs

When the police car runs over a piece of grass between two roads, you can clearly see tire tracks from earlier takes.

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Quotes

Tony: I like women who don't talk too much... but you set a new record!

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Alternate Versions

US version was heavily edited (ca. 20 min.) for a R rating. DVD release by Synapse is uncut.

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Connections

Referenced in The Cinema Snob: 42nd Street Forever, Volume 1 (2013)

User Reviews

Mesmerizing if not perfect

After hearing all the hype about this film...the latest notorious Eurotrash cult film making the rounds...has to be seen to be believed...sex and violence, sex and violence, etc., I finally got hold of a copy of it and was almost afraid that with all the anticipation I'd just be disappointed. To add to that, the copy I got was of crappy quality as I discovered when I started watching it--the opening credits were so blurry I couldn't read them--and the whole affair started to look like nothing more than the chore necessary to get the idea of finally seeing this film out of my head.

All this apprehension disappeared quickly as I got sucked into this simple yet very engaging story. We all know it's about a chick with one eye who picks up a shotgun and exacts revenge on her abusers, another entry into a sub-genre that needs no introduction, and that's what I expected, just another entry into this sub-genre with maybe enough explicit footage to give it the aforementioned notoriety, which alone does not a good film make. What I didn't expect was the atmosphere, the occasional insight (witness an early semi-rape scene involving rape-by-camera), the genuinely creepy close-ups of leering, panting men and all the other quirks that make this such a neat little flick. There is a lot of experimental sort of storytelling in this movie, as I guess was the style of the time (early seventies), and some of it is neat and some of it is downright annoying. But the overall effect, aided in no small part by the music, and aided also by the main character's inability to speak (had to have influenced Ms. .45, which came later) as well as the fact that I don't speak Swedish and this film is neither dubbed nor subtitled, is one of being underwater in a very polluted river. And that seems perfectly appropriate, since figuratively that's the story of the protagonist's life.

The close-up hardcore porn footage is used to better effect than I've ever seen such footage used, as it is supposed to be disturbing and sickening (anyone who thinks about impersonal images like that when they think about real sex, the good kind, has got to be a few beers short of a case). However, it is somewhat over-used. There are some good scenes of drawn-out, methodical drug-administering, shotgun-sawing, martial arts training, etc. that give the film, at times, an edge of realism. This realism is shattered, however, by scenes of cars exploding at the slightest impact and the nails-on-a-chalkboard slo-mo shooting scenes (not just slo-mo, sloooooooooo moooooooooo). Comparing this to Peckinpah is like comparing Green Day to the Stooges.

However, the entire film was redeemed for me by the last couple of sequences...one scene of her walking, all clad in black with her eyepatch and shotgun, amidst some shacks by a pier was straight out of a very dark western. The whole look of the film, especially the outdoor footage, is stark and desolate. Makes me want to go to Sweden. I was not let down by the last killing...the guy deserved that and more...it's a testament to the sort of infectuous quality of this film and the surprising abilities of porn star Christina Lindberg that I cared that much and even savored what happens to this guy. I've never actually savored the film re-enactment of the torture of a human being before seeing this film. More important than that, though, were the stark landscapes and windy, desolate atmosphere of the whole last sequence. "One-eye"'s cold-as-ice serenity as she sits and waits for her macabre plan to take effect is more satisfying than any of what she's waiting for.

All this stark imagery, simplicity and symbolism, I think, makes this film more of a subversive feminist allegory than any other of its type that I've seen; because it is at times almost mythic, it doesn't have to be taken literally. It doesn't have to be about pimps kidnapping girls and force-feeding them drugs, it doesnt have to be about shot guns. It does make me wonder how Christina Lindberg felt about the film, and what she did after.

One more thing: does a black-leather-clad, shotgun toting avenger driving around in a cop car through barren countryside remind you of anything?

Definitely check this out if you're not squeemish.