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L'ultima orgia del III Reich (1977)

Not Rated | | Horror, War | 31 January 1977 (Italy)
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A Jewish WWII survivor revisits the ruins of a hellish concentration camp, and the memories are still vivid. How did she escape the humiliation, the tortures, and the destruction of human flesh? How did she flee from Gestapo's last orgy?

Director:

Cesare Canevari

Writers:

Cesare Canevari (screenplay), Antonio Lucarella (screenplay) | 1 more credit »
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Cast

Complete credited cast:
Adriano Micantoni Adriano Micantoni ... Commandant Conrad von Starker (as Marc Loud)
Daniela Poggi ... Lise Cohen (as Daniela Levy)
Maristella Greco Maristella Greco ... Alma
Fulvio Ricciardi Fulvio Ricciardi
Antiniska Nemour Antiniska Nemour
Caterina Barbero Caterina Barbero
Domenico Seren Gay Domenico Seren Gay ... (as Domenico Serengai)
Vittorio Joderi Vittorio Joderi
Pietro Bosco Pietro Bosco
Pietro Vial Pietro Vial
Renato Paracchi Renato Paracchi
Maria Grazia Cisera Maria Grazia Cisera
Tino Polenghi Tino Polenghi ... (as Santino Polenghi)
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Storyline

Lise Cohen is taken to a special prisoner-of-war camp for female Jews, a camp run as a bordello to entertain the German officers and troops going in to battle. The camp is run with an iron fist by Commandant Starker and his minion Alma. Starker becomes frustrated when Lise demonstrates no fear, and devises cruel experiments to scare her, to no avail. Once she realizes her guilt is unfounded, Lise begins to play Starker's game, but even though she begins living a better life, she doesn't forget the atrocities she has seen and experienced. Written by Ed Sutton <esutton@mindspring.com>

Plot Summary | Add Synopsis

Taglines:

The Sickest Entry in the Nazisploitation Genre! See more »

Genres:

Horror | War

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy

Language:

Italian

Release Date:

31 January 1977 (Italy) See more »

Also Known As:

Last Orgy of the Third Reich See more »

Company Credits

Production Co:

Cine Lu.Ce. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

(original)

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The film was listed as an official video nasty and subsequently banned by the BBFC. It has yet to receive a UK release. See more »

Goofs

The leading lady, prisoner, Lise (credited as Daniella Levy, but D. Poggi) sports superb 70's face make up throughout her wartime camp internment ordeal; soft lip gloss, full black eyeliner to highlight her (faraway, hopeless look) dark eyes, perfectly plucked thick eyebrows and soft flyaway hair: plus is full body tanned e.g. in her roll in the bed scene with the sympathetic doctor, in a such stark contrast to his pale almost corpse-like body color, i.e. his far more like incarcerated in living hell camp! And what's more, it hasn't changed in the updated to present day bookend scenes, as exactly the same make up - still. See more »

Alternate Versions

The UK pre-VRA release by VFP is uncut. There is also a cut pre-VRA release by Videoshack which is very rare. See more »

Connections

Referenced in The Cinema Snob: Tyler Perry's a Madea Christmas (2015) See more »

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User Reviews

 
THE GESTAPO'S LAST ORGY (Cesare Canevari, 1977) **1/2
26 August 2008 | by Bunuel1976See all my reviews

This is the fifth Nazisploitation film that I've watched after the arty THE DAMNED (1969) and THE NIGHT PORTER (1974), and the more exploitative NAZI LOVE CAMP 27 (1977) and THE RED NIGHTS OF THE GESTAPO (1977); it's reputed as the most infamous of the lot, but I was disappointed to discover that the version I ended up with was shorn of about 10 minutes of "sick footage" (which, reportedly, includes a woman being burned alive and a cannibalistic sequence where the prisoners serve as dinner for the Nazis)! That said, what's left in would still alarm and profoundly disturb most conservative viewers.

The film opens with an audacious voice-over of a Nazi war-crime trial as a man (later revealed to have been the Commandant of a concentration camp-cum-makeshift brothel for German soldiers returning from the front!) is making his way by car to a rendezvous with his lover (a Jewish girl he frequently victimized during the war); the meeting place, in fact, is the ruins of the camp itself – thus resembling most closely the central relationship within THE NIGHT PORTER. During the course of the film, we're treated to several instances of inventively depraved physical torture – most memorably, one where the heroine, hanging upside down, is hovered above a slew of hungry rodents and another in which a character is made to slide into a deadly lime pit. Characterization is particularly of interest here (though this element was even more successful in the afore-mentioned NAZI LOVE CAMP 27): the protagonist faces the myriad beatings and constant degradation with utmost stoicism – believing herself responsible for her family's capture, she has no desire to live (she's played by Daniela Poggi – who, years later, would become the conductor of a long-running TV show about the search for real-life missing persons and now, obviously, prefers to totally exclude the picture from her curriculum!); the Commandant is a closet masochist who's frequently willingly dominated by his female (if masculine-looking) warden; the latter, then, is a standard figure in this type of film – though she's curiously absent for much of the mid-section (returning, in fact, merely for her hasty comeuppance).

Events constantly switch from the present, as the two lovers wander about the place and then give in to their passion for one another, to the past (including the girl's liberating bed-romp with the sympathetic camp doctor, her eventual ascension to position of the Commandant's favorite – even turning down a plea of help from her former prison companion – and culminating in the 'loss' of her child because it has no place in the Nazi-ruled 'perfect' world of the future); incidentally, the abrupt downbeat ending is predictable virtually from the get-go. Despite featuring a haunting theme, augmented by half-spoken German lyrics, I reiterate that the end product (pompously renamed CALIGULA REINCARNATED AS Hitler in some quarters!) is inferior to NAZI LOVE CAMP 27 – or, for that matter, the director's other work that I've come across. Incidentally, I'll be checking out presently another notorious example of the Nazisploitation genre i.e. Tinto Brass' SALON KITTY (1976)…


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