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Salon Kitty (1976)

X | | Drama, War | 21 January 1977 (USA)
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2:18 | Trailer

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Kitty runs a brothel in Nazi Germany where the soldiers come to "relax". Recording devices have been installed in each room by a power hungry army official, who plans to use the information to blackmail Hitler and gain power himself.

Director:

Tinto Brass

Writers:

Antonio Colantuoni (story), Ennio De Concini (story) | 4 more credits »
Reviews
3 nominations. See more awards »

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Cast

Cast overview, first billed only:
Helmut Berger ... Helmut Wallenberg
Ingrid Thulin ... Kitty Kellermann
Teresa Ann Savoy ... Margherita
John Steiner ... Biondo
Sara Sperati Sara Sperati ... Helga, the dominatrix
Maria Michi ... Hilde
Rosemarie Lindt Rosemarie Lindt ... Susan
Paola Senatore ... Marika
John Ireland ... Cliff
Tina Aumont ... Herta Wallenberg
Alexandra Bogojevic Alexandra Bogojevic ... Gloria
Dan van Husen ... Rauss
Ullrich Haupt
Stefano Satta Flores Stefano Satta Flores ... Dino
Bekim Fehmiu ... Hans Reiter
Edit

Storyline

Kitty runs a brothel in Nazi Germany where the soldiers come to "relax". Recording devices have been installed in each room by a power hungry army official who plans to use the information to blackmail Hitler and gain power himself. A girl named Margherita discovers the little ploy and with Kitty's help plans to take on the dangerous task of exposing the conspiracy. Written by Josh Pasnak <chainsaw@intouch.bc.ca>

Plot Summary | Plot Synopsis

Taglines:

Depraved. Decadent. Damned. See more »

Genres:

Drama | War

Certificate:

X | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy | France | West Germany

Language:

Italian | German

Release Date:

21 January 1977 (USA) See more »

Also Known As:

Madam Kitty See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (heavily cut) | (director's cut) | (cut) | (cut)

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

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

Trivia

After the girl who is foaming at the mouth is brought away, Teresa Ann Savoy is seen wearing a dress that is a near exact copy of one Joan Crawford wore in Grand Hotel (1932). The original Crawford dress had been designed by Adrian. See more »

Goofs

The positions of the new girls in the first scene in the new brothel, when Kitty looks them over and is displeased. See more »

Quotes

Margherita: [in bed, after encounter] Will you fight again?
Hans Reiter: I don't think I'm a good soldier.
Margherita: When do you leave?
Hans Reiter: Soon. In ten days.
Margherita: An eternity for making love.
See more »

Alternate Versions

Several minutes of footage were cut from the original English-language release. They were restored for Blue Underground's DVD release in USA and Argent's DVD in UK, now complete and uncut. See more »

Connections

Referenced in Christmas Eve '45 (2012) See more »

Frequently Asked Questions

See more »

User Reviews

The Best and Worst
8 December 2006 | by tedgSee all my reviews

Sometimes when a film relaxes and you relax into it, you can really feel that you are touching the filmmaker. That he is slightly drunk and comfortable and you are experiencing him (or her).

That's one place you want to be in your life in films, and it is the basis for many of the film experiences I rate as "must have."

But it has all sorts of dangers. The filmmaker must be more than skilled enough to connect, he must be actually interesting, worthwhile, engaged in life in ways that impregnate. There are few films that are well enough sculpted to be entered. And of those, there are few that reward your investing wet parts of your soul to it. You know who the good ones are.

Even then, often you'll get what you have here, equal parts of fine wine and flat cola. I suppose it is impossible to be otherwise with Nazi-centered soft porn, but Jess Franco (when not drunk) can do pretty well.

The good here is that once in a while, you'll encounter some staging with some stark, clear composition and elements that are every bit in the class with Lang or Greenaway. These have ordinary camera positions: non-human in character but human in position. Its the creation of a staged imagination, of dramatic nuance not placed in the actor but in the cinematic frame. (The actors aren't bad, by the way; its just that the weight of the thing isn't on their shoulders — or other body parts.)

Some day, commentors like me will be able to provide bookmarks to these scenes so you can experience them without wading through the rotted soup in between. Oh, and that is a ghastly experience, a walk in the dark through greasy fog from one brilliant view through a window to the next.

Hey, there's a story, but never mind. Its as irrelevant, stupid and disposable as its sisters, like "Schindler's List," which this resembles in a few ways. And there's some nudity, though in most cases one wonders why. The chief actress is pretty and very German, different from Brasses usual big-bottomed Italian tigresses.

I'd really like you to see some of the good stuff here. But like much of Bertolucci, you would curse me for sending you there.

Ted's Evaluation -- 2 of 3: Has some interesting elements.


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