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Senta (1972)

| Adult


Uncredited cast:
Maria Arnold ... Girl in Black Stockings (uncredited)
Justine D'Ore ... Blonde (uncredited)
... Senta Neuberg (uncredited)
Tommy Toole ... Jules (uncredited)
Wendy Winders ... Angie (uncredited)


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A Scandanavian film company on tour in America brings you a delightful and hard look at the American erotic scene. See more »







Also Known As:

Senta: Danish Pastry  »

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References The Munsters (1964) See more »

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Generic fetish porn, financed by Nick & Imitating Nick
13 December 2010 | by See all my reviews

Pornographer Nick Millard copied Andy Warhol's Factory system; just as the pop artist had minions cranking out works in his Manhattan studio, Millard financed other filmmakers to crank out porn for him. Since Nick never put any credits on his films, it is difficult to sort out which ones were outsourced.

Per a helpful interview on the DVD release, SENTA was directed by Alan Sinclair, described by Nick as a rich kid who (along with his sister) adopted a hippie lifestyle, made a few films starring John Holmes and then was "burned out" by Hollywood, ending up making a living duplicating adult VHS tapes. Along with his sibling, he sounds suspiciously like the fictional protagonists of Nick's HOW I GOT MY MINK film.

SENTA proves how easy it is to ape Nick's porn formula, even though the results are quite poor. Shoot MOS, add an insipid "trying to sound sexy" femme narration, stress the fetishes in colorful clothing/lingerie, especially boots, shoot with harsh lighting, and most importantly, hire some sexy women.

Sinclair adheres to these dictates of the master, but as Nick laments, includes "minimal story". Actually, no story, just some gibberish by the faithful femme narrator, who adopts three different accents to try to differentiate the non-stories involving three female protagonists.

Senta is played by the great porn starlet Suzanne Fields, previously similarly miscast as Nick's GUNILLA. She arrives in L.A. from Europe where she was supposedly a big sex star and (it took me several rewinds at the confusing narration to figure it out) goes to visit her gal pal Angie. They indulge in the requisite lesbian sex that is Nick's forté. rendered hardcore with the assist of a vibrator, a dildo and oddly enough, sticking panties up Wendy Winders' vagina.

Sinclair kills off an hour by cross-cutting (randomly and very sloppily) this lesbo action with two other sex scenes. One is a drunken actress with a fake blonde wig returning home to find a guy jerking off in her apartment. (She's played by Justine D'Ore and he's played by the anonymous porn loop actor with a familiar face who also appears in John Lamb's documentary SEXUAL LIBERTY NOW, along with Justine. She was also featured in Millard's A COUPLE OF TROUBLE.) They have XXX sex in many positions, including an implied round of anal sex, but as in GUNILLA the film does not deliver any closeups to ratify that motion.

Third segment is the most ludicrous: a busty girl is unsatisfied by her dildo, so she tries to make love to her TV set (you have to see this silliness to disbelieve it) while the dumb narrator cries out "Johnny Carson" and the like, and then calls up pals Dee and Jules to come over and service her. The threesome gets it on in ever so boring fashion.

This assemblage of footage is slapped together with an occasional hokey device of shots of various statues for sale -could be statuary for graveyard headstones. Near the end the asinine narrator says: "Well, that's the show folks" and we see a few minutes of one of the girls fingering her vagina in tight closeup. Finis.

Main fetish courtesy of Sinclair is girls wearing garter belts and colorful stockings: black, blue and green stockings. At one point the blonde-wig girl grinds the heel of her high black boot into the chest of the jerk-off guy (a motif stolen from Ted V. Mikels' bag of fetishes), while she curiously has a high white boot on her other leg. She also takes to teasing the guy's dick with her red feather boa. You can see this is not porn for mainstream fans.

SENTA's musical score is a hodge-podge of jazz tracks already used for previous Nick features. Sinclair's sloppy camera-work at one point has the shadow of the camera blocking out the trio almost completely for several seconds until he realizes his mistake and moves it. An embarrassing excuse for a "movie".

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