Alexander Ross
Adore "Salon Kitty". Many people tend to consider this,and, at its very best, a classic of "Euro trash" or "Euro-exploitation", whatever those terms really mean, unfortunately we all use them rather inappropriately these days, especially, considering the standard creative level of our main productions today! And, in fact, was it trashy? I'd dare anybody to call this film such word, if anything, transgressive and for all the right reasons! Resembling,maybe, even one of those infinite clones that were made (those cheaply horrendous quickies taken after this superb plot,and, put into a green light only to capitalize, after the huge International success that this film had so deservedly achieved up to 1977, all over the World!) mainly in Italy in the late 1970's, with truly poor qualities? NO, it does not and it isn't so! This movie was even banned at its brave premiere, a few months after the long shoot had ended in late November of 1975. It was even put under arrest of distribution and some people (mostly dangerous bigots and nostalgic of a certain extreme right wing's politics) wanted it even burnt, in the late fall of 1975! And, why was it causing so much distress, when already every truly pornographic film (and not Erotic) was released without protests from anyone? Because, "Salon Kitty"was obviously a very important movie and one that'd make you think and even remember a little too much, and, a little bit of everything that is normally left unspoken! As usual courageous Art is passed by fake talent and moral depravity, only by those who are fearful or have reasons to be fearful of such story! And, obviously, there were quite a few! Why? This film wasn't obscene, or offensive whatsoever, and, it was showing only a certain, very well known, Nazi's degradation and sexual perversion, through the eyes of 2 women of different generations and backgrounds, the melancholic, but carefree Kitty (Ingrid Thulin, extraordinary presence and actress),on one hand, and, on the other, the bored, mysterious and gorgeous young German girl, Margherita(played with interior darkness and severely troubling eyes, by the incredibly talented, almost mystical beauty and Cult star, Therese Ann Savoy) from a potent family, who, when embracing National Socialism, mostly to kill time, than anything else, finding herself deeply troubled, and, in despair, from circumstances she could have never even have imagined, and, even from deep, existential motives that were in part also related with the repression, she had been raised with, and along with the imposition over a very wrong faith, and, squalid superstitions, all taught to her by her privileged and amoral family. Then, there was of course the brothel, too, with its intricate affairs linked to a very "Film Noir" espionage plot, and, also the use of several cult actresses in the supporting roles, while on the background, but, not too much on the background, a stylized, exquisitely imaginative reconstruction of Berlin in 1940 circa, with the diabolical greatness of the Nazi's(here it is another great performance from actor Helmut Berger, who draws the lines, truly!)envisioned with the same stupor and Classic fashion, one great artist would have inspired himself to re-paint the fearful brutality and moral decadence plaguing the Roman Empire in AD 500 circa, too, if such artist could have then even used a way to blend in together the absurd cruelty, the brutality and moral devastation, killing then Berlin, with the same foolish abuse of power that had been so typical of only one very Empire, before! A metaphor, that is, and, an exceptionally provocative one, created to amaze and entertain, for sure, as a film should also do, but, to deplore and condemn too, through its almost sarcastic fate, unraveling the tragic, almost Shakespearian's events, until one of the most beautiful ending scenes ever filmed, including 2 women, where the two, alone, but never fearful, and, both well aware and liberated, by old judgments and corrupted politics, cheers with Champagne, while waiting for the imminent end, in the now deserted luxury brothel, while the Allies triumphantly are bombing the city of Berlin, over the course of a very long, foggy, shady night.. Amazingly produced, and, with some of the most prominent International names, making eventful filmmaking, and, certainly not "trash", beginning from visionary, eccentric, protester and director, editor, writer (with Maria Pia Fusco and Ennio De Concini) master Tinto Brass,and, Ken Adams, one of the most inventive production designers ever(think he made also, among others, the first couple of James Bond's, and, both 2001 and Barry Lyndon,for director Stanley Kubrick), the saturated, always exceptional cinematography of another great Italian name, such as Silvano Ippoliti, and,with the help of Fiorenzo Carpi's music themes, and, Jost Jackob's defining classic period costumes and looks, this film is a traditional example of how rich and creative was instead all European cinema, back then, and, especially the Italian one, that was allowing a budget so big at the time, for such a provocative, controversial and all together almost infernal movie,then winning so a huge bet, and, realizing a classic little masterpiece of contemporary Cinema, and, look, almost 40 years later, this has not certainly been forgotten. When a movie never ages like most parts of this one, how could we argue it couldn't be good? I'd understand maybe not your cup of tea, that'd be legitimate, but, please don not call "Salon Kitty" ever less than a mesmerizing experience, that could haunt you for decades.
slayrrr666
"Salon Kitty" is certainly a fine exploitation effort, if only a little long at times.**SPOILERS**At the start of WW II, Kitty Kellerman, (Ingrid Thulin) runs in the infamous Salon Kitty in the heart of Berlin, Germany. Soon, Helmut Wallenberg, (Helmut Berger) is installed as the leader of the SS in the area, and takes an extreme interest in the special studio. Recruiting a special selection of women from Germany, he selects them to be prostitutes in the Salon, putting them through a rigorous process that will determine whether they will actually go into service there. After going through the process, Margherita, (Teresa Ann Savoy) manages to gain employment and is soon apart of the burlesque show it puts up as a front. When she starts to develop a friendship with Nazi officer Biondo, (John Steiner) they talk of leaving the order and striking out on their own. When he hears of their treachery and orders his execution, they all learn that the reason for the instituting the facility was to discover whether anyone within the Nazi regime would defect, and must now stand up to his tyranny within the order.The News: One of the biggest and most surprising aspects of the film is the unbridled and purely intentional sleaze on display. There is plenty of nudity, both male and female variants that are shown completely exposed, with lengthy scenes showcasing both in that state, as well as such scenes as close-ups of women shaving their privates or playing with men's privates, which are all the more disturbing. There's almost an obsession with the female rear-end here, as this one has a large amount throughout it. There's also a lot of twisted sexual fantasies re-enacted, featuring a scene where one goes down on a giant dildo made of bread, the prospective hookers having their eroticism tested by forcing them to sleep with hunchbacks, gypsies, and amputees, a giant orgy, actual hardcore masturbation, sex, and lesbianism. Mixed in with the nudity are plenty of scenes of simulated sex. The segment with the eroticism being tested is merely one of the single sleaziest scenes around, presented as a montage where they observe all the actions taking place with no regard for what's happening but just for the cause, and are very disturbing visuals. There's also an incredibly disturbing scene that works just as much for the nudity as what's suggested. As her charge barks orders at her, one of the women places the General's boots on her naked legs and goose-steps around her bedroom. The lights are struck and a single projector image crawls across the wall as scenes from a Nazi propaganda film play out. As the General continues his demands, the prostitute lays on her bed and lets the black-and-white images of Hitler and his Aryan nation wash over her. She does a seductive, serpent like set of poses and then breaks into the Nazi salute. The entire time, Brass keeps his camera firmly in a medium shot, so we can see the monochrome images of insanity projected upon the naked flesh tones of the actress. Even with all of the sleaze as possible, the behind-the-scenes technicians have all accomplished a real work of art. The various garish costumes of Madam Kitty and her girls all personify the 1930s and early 1940s perfectly, as does the superb set design, recalling the Art-Deco movement. Kitty indulges in a number of musical numbers, all summoning the spirit of the early musicals of the past and featuring a strange half-man half-woman makeup job, stylish lighting, and gay chorus boys dressed to the tee. It's appropriately over-the-top in it's decadence and gloriously enjoyable wonders. All of these, though, would be acceptable in a film that simply was either trimmed down or actually went somewhere. Though there's a semblance of a plot, it has far too much down-time to actually do anything with it, simply going along and merely just going from one scene to another with a dull expression, especially in the later half when there's little perversion to get in the way. That needed beefing up with sleaze or toned down considerably, as there's too much in here to take at the time. Had it been shortened, it would be as effective without the boredom.The Final Verdict: A strong, but just inherently dull art-house exploitation epic that will really divide most viewers instantly because of the subject matter. If this sounds like something that will appeal to you, you're a fan of the genre or just extreme films in general, give this one a real watch, otherwise ignore it.Rated UR/NC-17: Continuous Full Male and Female Nudity, strong sex scenes, Graphic Violence, Graphic Language and violence against animals
