If you like the worst of the worst (Or is it the best of the best?) you simply have to check out the Nazisploitation genre. They will NEVER make movies like this again. Thank God.
If you want to imagine what these films are like, just drop your jaw and keep it there for two hours.
SS Experiment, aka SS Experiment Camp, was, like many of the more notorious Nazisploitationers, made in Italy. The explosion of this type of material was the result of the success(?) of other films like "Ilsa She Wolf of the SS", the ultra-crap "Night Porter" and Pasolini's "Salo", three films that couldn't have been further apart in intent if they tried. Ilsa is noteworthy because it is the ONLY film legendary soft-core producer David F. Friedman took his name OFF (Though he also made a strangely nascent precursor to the genre with Love Camp 7 where he actually played an SS officer. (Isn't he Jewish?)) Regardless, everyone involved with these films, be they producers or consumers, (including this viewer), should be ashamed of themselves.
Of all the Italian Nazisploitationers, this one isn't the best, nor is it the worst. (Others include SS Girls, Gestopo's Last Orgy, SS Hell Camp and Tinto Brass's super-stupid Salon Kitty, which like his pathetic Caligula, has a weird soft-core sheen that makes it extra-unbelievable.) How these actors and actresses performed these roles without running straight out of the studio is beyond me. I guess money talks. But isn't there a point where you look at a script and go, "Sheesh, 100 million people died in WW2. Isn't this slightly insulting to their memory? Let alone the memory of those who died in the death camps of Auschwitz, Ravensbruck and Belson?" I guess not. After all, once you've signed on to do a movie called SS Experiment Camp all bets are off.
Interestingly, these films very rarely acknowledge the Holocaust or the "Jewish" angle at all, and few of them are blatantly racist, which I suppose redeems them a little. But isn't it uncomfortable to think they were made in a nation that actually sided with the Nazis? Isn't this a connection you WOULDN'T want to emphasis? These movies, by the way, would NEVER have been made in Germany. (Could you imagine?!?)
By the way, for those of you who didn't go to film school, Pasolini's Salo was NOT AN EXPLOITATION FILM!!! I cannot stress this enough. It was an appendix to his Trilogy of Life which also included his adaptations of The Decameron, Arabian Nights and Canterbury Tales. Salo is closer to its original text, (Sade's 120 Days of Sodom) than anything else. Actually, most of Salo is verbatim from De Sade's book, with only minor alterations. Please, for the love of God, don't confuse that film with this one! Though I find it somewhat funny that so many people make this connection, I forgive them, because they obviously haven't seen SS Experiment Camp. Believe me, it's not coming to a Cinematheque near you anytime soon!
If you want to imagine what these films are like, just drop your jaw and keep it there for two hours.
SS Experiment, aka SS Experiment Camp, was, like many of the more notorious Nazisploitationers, made in Italy. The explosion of this type of material was the result of the success(?) of other films like "Ilsa She Wolf of the SS", the ultra-crap "Night Porter" and Pasolini's "Salo", three films that couldn't have been further apart in intent if they tried. Ilsa is noteworthy because it is the ONLY film legendary soft-core producer David F. Friedman took his name OFF (Though he also made a strangely nascent precursor to the genre with Love Camp 7 where he actually played an SS officer. (Isn't he Jewish?)) Regardless, everyone involved with these films, be they producers or consumers, (including this viewer), should be ashamed of themselves.
Of all the Italian Nazisploitationers, this one isn't the best, nor is it the worst. (Others include SS Girls, Gestopo's Last Orgy, SS Hell Camp and Tinto Brass's super-stupid Salon Kitty, which like his pathetic Caligula, has a weird soft-core sheen that makes it extra-unbelievable.) How these actors and actresses performed these roles without running straight out of the studio is beyond me. I guess money talks. But isn't there a point where you look at a script and go, "Sheesh, 100 million people died in WW2. Isn't this slightly insulting to their memory? Let alone the memory of those who died in the death camps of Auschwitz, Ravensbruck and Belson?" I guess not. After all, once you've signed on to do a movie called SS Experiment Camp all bets are off.
Interestingly, these films very rarely acknowledge the Holocaust or the "Jewish" angle at all, and few of them are blatantly racist, which I suppose redeems them a little. But isn't it uncomfortable to think they were made in a nation that actually sided with the Nazis? Isn't this a connection you WOULDN'T want to emphasis? These movies, by the way, would NEVER have been made in Germany. (Could you imagine?!?)
By the way, for those of you who didn't go to film school, Pasolini's Salo was NOT AN EXPLOITATION FILM!!! I cannot stress this enough. It was an appendix to his Trilogy of Life which also included his adaptations of The Decameron, Arabian Nights and Canterbury Tales. Salo is closer to its original text, (Sade's 120 Days of Sodom) than anything else. Actually, most of Salo is verbatim from De Sade's book, with only minor alterations. Please, for the love of God, don't confuse that film with this one! Though I find it somewhat funny that so many people make this connection, I forgive them, because they obviously haven't seen SS Experiment Camp. Believe me, it's not coming to a Cinematheque near you anytime soon!