Those of you unlucky enough not to own a laserdisc copy of this video calendar are missing one of the best Playboy videos in terms of beauty and production values. Two Texas gals and one Canadian gal set the pace early, and establish the high standard for sensuous presentation throughout the video. Ms. Bockrath is one of the loveliest blondes to ever grace the pages of Playboy. Here she is at her most beautiful, prancing around a house, and sponging her body in a tub. The other Texan, Karen Foster, would later be featured in her own Video release, with Deborah Driggs. Suffice it to say, you have never met a blonde baton twirler with the physical assets of Karen. In between is Canadian superwoman Peggy McIntaggart. She looks like a Greek goddess, really. The blue-lit sequence with her in bed is more erotic than anything you will see out of Hollywood. The remaining playmates are all wonderful, too. Lisa Matthews would go on to become playmate of the year. Renee Tennison was the reigning pmoy. The video closes with a delightful sequence involving Jacqueline Sheen. Wearing a derby and a black vest, she is disrobed by men(?) wearing white gloves, each attempting to touch her supple, warm body. You have never seen a cabaret number like this, and you probably never will in a film. But Playboy videos are another matter. The best are in a class by themselves. You don't need to watch them because of their power to arouse; you watch them to appreciate female beauty in visually stunning, mood-inspiring settings. L'art de la femme, 10+++.
Reviews
7 Reviews
A Girl in Black
(1956)
Does she dare love, after so much sadness?
17 April 2001
Two well-to-do Athenians journey by ship to a small village. Pavlos (Dimitris Horn) is a writer, and Antoni (Notis Peryalis) is an architect and older friend. A native convinces the two to stay at the residence of a widow (Eleni Zafirou), rather than book a room at the hotel. The first woman they meet on the island is the widow's daughter, Marina (Ellie Lambeti), who wears a black dress throughout the film, as though in mourning. As Pavlos learns the history of her family, he starts to care emotionally for this sad-eyed woman.
Her mother was widowed years ago. Her looks fading, she (the widow) still longs for men, and has become an object of ridicule on this small island. Her son Mitso (Anestis Vlahos) is strong-headed in defense of his mother's virtue, but he lacks the physical strength to face down her detractors. In addition to her mother's woes, daughter Marina is tormented by her own memories. Marina's sister was not attractive, and, unfortunately, loved an egotistical braggard, Christos (George Foundas). He attempted to use the homely sister to get to the attractive one. His unwanted attentions toward Marina, and his unkind remarks about the sister led to the tragic suicide by drowning (of the sister).
The arrival of Pavlos intensifies Christos' desire/jealousy, and he attempts to play a practical joke on Pavlos. An unintended consequence of this prank is a horrible event, something so jarring that no one (including the audience) could have foreseen or imagined such an outcome.
This early film by Cacoyannis is photographed in b&w, with a very sharply focused foreground/background. Absolutely authentic in its setting, the movie is a landmark in Greek cinema. Ellie Lambeti (Marina) is natural looking, lovely in sad, unspoken ways, and very empathetic. Pavlos, so much more worldly, allows himself to be deeply touched by this simple, yet emotionally complex woman.
Her mother was widowed years ago. Her looks fading, she (the widow) still longs for men, and has become an object of ridicule on this small island. Her son Mitso (Anestis Vlahos) is strong-headed in defense of his mother's virtue, but he lacks the physical strength to face down her detractors. In addition to her mother's woes, daughter Marina is tormented by her own memories. Marina's sister was not attractive, and, unfortunately, loved an egotistical braggard, Christos (George Foundas). He attempted to use the homely sister to get to the attractive one. His unwanted attentions toward Marina, and his unkind remarks about the sister led to the tragic suicide by drowning (of the sister).
The arrival of Pavlos intensifies Christos' desire/jealousy, and he attempts to play a practical joke on Pavlos. An unintended consequence of this prank is a horrible event, something so jarring that no one (including the audience) could have foreseen or imagined such an outcome.
This early film by Cacoyannis is photographed in b&w, with a very sharply focused foreground/background. Absolutely authentic in its setting, the movie is a landmark in Greek cinema. Ellie Lambeti (Marina) is natural looking, lovely in sad, unspoken ways, and very empathetic. Pavlos, so much more worldly, allows himself to be deeply touched by this simple, yet emotionally complex woman.
Immortality
(1998)
A love story set in blood
14 March 2001
Warning: Spoilers
Retitled as Immortality for US release, The Wisdom of the Crocodiles is another splendid film which not accorded widespread theatrical distribution when it reached America. First, it is not a vampire film in the vein of Bram Stoker's Dracula, or Interview with the Vampire. It is an iconoclastic love story, similar to the non-vampire film, Eye of the Beholder. Love cannot be explained, obsession cannot be understood, for both must be felt in the heart. This personal film (Immortality) is filled with ideas and themes, many of which are conveyed in allegories. Jude Law and Elina Löwensohn are eating take-out Chinese food. She begins telling him a Confucian tale about the difference between heaven and hell. There is ample food in both dominions. Yet, the only implements you are allowed to use are 5 foot chopsticks. Those in hell starve, those in heaven are well-fed. How is this so? The souls in heaven cooperate by feeding one another, while those in hell, being selfish, go hungry. Yes, love is about giving, and this is the dilemma of the film. Jude Law needs blood to continue his existence. Elina Löwensohn needs Jude because he (unlike most men) is her protector, intellectual equal, and (I know it sounds silly) soul mate.
The DVD release of this movie is fascinating. The special effects do not overwhelm you. For instance, there is no shape-shifting or gory feeding orgy. Yet the cinematography is unforgettable. There are twisted bone/spinal fragments that are about the size of 3-inch pretzel sticks. Possibly they have a reptilian ancestry. Jude has a box of these, collected from his earlier victims (all women?). Jude's coffin is not a coffin, but a circular metal chamber, with swivel doors. He straps himself with electrical medical devices to maintain his heartbeat and respiration. They even wake him from his sleep. His regular bed is covered in a silver cloth. On the mattress are blood stains from his previous victims. This is never shown. It is left to the viewer's imagination. The only way you know this exists is from Elina's reaction to Jude uncovering the bed. How horrifying this vision must have been to her. Another interesting aspect of this film is a scene Jude has with a little girl. She appears to be having her kidney stones disintegrated by an ultra-sound device. Thus Jude is most likely a gastroenterologist. Elina is a structural engineer. Two competent, intelligent, literate people in the 20th century. How shocking, given the abundant number of films about stupid people in typical Hollywood schlock. Miramax should be commended for importing this film to the US. Po-chih Leong (d) and Paul Hoffman (w) should be praised for bringing this wonderful story to the screen.
The DVD release of this movie is fascinating. The special effects do not overwhelm you. For instance, there is no shape-shifting or gory feeding orgy. Yet the cinematography is unforgettable. There are twisted bone/spinal fragments that are about the size of 3-inch pretzel sticks. Possibly they have a reptilian ancestry. Jude has a box of these, collected from his earlier victims (all women?). Jude's coffin is not a coffin, but a circular metal chamber, with swivel doors. He straps himself with electrical medical devices to maintain his heartbeat and respiration. They even wake him from his sleep. His regular bed is covered in a silver cloth. On the mattress are blood stains from his previous victims. This is never shown. It is left to the viewer's imagination. The only way you know this exists is from Elina's reaction to Jude uncovering the bed. How horrifying this vision must have been to her. Another interesting aspect of this film is a scene Jude has with a little girl. She appears to be having her kidney stones disintegrated by an ultra-sound device. Thus Jude is most likely a gastroenterologist. Elina is a structural engineer. Two competent, intelligent, literate people in the 20th century. How shocking, given the abundant number of films about stupid people in typical Hollywood schlock. Miramax should be commended for importing this film to the US. Po-chih Leong (d) and Paul Hoffman (w) should be praised for bringing this wonderful story to the screen.
Stripteaser
(1995)
A typical Maria Ford Bare-it-all flick
8 March 2001
This movie has an interesting premise. A supposedly blind man (Rick Dean) enters a strip club. You wonder for what purpose. Clearly he can't see anything behind his shades. Perhaps, he's there for the drinks. Or maybe, he has an acute sense of smell. This is after all a fully nude strip club. Well, to make a long story short, the answer is OBSESSION. You can't blame Rick. Maria Ford, the lead dancer, is a 9/10. She's all-natural, but her best assets are her lovely face and legs. A beautiful woman is a wonder of nature. In a sea of a thousand faces, hers is the one that stands out. Your libido is aroused by her every move, you can't wait to put $100 in her garter. In one of Maria's dance numbers, she wears high-heel sneakers. You know, the kind Little Richard or Mitch Ryder rhapsodize about. Every beautiful stripper has more than one admirer, though. Lance August plays a stuttering customer, who apparently comes to this bar just to see Maria. Naturally the plot develops to the point where Lance and Maria become strange bar-fellows, who must cope with madman Rick, when he draws a gun on the bartender, patrons, and other dancers. This movie has something for all fans of exploitation films to savor. In addition to a gun crazed loonie, a sexy blond, and a shy geek, you also have two lesbian or bi-sexual strippers (one being tiny, and the other buff), the usual horny drunks, two cops who half-work, and a cozy venue for all to interact. Without going XXX, this is about as realistic a depiction of strip clubs as you'll find in any film. Forget about Showgirls (Elizabeth Berkley) and StripTease (Demi Moore). I wouldn't give those ladies a $1 tip.
The Perfect Storm
(2000)
Impressive sea action film
8 February 2001
For its genre, this is quite an impressive film. Contrary to the silly remarks by other reviewers, this movie offers realistically developed characters, outstanding special effects, and enough suspense at the end to keep you wondering (assuming you haven't read the book). All of the actors are perfect for their roles. Not only do they relate to real-life working people, but the portray them with dignity and nobility. Most of the negative reviewers probably never lifted anything heavier than a phone book, and don't know the meaning of sweat, blood and real work. As for comments about stupid actions of the captain, let me ask some of these people: have you ever driven in a snowstorm to get home? Certainly, so why denigrate the captain here? This is not the kind of movie for actors like Ralph Fiennes or Hugh Grant. This is the niche of George Clooney and Mark Wahlberg. The two female leads (Diane Lane and Mary Elizabeth Mastrantonio) are also outstanding. I am glad they did not cast Michelle Pfeiffer or some overly pretty actress in these roles. About the only quibble I have with the film are the fishes. The shark looks suspiciously like the one in Deep Blue Sea. When he bites Mark, the foot should have come off. The jaw strength of a shark is incredibly powerful, and its action is very swift. The animatronic swordfish had too much sheen and didn't twist erratically enough. Rent or buy the film and don't spend too much time over-analyzing it.
Don't Look Now
(1973)
Slow paced, with a few good moments
16 November 2000
The movie opens with the two leads (Donald Sutherland and Julie Christie) inside their home. Their young daughter (Sharon Williams) is playing outside. Before you know it, Donald has a mild premonition, rushes outdoors and jumps into a pond. He lifts his girl out of the water and tries (unsuccessfully) to revive her using mouth-to-mouth respiration. So begins a sad tale, where Donald attempts to block this tragedy out of his memory, while his wife (Julie) is reminded of it by a blind psychic (possibly Hilary Mason). The psychic has visions of the young girl, and later, of Sutherland, when she senses he is in danger. Sutherland specializes in restoring old churches. The setting for most of the movie is Venice, Italy, a city that is presented as romantic and haunting. Possibly the best moments of the film are the love scenes between the two leads. Intercut with dressing and undressing shots, Ms. Christie has never looked more naturally erotic. The ending of the movie is quite enigmatic- you really have to see it to appreciate it. Interestingly, it also makes you think about what you saw at the beginning of the film.
Black Narcissus
(1947)
One of the 3 most gorgeous films ever made
25 May 2000
Sister Clodagh (Deborah Kerr) is promoted to Sister Superior, and sent to establish an Anglican mission/convent/school in a remote village high in the Himalayas. With her she brings several other nuns (a level-headed Judith Furse, an older nun Flora Robson, and a neophyte Kathleen Byron). The strange atmosphere of this remote region affects all those involved. Ruth (Kathleen Byron) falls hopelessly in love with a British jack-of-all trades and local agent (David Farrar). The surrounding events and Farrar's presence also rekindle Kerr's memories of a failed love affair she once had with a young man (Shaun Noble). When Noble left her life, Jesus Christ entered, and Kerr became a nun. Jean Simmons plays a beautiful beggar girl, who is placed in the care of Kerr by Farrar. Simmons later becomes Prince Dilip Raj's (Sabu's) wife, of sorts. The most stunning scenes occur toward the end of the movie. Ruth's mental disintegration and her pathetic pass at Farrar are very sad. Ruth's change in appearance is visually riveting, as much perhaps as Isabelle Adjani's transformation in The Story of Adele H. The performances by Kerr and Byron are superlative, their facial expressions revealing deep heartfelt emotion and pain. If you think Holly Hunter did a great (non-speaking) acting job in The Piano, see Black Narcissus for a real revelation!
This Powell-Pressburger film is one of the most beautifully photographed color movies ever made. Black Narcissus won two Academy awards, for art direction and cinematography. It would take over 3 decades for a comparable film (Days of Heaven) to come along. If you are fortunate enough to have viewed the laserdisc version of the movie, you will be able to listen to Powell and Scorsese do a running commentary of the movie. Toward the end, you will learn how the final scene was shot to a film score, and not the other way around.
This Powell-Pressburger film is one of the most beautifully photographed color movies ever made. Black Narcissus won two Academy awards, for art direction and cinematography. It would take over 3 decades for a comparable film (Days of Heaven) to come along. If you are fortunate enough to have viewed the laserdisc version of the movie, you will be able to listen to Powell and Scorsese do a running commentary of the movie. Toward the end, you will learn how the final scene was shot to a film score, and not the other way around.
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