The recent Film Movement Classics triple feature Blu-ray release of '60s and '70s films by Joe "Chekov of Soft Core" Sarno is the latest addition to Classic's "Joseph W. Sarno Retrospect Series." The Unreal TV post on the most recent double feature of "All the Sins of Sodom" and Vibrations" includes links to the separate posts on the first Classics Blu-ray double feature of Sarno films and on the documentary "My Life in Dirty Movies" about Sarno.

This latest collection of Sarno films begins with That '70s Skin Flick in the form of the early '70s movie "Confessions of a Young American Housewife," This one is notable both for being the only color one in "Retrospect" and for being highly amusing, The humor includes a middle-aged woman actually named Mrs. Robinson who seduces the grocery delivery boy. This enticement is pure porn from the first knock at the door to the final bang in the bed, 

The title refers to the aforementioned Jennifer Robinson winning a 1963 "Young American Housewife" award; this is one basis for daughter Carole believing that her now-single mother is living a chaste and celibate life. The audience soon learns that carpets and the drapes of this happy homemaker clash.

Carole also initially thinks that her visiting mother (who enjoys making tasty cream pies) is not cool enough to accept her and the girl-next-door swinging in every possible combination of coupling. Carole learning that her nymphomania is hereditary allows the game to fully get afoot. The modern variations of the Oedipal Complex contribute to the fun.

"Sin in the Suburbs" is an NC-17 version of wonderfully cheesy films about unfulfilled '60s and '70s housewives. The residents of this Peyton Place include the nymphomaniac wife of a young executive, the MILF of a teen daughter with a horny boyfriend, and the grass widow whose divorcee status makes her an outcast. Although her brother is the new man of the house, the fallen woman takes charge of persuading a creditor to not repossess the furniture.

The scandalous secrets extend beyond the aforementioned boyfriend trying to keep it in the family; the copious other action includes a workman who lays down on the job.

All this inspires "Bro" to start a special club for the neighbors. The first two rules of this organization with a strict dress code are that you do not talk about it. Suffice it to say that every member pays his or her dues. 

"Warm Nights, Hit Pleasures" can be considered "The Facts of Life After Dark." A freshman coed at an upstate New York college makes a connection that inspires her to persuade her friends to drop out and to move to Manhattan to find fame and fortune. Of course, they end learning the price of fame. 

The fun extends beyond nude dancing to showing an out-of-towner a good time. One of the girls also bonds with their landlady, who is a "calendar" model. 

Like the other Sarno joints, each of these three movies combine porn-movie acting with good production values and stories with reasonable depth. The set up go well beyond a UPS guy telling a housewife in a negligee that he has a big package for her. Additionally, the artistry of the films leaves a little bit to the imagination.

Several deleted scenes from "Housewife " are a highlight of the DVD extras. Classics saves the best for last by finishing the reel with an orgy scene that seems too hot for Sarno. That one clearly shows that cast loves their work. 

Breaking Glass Pictures fills the need for a John Hughes style distressed teen in love with quirky outcast film in releasing the 2016 film "Honeyglue" on DVD and VOD on February 19, 2019.  The scads o' festival love for this "The Fault In Our Stars" with a transvestite leading boy includes a Best Feature award at Cannes, an award at the Newport Film Festival, and the "Best Director Award" at the Orlando Film Festival.

The following SPOILER-LADEN YouTube clip of the "Honeyglue" trailer does a good job presenting the story and those who tell it.

Though Hughes films are the granddaddy of "Honeyglue," more recent (and edgier) "teens with cancer" dramedies such as "Me and Earl and the Dying Girl" and "The Fault in Our Stars" are the older siblings of this story of girl develops fatal brain tumor, girl meets girl/boy, girl and girl/boy live happily ever daily.


The hook this time is that the girl is a conservative suburbanite presumably with grades that are as good as her manners. The bad boy is a drifter with an incredibly troubled past and a desire to express himself that is as strong as the forces that seek to repress it.


Our modern-day Frankie and Annette Morgan and Jordan meet at a not-so-wholesome night club where they strike up a conversation. On Morgan asking a made-up-in-drag Jordan about his sexuality, he grabs a seemingly random guy to kiss full on the lips only to turn around and do the same to Morgan. Other symbolism


This quickly leads to Morgan unexpectedly meeting the parents sans wig and with minimal makeup but clad in a kilt. One spoiler is that Jordan portrayor Zach Villa, who aptly is starring in the stage production "For the Record: Dear John Hughes," is more appealing as a very pretty boy than a not-so-pretty girl. He can be considered a feminine and darker cousin to "Austin and Ally" star Ross Lynch.


On the same subject, Adrianna Mather plays Morgan. She does a good job playing a quirky "All Grown Up" Ally to Villa's Austin. Mather is also a Zombot co-owner and a producer on "Honeyglue."


The courtship of Morgan begins with a "winner-take-all" bet; this in turn leads to a wonderfully awkward 'za feast with the 'rents and hilariously hyper and goof bro Bailey. "Twilight" veteran BooBoo Stewart excels at stealing scenes in this role.


Discovering the advanced stage of the brain tumor in the noggin of Morgan prompts our lovers to accelerate said courtship despite the opposition to said plans. This leads to the cliched road trip (very much ala "Earl") that has enough twists and humor to make it interesting. Suffice it to say that Morgan is a particularly bonnie lass during this leg of her adventure with the kilt-wearing Jordan.


Like all films of this nature, reality crashes down on our pair near the end. The nice twist this time is that it reflects the truly fantastical nature of the soul of Jordan.


This being a film largely geared to teen girls, the symbolism of the title is blatant but effective. It relates to a wonderfully illustrated children's book that Jordan is writing. This tale tells of a very cute dragonfly boy who literally and figuratively goes to great lengths to woo the bee princess whom he loves. Both the tale and the drawings create a strong desire for a copy of this book.


Bird injects more subtle symbolism in manners that include other cliches in modern "cancer" films. One example of this is Jordan shaving his head in solidarity meaning more than support for Morgan losing hers.


On a more personal note, the quality of the film overcomes pre-viewing negative feelings regarding the transgender element in it. This aspect of society seems done to death and does not appeal to your not-so-humble reviewer. Instincts that "Honeyglue" is far more than a boy in a dress or a desire to fully become a girl enormously pay off.

The Film Movement February 12, 2019 DVD release of the 2017 documentary "Antonio Lopez 1970 Sex Fashion & Disco' gives the general populace a chance to catch this groovy flick that is the January 2019 selection of the exceptional Movement Film of the Month Club. Learning about the lives, loves, and lusts of the fashion world elites of the '70s is only the beginning of the fun.

The following YouTube clip of a trailer for this 2017 Doc NYC Grand Jury Prize winner clearly conveys the love by the numerous talking heads for Lopez. You also will see his bright and vibrant art that is sure to warm the hearts of those of us trapped in the polar vortex.

Filmmaker James Crump goes well above-and-beyond assembling the team of some that you recognize and some that you hardly even heard of to share their stories of Lopez. A sad aspect of this is that many notables in that group do not participate for reasons that include falling victim to what is known as the plague of the '80s. This film reminds us of the heavy toll that the early days of AIDS takes on the creative community.

Much of the film centers around recently deceased photographer Bill Cunningham, whose love for Lopez is especially strong. His narration provides a great deal of context that includes reminding us that artists such as Lopez transform the clothing industry from merely providing a means to hide our shame to haute couture. 

At the heart of it, young Puerto Rican immigrant Lopez taking New York by storm is proof of the American dream. Current make-up artist Corey Tippin telling the tale of a being a student in a college course of Lopez and quickly being singled out to come to the front of the room to model is one of the more interesting stories in the movie that is bursting with fascinating accounts. 

Tippin immediately becoming an intimate of his professor in every sense of both terms illustrates a prime theme of "Antonio." This era of free love allows everyone to express physical desire for anyone else regardless of gender, race, ethnicity, or consenting student/teacher relationship. A talking head aptly notes that this period is more liberated than our currently enlightened society.

Lopez himself is worthy of a Hollywood biopic; his individual exploits include finding a cross-dressing male street-corner prostitute to step in when a dress does not fit a model. We also learn that his charm and drive allow him to literally simultaneously "make love to" men and women and leave all emotionally and physically satisfied. This includes boyfriends who can be considered life partners by multiplying the length of the relationship by the magic number of seven that applies to both forms of dogs.

The discussion of the group actually known as "Antonio's Girls" further reflects the broad (no pun intended) taste of Lopez. These women include then-models and subsequent actresses Grace Jones and Warhol discovery Patti D'Arbanville. We also hear from Jessica Lange, who immediately captivated Lopez and can thank him for setting her on the path to fame.

One of the more interesting stories is that of 17 year-old Texan Jerry Hall bursting on the scene, Hearing her peers discuss her exuberance and her embracing her new-found wealth and celebrity is very interesting. All of this occurs before Hall marries Mick Jagger and then moves on to her current status as the trophy wife of Silver Fox Rupert Murdoch.

Speaking of Warhol, we learn about his relationship with Lopez; hearing about these men dividing up the counter-culture elites of New York is hilarious,

The subsequent pairing of Karl Lagerfeld when Lopez et al move to France is equally interesting, Learning about the phallic manner in which Lagerfeld subsequently treats Lopez is not surprising but is distressing, The principle here is that particular intimate acts especially entitle you to reasonable consideration regardless of the degree of love associated with said activity.

The biggest lesson in all this is that some people truly lead extraordinary lives that warrant documentaries and biopics. This is a good perspective for folks who think that starting a fast-food chain or inventing a mop warrants a movie.

This is not to mention all the people who think that starting a recycling program at their high school qualifies them for a Nobel Prize. Those with exceptional talent, a strong work ethic, and genuinely noteworthy experiences are our true American Idols. 

Having stated that, Crump is invited to reach out to me if he wants to make a documentary about a guy who has not made a penny writing about vintage movies and TV shows, indie films, and boutique hotels for 13 years. :-) 

The Film Movement division Film Movement Classics January 8, 2019 Blu-ray release of the 1997 drama "Bent" continues what Classics describes as an effort to rescue (often largely forgotten) notable films from the vault. The awesomeness of these releases extends well beyond the pristine remasters of these art-house gems and the exceptional bonus features to releasing them without the arrogance associated with a competitor (which Classics regularly outshines) that claims to set the criterion for such films. 

Like all classics, the value of "Bent "includes the relatability of the movie. The broadest level is the extent to which many of us have been persecuted for what someone "bigger and stronger" considers a flaw; another aspect of this is the ongoing storm trooper tactic of dragging innocent people out of their homes regardless of the legitimacy of that act. A lighter note is that "Bent" is a darker and better-quality version of the 1993 Robert Sean Leonard and Christian Bale film "Swing Kids," which depicts a Disneyfied image of Nazi oppression.

The pedigree of "Bent" begins with screenwriter Martin Sherman basing this period piece on his play of the same name. The merits continue with Clive Owen doing an exceptional job in the lead and Sir Ian McKellen having a very memorable cameo. This is not to mention Mick Jagger dressing in drag to perform in a gay cabaret. 

The opening scenes of "Bent" present additional relatable elements of the film. Openly gay Max (Owen) is waking up in 1934 Berlin with thoughts that include the prior night of decadence at the aforementioned night club in his head. His first rude awakening is in the form of partner Rudy (Brian Webber) being displeased about the presence of the younger and cuter man who spent the night. 

The persistent pounding on the door turning out not to be the landlord seeking back rent is the second wake-up-call. The interlopers are Nazi soldiers that are there as part of the Night of the Long Knives that is designed to strengthen the power of Hitler. Max and Rudy get caught up in that because the twink hook-up is a particular target of that campaign.

The first bit of context is that "swing kids," gay men, and other folks who enjoy partying, boogieing, and getting down in early '30s Berlin are like those who embrace The Jazz Age of '20s America. They live in a bubble and either are oblivious to or do not care about the coming storm. This leads to their worlds immediately crashing down on them. The increasing evidence that most of us are in for a very rough period shows that these reversals of fortune are not a thing of the past.

An even more personal aspect is the price that the vast majority of us have paid for youthful mistakes in the form of bringing the wrong person home. Although this often does not involve armed invaders, we learn to deeply regret our bad judgment, 

The raid ends very badly for the cute young thing and forces Max and Rudy to go on the run; Max seeking the assistance of partially closeted respectable family man Uncle Freddie (McKellen) conveys another aspect of gay life that continues today.

The Nazis catching up with our boys while they are living rough leads to the couple being put on a train to Dachau. The relatable aspect this time is Max having his loyalty to his partner tested. This leads to additional cruelty that is COMPLETELY designed to humiliate Max and another passenger for the entertainment of the soldiers. 

Max continuing his pattern of cutting a deal meets moderate success at Dachau; he gets the coveted job of moving rocks from one pile to another that is designed to trigger insanity. Fellow prisoner Horst (Lotharie Bluteau) gets the same assignment.

The interaction between Max and Horst provides the most compelling moments of "Bent." It is clear that Horst has more pride and integrity than Max. The icing on the cake is the highly erotic manner in which the men get to experience intimacy under intensely close scrutiny by the guards, The skill during these scenes makes us believe that Horst feels pain despite a lack of physical contact.

This bonding makes us believe that Max feels true love for the first time and experiences a related evolution. His paying a heavy price out of that love leads to an intense scene with a tragic end. These events further demonstrate the human capacity for cruelty. 

The most apt final thought regarding Bent" is the one that this post and many other articles on this film note; it reminds us that Jewish people are not the only Holocaust victims and that the persecution that it depicts is not limited to Nazi Germany.

The aforementioned extras begin with a booklet that includes essays by "Bent" director Sean Mathias on his approach to the project and by film historian Steven Alan Carr on the historical context of the film. Both writings confirm that this film is brave and bold.

The bonus features largely consist of presentations of clips from interviews with the stars. We also get Mick Jagger discussing his uncertainty regarding his ability to adapt to the style of the music in the film. A highlight is the Jagger "Streets of Berlin" music video. 

The Film Movement November 13, 2018 DVD release of the classic 1962 period-piece romdram "Forever My L:ove" is an awesome present to both the general movie-going public and to your not-so-humble reviewer. This release of this English-dubbed condensed version of the trilogy of films known as "The Sissi Collection" allows folks who only have 2.5 hours to experience this epic to watch the version that is a holiday favorite. 

This release also allows a holiday treat in the form of allowing regifting an edited version of a review of the Movement October 2017 Blu-ray release of "Collection," which includes "Forever." One disclaimer is that our topic du jour does not include every scene to which this post refers. Please consider these mentions a bonus regarding "Forever." 

Folks whom this real-life fairy tale with strong elements of the Princess Diana story greatly intrigues are encouraged to purchase "Collection." The "Trekkies" (rather than "Trekkers") regarding this epic likely will be content with "Forever."

The highly significant other of your not-so-humble reviewer sharing that images of the real-life Sissi still prominently appear throughout Vienna provides a sense of the significance of both "Forever" and the trilogy.  

"Sissi" from 1955 is a Cinderella story in a few senses of the word. The film opens with jocular Duke Max in Bavaria fishing with a few of his eight children in the idyllic wilderness around their castle. The group returns home to dine and is subdued by Duchess Ludovika (a.k.a. Mom).

An excited Ludovika (a.k.a. Vicki) soon summons daughter Helene (a.k.a. Nene) to privately share that Archduchess Sophie is summoning Nene to marry cousin/newly coronated Emperor of Austria Franz Joseph. A desire to conceal the purpose of this family reunion prompts bringing oblivious teen tomboy Sissi along.

The Cliff Notes of what follows is that an amusing wacky misunderstanding causes a bumbling security officer to mistake Sissi for an enemy of the state, Sissi and Franz meet and fall in love without fully realizing whom the other is, Nene and Sissi experience sibling rivalry, and our fairy-tale couple have a storybook wedding complete with fireworks but sans animated woodland creatures.

"Sissi: the Young Empress" amusingly foreshadows the Princess Di story in that newly wed Empress Sissi is highly popular with her subjects and is at war with her mother-in-law. Two particularly large bones of contention relate to Sissi having a more lenient and supportive attitude towards Hungarian malcontents than Archduchess Sophie, and Sophie literally taking the infant heir to the throne away from Sissi.

The "incognito" element is particularly strong in "Empress." A spontaneous undercover second honeymoon soon after the (presumably) first one finds our couple staying at a small rustic mountain inn. Watching these young lovers freely frolic and literally spit shine boots is great fun.

Another particularly cute scene has Franz Joseph giving homesick Sissi a literal taste of Bavaria and distressing his mother (who comes across as the party pooper) in the process. Despite the grandness of this gesture, Sissi equally literally runs home to mother to escape the trauma and the drama of palace life.

Of course, this fairy tale epic reunites Sissi and Franz Joseph and ends with the grand spectacle that is a trademark of this trilogy. These final scenes additionally incorporate the nature scenes that enhance the films and make viewers want to visit the region.

The 1957 film "Sissi: The Fateful Years" maintains the style and the quality of the other two films in the trilogy. The Di thread continues with mother-in-law problems and rumors of infidelity. 

The "Forever" extras include a making-of featurette and an excerpt from the documentary "Elisabeth [a.k.a. Sissi] Enigma of an Empress."

All of this shows that either "Collection" or "Forever" provide hours of beautiful scenery, a love for the ages, and a lesson in 19th-century European history.

The Film Movement November 13, 2018 separate DVD and Blu-ray releases of the 2017 Japanese courtroom drama "The Third Murder" provides particularly strong proof that the best modern films come from overseas. This is not to mention that New York Times ​Critic's Pick "Murder" meets the Movement standard of being a film that can be remade word-for-word and shot-for-shot in the U.S. and still make perfect sense. 

Movement is giving American audiences another treat by theatrically releasing "Shoplifters" by "Murder" director Hirokazu Koreeda in the not-too-distant future. IMDb describes that one as "a family of small-time crooks take in a child they find in the cold." That story makes that film more representative of the family dramas for which Koreeda is best known.

The six Japanese Academy Award wins for "Murder" further reflect the quality of the film. These versions of Oscars are for Best Film, Best Supporting Actor, Best Supporting Actress, Best Director, Best Screenplay, and Best Editing. 

The following YouTube clip of the official U.S. trailer for "Murder" provides a good sense of the compelling drama and the stellar performances that warrant the hype for the film. This promo. additionally provides a sense of the exceptional cinematography of the movie that REQUIRES buying the Blu-ray version.

The mastery of "Murder" begins at the outset. Although the opening scenes seem to leave no doubt that ex-con/factory worker Misumi is guilty of the slaying for which he is awaiting trial, the facts that emerge throughout the film show that things are not as they seem. 

High-powered criminal-defense attorney Shigemori soon figuratively and literally enters the picture to help prepare for the trial of Misumi. The defendant has already pleaded guilty to a charge of robbery-murder related to killing the victim in the course of stealing his wallet. The frustration of the defense counsel relates to Misumi changing his story a few times in the course of the proceedings against him.

The rest of the backstory is that the father of Shigemori is the son of the judge who makes Misumi a guest of the state regarding a 30 year-old murder. The nature of that crime is increasingly shown to have relevance regarding the current charges. 

The direct and indirect  evidence that emerges in the weeks before the trial gives Shigemori increasing reasons to have reasonable doubt regarding the nature of the killing and the culpability of his client. These new facts including indications of collusion to an undetermined extent between Misumi and the wife of the factory owner. Even then, the proverbial smoking guns may lack the believed importance. 

Things are further kept  in the family when the teen daughter of the factory owner states that she has relevant information. This ties into the relationship between Misumi and his largely estranged adult daughter and the impact of the career of Shigemori on his 14 year-old daughter.

Doubt further relates to "Kung Fu" style wisdom that Misumi shares with his dream team. This includes his statement that some people never should have been born; that declaration not having the assumed importance is very consistent with the spirit of "Murder."

All of this builds to the climax of the trial, which provides plenty of courtroom drama. The pragmatic outcome validates the impression of traditional court system that is presented throughout "Murder." The impact of this includes providing good reason to not trust what even seems to be an entirely voluntary confession.

The literally bigger picture relates to "Murder" presenting a variation of arguably the most famous Japanese movie other than "Godzilla." "Rashomon" centers around four conflicting accounts of an incident. Just as is the case in "Murder," each of these tales has an element of truth.

All of this amounts to "Murder" being a compelling film with strong doses of social commentary and thought-provoking philosophy.

As is the case with every selection in the Movement Film of the Month Club (which are available to the general public), "Murder" is well paired with a short film. Movement aptly describes "A Gentle Night," which as the Best Short Film winner at the 2017 Cannes Film Festival, as follows. "In a nameless Chinese city, a mother with he daughter missing refuses to go gentle into this good night."

The extras are a making-of "Murder" feature and "Messages From the Cast" of that film. 

The Film Movement October 2, 2018 DVD release of the 2017 drama "La Familia" provides a twofer regarding the always excellent foreign movies in the Movement catalog. This winner of two "Best Film" awards at the 2018 Miami Film Festival both presents a globally related story and provides American audiences a look at a world about which they know very little if anything.

The following YouTube clip of the official U.S. trailer for "Familia" illustrates the aforementioned aspects of the movie.

The early scenes center around the shockingly brutal life of 12 year-old Pedro in the slums of Caracas. The interactions between him and his fellow almost feral friends are brutal and shockingly crude.. A sadly relatable aspect of this is that it mirrors the life of inner-city kids in the United States. This is down to young kids recklessly playing with guns. 

An especially violent and emotionally disturbing confrontation ends in the accidental death of the malfeasor. Pedro catches a break in the form of his single father Andres discovering the fatally injured boy.

Immediately realizing that the incident puts an almost literal target on the back of Pedro prompts Andres to rush home and to just as quickly get his son to grab a few things and run. Typically of 12 year-olds everywhere, Pedro does not grasp the gravity of the situation. He properly notes that the victim is the aggressor but does not understand that that is irrelevant.

Most of the rest of "Familia" introduces Pedro to the life of his father. The real wake-up call comes when the the boy learns about the daily life of this man. The first stop is at the abode of a woman who seems to be a regular booty call., The not-so-warm welcome shows Pedro that adults have it rough, 

The next stop is the home of the wealthy woman who is having Andres doing painting. This lady of the house is perfectly represents the stereotype of the rich and/or famous. She and Andres discuss the work, and they haggle over his compensation.

Our pair then literally gets down to work. It is clear that Pedro dislikes this taste of the real world. The boy makes matters worse by generally whining and by nagging Andres about bringing him home. The dual frustration related to the haranguing involves Pedro creating the situation that requires staying on the run and his not understanding why he must be nomadic.

The subsequent events that further establish how hard Andres works to support Pedro also shows the rough life of working-class people in Venezuela. This involves working multiple service-industry jobs for little pay and less stability.

Filmmaker Gustavo Rondon Cordova literally and figuratively brings things home when Pedro returns to the scene of the crime. The news of the events since the unfortunate incident equally shock Pedro and the audience. 

Movement supplement "Familia" with the always well-paired bonus short that accompanies Film Club selections. The connection between "Les Miserables" and author Victor Hugo extends well beyond sharing the name of his arguably best-known novel. 

The common elements between"Familia" and "Miserables" begin with a street altercation in a rough part of town quickly going south. The 21st-century aspects of this tale of a rogue cop who exceeds the limits of his not-so-ethical partners include a drone capturing the incident.

The strong dystopian notes of both films reflect  modern poverty and the street justice that prevails. Th additional message in "Miserables" is the well-known 21st-century truth that a policeman no longer is your friend. 

The Film Movement October 9, 2018 DVD release of the 2016 Austrian biopic "Egon Schiele: Death and The Maiden" is particularly special for many reasons. The first accolade relates to this DVD being released a couple of weeks before the centennial of a notable date in the life of early 20th-century Viennese artist/Bohemian Schiele.

Another basis for praise is that Film of the Month Club selection "Egon" represents two elements that make Movement spectacular. It is right at home with the other biopics of European figures in the Movement catalog; the bigger picture is that it is one of the compelling foreign films that makes Movement a leader in releasing such films in North America. The ongoing copying of reviews of Movement releases from Unreal TV 1.0 and new posts such as the one to the Movement section of this site illustrate this grand tradition. 

The several 2017 Austrian Roma Gala awards generally speak to the quality of "Egon." The two Best Actress awards that Valerie Pachner wins for portraying Wally Neuzil, who is a muse/lover of Egon and is the model for the titular painting, reflects the quality of the performances by the entire cast. 

The well-executed contrasting time shifts are another element that makes "Egon" effective. The narrative begins on a gray and dreary 1918 day in Vienna. Gerti finds her brother Egon and his wife Edith extraordinarily ill in his stereotypical run-down artist's garret. A doctor is sent for just ahead of the action moving back eight years.

The incredible contrast between the appearance and circumstances between Egon in 1910 and 1918 makes one want to find out what occurs in the intervening 8 years; writer/director Dieter Berner does an excellent job filling in that gap. We meet younger Egon shockingly painting a gleeful nude 16 year-old Gerti. The bad touching that this sibling revelry includes is completely playful.

The circumstances of the conversation introduce an odd element to Egon that she is too young to join him and his artist friends for an evening at a club at which naked performers stage tableaus. This outing introduces the audience to exotic (and erotic) Moa Mandu, who the first in the string of models that Eqon seduces into his studio and his bed.

The strongest sense of the Bohemian lifestyle soon follows as Egon, Gerti, Moa, and the artists with whom Egon has formed a cooperative go on an extended vacation at a rented home. Folks who have tried a comparable social experiment can relate to the jealousies and other resentments that ensue. This is not to mention the additional elements of siblings testing the limits of their modern relationship and Egon not realizing that being a kept man is a privilege, rather than a right. 

The ongoing pattern of shifting between the 1918 present of the film and the past continues with the narrative returning to badly bed-ridden Egon. The audience learning the tragic news garners tremendous sympathy.

The story advances to Egon meeting the very independent and modern Wally, who truly is his match. This coincides with the rising fame of the latter, It also is the beginning of the end in many ways as The Great War becomes an increasing strong presence in the lives of our characters. 

Seeing how the war affects Egon both provides fascinating insight into his character in both senses of that term and highlights the contrasts of the impact of the war among those with some form of elite status and ordinary boys who become cannon fodder. One aspect of this is the degree to which a man who can avoid many of the horrors of war decides to do his duty.

The war years also are among the most interesting in the personal life of Egon. By this time, the audience knows how the relationship between him and the sisters who obtain great entertainment from living across the street from his studio. This also puts a seemingly harsh attitude in 1918 in perspective,

The roughly final 15-minutes of "Schiele" occurs in 1918; the excellent instincts regarding this extend beyond allowing the audience to see how the principals get there and the bases for their principles. This alone makes the film particularly powerful; the epilogue really drive the point home.

The broadest perspective regarding all this that makes Egon a perfect subject for a film set in the 1910s is that those eight years of his life perfectly reflects the times. This includes seeing how a radical move by his father shapes his psyche for better and for worse. 

Movement enhances the "Schiele" experience by choosing particularly wisely regarding the short film that accompanies every Club selection. The artistic sketches that comprise the animation in the 2017 "Nothing Happens" tell the tale of townfolks who gather for no apparent reason other than a desire to go along with the crowd. 

Film Movement aptly chooses the beginning of the academic year to take us back to school; art school that is. The September 11, 2018 release of the documentary "Revolution: New Art for a New World" by BAFTA winning filmmaker Margy Kinmonth puts the century-long Russian Avant-Garde movement in the perspective of the Russian Revolution. The first aside is that the incredible cinematography of the grand Russian buildings and of the copious bright paintings SCREAMS for a Blu-ray release. The second aside is that the wonderful art that indirectly comes from the revolution includes the awesome full-length "Anastasia" cartoon that is worthy of its Blu-ray edition. 

The final aside is that the "Revolution" release coincides with the Movement DVD of the reviewed  "Between Land and Sea." That one documents the year in the life of an Irish surf town.

Kinmonth opens "Revolution" with archival footage of the coup accompanied by narration that explains the basis for the regime change. She soon combines her themes with an image of a famous photo of a literal corpse-lined street, Graphic images of equally literal skin-and-bones corpses is far more disturbing. An equally symbolic look at the black square paintings of Kazimir Malevich accompanied by exposition on them is a less distressing look at the art of the era,.

The copious talking heads who put all this is in perspective include the usual suspects in the form of art experts; we also hear from the descendants of the artists who create the studied work. The story of Chagall is especially interesting in that the revolution literally and figuratively allows this Jewish man previously denied broad freedom. 

The underlying aspect of propaganda equally contributes to the entertainment and educational aspects of "Revolution." The aforementioned colorful works depict the new Utopia that the Bolsheviks assert as the new reality of the Russian people. Thus ultimately evolves to the better known blatantly propaganda posters that Kinmonth gives equal time. 

A particularly fascinating aspect of this is the sculptures that Lenin commissions to honor revolutionary heroes. Special fun comes via learning both how Lenin adapts to a limitation and why these works literally fail the test of time. 

We get an equally rare look at the master works that surprisingly pass the test of time thanks to archivists who recognize their value. The interesting broader perspective is that this shows that the Soviet Union shares the Nazi view that preserving art is a priority.

We also learn about the game changing aspect of Stalin coming to power. A spoiler is that last year's national hero is this year's Gulag resident; the overall theme is that the average Ivan is the new ideal. The special perspective this time comes from an elderly woman with a personal memory of an artist becoming a guest of the state.

The roughly 20 minutes of bonus footage consists of segments from the editing-room floor. These include separate coverage of women artists and avant-garde architecture. 

The biggest picture (no pun intended) is that the subject of "Revolution" illustrates (pun intended) how the art of an era reflect the politics of the day. Kinmonth deserves thanks both for valuing art over commerce in presenting this and for succeeding so well in doing so.

The Film Movement Classics division of global cinema god Film Movement releasing the 2000 Italian autobiopic "Scarlet Diva" on Blu-ray on September 25, 2018 proves that movies with a strong message never get stale. This film by writer/director/producer/daughter of famed horror director Dario Argento/girlfriend of late celebrity chef Anthony Bourdain Asia Argento aptly is right on the money regarding both the experience of women in the film industry and victims of Harvey Weinstein. The Blu-ray by Movement awesomely captures the bright lights, big city, and surreal aspects of this at times gritty masterwork.

This very meta movie has Argento playing highly sexed rising young actress Anna Battista. Anna both wants to expand her work to behind the camera and dislikes the exploitation of women in film that she considers to especially prevalent in her native land. 

The opening scenes perfectly set the tone of "Diva;" Anna literally is getting royally fucked in her trailer on a movie set when a prod. ass. comes a knockin' despite that van a rockin'. The shock value of the film continues as the interruptus of the coitus prompts a frustrated Anna to try to hastily take things in her own hands. 

This effort to finish herself off prompts the first of a few flashbacks to the childhood of Anna. In this case, it revolves around her mother essentially catching Anna with her hand in the cookie jar. We get additionally scenes of the disturbingly close relationship between Anna and her older brother. Freud literally enters the picture in the form of the real-life mother of Argento portraying her screen mama as a version of Asia. 

The aforementioned Weinstein scene is upsetting independent of the well-publicized despicable acts of that lowlife. The two converge in the form of the depicted interaction in 2000 being very close to the reported tactics of Weinstein. It is equally fascinating that producer Barry Paar portrayor Joe Coleman (who videotapes an interview for the Classics release) looks and acts very much like Weinstein. Although this scene alone fully illustrates the spirit of the #MeToo Movement, Paar aggressively and shamefully trying for a second round on seeing Anna a few months after their first encounter truly drives home the point.

We also get "absolutely fabulous" interaction between Anna and her hard-partying good friend. Our introduction to this Patsy aptly comes when Anna discovers her hogtied naked and deserted for two days by her drug-dealer boyfriend. One spoiler is that it does not seem that any man is positively portrayed in the film; this includes the rock star boyfriend of Anna who leaves her in a bad state.

Even considering the Weinstein element, the brutal honesty is the most striking aspect of "Diva." Few of us who would get the chance to tell our life story on the silver screen would include the time that we did Special K during a photo shoot or our disastrous audition for a film that is destined for the bargain DVD bin at WalMart. 

The copious extras extend beyond the twist-ending interview with Coleman. We get a candid 2000 interview with Argento and her 2000 and 2008 audio commentaries, We further get a "Making-of" feature. An insightful in-depth written essay on Argento and "Diva" rounds out this bounty. There is not doubt that all this will prompt declaring "show me the argento."

All you Moondoggies (or dudes who like duck diving during the day) and Gidgets (or regular-size wahines) should be totally stoked regarding the Film Movement September 11, 2018 release of the 2016 documentary "Between Land and Sea." Righteous dude Ross Whitaker, who is not a Barney or a Jake, shows us the year in the life of Irish surf town Lahinch. 

Although the tubular vernacular above suggests otherwise, "Sea" entertains without depicting a California style surf scene; this film is much more "Waking Ned Devine" than '60s beach movies that include the totally awesome "Wet Side Story" about a romance between a biker chick and a surfer dude, A prime example of this is mood-apt instrumental music filling in for more rousing Beach Boys tunes regarding the copious footage of the surf. 

The following YouTube video of the Movement trailer for "Sea" perfectly captures the charming and mellow vibe of this equal parts documentary, travelogue, and character study.

The concept that Ireland has a thriving surf culture alone is adequately surprising and compelling to warrant a film; the characters who are the subjects of the aforementioned studies not being airhead slackers contributes additional depth.

The stereotype of the California surfer is of a guy who fully embraces a dude lifestyle to the extent of only working hard enough to keep a minimal roof over his head and tacos in his stomach. He also usually does not have a steady Betty and even more rarely has rugrats. 

The first man to whom Whitaker introduces us is a married mining engineer, who admits to practicing that profession just enough to provide his family a good life; he devotes much of the rest of his time to his passion for surfing. His English-transplant wife makes soap to contribute to the family fisc. 

We also meet a farmer/surfer with a good sense of humor; his comment regarding the relative status between him and a English farm worker provides the only political commentary in the film. 

We additionally get a look at a surf camp that allows a quimby to try to learn to shoot curls. Related fun comes via watching our subjects prepare their kids to hit the waves. A shoot of the face of a young girl when her 'rent tells her how her life jacket will activate if she goes under the water is priceless.

The bigger picture is the aspect of a tourist town that at least partially relies on a weather-dependent activity to bolster the local economy. Another aspect of this is working like a surf dog during the high season (no pun intended) and living a slower pace of life the rest of the year.

Whitaker encompasses all of the above by beginning "Sea" at the start of the calendar year as our Kens and Barbies prepare for (and otherwise anticipate) the upcoming summer; he concludes things with a wonderful community-oriented Christmas celebration.

The aloha regarding all this is that "Sea" indicates that surfers generally are the same the world over. Riding waves seems to keep their temperaments at an even keel regardless of what life throws at them. Further, these guys seem equally open minded and accepting of all. 

The awesomeness of the Film Movement July 24, 2018 DVD release of the 2009 French drama "You Will Be Mine" extends beyond this tale of a med. student being obsessed with her single white female roommate leaving expectations deeply in the dust. "Mine" further is notable regarding Movement pairing it with the (reviewed) French sex comedy "Three-Way Wedding" 

"Mine" additionally passes the same acid test as virtually every Movement film. It could have been made word-for-word and shot-for-shot in America and still made perfect sense and had the same impact..

The following YouTube clip of a "Mine" trailer provides a sense of the cinematography and the performances that make the movie much more than a Lifetime-style film about one post-adolescent woman becoming manic over the girl who shares the expenses. 
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This almost literal year-in-the-life opens with a gleefully Marie Dandin and her entire family piling into the family station wagon to drive this piano prodigy to the gorgeous apartment that she is going to share with childhood friend Emma while Marie studies at the prestigious Lyons National Conservatory. The rest of the story is that M. et Mme. Dandin virtually idolize Emma for reasons that include her now-absent mother being an artist whom Mme. Dandin particularly admires. 

Writer-director Sophie Leloy channels the best of the '80s obsessed psycho films in having the drama start subtly before the excitable boy (or girl) of the film goes completely cra cra. In this case, Emma begins her reign of terror by seemingly innocently suggesting to Marie that they restrict their socializing to the apartment and never have visitors. 

The next portent comes when Marie convinces Emma to go to a restaurant; Emma subsequently is very uncool when cute Jewish boy Sami (who later shows one way in which he is one of the chosen people) and other classmatess of Marie run into the roommates and invite them to join them at a bar. Marie not properly interpreting the reaction of Emma ultimately makes a bad situation worse.

Emma soon making a very aggressive mood on a not entirely unreceptive Marie amounts to a rookie mistake that shows that the latter is unfamiliar with films such as "Fatal Attraction" and ""Single White Female." An increasingly aggressive Emma, mixed emotions regarding Sami, intense pressure at school, and having the limited financial resources of her parents limiting her options make Marie a woman on the edge of a nervous breakdown by the time of her Christmas break, Her clueless parents inviting Emma, who charms the family, to come along does not help matters.

Spring semester drama includes Emma promising to behave and going so far as to invite Sami to move in with Marie providing a very short respite, A particularly creepy breakfast table conversation among the three roommates is a highlight. However, one of the best moments come via Marie trapping Emma in a major lie.

Leloy wraps all this up in a believable manner in which feelings get hurt much more than bodies. 

The bigger picture this time is that Leloy touches on many overlapping themes that are relatable to large portions of the populations of many countries. The first is the extent to which people who lack close ties with blood relatives seek bonds with friends; the second is the gray area between a close platonic relationship and a sexual desire (particularly one involving a same-sex pair). Even more dangerous territory exists regarding someone who is closer to the homosexual end of the Kinsey Scale engaging in physically intimate activity with someone who is close to the heterosexual end. What is a combination of curiosity, horniness, and fun and games to one can mean more than that to the other person. 

Film Movement celebrates Bastille Day Month with separate but equal July 24, 2018 DVD releases of French films with modern sensibilities. An upcoming post on "You Will Be Mine" discusses that film about a lesbian love affair between reunited childhood friends.

​Our subject du jour is the more comedic 2010 film "The Three-Way Wedding." The attributes of this one include a strong live-stage vibe.

The following YouTube clip of a PG-13 trailer for "Wedding" showcases the midsummer-style comedy and eroticism of the film.
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This homage to Woody Allen and all the greats whom he honors in his "Midsummer Night's Sex Comedy" and numerous other adult comedies occurs during an eventful day at the country estate of blocked playwright Auguste. His day commences with an intimate moment with young law student Fanny, who is his assistant/confidante. The real fun begins with the arrival of visitors from Paris who are there to replenish the well of creative juices.

The source of much of the trouble is leading lady/Auguste ex Harriet being the current object of affection of leading man Theo, who accompanies her. Discovering this French connection enrages Auguste and prompts le fit hissy by the much younger Theo. Harriet taking off after her current beau does not help matters much.

Meanwhile, Fanny is the young innocent caught up in all this. These developments stir up feelings of ardor by all concerned, This is turn triggers thoughts of various unconventional options that reflect the title of the film. Fanny also is the center of a plan to literally upstage Harriet.

The absurdity of all this is that the plans to make Fanny a woman will rob her of the innocence that makes her appealing. It further seems that she is becoming "New Harriet." 

Theo portrayor Louis Garrel steals the show as he pursues Fanny with varying degrees of enthusiasm, plays young stud moving in on the territory of aging lion August, and regularly displays his emo side. Highlight includes his role in a reverse shotgun wedding and his clumsy attempt to seduce Fanny in her car.

Writer-director Jacques Doillon wraps things up in an apt but surprising manner that creates tantalizing ambiguity regarding which combination (if any)  of our characters will walk down the aisle and how that will work out. Either way, it seems sure that the finished play will reflect the outcome.

The fun of "Wedding" for Americans is the incredibly strong French feel of the film. Everyone is sophisticated regarding the sexual tensions and related overlapping relationships. We also get heavy emoting that seems par for the course for the affected folks. 

The summer movie season void that the Film Movement July 10, 2018 DVD release of the 2016 drama "Hotel Salvation" fills is for a beautifully shot foreign film with relatabale substance,  This film additionally is part of the always-awesome Movement Film of the Month Club. 

The following YouTube clip of a "Salvation" trailer focuses on the equal heart and humor of the film in this synopsis of the film. 

The Film Movement June 19, 2018 DVD release of the 2017 French drama "In Syria" provides another reason to look beyond Hollywood (or New York) for quality films. This production with an incredibly strong live-stage vibe literally brings the conflict in Syria into the living room of a typical Damascus family.
Writer/director Philippe Van Leeuw scoring 12 festivals wins in numerous countries reflects the good job by all in this film that has mother of three Oum Yazan converting her apartment into a "barricaded shelter" for her children, her father, a young couple, and a horny teen boy from the building. This siege mentality results from the constant sniper fire right outside the front door.
The following YouTube clip of a trailer for "Syria" showcases the tension and other drama related to being on the front line of a war.

The film opens with a distressed Oum using water from a large container in the kitchen; the action then shifts to the young couple with a baby dreaming of their flight to Beirut. The husband having an appointment to meet their reputable coyote that afternoon provides reasonable hope of that great escape.
The young boy is the fly on the wall as he plays with his grandfather, watches the aforementioned teen horndog demonstrate a complete lack of game, and witnesses an argument regarding a teen girl taking a shower that is much more serious than this running up the water bill or leaving the next person with tepid bathing.
The drama amps up when the "storm troopers" invade what essentially is equivalent to an "Anne Frank" existence. One member of the group taking the brutal brunt of this invasion further frays already strained nerves.
Other drama comes on learning that an absent resident is a casualty of the fighting; this leads to a harrowing mission, which leads to a few out-of-the-blue twists.
Much of the impact of "Syria" comes from seeing these ordinary people cope in these extraordinarily difficult circumstances. It also makes audience members think about how they would handle being in the shoes of these folks under house arrest.
The Movement bonus short film this time is the French film "Le Pain." This one centers on family, love, and loss regarding the impact of the man of the house disappearing after going out for the titular carb.
Anyone with questions or comments regarding "Syria" or "Pain" is encouraged either to email me or to connect on Twitter via @tvdvdguy.

​Indie film god Film Movement proves that the play is the awesome thing regarding the June 12, 2018 DVD of the 2015 film version of "Hamlet." This version of that classic tale of a dysfunctional family with an emo boy is a perfectly filmed production of a live-stage performance at the Manchester (England) Royal Exchange Theater.

The following YouTube clip of a trailer for "Hamlet" highlights the artful staging, the intense trauma and drama, and the best-known scenes from this play.

The stark modern staging is perfect for the tone of the story. Androgynous tall thin blonde-haired blue-eyed actress Maxine Peake ("The Theory of Everything") portraying the titular Prince of Denmark follows the practice of the alternative casting in many modern Shakespearean productions. Her appearance also evokes the thoughts that Portia (rather than Ophelia) is the love interest of Hamlet and that the original Yorick soliloquy includes rambling about guessing that Hamlet did not know him very well and concludes that he did not know him at all.

Other fun comes regarding hearing the numerous Shakespearean quotes that originate in this work. Not only do "Hamlet" virgins learn of the roots of these still popular expressions, their frequent use provides the basis for a drinking game.

The best news is that the poetic Elizabethan prose is very understandable; it is equally cool that Peake expertly delivers the numerous soliloquies that provide the primary narrative. The only disappointment is the lack of musical numbers ala the "Gilligan's Island" take on "Hamlet."

Stage director Sarah Framkcom starts thing out right with a sight of the ghost of the father of Hamlet appearing in a manner that is more "Close Encounters of the Third Kind" than "A Christmas Carol." The action soon shifts to a dinner party at which Hamlet is still moping about the death of his father a few weeks ago and his mother Gertrude is reveling with former brother-in-law/new husband Claudius. The urging of Hamlet to get over it hilariously evokes thoughts of the episode of the '80scom "The Facts of Life" in which well-meaning teen Tootie tries to get a grieving Natalie to attend a Pat Benatar concert.

Hamlet learning that Claudius is guilty of regicide and fratricide sets our already excitable boy further on edge. The related revenge scheme further evokes thoughts of sitcoms by including a plan to present a play that is intended to unnerve Claudius.

Meanwhile, the impact of these events on Ophelia and Polonius (who is the mother of Ophelia) affects brother/son/Hamlet bud Laertes  in a manner that strains his friendship with Hamlet. The pop culture analogy this time is to "The Princess Bride."

In true Shakespeare style, the final act consists of heavy emoting and bodies piling up like firewood. This leads to the curtain closing on the story.

The moral in this story that still rings true in the 21st century is to come for the culture and to stay for the relevance. Newly single parents often are are not very loyal regarding the former spouse and often quickly enter a second marriage with the wrong person; it is equally true that the kid is the one who suffers the most. It is equally relatable that the heir has mixed feelings regarding a leadership void in the family business.
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Anyone with questions or comments regarding "Hamlet" is strongly encouraged to email me; you also can connect on Twitter via @tvdvdguy.

​The October 25, 2016 Blu-ray double-feature of films by '60s and '70s director Joe Sarno, whom Film Movement describes as "the master of psycho-sexual cinema," is an aptly art-house film way for the Classics line of indie/foreign movie legend Movement way to celebrate Halloween. Movement describing "Vampire Ecstasy"(1973) and "Sin You Sinners" (1963) that make up this release that Movement titles the "Joseph W. Sarno Retrospective Series" as "seminal films" of sexploitation god Sarno will make the 12 year-old boy in male viewers giggle. 


Fans of Movement and/or Unreal TV may remember Sarno from the (reviewed) Movement release of the aptly titled documentary A Life in Dirty Movies" about Sarno,


Movement deserves immense credit for releasing the lurid and highly erotic "Ecstasy;" easily 30 minutes of this roughly two-hour film has a coven of witches who gather in the basement of a castle writhing around clad only in sheer loin clothes. They augment their trancelike swooning with couplings, group caressing (and more) of a prone member of their group, and worship of phallic objects that include candles that realistically depict the form of the male sexual organ but are above average in length and girth. 


The "plot" of Ecstasy is that the coven head, who also runs the household, takes advantage of the presence of the descendants of the former lady of manor to also lure a creepy brother-and-sister duo to the castle. The nefarious plot involves bewitching one of the descendants and the brother to "bond" in order to resurrect a deceased vampire leader.


Fans of "The Rocky Horror Picture Show" will love both the erotic horror themes and the siblings having to seek shelter in the castle after their car breaks down. "Ecstasy" provides plenty of opportunities for time warp and Magenta jokes. 


The mix of absurd, gothic, and erotic include inflicting unbearable sexual desire on a woman with a promise to relieve it on seducing the poor unsuspecting object of the coven's affection. For his part, the 20-something man with socially unacceptable tendencies has erotic dreams implanted in his head.


"Ecstasy" builds to a climax that satisfies aficionados of both erotic and horror genres. It is not one that you want to watch with your kids or your parents but is a great option for a guys' night in or a frat party.


On a larger level. "Ecstasy" provides a great opportunity to discuss the line between pornography and art that determines whether a film ends up on a adults-only website or in the catalog of an awesome indie film company. The presumably realistic depictions of Satanic rituals and related mind control favor classifying the film as art; Sarno forgoing the loin cloths and actually showing the insertion of the phallic objects in their female counterparts likely would have resulted in the film premiering at Pussycat Theaters around the country.


The wider appeal of "Sin" relates to it speaking to fans of the mother-daughter melodramas of the '50s and '60s, thrillers from that era, and the '90s cable hit "Mystery Science Theater 3000" that mocks both genres. This one has far less gyrating than "Ecstasy" and largely revolves around the conflict of a not-so-erotic dancer and her 20-something daughter.


The embarrassment of daughter Julie extends beyond mother Bobbi taking off her clothes for audiences that the film describes as drunken pigs; Bobbi also has the latest in a strong of middle-aged boy toys living with her and her daughter. The sins of this man include drinking, gambling (and losing), and going after Julie. 


A reveal halfway through the film is one of the best in the movie. Bobbi shores the lurid tale of how she comes to possess the doubloon that allows her to place the objects of her affection and of her dislike under her spell. This magic extends to making her seem younger and more attractive than her actual appearance, 


The campy fun continues throughout the  film and ends on a very apt note. The final performance of Bobbi is a highlight.


The bonus features include an interview in which Sarno shares the roots of his interest in horror and discusses the conversations regarding the proper balance of erotic and horror during the filming of "Ecstasy." His insights include showing how the same lighting can convey both horror and lust and 


The release also includes a booklet that features an essay on Sarno. This analysis shows how the childhood experiences of Sarno form and inspire his desire to show both the physical and the psychological aspects of human intercourse.

Fans of Indie film god Film Movement (and of Unreal TV) already know of '60s and '70s artistic soft-core pornography god Joe Sarno through prior Movement releases. This relationship with the man dubbed "The Ingmar Bergman of 42nd Street" begins with the (reviewed) Movement September 2014 DVD release of the documentary "My Life in Dirty Movie" about "Sarno." Movement follows this up with the (also reviewed) Film Movement Classics October 2016 Blu-ray double feature of the Sarno films "Vampire Ecstasy" and "Sin You Sinners."


The double-feature is the first release in the Movement Joseph W. Sarno Retrospective Series; a Classics September 26, 2017 Blu-ray release of a double feature consisting of the shot back-to-back Sarno '68 films "All the Sins of Sodom" and "Vibrations" is the second in this series.


Watching the black-and-white "Sodom" and "Vibrations" reinforces the aforementioned comparison to Begrman and a reference to Woody Allen in the "Movies" review. "Sodom" centers around the studio of photographer Henning, who specializes in sensually erotic images of women; the very hirsute Dan Machuen who plays Henning also is aptly billed as "hairy man" in "Vibrations."


Henning happily spends his days photographing nude and nearly nude women and his nights having sex with them only to discard them in both regards the morning after; this pattern changes in both regards in the 24 hours following model Leslie showing up for a layout. Maria Lease plays both Leslie and trouble-making sister Julie in "Vibrations."


Newly homeless model Joyce showing up the morning after Henning and Leslie seal their deal contributes the Sodom element to the sins that occur in the studio/home of Henning. Joyce portrayor Sue Akers does not appear in "Vibrations."


Morris Kaplan, who is the real-life still photographer for both "Sodom" and "Vibrations," also deserves a shout out for his roles in "Sodom" and "Vibrations." The performance of Kaplan as "Carlton the Doorman" style "elevator operator" in "Sodom" proves the adage that there are no small parts. He does even better in in the larger part of dreamy aspiring novelist Dick Parrish in "Vibrations."


Joyce the nymph in "Sodom" evolves from being a wildly self-pleasuring voyeur as Henning and Leslie have sex on the other side of a thin divider to being much more bold. Her overt adventures begin with seducing a reluctant female model, move on to actively striving to create the bad kind of friction between Henning and Leslie, and ultimately showing that three's company.


"Vibrations" centers around mid-west girl Barbara (Marianne Prevost who plays "Actress" in "Sodom") in New York to make it big as a writer but types manuscripts to pay the rent on her run-down apartment. This time, Barbara is the voyeur who hears her rich party-girl neighbor use her vibrator to pleasure herself and her friends in the apartment that this heiress rents solely for this purpose.


The trouble-making interloper this time is Barbara sister Julie, who forces her sibling to shelter her in the wake of Julie ending the latest in a long string of failed heterosexual relationships. Julie looking to live a highly irresponsible life on the limited income of Barbara is only part of the problem.


These sisters having the same names as the mid-west Cooper siblings in the Norman Lear '70s sitcom "One Day at a Time," and that Julie being the wild child to good girl Barbara makes one wonder if Sarno inspires Lear.


Julie is very aggressive regarding her desire to relive old times with Barbara, to join in the fun next door with the heiress and "hairy man" (and to get Barbara to be more neighborly in that regard),  and to get a man of her own. That third desire particularly hinders Barbara and Parrish living happily ever after.


The incredibly erotic bondagastic final scene in "Vibrations" screams for making the obvious reference to it being climatic. It further should prompt every adult female viewer to shout "Alexa, order a vibrator" and every man to wish that he could experience the intense pleasure that such a device apparently provides.


The effective smoking a cigarette after watching "Vibrations" is in the form of a interview with Sarno. A time constraint that required a virtual walk of shame at the end of "Vibrations" required postponing that pleasure for another day. "Movies," "Sodom," and "Vibrations" strongly indicate that that discourse is highly satisfying.


The "parting gift" from Movement, which always calls the next day, is a booklet that features liner notes by film expert Tim Lucas. The clear expertise of Lucas regarding both Sarno makes one look forward to the upcoming book by that author about that auteur.

The Film Movement July 5, 2016 DVD release of the documentary "Imber's Left Hand" takes an aptly creative approach to the life story of 21st century Boston-area artist Jon Imber. One of may elements that sets this story apart from other biodocs of painters is that Imber developing progressively disabling ALS requires switching from painting with his right hand to using the titular appendage. 


The numerous accolades for this film about a mensch whose likability matches (if not exceeds) his talent include Audience Awards at several Jewish film festivals.


The following YouTube clip of the extended trailer for "Imber's" nicely includes scenes from each portion of this true profile in courage (and humor).

The disturbing opening images of friends propping up an essentially limp Imber soon transition to images of a much healthier Imber 14 months earlier. He knows that he has ALS but is determined to live life to the fullest for as long as possible. 


Filmmaker Richard Kane also illustrates the progression of the ALS through a montage of still images of paintings that show the deterioration of the motor skills of Imber. Ongoing interviews with Imber additionally document the course of the disease.


The most uplifting portion of "Imber" focuses on the final summer that he and longtime companion/fellow artist Jill Hoy spend in the artist community in Deer Island, Maine. They are much loved among their friends there, and the summer-long trip provides Imber a chance to continue his practice of showing his love for those near and dear to him by painting their portrait in his unique style. Imber also showing his earlier works includes a hilarious moment regarding great expectations for his (now very charming college student) son.


The most insightful look at the creative process relates to watching Imber paint with his left hand during what seems to be an early stage of his disease and decide that he prefers a landscape, rather than a portrait, orientation of the piece. In doing so, he displays the same humor that makes one mourn losing any chance of sitting down for a cup of coffee with him.


The comprehensive scope of "Imber's" further include the artistic and other memorable element of the childhood of this subject, discussion of his mentor, and the story of his adorable and sweet courtship of Hoy. For her part, Hoy is whom you would want by your side during any hardship.


The DVD extra consists of an uncut interview with Imber.

Truly global indie film deity Film Movement, which operates an uber-fantabulous Film of the Month Club, scores another bulls-eye regarding the incredible English-language Swedish documentary "A Life in Dirty Movies." This film about an 88 year-old talented softcore filmmaker can be considered "Joe Sarno Shoot Me" in that it is very reminiscent of the recent film about legendary elderly performer Elaine Stritch, who passed away soon after Film Movement mailed the review DVDs of "Movies."

"Movies," which won the Audience Award at the Cinekink Film Festival, hits VOD platforms and your neighborhood art house theater on September 19, 2014.

The following clip, courtesy of YouTube, of a (misleadingly erotic) trailer for "Movies" offers a nice look at the themes of this film and the style of Joe. ​

​"Movies" opening with a very sensual and mildly erotic (but not at all pornographic) black-and-white scene of a male photographer showing two female models how he wants them posed from one of Sarno's classic '70s era films shows the aptness of Sarno earning the title "The Ingmar Bergman of 42nd Street." It similarly allows cinephiles to predict the later statement of Sarno that Fellini is a major influence regarding his work.

Most of the film consists of 88 year-old Joe and his adoring wife/collaborator Peggy discussing both his earlier career and a current effort to produce a film of a script on which he is working. Seeing Peggy loving tease Joe about some corny dialogue in his latest effort is both one of the funniest and sweetest scenes in "Movies."

We also get to see this loving couple, who truly seem to be soulmates, travel from their primary home in New York City to their summer residence in Sweden and to host their charming son for an evening watching a televised sports game.

The audience is further treated to scenes of Joe and Peggy being honored guests at one of the increasing number of festivals honoring his work. These events do not seem to differ from similar ones that pay homage to other film auteurs, such as Woody Allen and Martin Scorsese.   

The scenes from Sarno films and hearing Joe discuss his principles provide interesting insights into the seemingly endless debate regarding whether an artwork with an element of sexuality qualifies as art rather than pornography. The clear proof that Sarno movies do not appeal to the "raincoat crowd" subgroup of people who watched those films in Time Square theaters offers further proof of the artistic nature of the productions.

To use a cliche, an element of this awesomeness is that it dispels the cliched myth that producers of non-studio films with even a moderate amount of erotic content are low-life dirt bags. Sarno easily would be very welcome in any home and likely would insist on drying the dinner dishes.

All of this boils down to "Movies" going beyond achieving the twin ideals that a documentary both entertain and inform to introducing a terrific lesser-known public figure to a larger audience and to show that even generally substantiated perceptions can be inaccurate.