Martina García & Clara Lago in "La Cara Oculta" [2011 Colombia, Spain]

Andrés Baiz (credited Andi Baiz) has used a minimal cast to create his fine thriller, "La Cara Oculta" [Eng. Title: The Hidden Face] in this Spanish-Colombian co-production.

Storyline:
Adrián and girlfriend Belén move to Colombia from Spain, so that he could pursue his career as conductor in the Colombian philharmonic orchestra - Belén works from home as a fashion designer. She soon suspects Adrián might be having an affair with one of the musicians in the orchestra, and after some thought, hatches a plan - she would leave him a message that she's leaving, and instead move into a secret bunker originally built by the house landlord to see his reaction. The bunker is soundproof, bullet proof, and is hidden right next to the master bedroom and bath, with a secret entrance through one of the mirrors which one can see through from the inside, but is just a plain mirror when viewed from outside. After recording her message she moves all her belongings into the bunker to give the impression that she'd indeed moved away and shuts herself in. The only problem is it could be opened only through a key to get out, the key which she'd forgetfully left on top of the bed before locking herself in. She realises her mistake only when she decides to end the act and come out to console Adrián who finds it hard to cope with her leaving. But one day Adrián meets and brings home waitress Fabiana, only to be watched helplessly by Belén from inside the bunker. The rest of the film is of her bearing witness to goings on in the bedroom while desperately trying to let herself out to freedom.

I wasn't expecting too much from the film when it started off predictably and full of clichés. But soon realised it to be one of those original films that get better as the plot thickens. The best part of the film for me though was creating situations where events are simultaneously viewed and experienced from two different viewpoints - the drama contained there in is very well executed. It is also constructed like an old fashioned thriller a la early Claude Chabrol. I'm glad films like these still do get made, and I find myself in renewed appreciation of Baiz's work. The cinematography and editing is top notch, as is the direction and performances by the three key characters. But the best of the three performances undoubtedly belongs to the beautiful, incredibly sexy and talented Spanish actress Clara Lago who plays Belén. This is a neat little film with some original ideas, and therefore, Recommended Viewing..!

Amazon DVD Link




Compilation: Martina García and Clara Lago
I mixed the sequence of some scenes and even omitted some additional nude footage so as to not give too much of the plot away. This film is definitely worth checking out if you like well built thrillers.



Scene Guide:

• Adrián invites waitress Fabiana home after a bit of getting to know each other - he's desperate to move on after Belén had 'left' him - only Belén is an unintentional captive in a hidden bunker and forced to witness goings on she's unable to control. Sometimes being a voyeur can mean absolute torture. Fabiana is played by possibly one of the most ravishing Colombianas ever - Martina García.
• While in the bath, Fabiana begins to wonder if the mansion Adrián lives in is haunted. Hmmm, perhaps...
• Police suspect that Belén who disappeared off the face of the earth may even be murdered. When they discover a (not so) disfigured body, they ask Adrián to identify her. He categorically states that it is not Belén. The corpse is played by an uncredited actress, totally naked - come on guys, I'm only cataloguing the nude scenes here..! :)
• We see snapshots of happier times between Adrián and Belén when they first moved into the house. Belén of course is played by the talented, guapa Clara Lago - it's only a matter of time before she's gonna bag a Goya.
• Brief scene of Belén cleansing herself in the bunker.

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Marie Liljedahl & co in "Jag - en Oskuld" [1968 Sweden]

Let's digress a little bit here. "Jag - en Oskuld" [Eng. Title: Inga] is a kind of 'transitional' film from the late sixties - a metamorphosis of sorts in cinema that eventually evolved into a new genre called 'softcore'. While loops and stag films existed long before this one came, it was among of the first crop of films that tried to make those gentlemen's voyeuristic pass-times a bit more respectable - by inducing some cinematic value. American director (and later to become pornographer of repute) Joseph W. Sarno went all the way to Sweden to create his landmark film using talents from the land of Bergman. He was certainly inspired by Ingmar Bergman and used whatever he had at his disposal to create an erotica that Bergman-lovers might actually sit and watch. But of course Bergman is not just about make-up and lighting - its the composition, design, screenplay and the deep insight into his characters that makes it a unique experience. But leaving that aside, it succeeds as a coming-of-age drama, even if it may not compare to a Salvatore Samperi ("Malizia", which I may one day also get around to posting). Of course, we're comparing it with something made five years later, so I'll give this film a qualified thumbs up despite my awareness of what Sarno's future projects became. But for curiosity and academic interest, this film is Recommended Viewing..!

Storyline:
The Swedish title literally translates as "I, a virgin", so we can guess what this is about. After her divorced mother dies, young Inga is invited by widowed maternal aunt Greta to come and live with her. Seventeen, and a book worm brought up in a convent, she initially finds herself out of place in her aunt's hedonistic circle. But she's curious and adapts quite naturally to explore her budding sexuality. Greta has a twentyone year old toy-boy Karl, an unpublished writer, who's with her purely for some spending money. Einar, a friend of Greta's deceased husband is wealthy and married, but wants to also have Greta as a mistress so that he can stem his habit of running after teenage girls, and is willing to pay a monthly fee for her services. Greta agrees as she could actually use that money to fund her Karl. But once Inga comes to live, Greta notices Einar's fascination for Inga, and hatches a plan that'll allow herself more time with Karl...

The film is quite tame by today's standards when it comes to nudity, but then we're talking about the sixties, when despite the discovery of the morning-after pill, many still held traditional views when it came to sex before marriage - Sweden's was one of very few societies that tolerated sex and nudity in cinema, where despite the fact that the actress playing the titular role, Marie Liljedahl was barely seventeen, the film apparently did very well at the box office.

My NTSC DVD hasn't been remastered, but comes with two options - original Swedish with hard English subtitles, or the English dubbed version, and I chose the latter for this compilation. There's also a commentary in English from Sarno and his wife, but the comments are not specific to the scene we're watching and therefore a bit pointless. I couldn't locate any DVD in stock at the time of posting but will insert a link once I locate one. By the way, there's also a sequel to this which was shot in colour (The Seduction of Inga) and Marie Liljedahl, all of twenty one, struts around naked a lot including a lesbian scene - but the film is sleazy and plain softcore. I wouldn't be surprised if this was what drove Ms. Liljedahl to give up acting in films altogether.




Compilation: Marie Liljedahl, Monica Strömmerstedt, Anne-Lise Myhrvold, Lotta Persson, and others
A composite of several nude and partially nude scenes - I had to do a bit of digging to determine some of the names, but one still remains elusive.



Scene Guide:

• At one of the parties where Greta and Karl congregate, one of the girls (name unknown) is 'sentenced' for still keeping her virginity intact, and the sentence is to be carried out then and there thanks to a helpful volunteer..! :)
• Dagmar has her eyes set on Karl despite knowing that he's seeing Greta. One day, she 'takes advantage' of the situation. Dagmar is played by sultry blonde vixen Anne-Lise Myhrvold.
• Inga and and aunt Greta in the sauna - the maid is chatting with Greta while giving her a massage, the dialogues are in English which doesn't require explaining. Inga is played by doe-eyed nymphette Marie Liljedahl, and Greta by Monica Strömmerstedt, Ms. Strömmerstedt would soon give up acting to pursue a career in law, eventually also becoming a judge.
• Inga steps in and out of the shower and admires her nubile breasts - nice.
• It appears Inga also has a bit of an exhibitionist in her when she changes into her négligée in full view of Karl, staring at her through the window. After he leaves frustrated - he's after all seeing her aunt, Inga pleasures herself on bed in an unconvincing but tastefully done masturbation scene.
• Inga is invited to Einar's cabin for the weekend - here he's putting her to bed. She plays with her toy soldiers afterwards - while the scene may have been intended to show her innocent child-like instincts clashing with budding sexuality, the way in which it is filmed and the dreadful acting ends up making it look kinky..! :D
• Inga is encouraged by Greta to socialise with her hedonistic gang, who later at a barn pair up and get into an impromptu orgy, but a petrified Inga runs away from a lad who shows some interest in her. One of the girls having fun regardless is Uta, played by brunette Lotta Persson.
• Greta admonishes Inga for running away from her friends - she after all wants Inga to loose her virginity so that she would be ready to replace her as Einar's mistress - this is 'grooming' of a different kind. Greta persuades Inga to return to her friends, instead Inga goes looking for Karl to have her cherry picked. This is Puffy Galore..! :D

 

 

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Florinda Bolkan in "Indagine su un Cittadino al di sopra di ogni Sospetto" [1970 Italy]

Elio Petri is one of those important auteurs who breathed politics into Italian cinema during its 2nd golden era and one who could broadly be compared in inclination to the likes of Antonioni, Scola, and Pasolini. His was also a productive life cut short prematurely due to cancer, who'd otherwise have gone on to make many more memorable films. An ardent left-winger, he was even a member of the communist party and participated in protests at an early age, once even getting dismissed from school for his activities. Even though he has worked across several genres, he has this propensity to portray some of his political convictions in typical ironic style, and with an air of urgency.

The 1970 crime drama, "Indagine su un Cittadino al di sopra di ogni Sospetto" [Eng. Title: Investigation of a Citizen Above Suspicion] is one of his classics built in the style of a noire. It also deservedly won an Oscar for best foreign language film the following year, and a handful of David's to boot. The film casts an extremely cynical view on how people in authority can get away with murder. But it is beautifully done though, and every aspect of the film production is exemplary, be it the screenplay, direction, cinematography, performances from the main actors, the editing, or the brilliant score from the ever prolific Ennio Morricone, it is a wonderful gem that one can watch and admire for hours. Here's actually an interesting review of the film from British filmmaker Mike Hodges (Get Carter, Black Rainbow), who also throws in some interesting anecdotes for those interested. Needless to say, Highly Recommended Viewing..!

Amazon DVD Link




Storyline:
The film starts with Panunzio (brilliantly played by Gian Maria Volenté) murdering his lover, the already married Augusta in the most cold-blooded manner. He is meticulous, precise, and purposeful, getting back into his designer suit after cleaning himself up. Before leaving, he removes some evidence of his presence, but purposefully plants some that could incriminate him - he is the outgoing chief of the Homicide division, soon to take up the post of Police Commissioner of the political division. The police arrive, gather their clues, but quite simply couldn't come to consider Panunzio as suspect - he is after all, a citizen totally above suspicion. So goes a brilliant piece of monologue from Panunzio, "...I have left clues everywhere... not to mislead the investigations... but to try to prove for myself... of my being above suspicion. But still, if this leads to an innocent being condemned, my being above suspicion will remain unproven..!" While this clearly smacks of cynicism for the way politics and sycophancy make men in power 'untouchable', there's also a parallel drama running between Panunzio and Augusta through various flashbacks, with their kinky sessions, her infidelity, her apparent fascination for people in power and rampant promiscuity, and his deep anxiety to be taken seriously by her - in one passage of play, Augusta deliberately taunts him by calling him and his lovemaking 'childish'. This leaves Panunzio in a predicament with a point or two to prove...




Compilation: Florinda Bolkan
This is also a great film to introduce the classy Brazilian actress Florinda Bolkan to the blog. As beautiful as she is talented, this is also one of her more remarkable films where she plays the kinky housewife Augusta having an extramarital affair with police chief Panunzio. Her character also demands she wear no panties while at home. But there is only brief nudity shown even if Ms. Bolkan is practically naked under her flimsy but sexy garment, thanks to Petri's intention of not distracting the audience from what he's trying to say..! :)



Scene Guide:

• Funny and sexy - Augusta calls Panunzio at work and acts out her 'damsel in distress' fetish, pokes fun at his dress sense and complains of him smelling of shoe polish, as all policemen apparently do. She tells him she'd do anything to be interrogated in police fashion, but hangs up rudely, possibly after hearing his suggestion. Augusta of course, is played by the ravishing Brazilian beauty Florinda Bolkan.
• Play-acting continues when he enters her apartment, as an officer answering a call.
• She chops off his 'unsightly' tie...
• Further play-acting in the beach, as she runs away from an 'attacker'..! :)
• Looking for Augusta in the changing rooms, he catches her in somebody's arms.

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Maribel Verdú in "El Beso del Sueño" [1992 Spain]

I'm glad to have finally kick-started the nude filmography of one of the exceptionally talented (and unassumingly sexy) actresses from Spain, Maribel Verdú. I chose one of her early films, writer-director Rafael Moreno Alba's romantic thriller, "El Beso del Sueño" [Eng. Title: Dream Kiss, aka The Goodnight Kiss]. It is also an ideal film to see Sra. Verdú in the prime of her youth, despite there being more successful films of hers from around the period. Having said that, this is not a film easily available in Europe, mine is a NTSC edition too. Maribel Verdú is one of the finest actresses today, not that she wasn't talented back then - I may have seen only three of her films prior to this film, but her charisma in all of them is just as alluring as ever. Even back then, she could do comedy, melancholy, serious roles, and also play the seductress with equal panache. She remains one of my favourite Spanish actresses, and I hope to discuss more about her in future posts.

Storyline:
We follow Salvatierra and Margot's life independently until their paths cross during a train journey. Salvatierra is a alcoholic ex cop, now working at the other end of law with a banker named Delgado - helping launder money. Margot is a thief who plies her trade on luxury cabins of trains, in order to take care of her dad suffering from dementia. After Delgado falls out with one of his associates who is now travelling to Belgium with a horde of cash, Salvatierra is assigned to follow the guy and inform him to authorities just when crossing the border - he get's a cut from the reward that the Government gives out to informers. During the journey however, the associate's Rolex watch and smart suit catches the attention of Margot, who happens to be working the train that day. She drugs him during their 'train date' and runs off with all the money. When Salvatierra realises his target victim had been robbed, he knows who it is - he had been watching Margot all evening flirting with the man - and decides to follow her. He uses an excuse to get himself acquainted with Margot, and after deceiving her, even manages to retrieve the money. But he also gets more than he bargained for - when he falls head-over-heels in love...

Granted - this isn't the cleverest of thrillers - I wouldn't have otherwise thrown so many spoilers away - but this film has its other reasons for buying - I think the editing and sound is pretty good for what is an average thriller. But then there's one senorita sexy Maribel Verdú who plays Margot - she is definitely the main reason for owning the DVD, one that's therefore obviously Recommended Viewing..!

Amazon DVD Link




Compilation: Maribel Verdú
Made from several scenes - some have no nudity but are certainly worth watching, and as an added bonus we also have some unintended slips and upskirts.



Scene Guide:

• No nudity but sexy - we see how Margot goes about her business in posh trains. Margot is played by the talented, young and sexy Maribel Verdú.
• After a day's work, I'm sure Margot requires a long shower and a thorough scrub.
• Margot with the banker's associate travelling in her train - and while it all seems demanding, she's such a trooper - even when she runs out of room to stash her loot she knows how to improvise. You'll just love this if pantyhose is your thing ..! ;-)
• Margot concealing a secret in her bra, lest anyone notices.
• Salvatierra plays the honourable gentleman and walks out of his bedroom after Margot had to crash in his room - her flat has just been trashed. This however doesn't stop him sneaking in after she'd fallen asleep in the nude, but seems far more interested in the bra than the glorious view in front of him.
• No nudity but a nice upskirt when Margot discovers that someone had been fiddling with the aforementioned bra.
• Salvatierra returns with flowers while Margot is in the bath - she asks him in.
• This scene may only be a few seconds long, but for me at least, the highlight of the film, as we see Margot get off the bath and rush towards the door.
• And straight into the groping hands of Salvatierra...
• There's a post-coital scene after this which I left in - some may find it interesting (but I couldn't bother capping in the graphic).
• Margot had been manhandled, drugged and left for dead by the banker's thugs (who else?). Salvatierra arrives on time but struggles to keep her awake until the doctor arrives. There's no overt nudity in the scene, but plenty unintended thanks to Margot's ridiculously sexy undergarment. :)

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Lumi Cavazos & Claudette Maillé in "Como Agua para Chocolate" [1992 Mexico]

Veteran actor and director Alfonso Arau bagged a bucket full of awards for his 1992 romantic drama, "Como Agua para Chocolate" [Eng. Title: Like Water for Chocolate]. Based on wife and writer Laura Esquivel's novel of the same name, this is a quintessentially Latin American saga spanning three generations of a wealthy family during the first half of the twentieth century. Borrowing elements from native American mysticism, never has gastronomy, sensuality, love, eroticism, and magical fantasy been as imaginatively and effectively combined together in film before.

Storyline:
We follow the life of Tita, the last of three born to a prosperous couple - and according to family custom, destined to stay unmarried to look after her mother at old age. The father dies of a heart attack celebrating Tita's birth after he learns he may not be the father to the second child Gertrudis. As the children grow up, we notice mother Elena's barely concealed hatred towards Tita - she treats her more or less like a servant. But young Pedro, the son of a family friend falls in love with Tita, one which she couldn't reciprocate due to her circumstances. While refusing a proposal for their marriage, mother Elena offers the eldest daughter's hand in return, and Pedro accepts the offer as an excuse to stay close to Tita, as he'll be living in the maternal home. But things don't go according to plan with the ever suspicious Elena keeping a watchful eye on Tita. But Tita has a gift, acquired from her native American nanny and cook who teaches her to capture and transmit passions and emotions through cookery. After the nanny's death, Tita becomes the chief cook for the family. Tragedy strikes, and Tita gets acquainted with John, an American doctor from Texas, who had loved her from the first time they met. But she couldn't love him as much as Pedro, and resigns to waiting for Pedro to become available again...

While the film is well made and put together, it is essentially a woman's story, aimed at women. But it is the screenplay that makes it special. Held as a landmark in Mexican cinema, it neatly coincides with the second wave of creative film making in Mexico, even if Arau belongs to an older generation. Watch the film, and even better, read the book as well - Highly Recommended Viewing..!

Amazon DVD Link
Amazon Book Link [Eng. Adaptation]




Compilation: Claudette Maillé, Lumi Cavazos, and Regina Torné
The compilation was made from a letterboxed NTSC DVD (same as the above Amazon-listed product), which unfortunately is designed for older television sets. But it has a rather special scene, which demands greater respect in this blog. I enhanced it using my existing tools, but admit the exercise was only partly successful. Judge for yourself - snapshots from the original DVD (left), and my enhanced version (right):



I'm also beginning to lose interest in posting compilations after some recent discoveries, which will be explained later in a separate post.



Scene Guide:

• Sauce made from the petals of roses that Pedro had presented Tita, mixed with drops of blood caused by the thorns after it inadvertently scratches her chest, combined with Tita's unbridled sexual desire, and of course the succulent quails apparently amount to igniting latent horniness in people who partake in the meal - Tita is communicating with her lover in a language without using words. And Tita's sister Gertrudis is so ignited by the dish that she even sets the shower cabin alight trying to quell her own passion. She runs from the burning cabin in the nude, into the waiting arms of a revolutionary she had fallen in love with, and they ride off into the sunset in one of the most romantic and sensual scenes in cinema. Gertrudis is played by the voluptuous and sexy Claudette Maillé.
• Tita, the little saucy witch gives Pedro, now her brother-in-law, an eyeful of her virginal 'tetas' as she prepares mole. She compares her breasts to fresh dough - in the oven of his gaze. :-)
• In effect, Tita becomes a wet nurse to Pedro's child, offering the baby her breasts as a pacifier. Tita by the way, is played by Lumi Cavazos.
• Tita bathing mother Elena, a character as cold as Ingrid Thullin's Karin in Viskningar och Rop. Elena is played by veteran actress Regina Torné.
• Upon hearing of the death of Pedro's child, Tita disobeys her mum for the first time, and locks herself up in the loft. John rescues and takes her away.
• Tita gets together with Pedro after twenty two tears, after his daughter gets married...

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