July 09, 2006

SIN AND SWASTIKA! – THE GESTAPO’S LAST ORGY (A.K.A L’ULTIMA ORGIA DEL III REICH) – REVIEW 24





The Plot

We see a 1950’s car on a journey through the European rural countryside. Over this we hear a Nuremberg-esque trial. Varied voices mention the tortures and heinous acts that occurred at Camp Nalgen.

The driver is Conrad von Starker (Marc Loud) – the voices we hear are from his trial. We are also made aware that this Nazi was let off because his lawyer managed a ‘just doing his order’ excuse that paid off nicely and unjustifiably as some flashbacks will reveal.

The car stops and picks up a beautiful blonde haired younger woman named Lise (played by the stunning looking Daniela Levi).

Both characters embrace as they venture on to the remnants of what was Camp Nalgen.

As they walk amongst the debris and the Nazi slogan scrawl the flashbacks become stronger and we are taken back when the camp was in operation and how the two main characters became so entrenched with each other.

We see a truck pull up at the camp where a horde of screaming women and children are ushered out of the truck where they are separated into two factions straight for the annihilation chambers or whores for the third Reich.

Lise falls into the second category and due to her stunning looks, silent determination and sexual hardiness in a tough orgy sequence - receives the attention of Commandant von Starker.

He picks Lise as his object of sadomasochistic desire and confides to his perverted KAPPO confident, Alma that his intention will be to utterly break her.

We then witness some gruelling episodes in Lise's life as she is treated to the most abhorrent physical and psychological torment. It seems however that the more ferocious and despicable von Starker is to her the more in love with Lise he falls.

Everything then becomes terribly ‘Night Porter’ as the story plummets to the depths and scales some very dark instances of twisted sexual desire.

Finally Lise breaks down psychologically and is entrusted to be looked after by the ginger camp Doctor; he diagnoses that Lise needs love and tenderness and promptly romps with her back to health.

Now back on track Lise continues her psycho-sexual relationship with her persecutor and turns from camp whore to personal lover. Lise changes and continues the charade to save her skin however one major tragic event pushes Lise over the edge and the power to get even fuels Lise to eventually right wrongs as coldly as her persecutors at Camp Nalgen.

I SAY

Directed by Cesare Canevari (the director of the first Emmanuelle film in 1969 by the way) brings us another class slice of tough Nazi corruption but masters the cinematography so it makes quite compelling viewing.

Canevari backs out from showing the lurid gore of the experiments and due to this restraint the horrors seem all the more shocking.

Lise is whipped, threatened with a quick lime dip and even (in the ‘iconic’ poster moment) is suspended above a ‘head-cage’ full of hungry gerbils. She is lowered inch by inch but refuses to scream another well played scenario between the two main leads.

Despite this restrain this doesn’t provide an excuse to hold back on other grim parts of the movie, a newly ‘attractive’ inmate is defaced via forks so the others won’t be overlooked for any favourable treatment.

Another grim episode is the annihilation chamber sequences as the victims aren’t so much gassed but ‘flamethrowered’ and burnt alive. As they huddle together from protection of incineration the scene stops – the peak of anguish.

One of the screaming women is visibly pregnant making this instance even more uncomfortable to watch...

The other instances of darker-than-dark are the ‘last orgy’ sequence where the prime of the third Reich elite are told that the women are their enemies and therefore should be treated anyway they wish.

Prior to this they are showed projected images demonstrating how inhuman the Jews are by showing propaganda in this we see one resulting to dog-like behaviour when starved, a mother and daughter in a restrained 69 position which they were left in until they both died, is also vulgarly popped up with uncomfortable anti-Semitic commentary.

The final slide is a young woman in love with excrement and we see the results; as the army audience masturbates.

This leads to a soft-core orgy explicit only by the nudity on display; it is the hardcore violence that is liberally thrown in what makes this film such a revelation as women are forced to fellate wooden poles and are clawed, pinched, violated and aggressed in a dehumanising manner.

Canevaris’ direction is smashing too, he on rare occasions ‘pauses’ the moment and captures the moment of absolute terror in one frame. The score is also worth mentioning a really robust, Wagnerian achievement courtesy of Alberto Baldan Bembo.

This soundtrack even features a theme in homage to the lead protagonist ‘Lise’, oddly the film is sung in German – which takes an edge off of the campness , even when we first encounter the credits the movie is telling us already that its’ going to be something a little more well constructed than its’ other bed partners. We are never let down either.

Despite its’ tongue and cheek the title song isn’t all that bad but is when used in the soft core Doctor and Lisa shag sequences.

This I think is the only time I have heard true anti-Semitic dialogue being abusively used.

The Eugenics mentioned are just as twisted and demonstrate just how fanatical and twisted the Nazis’ were.

No character however seems to be as nasty as she-wolf Alma who has gloves made by baby skin, skin lanterns with tattoo and pants made with the hair of dead women.

Alma even sodomises Starker with a whip end in another sleazy mis-en-scene a further display of insanity she is an attractive woman with the interior of a monster and is played with chilling perversity.

Another piece of pure scuzz is when she selects a menstruating girl to be thrown in with starving savage Dobermann hounds as Alva fondles a guard sexually whilst watching the rip-to-bits proceedings.

This is off screen but the mind can fill in the rest – believe me. That is also why Canevaris direction works so well.

Despite the elements of exploitation ‘The Gestapo’s Last Orgy’ is an interesting piece of psychosexual shock that demonstrates the power of corruption and consequence to great effect.

Canevari also displays some exquisite locality shooting; demonstrated especially well on a boat sequence and can also be highly erotic as seen in the gun fellatio sequence.

Such direction brings a certain ‘class’ to this film saving it from the ‘trash can’ label that it could drop straight into if this had been at the hands of Garrone/Eurocine et al.

I am totally unsure about the version I have research indicates that a man is seen ‘skinned’ alive to make a lamp shade and a women is set on fire with cognac and her charred remains ‘fondled’ in an orgy sequence.

There is also a mention of where a foetus is served stewed and the Nazis triumphantly mention that Jews could be bread for food as they repulsively cannibalise what is served.

These scenes I somehow cannot recall and would definitely remember them if they appeared in the film for pure repugnancy if anything else.

I have a DVD-R version that has obviously been transferred via the pre-cert VHS but states the version to be uncut.


The print is quite decent considering the rarity of such material.

I hear on the grapevine that this and another nefarious title ‘Red Nights of the Gestapo’ (which I have never seen) is to be released soon by Exploitation digital. Until then I await to see a longer version if in existence.

The Gestapo’s Last Orgy is a worthy title to view and is similar to Nazi Love Camp 27 in style and narrative and from what I’ve seen from both films works fantastically.

Definitely one to seek out or to patiently wait for, this controversial little number is so worthy of the digital treatment.

The Film; Gestapo’s Last Orgy

(A.k.a L’Ultima Orgia Del III Reich / Caligula Reincarnated as Hitler / Des filles pour le bourreau / Last Orgy of the Third Reich))

The Director; Cesare Canevari

The Year; 1976

The Country; Italy

The Players;

Commandant Conrad von Starker played by Marc Loud

Lise Cohen played by Daniela Levy (real name Daniela Poggi)

Alma played by Maristella Greco


Supporting cast;

Fulvio Ricciardi

Antiniska Nemour

Caterina Barbero

Domenico Serengai

Vittorio Joderi

Pietro Boscio

Pietro Vial

Renato Paracchi

Maria Grazia Cisera

Tino Polenghi

Version seen -VFP pre-cert transfer.


Region 1 available titled ‘Caligula Reincarnated as Hitler’ but I haven’t seen, nor have no desire, to see this version in what could be another bargain basement representation.

I could really champion this movie and can’t wait for an ultimate edition that looks as though will surface over the next 5 months and not a moment too soon either!!



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