July 10, 2006

SIN AND SWASTIKA! HOLOCAUST 2 (A.K.A HOLOCAUSTE PARTE SECONDA; I RICCORDI, I DELIRI, LA VENDETTA) (1980) – REVIEW 25





The Plot

The movie concentrates on a group of Jewish vigilantes formed by the original or relatives of the persecuted at a concentration camp .

Felix Oppenheimer (played by the ‘leonine’ Cameron Mitchell) is approached to kill an ex-Nazi on the coast.

Another character Lucilla is called in to deal with another more complex case. She forms a lesbian relationship with the once persecuted Dorothea (Kai Fischer).

An ex-Nazi Doctor has gone into hiding and by forming a relationship with his son Lorenzo, Lucilla - the avenging hebrew angel eventually plans to murder him. It is believed this will bring the father out of hiding for his execution.

The first ‘victory’ is taken out on Colonel Hans (William Berger) and his wife; Colonel Hans ends up with a bullet in his head. His wife is stripped naked in the house grounds by the retributors and then tied by the wrists and ankles. The rope is skilfully wound around the trees and as the four men pull tight on the ropes this causes her strangulation successfully.

The second victim is the once ex-Nazi bully (Elisabeth Tulin) who, we are told in repetitive flashback, was fond of randomly beating the prisoners up and separating mothers and daughters. Due to careful ‘rigging’ she is gassed to death as she lays in bed.

Meanwhile Lucilla successfully seduces Lorenzo and on the way back to his ‘pad’ she requests a cigarette break, he pulls over and after a small bit of heavy petting he is stabbed to death.

News reaches the Father, who we also learn from lugubrious chatter was responsible for several duff brain experiments,after being told of his sons' death by his daughter he finally comes out of hiding.

The vigilante group catch up with and kidnap him, and in one of the most ludicrous deaths filmed is taken to a room where he is strapped to a table. There a goat licks his feet until his heart packs up, this is inter-cut with con-camp gate photos’ and what appear to be ‘oven’ shots.

There is still the one oppressor Felix must deal with but fears he cannot carry it out due to his sanity (at least that’s’ what I made out of this bloody mess). Eventually Lucilla shows up, and together they execute a plan for the final revenge.

I SAY


What the purpose of the film is, came over as totally unclear. Despite the wife of Colonel Hans getting an explicit (although not particularly sexually violent) rope death the rest of the murders are cheaply staged and do very little in any ‘thrill’ department.

The editing, direction and performances are unfortunately as flat as a bottle of well shaken pop.

It seems the potential niche for this sort of film, who due to its’ late entry were possibly now nigh on extinction, have been completely overlooked.

The film opens with a montage of real atrocity photographs and Sorginis’ accompanying score really ups’ the grim stakes. But that literally is it for nasty moments.

Sorgini composes a score that combines off-cuts from Manchester Morgue (oooooo,weeee,ahhhhhh,ooooo, laaaaa to a one note organ sound) and variations on the main theme (which in itself is quite catchy) ranges from Spanish Guitar to orchestral muzak.

In one awful sequence Lucilla wanders through the crowds to a dire dirge but what lyrically is sung seems about another person entirely.

So Gestapo’s Last Orgy had the song ‘Lise’ but despite the cheese this did seem to match and blend in well with the grim milieu. Unfortunately this is abysmally executed in ‘Holocaust 2’.


The rest of the plot is mind numbingly dull and is hampered significantly by uber-bad dubbing. In one scene between Lucilla and Dorothea it is not apparent who is talking, or if they actually are, adding confusement to bewilderment.

The dialogue is as inane as the acting is non-inspirational. It just goes nowhere and for what could be classed as the final instalment of ‘Sadiconazista’ is definitely the shit cart after the parade.

The vile-thrill inspiration prompted by ‘Love Camp 7’, ‘Salo’ and the ‘Ilsa’ series of films is virtually non-existent in this lifeless piece of bland.


One ‘salvation’ of this could’ve been the image of con-camp children forced to sing as loud as they can to cover up the noise of the gun-shot executions.

This works particularly well in the first instant, Pannachio’ insists however, on using the sequence over and over and over again which critically dulls any ‘sting’ and ‘impetus’ that worked first time around.


What is presented plays as a ‘rough edit’, the plot itself could have been decent and well realised if people could’ve been bothered.It is a weak blueprint for something much, much better that never arrives.

Although the duration of the flick is a scant 80 minutes it still seemed like a lifetime after spending an evening with it.

As well as those bloody kids keep popping up singing their hearts out to a badly synchronised ‘Hitler Youth’ sounding record; another annoying and irritating way of director Pannachio are these inept close up of the eyes. These are used in the alleged ‘tense’ moments but seem randomly out of place. It's as though you know what the director is trying to do but wince at his failure.

The other sleazy bit is a ‘Night Porter-esque’ dance to a room full of Nazis, the only misfortune is the woman doing the dance is not attractive and costumes aside looks like any modern (1980 standard) living room.

If people involved had ‘bothered’ you have the premise of a decent little drama like Gestapo’s Last Orgy’ and Nazi Love Camp 27.

I really think the only thing going for it could be its' obscurity and scarceity factor. Released in April 1980 to a jack boot weary Italian audience this is the last of its' genre and fails to deliver anything visually that made its' predecessors a success.

It kind of deals with the ‘delirium’ in the most economical way possible, by having the persecuted, generally crying, imagining their time at the camp achieved by using real photographs that flash between the sobs.

For a feature film that doesn’t seem to know where the fuck its’ going it would be recommendable to completists only.

The title of the film could be referring to the second Holocaust after the first – The Great War or to cash in on a successful television mini-series called Holocaust but in all honesty who gives a toss.

Non-Sexy, Non-Controversial and virtually a Non-entity this incoherent pot-boiler could be considered one of ‘Sadiconazistas’ last outings and as the cycle had by now, run its’ course, its’ death-nail.



The Film; Holocaust 2; The Memories, The Delirium, The Vendetta.

(A.k.a Holocaust 2 / Holocaust 2: The Memories, Delirium and the Vendetta, Part Two / Subliminal: A Splendid Day to Die In / The Experiment / Holocaust 2: The Memories, Delirium and Vengeance / Polttouhrien kosto )

The Year; 1980

The Country; Italy

The Director; Angel Jonathan (real name: Angelo Pannacciò)

The Music ; Giuliano Sorgini


The Players;

Tina Aumont [Dorothea's mother]

William Berger [Colonel Hans]

Katia Chiani (real name: Marzia Damon) [Mathilda]

Kai Fischer [Dorothea]

Michele Guaglieri [Michele]

Susan Levi [Lucilla]

Gordon Mitchell [Felix Oppenheimer]

Nino Musco [Alfonso]

Pina Pietronigro [Elisa]

Andrés Resino [Lorenzo]

Sergio Serafini [Franco]

Elisabeth Tulin [Nast Nazi Lady]

This version can be obtained in a dutch vhs to dvd transfer, region 0.


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