SIN AND SWASTIKA; S.S GIRLS (A.K.A CASA PRIVATA PER LE SS) (1977) – REVIEW 22
“What you’re doing is top secret; you will be highly trained into individual love machines. By the time you complete your training you’ll be able to couple with anyone and most importantly under any condition – whether its’ normal sex or abnormal it doesn’t matter. You will be ready!”
Christ on a bike my living rooms like the Nuremberg Rallies at the moment with all this goose step viewing. The show must go on however……
In complete antithesis to Matteis’ exercise in despair ‘Women’s Camp 119’ we here have a piece of vaudeville theatre with a Nazi theme; with more emphasis on soft core than medical mishappenings.
This is simply a poor mans ‘Salon Kitty’ and Matteis' attempts at trying to capture the decadence of an S.S bordello is a brave attempt but just doesn’t quite seem to have the ‘sheen’ of Tinto Brass’ movie.
One of the biggest faux-pas is the choices of actors for the main roles. The main protagonist ‘Hans Schellenberg’ (played with absolute hysterics by Gabriele Carrara (Ohlendorph in Camp 119 too?) comes over as a comical character than anything remotely disturbing.
He has a deviancy and kinkiness in the character but this falls flat due to his performance of ‘foppishness and ham’. I would love to see this movie in its’ native language as the terrible dubbing really mars this in my opinion and some of Schllenbergs' rants may have been ‘lost’ in translation diluting the potency.
S.S Girls plays as a straight forward soft-core romp with Nazi motif; the plot is neither original nor inspirational but it is never the less a bold attempt at doing something grand on the ‘cheap’.
The grimness on display is really at its’ most repugnant in the training scenes where the whores have to endure all manner of twisted perversions in preparation for the real thing.
The tone is light despite how sadistic the treatment, these are only used as intercuts anyway and could not be considered prolonged.
The whipping/bondage scenes are ‘staged’ theatrically and hark back to Grand Guignol, they aren’t on long enough to cause discomfort and also seem to ‘comic-strip’ to be taken serious.
We also get the chance to see Sal Boris in ‘ape-rape’ action again this time chasing a women round the room, he gurns whilst she laughs hysterically at the farce of it all.
All these sequences occur in ‘lab-peephole-watch’ conditions thus again reminiscent of Tinto Brass’ similar style of ‘freak on parade’.
We also get the ‘forbidden pleasures’ of a woman making it with a severely deformed man and a bit of bestiality with an Alsatian. This by the way is worse in text than in view.
Between such depravities we see the harsh exercises of the women too, such as jumping around in blue leotards for no reason at all really, the lifting of polystyrene dumb bells and the passing of a ball from one another. These scenes remind me of the ‘Wonder Women’ Amazonian exercises in the hit TV series. The girls also get to be seen using firearms and a bit of fencing all in the name of the third Reich.
The Bordello is soon opened and the S.S elite turn up to indulge in their deviant whims. Even Kurt the loon from ‘Women’s Camp 119’ shows up for a spot of flagellation.
The scenes of s/m are typical soft-core savoir-faire of this kind, genre and age; they do come across as mildly titillating but on the whole are very tame indeed.
This is Nazi-Porn at its’ most ‘safest’ as I feel ‘decent’ would not be the most appropriate term. Despite Mattei showing us the same subject matter it couldn't be as further away from his other slice of 'Sadiconazista'.
The musical score by Gianni Marchetti lifts certain moments and plumps for famous classical pieces renditioned, for example ‘Tocata and Fugue’, this is unfortunately not all the time and we do hear some excruciatingly bad Muzak trying to imitate 30’s/40’s style especially during the daft orgy sequences. This unfortunately only dates the movie and does very little else.
The objective is to run an ‘anything goes’ S.S bordello where as well as their comforts the S.S elite could volunteer their hatred of the Fuhrer and the Third Reich condemning themselves as traitors.
Hans asks the help of Madam Eva (played by Beast in Heats' Macha Magell) to scout for the best whores in
With the assistance of Professor.Jurgens , the obligatory creepy Nazi medic and the supersexy beauty Frau Inge - the Private House of the S.S goes into business.
Hans goes demented and creates a kangaroo court where he plays judge, jury and executioner to the handful of S.S traitors. They all think it’s a laugh as Hans ‘drags’ up and wears an inflatable bishops hat on his head as he rants and raves over such traitorship against their supreme leader.
An execution squad appears lead by a Nazi who looks similar to ‘Odd-Bod’ in Carry on Screaming, he laughs maniacally before the Elite are wiped out.
The next group of generals are far tougher nuts to crack and consist of a ‘sewn’ eyed general, a hippy nutter with a ‘Nazi’ headband and another who looks like a rough Cossack. These three ‘despicables’ are given the same treatment as their predecessors.
As further orgies takes place and the usual double crossings and ‘romances’ occur to plod out the running time it is announced Hitler is dead and the predictable apocalyptic ending we have now become accustomed too takes place.
Some trivial highlights are on show if you can be bothered to look for them but overall this is a weak entry to be taken or left.
(also known as; Casa Privata per le S.S / Private House of the S.S / Hôtel du plaisir pour le SS.)
The Year; 1977
The Director; Bruno Mattei
Gabriele Carrara ……………………………………………..[Hans Schellenberg]
Marina Daunia ……………………………………………......[Frau Inge]
Macha Magall ………………………………………………....[Madame Eva]
Lucic Bogoliub Benny ……………………………………….[Dirlewanger]
Alan Collins( real name: Luciano Pigozzi)……………[Professor Jürgen]