July 15, 2006


I thought I would lead away from the jack booted delirium of the previous posts and now move back into more ‘random’ territory. Didn’t want to make too great a leap however so presented here is a review of the sequel to She Wolf of the S.S

Harem is a much lighter affair than its’ predecessor, the ‘kitsch-ness’ flows in abundance and the amount of enthusiasm that went into making this production shows and the film is all the more better for it.

Don Edmonds once again uses his skilful mis-en-scene to bring us ‘adult-comic-strip’, here Guido Crepax fuses with DC Comics as we have something pulp but classy.

This was made due to the phenomenal success of She Wolf and was almost immediately a follow on. Friedman this time was nowhere to be seen so it was down to the skills of Don Edmonds and Dyanne Thorne to bring the whole thing to memorable life.

Unlike She-Wolf, Harem is decidedly less grim and despite the grim effects (Joe Blasco at the helm yet again) is most certainly a more ‘palatable’ affair.

This could also be due to the fact that the producers wanted to secure an ‘R’ rating, so although grim seems a little diluted in comparison, unlike its’ harsher predecessor.


The Middle East, Ilsa Time (chronologically we could say mid 1950’s but 1970’s style of course) and we witness a helicoptor dropping three coffin like crates in the middle of the desert.

They contain three of the worlds most beautiful and prestigious women, some to be sold in the white slave market or some for the perverted pleasure of Sheik Hakim Sharif. To ensure their purity and non interference they have locked chastity belts and once awoken from their drug induced delirium are placed in three golden cages to be prepared for their ‘grooming’.

We see the consequence of a guard fraternising with a female ‘inmate’ he is left to the beautiful bodyguards Velvet and Satin, where they absolutely pulverise him. For a low budget this fight sequence is fucking grade stuff, very impressed with the power behind it. To claim the victory the mans goolies are pulled off to an exotic shrill call of success.

En route to the palace are Dr.Kaiser and Commander Adam Scott; Kaiser hopes he can make oil negotiations with the Sheik, Adam Scott has much of the same on his agenda at a surface level but is also an undercover agent, checking up on his spy already in the palace and posing as a harem girl.

Back at the palace we witness the varied techniques in ‘fattening’ the women up. There is one truly repugnant scene where a huge beast of a woman sits naked gorging on cream and fatty things. She needed ‘Trisha’ or an early morning TV show playing, add to this fifty two triangular earrings in one sceptic ear and you have perfect chav representation. If she was sporting Burberry she’d be your average council estate fat hag; Blair’s people I think they’re called. Gross – but sets the scene…..

Anyway one of the girls who refuses to eat is fed in a fois-groie style because the heavier the women the higher the price the Sheikhs will pay.

Women with blemish and fault are surgically enhanced in some pretty disgusting ways but nothing as up-chuck we haven’t seen already in plastic surgery documentary.

Its’ quite weird looking at the 1970’s version of ‘blemish’ correction and to see methods of plastic/silicone surgery there classed as torture but undergone by so many people in this day and age- due to the drive of an aesthetically obsessed society.

It is soon discovered who the ‘plant’ at the palace is – the well endowed Haji Cat (a big tittied Russ Meyer favourite). Poor Haji endures some of the most vicious tortures to reveal who else is involved.

From flesh-eating ants and titty vice nasties to the distasteful magnificence of exploding diaphragms poor Haji has to get through the lot but still endures it to the final uterus-blowing end.

Kaiser and Scott finally arrive, Ilsa falls for Scott in a big way whilst Kaiser provides random and comic relief for the audiences.

In one black humoured moment he appears concerned he will be offered the goats’ eye and how prestigious this is to eat it; he is offered this and triumphantly gathers enough strength to get on with it - which he does so admirably.

Pleased and grinning with himself we then flash to the dungeon – Haji has no right eye for some reason……

Kaiser cocks up the negotiations but Scott decides to stay on as he has achieved two things he has seduced Ilsa completely and utterly, he is almost, as he thinks, near to his other secret agent.

The Sharif does not approve of this love-affair at all and in order to finish it orders Scott to be imprisoned with a tarantula ‘head cage’ for company and Ilsa to be taught a lesson – being sexually assaulted by a pox infected leper. Both scenes are graphically displayed for the audiences’ pleasure (and kitsch amusement).

After she is humiliated Ilsa is so pissed off she decides enough is enough. Rescuing Scott and enlisting help from her bodyguards Satin and Velvet they begin an all out attack on the Sharif and his men.

The female ‘prisoners’ are also let loose with a few pistols and after plenty of, surprisingly bloody good, action sequences overthrow the Sheik and his palace of corruption. He surrenders to Ilsa and she makes one last request that she wants him to perform.

She calls for the Sheik to be tied and gagged, his former sex slave Katsina is called for, she mounts him and gives the Sheik the ride of his life – with TNT diaphragm as an explosive bonus.

Ilsa and Scott also discover another prisoner a small 8 year old child, Prince Sellaim he is the natural heir to the Sheiks fortunes and entitled now to the palace and all its riches.

The bloodshed is not over however, and before wrongs are righted and justice prevails there is the matter of Ilsa herself - will she get her just desserts and how ……..?

ROUND OFF…………………………………………..

With all the best of the hokum of a cliff-hanger serial, lashings of brutality and comic strip chic ‘Ilsa –Harem Keeper’ is a success in its’ own merit and deserves as much praise as its sister.

The movies sets are amazing for the $14 budget and has‘sheen’ unlike the way She-Wolf played out. She-Wolf seemed to have that grubby, ‘roughie’ hang-over from the late 60’s – early 70’s – but by this stage Ilsa was now coming into her own style and her own right as the first screen villainess.

The movie was this time produced and directed by Don Edmonds who took a call from the Canadian Distributors after the nuclear success of the first box office Ilsa film requesting an immediate sequel. Edmonds fortunately accepted and Dyanne Thorne was only too happy to reprise her role.

With Palm Springs doubling as the mystical east, filming in temperatures well over 100 degrees and a Nunnery used as the palace things were now beginning to move along quite nicely.

Ilsa made her second outing to much critical acclaim and further notoriety, becoming something of a minor cult in certain UCLA fraternities.

There are some truly grade A exploitational iconic instances on display here, just like its predecessor. One delightful moment is Ilsa’s grand entrance wearing a skin tight fetish garment with two hounds either side or the other instance is when a thief has his hand cut off and the severed appendage brought to Ilsa on a Silver Salver.

She unclasps the clenched fingers to reveal the ‘still clutched Ruby’ – wonderfully macabre stuff indeed and you’ll be pleased to know are dollopped liberally throughout.

The most notorious string of events has to be concerning the exploding diaphragms and poor Haji being used as cannon fodder for its first demo, with the aid of a mechanical dildo machine. It really is pure comic book style and so wonderfully camp you’ll be in stitches at the result and in disbelief at such fiendish ingenuity.

As wonderfully daring and explicit as the first but a lot less sadistic, Harem keeper is not family viewing but is the best Ilsa film to start with before moving onto her other more, unsavoury, outings.

The Film; Ilsa-Harem Keeper to the Oil Sheiks

(A.k.a ; Elza - strazniczka haremu - Polish title

Harem Keeper of the Oil Sheiks - US advertising title

Ilsa - Haremswächterin des Ölscheichs - West German title

Ilsa la belva del deserto - Italian title

Ilsa, Keeper of the Oil Sheik's Harem)

The Year; 1975

The Country; Canada

The Director; Don Edmonds

The Producer; Don Edmonds

The Cameraman; Dean Cundey

Special Effects; Joe Blasco

The Players;

Dyanne Thorne; (Ilsa, Harem Keeper to the Oils Sheiks)

Michael Thayer; (Adam Scott)

Victor Alexander (Spalding Gray); (El Sharif)

Haji Cat; (Foxy Spy)

Tanya Boyd; (Satin)

Marilyn Joi; (Velvet)

Wolfgang Roehm (Richard Kennedy); (Dr.Kaiser)

*Available in a beautifully restored Region 1 DVD*

July 13, 2006


It is with the greatest decadent pleasure I can take this opportunity to review one of the most controversial films in exploitational history.

I have illustrated screenshots to reflect certain moments; please be sensible you must be aware of the nature of this film so therefore discretion is most advisory.

I usually stick to a semi-brief synopsis and wrap this up with factual conclusivity, I am going to spend more on this movie as it deserves every word spent on it as its’ history is so fascinating.

This was the mother of all the trashy con-camp films that adorned 42nd Street and Italian fleapits from 1974-1980.

For once we have the premiere example of a film that actually delivers what we anticipate in bucket loads and makes no apologies for bad taste.

For once we have a movie that lives not only up to its’ ‘nasty’ status but the title is not ‘sensationally’ misleading. Its’ so difficult to praise something that is so ugly in plot and focuses on one of the darkest periods in European history but I can’t and will not do but anything less than praise it.

As mentioned before however, I can see no differentiation in spending an evening with a glass of chilled Liebfraumilch and Ilsa on DVD than slowing down at a motorway accident to see if we can spot a bit of grief or an odd limb. The film panders to one of our most basic human conditions – morbid curiosity. For one of the first times a movie a film truly reflected the publicity.

I applaud the anarchy and the sheer unapologeticness of Ilsa. Although some of the cast ‘hid’ under pseudonyms and the lead was ‘overlooked’ for other parts due to her portrayal the history is fascinating and seems, sociologically that we were much more ‘hardier’ than we are now (?). This is not a definite statement however as you will always find people who adore the film and those that nearly throw up. We will always have sections who believe Ilsa to be a ‘Trash’ classic and those that think the film should be shelved and left into obscurity.

I am part of the former observers than the latter. The old question asked is ‘can movies go too far?’ Ilsa almost gets’ there. Due to the skilful direction of Don Edmonds this his third movie) that makes all the horrors of Camp 9 – ‘comic strip’ an achievement that lessens the grimness but does not necessarily make the milieu less sicker.

There is no apologies made for what we see something that just not could happen in a pricked conscience society where anything indecent has to be justified or hides behind that wonderful statement ‘it is art’.

Ilsa – She Wolf of the S.S does neither it is simple and pure exploitation at its best (or worst) depending on viewpoints.

If you remember we looked at Love Camp 7 , this was one of the con-camp ‘firsts’ but is lame in comparison to Ilsa, well this soft core bit of sadism was dreamed up by David F.Friedman, Friedman is an exploitational icon, not only did he commit the first Nasty Nazis to celluloid but was the first to produce a non-loop Hardcore movie feature film called ‘Seven into Snowy’ just before the U.S.A began its ‘Belle Époque’ of decently themed hardcore pornography.

The likes of ‘Deep throat’ and ‘Devil in Miss Jones’ were only forming in the mind of Gerard Damiano and Linda Lovelace and John Holmes were not household names just yet when Snowy made its debut. Haven’t seen it but would love to.

He also set up the Adult Motion Picture Association in the states and way back in 1963 pioneered the first ‘splatter/gore’ movie ‘Blood Feast’ along with its director Herschell Gordon Lewis.

When Love Camp 7 was released in Canada it hit the roof, attracted great publicity and packed grind house cinemas and drive-ins up and down the country.

It out grossed its’ costs and always staid in the minds of the Canadian distribution company due to it being such a success.

In 1973 David Friedman were approached by the Canadian distributors asking for the same thing, the only difference was this time they wanted focus on experiments as well as the rough stuff.

Using a book entitled Les Medicines Modie (heard through the DVD commentary this was not clear and the asshole who annoyingly interjects Ms.Thorne, Mr.Edmonds and Mr.Friedman when they interestingly reminisce may have given a wrong English translation) which gave detailed accounts of Nazi experimental research and as much Holocaust research material he could find, Friedman went to work and an idea began to form.

Many reviews claim the inspiration for Ilsa was the factual ‘Ilsa Koch’ who tortured inmates at Buchenwald concentration camp at a whim, made lampshades from their skin and even bound books in it. Although we should not rule out her influence completely it was only a minor ‘inspiration’ comparing it to Les Medicines Modie’.

The next was the casting, the buxom beauty Dyanne Thorne was approached and agreed to take the main lead. Friedman and Don Edmonds (the director) could not have selected a better choice.

Dyanne Thorne manages to be one of the cruellest dominatrix’ to evolve on screen but still maintains powerful sexiness and although it wasn’t her deliberate primary concern could arguably be the first emancipated, feminist baddie.

Dyanne Thorne really makes the role her own and just as Spiderman, Superman, Sherlock Holmes, Uncle Tom Cobbly and all deserves, in my opinion, just as much Kudos.

It is what she represents more than what she actually is that is the main issue.

She would be the perfect foil for any superhero to tell you the truth but it just so happens she is also a high ranking S.S officer and delights in cruel experimentation that partial acceptability turns into sheer abhorrence.

In the original ‘Wonder Women’ series that was set in WW2 (England never got to see these as it kicked off with ‘The New Adventures…..based in the current time) as well as featuring a whole host of Nazi characters,that seem to play as diluted ‘Sadiconazista’ movie characters anyway.

One episode was entitled ‘Fausta-The Nazi Wonder Women’. If I could imagine Lisa in any other vehicle at the time it would have to be this show. Although I am in no way saying that if you like Wonder Women you’ll adore death-camp films there are quite a few comparisons to the ‘feel’ of the show and the ‘feel’ of Ilsa and that’ feel’ is camp Machiavelli..

So with the cast assembled and contracts agreed, Cinepix (the distributors) loaned the disused/abandoned set of TV series Hogan’s Heroes to set the scene; it also known that this set was used for ‘Gone with the Wind’ too for our trivia hungry readers !

The rushes were sent to Montreal on completion. When Friedman was contacted he was not very happy with the cuts and alterations that they wanted made to it. Friedman was paid and went off to pursue other projects and left it in the hands of the distributors. Friedman’s rationale was that he produced what they wanted produced and then they indignantly demanded so many changes.

Filming is expensive and due to the limited budget there wasn’t really much time to make all these changes. Friedman’s’ interest had already began to wander by this time and by this stage gave the picture to the distributors and said ‘you do it then’ or words of that nature.

He then left and due to this and no doubt the notoriety factor hid under the pseudonym of Herman Traeger. When Ilsa received the crown of one of the sickest movies ever made, Friedman remained under the non-de-plume for almost 20 years.

When it was revealed he was responsible for the movie it wasn’t really such a surprise.

Things were a little more harsher for poor Dyanne Thorne, unfortunately due to the character this consequenced in Dyanne Thorne being ‘blanked’ by most other film producers in America .

All is not lost however.

So when this movie was released was their an uproar? Quite simply - No!

The Canadian cinemagoers lapped it up. Ilsa shot to pole position in notoriety and became as iconic as Dracula and Frankenstein to some and spawned a legion of fans including Quentin Tarantino and other genre appreciates.

The next target was America, Edmonds and Friedman realised that if the movie was submitted to the MPAA (Motion Picture of America Association) it would be cut so much that one would virtually have the opening and closing credits only. So in order to distribute it stateside they whipped up a frenzy marketing wise and ‘self imposed’ an X rating ( X ratings could crucify a film as X in the states is always associated with Dirty Mac Brigade hardcore).

However the X rating didn’t seem to deter the audiences who were already aware of such a controversial movie by word of mouth and other publicity as the film had already been sold to Europe (Bar Western Germany where its’ still banned) and had been obtained by 17 countries where it had been a phenomenal success, we in the U.K ……….Banned It.

It played at the Apollo Theatre on 42nd Street stateside with remarkably ‘low-key’ publicity, within week two, queues were around the block with high UCLA support.

For a film of this kind it grossed more profit than modern-day blockbusters in ratio/percentage; to the cost of production and box office revenue.

Due to its vileness, crassness, sheer poor taste and general obscenity, Ilsa was catapulted to infamous stardom, naturally for all the wrong reasons, but never the less the cash tills went ‘white hot’ on 42nd street. Something so notorious finally made is debut.

The Washington Post heralded Ilsa as ‘the 1st pure screen villainess’. Film reviews mentioned how distasteful and repugnant this exercise in sleaze was; therefore also fuelling box office takings.

The audience were astounded and genuinely shocked but in the most jaded way the majority lapped it up. Although the tone is misogynistic, women also could get satisfaction, the lead was female and powerful beyond belief and oozed feminist guile and dominance.

We also get to see blokes naked and in the sex scenes it is always ‘Ilsa’ on top, she also has a penchant for castrating men that cannot ‘fulfil’ her all night believing them to be only half a man.

Yes women are sickeningly violated and treated in the most atrocious manner but this is primarily dished out by Ilsa, she commands the rapes, she commands the experiments and ultimately commands whether someone lives or dies.

Thorne in the role is an absolute joy to watch and despite what is going on in the background and subject matter the movie is worth seeing for her performance alone. She, despite a noticeably un-German accent (she did try though) gives the part such nasty ebullience she makes you want to hiss and boo at her every appearance.

I suppose to compare Ilsa to any other villainesses I would ‘looser than loosely’ state she is similar to that of Servalan in the ‘Blake’s 7’ television series or a Fascist Frank-N-Furter but Ilsa is Ilsa and really there is no one as evil as she nor, achieves such applaudible alchemy fusing cold and cruel with hot and sexually charged.

Rightly or wrongly, depending on we as individuals, the sexual violence is also coupled with stark feministitic dominance notice ‘Ilsas’ always on top during the sex scenes and there too in the castration – 3 females against one male etc, etc.

The character of Ilsa herself is mainly brought to life by Dyanne Thornes’ expert acting capability and decisive persona change skill blowing ‘the males’ interpretation of a feminist argument’ right out of the water.

Well I hope that sets the scene and if this has whetted your appetite we will look at the plot and end with more comment. I also really need to round the Sadiconazista Summer off too.

I feel some prime examples have been fathomed and I would like to move on to something different.

On the grapevine I hear that ‘Gestapo’s Last Orgy’ will be having the bells and whistle treatment (about time!) Then I can see it fully uncut and pristine. ‘Deported Women of the SS Special Section’ makes its DVD debut along with ‘Red Nights of the Gestapo’ too.

Those who have enjoyed this ‘section’ of the teapot will have plenty to look forward to in the coming months ahead - that is a promise.

The Plot

*This is an in-depth synopsis and although does not reveal Ilsas’ destiny and every ‘experiment’ for first time audiences; it is quite meaty. If you want to be really bowled over by your first viewing experience I suggest you skip this bit*

We open on a soft-core coupling between a man and a buxom blonde haired woman. The man reaches climax and the women gets off him, rather disappointingly, and leaves him to sleep while he showers.

When he arouses the female is clad in tight fitting Gestapo uniform accommodated by two other female Gestapo officers. She is ‘Frau Doctor Commandant Ilsa – She Wolf of the S.S ‘and she is deeply pissed at the mans poor performance. He is grabbed by the two female heavies and taken to a block in Camp 9 where he is treated how half a man should be treated – with castration!

Army vehicles arrive carrying the new inmates of Camp 9 lambs to the slaughter.

Male P.O.W’s arrive too.

One of these Ilsa takes a shine to, a chap called Wolfe and admires his Aryan ‘Nordic’ aesthetic.

As the women ‘bed-down’ for the night at Camp 9 they bond with the other inmates where to their horror they learn their fellow inmates are infected with a host of deadly diseases. Karla (an underrated character played superbly melancholy by ) reveals the results of syphilis to the aghast of the newly incarcerated (Edmonds’ ‘switch face-side’ technique works exceedingly well as good as the special effects on display by Joe Blasco).

The next day the experiments begin on the various female inmates. A women is strapped to a chair whilst her toe-nails are pulled out with pliers (echoes of Herschell Gordon Lewis’ ‘Blood Feast’), others are seemingly being whipped into unconsciousness.

Whilst the theatrics are underway Wolfe meets another inmate ‘Mario’ and laments how he had a night of passion with the she-wolf and now he’s half man. Mario also is in love with Karla and due to his de-bollocked state and his beloveds’ disease ridden decay vows that revenge is keeping him going.

Wolfe also risks his life talking to a female prisoner Rosemary and develops a soft spot for her.

Things that night take a turn for the worse a male and female prisoner weren’t as lucky as Wolfe and were caught talking to each other. They are taken to the dungeon where Ilsa and her female officers de-blouse and in the sleaziest iconic comic-strip moment sweatily flagellate both parties to death. Ilsa stays bloused but struts up and down approvingly personifying the Gestapo Dominatrix image with grim sophisticate.

This is tactlessly intercut when a selected P.O.W is abducted by one of the lesbian camp guards and thrown into a lions den of sex hungry males; yes what comes next is intercut, as you feared, with the flagellation sequences. The ultimate taboo unashamed sexual marriage with violence, it intercuts like a crimson tableaux of extremity; that pushes the boundary to its’ limitations of taste and decency.

Once this iconic moment is over we lead into another, with the couple well and truly flagellated to death they are hung- poled upside down roped by their feet in the concentration camp yard. This imagery was chaste again in Garrones’ ‘SS Experiment Camp’ two years after.

Wolfe is summoned to Ilsas’ boudoir, unbeknownst to the she-wolf he has a medical condition meaning he can keep erect all night if he wants without the seed being sown. Ilsa has the time of her life with her insatiable thirst finally satisfied.

The following morning the women are inspected by the creepy ‘Dr.Binz’ and after their callous examination are then taken to a room where Ilsa waits with a 12” dildo , fortunately off screen we fill in the gaps as we watch many grimaced faces and a ‘squelch-pop’ sound that stops you thinking on anymore.

After being insolent with Ilsa and defiant in another Anna enters the dildo room. As the amps increase Anna glares at Ilsa throughout the ordeal defiantly and venomously glaring at her persecutor.

Ilsa not only performs this bizarre experiments on women for the third Reich she also has a few ‘sidelines’ as she wants to find the ultimate strong female that proves her ideal that women are superiorly more pain resistant than men. Other attempts fail miserably but Anna turns out to be the newest possible candidate for this role.

After witnessing her experimental unit in progress the next day she invites Wolfe over again this time to take on her ‘Wolfettes’ together whilst yeah salaciously drools at the spectacle of big boobs and hairy arse cheeks.

Ilsa receives notification that a top ranking German General is on his way to visit Camp 9 under the Fuhrers orders. He is lead through another array of infected limbs, pitiful wails and b-movie gruel (apparently the meal-worms made the actor feel so queasy it made him puke).

The General unfortunately believes the experiments to be a waste of time and value but still remains to be impressed as the report to the Fuhrer has to be equally justified and there is yet more to see.

Ilsa lays a banquet on for the General where she is presented with the Heinrich Himmler cross; one of the most prestigious rewards for an S.S officer. After the guests have finished the repulsive dinner, featuring another startling image of a woman stood on a block of ice with a noose round her neck, Ilsa asks if the General wants to have sex with her.

He refuses but desires something else and hints at Ilsa what he wants by calling her The Golden Goddess she eventually twigs and ‘uncomfortably’ obliges the Genrals’ whim by pissing on him.

As the General journeys back with his entourage to make the report, the prisoners have finally hatched an escape plot.

Ilsa calls for Wolfe the next day for her service but finds Wolfe fancies a bit of rough and she ideally lets him tie her ankles and wrists, he then promptly gags her and flees.

Outside the revolt begins causing carnage galore as the prisoners upraise against their oppressors. Karla is reunited with her love Mario and oversee the onslaught taking on the roles as the avenging angels.

The main culprits are gathered up by the prisoners and shot individually despite Wolfes’ insistencies that they are left at the mercy of allied law.

Suddenly a Nazi Tank squad thunders into Camp 9 blowing up everything. Ilsa still in bondage stares in horror as Anna now a deformed, experimental mess advances towards her clutching a knife; dripping clotted, viscous goo everywhere.

Ilsa screams in gagged terror at her vulnerability at the hands of her abominate creation.

Outside the Captain informs the General that Camp 9 is no more, the allies will never know of the atrocities that were carried out there.

Wolfe keeps his initial promise to Rosemary as they look from the hillside at the camp in ruins – living testament to Ilsa and her horrific reign of ruthless torture.


So there we have the plot (almost) to one of the most infamous Nasty Nazi movies ever made.

But the story doesn’t end there. Due to the tremendous success of this movie the distributors Cinepix signed Dyanne Thorne and Don Edmonds up again and dropping the Nazi motif but remaining the theory brought out ‘Ilsa – Harem Keeper to the Oil Sheiks’, the last entry in the official trilogy was ‘Ilsa-Tigress of Siberia’ which was a bit of a bore in my opinion as it tried to be more ‘adult mainstream’, Ilsas momentum had by now seemingly weakened.

Another director Jess Franco was suitably impressed with the Ilsa entry and with his Women in Prison films made ‘Greta-The Mad Butcher’, changing the locality from concentration camp WW2 to concentration camp Southa America as Dyanne Thorne plays Greta/Ilsa del Pino.

In some countries the title, as Dyanne Thorne was the lead actress, was changed to ‘Ilsa-The Wicked Warden’. This also, despite being ‘unofficial’ sequels also raked in a fair amount of cash at the movie theatres in Europe and further a field.

When the video generation introduced Ilsa to the black market she reached worldwide. Some released legitimately in full versions and some hacked mercilessly but ensuring Ilsa has survived for such a long time and seems with every new medium will re-invent herself keeping the notorious movie alive.

Although in such times we would find some of the scenes strong but not obscene there still maintains the odd moment that you really feel quite sick realising the motif behind the imagery.

What makes it also uncomfortable and conscience pricking is that it is based on real documented fact no matter how sensationalised it has become. The evil Nazi stereotype is merely made grimmer and all the more x-rated with Ilsa.

At times vaudeville, at times masochistic and at others downright cruel Ilsa-She Wolf of the S.S is a well crafted circus of horrors that owe more to theatre and Grand Guignol than one of Europe’s darkest periods in history.

At times a TV movie ‘feel’ can be sensed in Don Edmonds style whilst other pieces are examples of accomplished twisted direction influenced by a 20th Century nightmare.

If what is represented is always represented as evil and evidence supports this to be the truth; then all mediums should be free to show the horrors of it, whatever the style, as long as good stays good and evil stays evil and justice prevails overall.

Available on an awesome Region 1 DVD courtesy of Anchor Bay Entertainment this is not for all tastes but any one who appreciates extreme cinema and drive-in thrills it is simply a must have, a pioneer in many respects however it is labelled..

The Film ; Ilsa – She Wolf of the S.S

( A.k.a Elza - wilczyca z SS / Ilsa la belva delle SS / Ilsa la louve / Ilsa, la perra de la SS / Ilse hun-ulven fra SS /La loba de las SS / Le Nazi était là, les 'Gretchen' aussi

The Year; 1974

The Director; Don Edmonds

The Producer; David F.Friedman

The Country; Canada / USA /West Germany

Music Song: Horst Wessel [Die Fahne hoch]

Make Up/ SFX : Joe Blasco

The Players;

Dyanne Thorne [Ilsa]

Gregory Knoph [Wolfe]

Tony Mumolo [Mario]

Maria Marx [Anna]

Nicolle Riddell [Kata

Jo Jo Deville [Ingrid]

Sandy Richman [Maigret]

C.D. Lafleuer (real name: George 'Buck' Flower) [Binz]

Rodina Keeler [Gretchen]

Wolfgang Roehm (real name: Richard Kennedy) [General]

Lance Marshall [Richter]

Follow ups’ ; Ilsa-Harem Keeper to the Oil Sheiks (1975) / Ilsa –Tigresse of Siberia (1977) / Ilsa - The Wicked Warden (Jess Franco’ homage – bit of a bore as well) (1977)

July 10, 2006


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.


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.

July 09, 2006


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.


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!!