A forty year old woman, who has been in an asylum, goes to live with her brother's family. She proves incapable of adapting herself to family life, takes refuge in the country alone with her memories, and is later returned to the asylum.
Peter Gonzales Falcon
Set in 1938 Berlin, Louise Von Hollendorf is the wife of a young Nazi diplomat who meets and falls in love with a certain Mitsuko Matsugae, an artist and the daughter of the Japanese ... See full summary »
Fausto's mother refuses to accept the fact that her child is deaf, and refuse to send him to a special school where he can learn sign language. His aunt, though, teaches him to communicate,... See full summary »
In early-1930s Berlin, an elegant Russian émigré and eccentric chocolatier convinces himself that he has seen his doppelgänger, and hatches a murderous plan to trade his existence for an entirely new one. Will he get over the deep despair?
Rainer Werner Fassbinder
At Oxford, Austrian student Anna von Graz (Jacqueline Sassard) is dating fellow student William (Michael York), whom she plans to marry, but she ends up sleeping with two unhappily married Oxford professors instead.
Thirteen years after World War II, concentration camp survivor Lucia (Charlotte Rampling) and her tormentor Max (Sir Dirk Bogarde), currently the night porter at a Vienna hotel, meet again and fall back into their sado-masochistic relationship.Written by
Ed Sutton <email@example.com>
In the flashback with the ballet dancer, dancing in a kind of gym, there is a shot with a poster of Himmler against a pillar. There are also 2 guards standing on the right. A bit later the same angle and the poster is gone and the guards have disappeared. See more »
The Magic Flute
is a Stereo Recording
by Deutsche Gramaphon number 138981/83
Edizioni Musicali C A M Spa - Roma
Written by Wolfgang Amadeus Mozart (uncredited)
Conducted by Karl Böhm (as Karl Bohm) See more »
This little disturbing film is often deemed responsible for the flood of Italian nazi-exploiters. I would say that this is not entirely fair.
While Cavani's film certainly borders on being exploitative, it does not overstep the line. The Italian nazi-exploiters were clearly mostly modelled on another 1974 flick, the infamous Ilsa, She-Wolf of the S.S. and on the earlier Love Camp 7, the granddaddy of the genre. Still, we find a few motives from the Night Porter in sleazier genre entries, in particular L'Ultima orgia del III Reich borrowed the idea of the tormentor/victim fascination.
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