{"id":3602,"date":"2011-09-23T12:49:28","date_gmt":"2011-09-23T16:49:28","guid":{"rendered":"http:\/\/mondomark.com\/wordpress\/?p=2434"},"modified":"2011-09-23T12:49:28","modified_gmt":"2011-09-23T16:49:28","slug":"eros-v-farewells-what-the-hells","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=3602","title":{"rendered":"Eros V: Farewells &amp; What-the-Hells"},"content":{"rendered":"<div id=\"attachment_2435\" class=\"wp-caption alignleft\" style=\"width: 128px\"><a href=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/09\/WideOpen.jpg\"><img loading=\"lazy\" class=\"size-full wp-image-2435\" title=\"WideOpen\" src=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/09\/WideOpen.jpg\" alt=\"\" width=\"118\" height=\"168\" \/><\/a><\/p>\n<p class=\"wp-caption-text\">&#39;Was ist dir bedansk in mittem badtraum? Kanst moor privaatskum lassen bittet?&#39;<\/p>\n<\/div>\n<p>In the fifth of this ongoing series on cinematic  naughty-naughties, we (I) examine a pair of very odd erotic films with spastic  editing \u2013 a strange coincidence, or perhaps the result of newbie directors  trying to figure out something called Narrative Structure.<\/p>\n<p>Christina Lindberg (<strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/a\/3224_Anita1973.htm\">Anita<\/a><\/strong>) had  done a fare stretch of erotic films before she decided to scale back her career  to, well, nothing, and focus on writing \u2013 partially the result of her husband  deciding the only person privy to her privates on celluloid was him.<\/p>\n<p><strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/v2z\/3927_WideOpen.htm\">Wide Open \/ S\u00e4ngkamrater<\/a><\/strong> [<a href=\"http:\/\/kqek.com\/mobile\/?p=3587\">M<\/a>] (Impulse Pictures) was designed as  a spoof by its director, but Gustav Wiklund perhaps didn\u2019t realize the  challenges of riffing off erotic &amp; softcore films when he still had to  deliver naked goods. The result is a film that\u2019s narratively wonky, but more  watchable than expected.<\/p>\n<p>Biggest surprise: 35 years after they appeared in the film,  the Swedish kitchen furniture and bed linen actually look modern. A breast is a  breast and a bottom is a bottom, but who new the IKEA was that everlasting?<\/p>\n<p>The second release in this series is <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/s\/3926_SexDemonsDeath.htm\">Sex,  Demons and Death \/ <\/a><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/s\/3926_SexDemonsDeath.htm\">Diabolicamente\u2026  Letizia<\/a><\/strong> [<a href=\"http:\/\/kqek.com\/mobile\/?p=3591\">M<\/a>] (One 7 Movies),  where the supernatural is expressed through the deft-less directorial hands of  Salvatore Bugnatelli, a filmmaker perhaps correctly paralleled with Ed Wood,  Jr. It\u2019s <em>almost<\/em> a good-bad film, but  not quite, and yet it has a special fromage factor that\u2019s unique.<\/p>\n<p>It&#8217;s morally bankrupt, and a fusion of genres that don\u2019t really  blend, but it does feature some remarkably bad editing. How many times can you  cut together shots of an eyeball? Plenty! according to Bugnatelli.<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><strong>Mark R. Hasan<\/strong>,  Editor<br \/>\n<strong>KQEK.com <\/strong>(  <a href=\"http:\/\/www.kqek.com\/Main_Index_Page.htm\">Main Site<\/a> \/ <a href=\"http:\/\/www.kqek.com\/mobile\/index.php\">Mobile Site<\/a> )<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In Part 5, the magnifying glass of deep critical scrutiny is on Christina Lindberg&#8217;s last major screen role in Wide Open \/ S\u00e4ngkamrater (Impulse Pictures), and Salvatore Bugnatelli&#8217;s clunky, trippy Sex, Demons and Death \/ Diabolicamente\u2026 Letizia (One 7 Movies) where the world&#8217;s most voluptuous teen is bent on destroying her aunt &#038; uncle&#8217;s harmonious household.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[1],"tags":[759,771,760,765,4212],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-W6","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3602"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3602"}],"version-history":[{"count":0,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3602\/revisions"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3602"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3602"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3602"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}