Jlewis

A discrete discussion on "adult" films and their social impact

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I've often wondered why he filmed "The Cat and The Canary" with name actors.

Was he trying to prove that he could do something other than porn?

It had such an interesting cast.

And it succeeded as a thriller, too.

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Peter McEnery, who was also in the cast and substituted for Horst Buchholz, was, unfortunately, never glimpsed in the nude.

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5 hours ago, rayban said:

I've often wondered why he filmed "The Cat and The Canary" with name actors.

Was he trying to prove that he could do something other than porn?

It had such an interesting cast.

And it succeeded as a thriller, too.

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My sense is that he was getting tired of the "smut" films, since he didn't make many more of those after this. His earliest films were not at all risqué, so he was basically returning to his roots as an independent director-producer... except this time with a who's who cast of British familiars. Back in 1969-70, his biggest rival, Russ Meyer, got backing from mighty 20th Century Fox to go "mainstream" but he didn't have same kind of star power in his Beyond The Valley Of The Dolls.

5 hours ago, rayban said:

Peter McEnery, who was also in the cast and substituted for Horst Buchholz, was, unfortunately, never glimpsed in the nude.

hqdefault.jpg

He may not be Peter McEnery, but I could not resist posting this little nugget just to amuse you. The Lickerish Quartet was one of the earlier risqué Metzgers. Risqué for 1969-70, that is. Fortunately for this wholesome and family oriented messageboard, this video ends abruptly before things get... well... risqué. You can do a google image search to see "what happens next" in this Italian countryside, although we get an itty bitty foreshadow shot that you may miss if you blink.

 

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6 hours ago, Jlewis said:

My sense is that he was getting tired of the "smut" films, since he didn't make many more of those after this. His earliest films were not at all risqué, so he was basically returning to his roots as an independent director-producer... except this time with a who's who cast of British familiars. Back in 1969-70, his biggest rival, Russ Meyer, got backing from mighty 20th Century Fox to go "mainstream" but he didn't have same kind of star power in his Beyond The Valley Of The Dolls.

He may not be Peter McEnery, but I could not resist posting this little nugget just to amuse you. The Lickerish Quartet was one of the earlier risqué Metzgers. Risqué for 1969-70, that is. Fortunately for this wholesome and family oriented messageboard, this video ends abruptly before things get... well... risqué. You can do a google image search to see "what happens next" in this Italian countryside, although we get an itty bitty foreshadow shot that you may miss if you blink.

 

That music is just too much

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I can not lie. I like the music. It is delightfully retro late sixties elevator chamber mood.

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54 minutes ago, rayban said:

Let us not forget the naked splendor of Paolo Turco -

174-the-lickerish-quartet.jpeg

I know I need to get off of this Metzger conversation, but I have been a bit hooked on his films lately. Even this one that just teases and doesn't get all porn-OH No!-graphic is worth investigating on DVD at some point. It isn't online yet for easy viewing.

What I find so charming about the Metzgers a.k.a. Henry Paris-es is that the performers display this wide eyed innocence. It is as if they are saying, while they disrobe and enjoy their carnal pursuits, "We're not doing anything wrong... are we?" I could not help but chuckle over C.J. Laing about to do the "on no, she can't possibly!" in front of Wade Nichols in Barbara Broadcast. The goofy grin is just too-too much.

RR-vlcsnap-2017-06-21-22h35m54s168.jpg

Going back to the earlier questions regarding Ras Kean, the Rialto Report site is a fascinating read (although I should warn the innocent about the visuals, since they are sometimes graphic). Nothing on him as of yet, but a couple other male stars of the Metzgers get profiled in depth here: https://www.therialtoreport.com/2017/11/05/carl-parker/ and here: https://www.therialtoreport.com/2017/06/25/wade-nichols/ The latter, a "straight for pay" star who's real name was Dennis Posa, enjoyed some success in his final years on the daytime soap The Edge Of Night, sporting the last name of Parker.

Interesting article on Misty Beethoven's Jamie Gillis, who was born on April 20, 1943. Two years later, Hitler celebrated his final birthday. https://www.therialtoreport.com/2017/04/07/misty-beethoven/

Once I’d emailed Radley [Metzger] to tell him that it was Jamie’s birthday, and that Jamie always pointed out that it was also Hitler’s birthday on the same day. Radley emailed straight back to recount a little-known story of when Hitler had been celebrating his final birthday many years previously, deep in a Berlin bunker.

As Hitler was being toasted one last time by his cronies, a clairvoyant sat in the corner spoke up. In the years to come, the mystic said, a man will be born on this same day and he will become the greatest actor in all pornography. A man of unrivalled sexual attraction and physical prowess. A man the world will admire for his great portrayal of a sexual mastermind.

Hitler looked over at the clairvoyant, and muttered: “I bet he will be a Jew”.

I passed the story to Jamie. It made him happy on his birthday.

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2 hours ago, rayban said:

There should be a book on the Radley Metzger films.

Good idea with plenty of uncensored photos of course😉

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Finally got around to The Lickerish Quartet. Really liked that one. Vaguely resembles Pasolini's Theorum with Silvana Venturelli taking on the Terence Stamp role seducing a rich man who now owns a ritzy country castle, the Italian woman he married sometime after WW2 and her (not his) son who is now 21 or so. It adds another dimension, unlike the Pasolini film, with the characters watching a "dirty" movie in the beginning and then submerging into the characters in the very movie. Pretty trippy stuff. Roger Ebert wasn't much of a fan. Not sure why exactly. Guess you have to be in the proper mood.  https://www.rogerebert.com/reviews/the-lickerish-quartet-1971

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1 hour ago, Jlewis said:

Finally got around to The Lickerish Quartet. Really liked that one. Vaguely resembles Pasolini's Theorum with Silvana Venturelli taking on the Terence Stamp role seducing a rich man who now owns a ritzy country castle, the Italian woman he married sometime after WW2 and her (not his) son who is now 21 or so. It adds another dimension, unlike the Pasolini film, with the characters watching a "dirty" movie in the beginning and then submerging into the characters in the very movie. Pretty trippy stuff. Roger Ebert wasn't much of a fan. Not sure why exactly. Guess you have to be in the proper mood.  https://www.rogerebert.com/reviews/the-lickerish-quartet-1971

This one does sound interesting

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It's one of the most stylish porn films that has ever been made.

It does have strong echoes of Pasolini's masterpiece, "Teorema".

teorema-pasolini-terence-stamp-reading-r

A revolutionary film, way, way ahead of its' time - that sexual desire (in the person of a beautiful young man ) could re-awaken the entire nervous system (whatever your sexual persuasion).

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14 hours ago, jaragon said:

This one does sound interesting

I think you may even like how the music is cleverly incorporated in the different scenes. I know that video clip we referenced is quite silly, but it mostly plays through the seduction scene. Then, once the clothes come off,  we hear the sounds of locusts in their countryside autumn "mating"!

14 hours ago, rayban said:

It's one of the most stylish porn films that has ever been made.

It does have strong echoes of Pasolini's masterpiece, "Teorema".

teorema-pasolini-terence-stamp-reading-r

A revolutionary film, way, way ahead of its' time - that sexual desire (in the person of a beautiful young man ) could re-awaken the entire nervous system (whatever your sexual persuasion).

I was checking the earlier film out and noticed that both films are using what looks suspiciously like the same Mercedes-Benz.

Both Teorema and The Lickerish Quartet are deep films that require more than one viewing.

At its simplest interpretation (and there are many you can think up), the Pasolini film from 1968 features Terence Stamp as a spiritual being... either an angel or a devil, although nobody is harmed by him so I don't think of him as the latter. He is a blank canvas on which each family member and the housekeeper draws their own image... and has a different reaction towards, sometimes on a sexual level but also on a religious level.

In the Metzger film, Silvana Venturelli also comes across as this blank canvas in which a man (Frank Wolff), his wife (Erika Remberg) and her son (his stepson, played by Paolo Turco) each has a different reaction towards and she mysteriously becomes some sort of therapy for all of their sexual hangups. The husband is impotent but “cured” in a library full of books and medical terms for sex on the floor. His wife gets to experience her lesbian side that has been suppressed, but she has been using the excuse of her husband's impotence to avoid having sex with him. By rediscovering what turns her on with a woman, she eventually reconnects with him. The 21 year old sees Silvana's character as Saint Margaret like all of those bizarre medieval paintings in his mind (but without fig leafs and toads...?!!.. covering any “lady parts”). He loses his inhibitions out with Mother Nature.

In this regard, the two films are quite similar.

Then this film goes in similar territory as Sherlock Junior, Rear Window, Videodrome, Purple Rose Of Cairo, The Truman Show and numerous others involving window-peepers/movie/TV viewers becoming a part of what they are watching. The family initially sees Silvana's character as one of several actresses and actors in a black & white 16mm “blue” movie that the father projects in their castle living room. They then see her unexpectedly at a “death race” motorcycle stunt at a fair ground and invite her home to watch herself on screen... only her face keeps changing into a different actress in the very movie all four watches!

There is an interesting connection to her motorcycle stunt which is "death defying". She basically helps each family member get “reborn” after a prolonged sexual “death”, overcoming their own obstacles in life. Again, she kinda-sorta resembles Terence Stamp's healing powers in the other film.

When she mysteriously leaves the castle estate, the 21 year old is lost, a bit like some of the characters in Teorema after Stamp leaves. He is frantically searching all over the countryside to find his "Saint Margaret" again who once deflowered him. However his mother and step father are back together happy and sexually active... only with a peculiar twist. They are now seen exclusively in black & white on a 16mm projector. In addition, they are also being watched by two actors and two actresses who were previously seen in the very same series of 16mm black & white films. We get a repeat of the same dialogue by these four people that we previously heard with husband, wife and son.

In a way, this film has a lot to say about how we as "viewers" are too easily influenced by what we see on a movie, TV, computer or iphone screen and this becomes an obstacle that we must overcome.

This film is also manipulative with its sense of "time" with lots of flashforwards as well as flashbacks, sort of like Last Year In Marienbad and the popular ABC series over a decade ago, Lost.

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Perhaps a double bill of both films would really be rewarding.

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I am not clear exactly on Paolo Turco's character's age. I am speculating 21 but 23-24 would be more likely if, say, he was born in 1945. We see war footage but we don't know how it fits in some of the flashbacks. The movie was shot in 1969 and there are vintage posters at the fair ground.

He loves magic acts and it is interesting how his first stunt in front of his parents and Sylvania the lady visitor instantly changes the nature of this movie. It started straightforwardly but then begins featuring curious flashforward and flashback inter-cuts once he cuts the cards and makes both cards... and even Silvana the lady visitor... temporarily disappear.

There are a lot of details of the past that are not examined fully and we viewers have to do some guess work. Maybe this is why Roger Ebert disliked this film? He needed everything spelled out? We see the woman's son as a three year old stumbling on his parents in "cahoots" in bed... only we are not sure if the woman with his stepfather is really his mother. Perhaps he was cheating on his mother? Also we see the husband killing a man who might have been the boy's true father right after he stumbles upon him and the cheating wife and surprises them with a knife. When Silvania's character often asks where the gun is, we only see it fired in flashbacks and we are not certain who the guy is who falls down the stairs, but we kinda assume he was the biological father of Turco's character. Also just before she gives him back his "manhood" (being that he was impotent), she comments on one of the guns he has in his library that he is not impotent... the obvious Freudian symbolism here.

I can understand that this film may be too deep for some viewers, but it is still a lot of fun to watch. Another thing that I am sure Ebert hated but viewers like me enjoy is the fact that characters like the husband and wife wind up IN the very movie they had been watching, but are being watched by others as "voyeurs".

There is also a fascinating sequence when Frank Wolff's character and Sylvania meet at the roof of the castle and he says something a bit too tastelessly "earthy". She requests that he repeat the scene differently on a better note and we suddenly get this strange "rewind" backwards! It is a very surreal moment that reminds me of older animated cartoons of the Tex Avery school that often broke that third wall, often with characters like Screwy Squirrel telling their adversary that they must repeat a chase scene because it wasn't done right... or, in one memorable Warner cartoon, Speedy Gonzales repeats a scene involving TNT exploding a cat's mouth in slow motion. Only this time it is not a gag but part of a hypnotic dream...

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It's an interesting and complex film, I tried to get a copy on ebay.com.

But I was outbid.

But Paolo Turco in the nude will always remain a vibrant memory.

Some actors, like James Dean, did nude shots for private collectors.

If only Paolo Turco had been one of them!

I could've been enjoying the splendor of his nudity still.

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I finally got to see "Score" and really liked it. This is the way to make an erotic film beautiful people, beautiful setting and hot sex.  Metzger had a very erotic imagination- love the way he manages to suggest more than he actually shows- using props and distorted angles.

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11 hours ago, jaragon said:

I finally got to see "Score" and really liked it. This is the way to make an erotic film beautiful people, beautiful setting and hot sex.  Metzger had a very erotic imagination- love the way he manages to suggest more than he actually shows- using props and distorted angles.

This one is still my favorite Metzger and The Lickerish Quartet is probably my second favorite. I appreciate The Opening Of Misty Beethoven as much as I appreciate Vertigo... but would rather sit through North By Northwest, Strangers On The Train, Rear Window, Rebecca, 39 Steps, etc. multiple times... just as I would rather re-watch Score and some of the others. Then again, the only dull Metzger I have seen so far is The Image which others still consider a great film, so what do I know?

Score was his first "hard core" feature although it qualifies for that title in only a couple minutes of footage that ultimately became the only male/male scenes of the Metzger filmography. Why he shied away from these later despite showing plenty of female/female among the standard male/female is still a curio to me. The male/male scenes were also the only scenes edited out in order to make the "soft core" R-rated version.

Supposedly Claire Wilbur was outraged that Lynn Lowry was making more money and refused to talk to her when cameras weren't rolling, but both actresses became friendly years later and Claire apologized with good humor. This may account for their scenes requiring quite a bit more camera "trickery" than the boys'. On another note, I do think some of the antagonism Claire had on set works well for her character. She is a lot of fun to watch.

Score is really a fun movie. It works equally well as a sophisticated comedy since it is adapted from a popular play that was equally successful on the stage (with Sylvester Stallone playing the telephone repairman that Carl Parker plays here). Also because it is borderline "hard"/"soft", it has just enough of what voyeurs want and not too much for the timid who are unsure of what they can handle. It is a great "test" film for heterosexuals who have never seen any gay scenes before, because it is all very tastefully presented.

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1 hour ago, Jlewis said:

This one is still my favorite Metzger and The Lickerish Quartet is probably my second favorite. I appreciate The Opening Of Misty Beethoven as much as I appreciate Vertigo... but would rather sit through North By Northwest, Strangers On The Train, Rear Window, Rebecca, 39 Steps, etc. multiple times... just as I would rather re-watch Score and some of the others. Then again, the only dull Metzger I have seen so far is The Image which others still consider a great film, so what do I know?

Score was his first "hard core" feature although it qualifies for that title in only a couple minutes of footage that ultimately became the only male/male scenes of the Metzger filmography. Why he shied away from these later despite showing plenty of female/female among the standard male/female is still a curio to me. The male/male scenes were also the only scenes edited out in order to make the "soft core" R-rated version.

Supposedly Claire Wilbur was outraged that Lynn Lowry was making more money and refused to talk to her when cameras weren't rolling, but both actresses became friendly years later and Claire apologized with good humor. This may account for their scenes requiring quite a bit more camera "trickery" than the boys'. On another note, I do think some of the antagonism Claire had on set works well for her character. She is a lot of fun to watch.

Score is really a fun movie. It works equally well as a sophisticated comedy since it is adapted from a popular play that was equally successful on the stage (with Sylvester Stallone playing the telephone repairman that Carl Parker plays here). Also because it is borderline "hard"/"soft", it has just enough of what voyeurs want and not too much for the timid who are unsure of what they can handle. It is a great "test" film for heterosexuals who have never seen any gay scenes before, because it is all very tastefully presented.

"Score" is fun because is such a sexually liberating film at the end the innocent couple is not corrupted by their same sex encounters but are free to express their true sexual selves. The dialogue is very witty and it did make me think of a play. I love to see an complete edit of the gay love scene. Donovan and Grant had great chemistry.  Donovan was very sexy- he reminds me of a young Robert Redford. I love to have seen a sequel to see how the Eddie- Betsy- Mike threesome evolved.  Metzger should have done an all gay feature - he knew how to photograph beautiful men as well as he did women.

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Jerry Douglas, who wrote "Score" - went on to direct several above average gay erotic films including "Brotherhood" (2007) about a gay college student who gets back at his "straight" frat brothers by exposing their hidden homosexual desires.

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I would guess that Radley Metzger was a bisexual man.

I saw Calvin Culver at a revival screening of "Score".

He was in the company of a really beautiful woman.

Not one person approached him and congratulated him.

Perhaps his beauty and allure was just too much.

score+2.JPG

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Not to derail the thread, but I'm watching the execrable Gangster Story (1959), starring and directed by Walter Matthau, and I was surprised to see Radley Metzger credited as the film editor.  No one's proudest moment, to be sure.

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1 hour ago, rayban said:

These two should've starred in a film of their own.

score_defaultx390.jpg

 

Yes in a gay love story written by Jerry Douglas who should be given credit for "Score" classic appeal.  Grant did play a bisexual man in Douglas'es "Both Ways" (1975)

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