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It’s hardly surprising that the most notorious, indefensible, loathsome and reprehensible movies ever made are those that exploring nasty Nazi sex and violence fantasies. Even the most liberal of critics seem reluctant to defend these goose-stepping abominations, and they sit at the top of that sorry list known as the Video Nasties.
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In fact, the pulp fiction and cinema industry had been exploiting the Nazi nightmare since the war ended. Cheesy B-movies like Hitler’s Madman, They Saved Hitler’s Brain; She Demons and The Flesh Eaters exploited the idea that mad Nazi scientists were up to mischief in remote South American jungles and on desert islands, attempting to revive the fortunes of the Third Reich by somehow resurrecting Adolf Hitler or his marching minions. These movies played on knowledge of the very real mad scientist experiments of Joseph Mengele, which reached levels of atrocity that no fictional mad doctor could hope to match.
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The theme ran through to the end of the 1960s with films like Search for the Evil One, and was still potent enough to turn up late into the 1970s – The Boys from Brazil had Mengele and a Jewish Nazi hunter racing to track down clones of Hitler and influence them to their way of thinking before they reached adulthood – the question perhaps being was Hitler a result of nature or nurture – while an episode of The New Avengers TV series saw Peter Cushing (also involved with Nazi zombies in Shock Waves) being forced to bring a preserved Hitler back to life on a remote Scottish island!
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However, the grubbiest Naziploitation boom began when the 1960s saw the loosening of censorship rules.
Unable to show much actual sex, mid Sixties adult films would fill the gaps with violence, often S&M tinged. Showing a disregard for any sense of taste or decency, it was clearly only going to be a matter of time before some enterprising producer realised the – ahem – ‘erotic’ potential of the Nazi concentration camp. That man was Bob Cresse, and his film was the notorious Love Camp 7, a worryingly personal movie.
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Directed by Lee Frost, the film sets the ground rules for the flood of titles which came almost a decade later. It tells the story of two American female spies who are sent to a Nazi ‘love camp’ in order to help another informant escape. This they do, but only after an hour of unrelenting torture and abuse. Women are depicted as being sexually abused, whipped, strapped to unspeakable devices and generally treated badly throughout the movie.
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Cresse played the Commandant himself with a barely disguised gloating glee. He was, to a large extent, living out his own sado-masochistic fantasies in the nasty narrative, and stories abound about how he would insist on take after take of the torture scenes, until the suffering on screen was seemingly matched in reality by the actress.
After this pioneering effort, the genre was suspiciously quiet until 1973. It was then that sleaze producer David Friedman decided that the time was right to revive the dubious concept. He went to Canada and produced Ilsa, She Wolf of the SS under the pseudonym Herman Traegar, a name that remained shrouded in mystery until Friedman finally owned up a couple of decades later. Why the false name? Perhaps some things were just too sleazy for even ‘The Mighty Monarch of the Exploitation Film World’ to admit to.
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And Ilsa is very sleazy. The title role was taken by busty nightclub performer Dyanne Thorne, who attacked the part with relish. She’s a cold, heartless sadist who is first seen castrating a male prisoner who is of no further sexual use. During the rest of the film, she tortures women, takes part in appalling experiments, and has sex with the only male inmate (American, of course) who can satisfy her.
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Ilsa, She Wolf of the SS is a breathtakingly tasteless affair, yet it does have a (warped) sense of humour. Much of the action is so OTT, it teeters the film into the realms of ‘camp’, and it’s this which saves the film. Two sequels followed, though neither had Nazi themed story lines, instead having Ilsa as entirely separate characters in each.
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While Ilsa was shaking the drive-ins, the art house theatres were rocking to The Night Porter, in which Dirk Bogarde and Charlotte Rampling indulged in assorted sexual antics that stopped short of the atrocities performed by Ilsa, yet still dwelled indulgently in uniform fetishism and Nazi decadence. The film was another box office success, and suddenly, the Italians – never slow to spot a trend – began to sit up and pay attention. Or stand to attention, perhaps?
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The floodgates were opened in 1976 by Salon Kitty, which managed to combine the sleaze of Ilsa with the artiness of The Night Porter. The masterpiece of Nazi sleaze cinema, Tinto Brass’ twisted epic switches from making serious political points about the impotence of fascism (often with heavy handed political symbolism) to lip-smacking scenes of sexual perversion with alarming ease. It also established another great Nazi sexploitation plot-line: Salon Kitty is a brothel with an ulterior motive. SS officers use hidden microphones to listen out for any soldiers who might be less committed to the Third Reich cause than they should be.
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The same year saw Pier Paolo Pasolini’s Salo, one of the most notorious films ever made. Based on De Sade’s 120 Days of Sodom, Pasolini transposed the story to Fascist Italy, and the parade of atrocities committed by the ‘libertines’ – all fascist big wigs – would become as significant a factor in several Naziploitation films as the uniforms, the prison camps and the soft porn.
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The popularity of Salon Kitty ensured it would be followed by a frenzy of titles, mostly emerging from Italy and France. Best known of these in Britain is SS Experiment Camp, which was one of the original ‘video nasties’, thanks in no small part to Go Video’s enthusiastic advertising campaign. The enterprising label took full page adverts in the top video magazines, showing the film’s cover – a topless girl, crucified upside-down. Some magazines found the image offensive, so Go supplied a version that had the breasts covered by a bra… this version was, apparently, considered perfectly acceptable.
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After all that, Sergio Garrone’s film is quite ordinary, more softcore melodrama than anything… but there is at least one stand-out moment. The evil camp Commandant is devoid of testicles, and so decides to take those belonging to the one nice-guy guard who, in the great tradition of the ‘good Nazi’, hates what is going on. This is done via some gruesome medical stock footage. Our hero is then seen having sex with his girlfriend, at first blissfully unaware that anything is amiss. Once the awful truth emerges, however, he rushes into the Commandant’s office and screams the immortal line, “You bastard, what have you done with my balls?”…
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As for the rest of the movies: all have moments of outrageous bad taste, but are mainly dull, with mind-numbing footage of partisans and battle-field stock footage padding out the moments between softcore groping and limp flagellation. Garrone returned to the genre in the somewhat sleazier SS Camp 5 – Women’s Hell, which saw Sirpa Lane – more used to arthouse Euro sleaze like La Bete and Charlotte – subjected to assorted indignities in a concentration camp. Without the ‘camp’ (no pun intended) aspect of SS Experiment Camp, it proved even less fun to watch.
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The Beast In Heat is noteworthy as one of the rarest video nasties, but is also one of the dullest Naziploitation movies out there because the tasteless footage was appended to an already existing war movie. Thus, we have to endure seemingly endless footage of partisans fighting off their German oppressors interspersed with occasional torture scenes that would be repulsive if they weren’t so amateurish.
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The infamous scene where Sal Boris (also in the aforementioned Salon Kitty), the titular beast who is the result of fiendish experiments overseen by the Ilsa-like camp commandant, bites off a woman’s pubic hair is fairly outrageous, but it’s a brief moment of bad taste respite from the general tedium. The attention to detail in the film is perhaps summed up by the clumsy on-screen title – Horrifing (sic) Experiments of the SS, Last Days. [Read Daz Lawrence's review on Horrorpedia]
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Hack director Luigi Batzella – using the pseudonym Ivan Kathansky (or Katansky, depending on how much attention the credits producer was paying) – also made Kaput Lager: Gli ultimi giorni delle SS, released on video in the UK as The Desert Tigers (amusingly, The Dessert Tigers on a Dutch video sleeve mispelling). This was an even more ham-fisted effort, with exploitative prison camp footage grafted onto the end of a dull war movie starring Richard Harrison.
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The Deported Women of the SS Special Section has a certain gritty authenticity to it that makes it stand out from the other films, but is otherwise rather average. It’s one of the more downbeat Naziploitation movies, despite the best efforts of director Rino Di Silvestro (Werewolf Woman) to crank up the sleaze factor, but its saving grace is the presence of Euro cult favourite John Steiner (Shock), who refuses to take it at all seriously and instead delivers a fantastic, eye-rolling, ranting and raving performance. It’s worth seeing the film for this alone, as he flits from obsessing over an inmate he’s known in the pre-war years and buggering his faithful servant Doberman.
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The Gestapo’s Last Orgy also uses the ‘camp commandant obsessed with a prisoner’ plot, and becomes a curious hybrid of The Night Porter, Salon Kitty and the Nazi atrocity film. It’s a classier production that most examples of the genre, at least visually – a fait amount of money was obviously lavished here. This, the stylish direction and decent performances goes to make the atrocities seem all the more unsavoury – There are moments of such astonishing repulsiveness that you can barely credit them being in such a handsome film – the throwing of a menstruating woman to a pack of dogs, the burning alive of a woman during the cannibal orgy and the dipping of another woman in a pit of lime. The female cast are naked for much of the film and of course there are numerous sexual assault scenes. It’s so shamelessly horrible that you have to admire its audacity, especially as none of it seems to be pandering to the audience – this isn’t soft porn by any stretch of the imagination, and it seems designed to repulse. In the end, the film is perhaps best seen as a prime example of 1970s Italian excess, where restraint was for wussies. It’s from the same mindset that brought us films as diverse as Cannibal Holocaust and Suspiria, the notion that too much is never enough and that everything should be shown. It’s not on the same level as those two films, of course, but it is strangely admirable within its own perimeters.
Less ambiguous was the particularly unpleasant Women’s Camp 119, directed by Bruno Mattei (Hell of the Living Dead; Rats – Night of Terror). This unpleasant film seems designed to leave a bad taste in the mouth, even managing to work actual concentration camp footage into the credits sequence (an all-time low in filmmaking?). Yet it doesn’t have the style, the audacity, or the intelligence to get away with its parade of grim atrocities. (Read Stephen Thrower’s review on Horrorpedia)
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As well as the films exploiting concentration camp atrocities, there were also a number of less brutal films exploiting the uniform fetish. SS Girls was another blatant imitation of Salon Kitty and The Night Porter while The Red Nights of the Gestapo was a fairly sumptuous affair that tended to concentrate on the decadence of the SS top brass. Elsa – Fraulein SS, on the other hand, was cheap and deliciously tacky, and despite the title similarity to Ilsa She Wolf of the SS (coincidence I’m sure!), was more of a T&A romp than a parade of atrocities, following the Salon Kitty theme of prostitutes being used to spy on Nazi officers who might be slipping in their love for the Third Reich. Many of the same cast and crew returned in Special Train for Hitler and Helga, She Wolf of Spilberg, which utilised the same sets and much the same plot.
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Erwin C.Dietrich’s Frauleins in Uniform is a softcore movie that is notable for the strange normalising of the Nazis. While it briefly deals with the horrors of war, it does so from the point of view of the German army recruits – female German army recruits – and while there are hints at a totalitarian state, much of the film is surprisingly uncritical of the Nazi war machine. There’s little in the way of dramatic threat (though one deserter is caught and told “we have ways of making you talk”!), but the constant stream of bare flesh and dialogue like “cleanliness is next to Naziness” ensure that it passes by quite painlessly.
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Meanwhile, American porno producers were dabbling in the concept with Prisoner in Paradise and Hitler’s Harlots. But for whatever reasons, the theme didn’t catch on in the adult movie theatres. In Hong Kong, film-makers replaced Nazis with Japanese invaders and unleashed the likes of Concentration Camp for Girls and Bamboo House of Dolls, the latter of which was used as an example of the worst excesses of cinema by British BBFC censor James Ferman during lectures about censorship. This sub-genre eventually led to the notoriously nasty Men Behind the Sun series.
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By 1978, the Nazi sexploitation genre was all but dead. Perhaps the moral outrage and censorship problems which greeted such films proved to be too much trouble for producers only interested in profit. Who knows? Whatever the reason, there hasn’t been a single significant addition to the cycle since, making it one of cinema’s most short-lived genres. The only films to dabble in the genre now are zero budget affairs aimed squarely at the cult horror audience.
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Keith Crocker’s Blitzkreig: Escape from Stalag 69 (2008) attempts to channel the spirit of the Italian films, but despite star Tatyana Kot spending the whole film naked, either gunning down Nazis or (more frequently) being tortured, plentiful nudity – male and female – throughout, two castrations, tongue pulling, eye stabbing, throat slitting and plenty more gory mayhem, all delivered with bargain basement FX, the film still manages to be the dullest Naziploitation film since The Beast in Heat. Why it needed to be 135 minutes long is anyone’s guess.
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More interesting, but still unrealised beyond being a fake trailer in Grindhouse, is Rob Zombie’s Werewolf Women of the SS, which has Sybil Danning taking on the Ilsa role and Nicolas Cage as Fu Manchu. The trailer was, by far, the best thing about the whole Grindhouse project and hopefully Zombie will eventually get around the making the complete film.
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It’s understandable that many people will be upset at the idea of Nazi fantasies. But I’ve never yet come across a genuine fascist amongst fans of this grubby sub-genre, and even the worst of the films doesn’t attempt to portray the Third Reich as being remotely admirable. If we can laugh at sit-coms like Allo Allo (okay, no-one should laugh at Allo Allo, but you know what I mean…), then surely we can be amused by these cheesy, high camp exercises in bad taste without feeling guilty about it? In fact, it’s probably our duty to do so, reminding ourselves that Nazis are little more than a bad joke in a good uniform…
Heinz Von Sticklegruber
Nazis on Horrorpedia: BloodRayne: The Third Reich | Cataclym aka The Nightmare Never Ends | Dead Snow: Red vs Dead | The Flesh Eaters | Frankenstein’s Army | Night of the Zombies | Night Train to Terror | Outpost: Rise of the Spetsnaz | She Demons | Women’s Camp 119
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