Black Angel

I found the beautiful Gabriel Garko in Nazi uniform, the story is nice and original, but it doesn't worth the 2 hours of attention unless you are interested in soft *. I also disliked Gabriel Garko's bleach blonde hair, he should have gone to a hair salon.

far to be original, adaptation of a classic Italian novel, Senso "45 is special. not surprising, not good, not touching. only strange. first, for the slices of memories about the universe of Luchino Visconti.or Pasolini. the second - for the great chemistry between the two lead characters. and, not the least, for the music of Ennio Moriccone. the darkness, the high sensuality, the decadence , the meets between the powerful woman and her vulnerable, vulgar lover are motifs for see a film who could be useful trip in the heart of different zones of cinema. the magnetism of irresistible Gabriel Garko, the science of Anna Galiena to do a complex work for explore each nuance of her role. one of films who reflects a state. in smart manner. and, in many scenes, courageous.

That Fallo ( private 2003) is really good tinto movie, but most movies of him in 90s are better. those are more focused on sex, nudity and then story .. But here in this movie , its almost focused on Story, very less on sex n nudity. And also i was expecting some better ending, but it kinda suks.

This man with lascivious ,nasty traits and libidinous habits (on screen, at least) is a cult—actor—and one of the luckiest, either—he was the man designated by Brass to hug, fondle, embrace, touch those marvelous Brass femmes fatals—in LA CHIAVE, MIRANDA, Senso '45—some of these are mythical movies ;he made a considerable gallery of men who are never no. 1, nor Des premiers, but who nonetheless manage to have a lot—by cunning, chance or by simply being there. His role in LA CHIAVE is perhaps the most sophisticated; in SENSO '45 he is a libidinous, sleazy oldster, in MIRANDA an avid redneck …. MIRANDA is a Goldonian spoof, a fabulous Goldonian parody, and Brass' intentions are obvious beginning with the place that Branciarolli's character gets in the script. Brass never pretended that his * hardcore (to a certain degree) actor is a handsome man, or the first choice of a woman—in LA CHIAVE, he is the much younger son—in-law and he becomes a caprice and sexual toy of his bored ,boiled by desires sexually authoritarian and emancipated mother—in—law; in SENSO '45 he is an oldie confident that craves for some sexual attentions …;in MIRANDA he is hillbilly that is accepted in Mme. Grandi's bed only after all the more interesting sexual adventures have been consummated almost under his envious ,jealous eyes. Branciarolii is,in Brass' movies, never the one who conquers or wins, but the one who is conquered or let, permitted to win …. SENSO … is THE KEY turned upside down; the mature woman, humiliated, used for else than her body, despised. The pagan celebration of earthly love turned into a farce. It's very sentimental, because Brass intended to underline his compassion for Livia Mazzoni. Brass is a feminist director; his movies celebrate the women, usually the men are the women's victims and Brass takes delight in that. Brass ' movies are a celebration of the earthly, vigorous, egoist women. There might be about love in THE VOYEUR—only perhaps—and in SENSO …; I do not know if the notion of love ,of sentimental love is ever targeted by Brass. And yes,it is a fairly fancy game imagining various women as actresses in Brass' movies.

Tinto Brass' return to "serious" filmmaking (after a string of sex comedies) is partly shot in black & white and is also partly successful. Brass' gamble to cast a 48-year-old actress in the main female role certainly paid off: Anna Galiena is very erotic, her body is astonishing, her performance uninhibited, she is the ultimate MILF. But the film is neither here nor there: the viewers interested in the WWII aspects probably won't care for the more explicit parts (the "orgy" sequence runs too long), while those watching this for the erotic parts will probably find the random WWII killings a bit of a mood-killer. I'm no expert on Tinto's filmography, but "Senso '45" is a lot tamer than "Caligula" in any case. Worth seeing for Galiena. **1/2 out of 4.

Important for definition of this movie is its special flavor. Memories of another films and the taste of a lost age. Symbols of a nostalgic ambiguity and the forms of chimeric images. It is not a good film. It is not a bad or boring movie. Anatomy of a relation between a Bovaric lady and a gorgeous young officer, story of love and revenge, escape and cruel punishment, "Senso '45" is a delicate cinematographic puzzle . At first view is a film of "70. Same atmosphere, same acting and gestures. The androgynous Gabriel Garko is new Helmuth Berger and the drops of Visconti's art are omnipresent. A game, without any mystery but nice for the images of a splendid youth- that is the recipe of this film. Old ingredients and same cook. But the charm is not result of convention or reaction of politeness. To see this film is contemplation of frozen time. A not original film, monument of clichés, scene for all important influences of century, beautiful lie and shadow of a evening. A common sign of a lost hour.

The main problem with this movie imho is the casting: there's literally zero chemistry between Galiena and Garko, and their acting differs too much so there's not balance or harmony either. Hair and makeup is atrocious too, which is somewhat unusual for historical settings by Tinto Brass. Garko's blonde hair look incredibly bad and poor Galiena isn't valorised at all by that ugly red lipstick and rigid outfits.

A film by Tinto Brass, the purveyer of 70s-style soft *, all stockings and suspenders, swaying *, bent over as$es. It belongs to another era, before video and DVD, before the freeze frame and the chapter selection. You'd have to sit and watch the titillation unfold, unable to speed things up or cut to the action. That said, the women are far removed from the hard, anonymous, blonde Croydon-facelifts of hardcore, they have a bit of va-va-vooom! Some of the couplings did put me in mind of the school librarian being chatted up by the hopeful deputy head, it's that sort of world. This film is set in Venice in the dying months of the Second World War. It has an enjoyable European sensibility that is refreshing and some of the photography of wartime Venice is lovely, especially the dawn shots, which are often used to great effect in war films, the only respite from human cruelty and betrayal, a vivid stripping back to essentials. The story is about an aristocratic woman (Anna Galiena, very good) falling for a young blond brute of a Nazi, cheating on her husband. It's all very straightforward. Generally you'd think you couldn't go wrong with a classy sex orgy featuring Nazi uniforms, cocaine and blow jobs, but thanks to the composer - Ennio Morricone no less - using oboes and trumpets to fashion a comical, inquisitive little tune better suited to the playout credits of Miss Marple Investigates on Sunday afternoon, they manage to... I can't officially recommend it - it's kind of rubbish really - but it has something going for it, you can see where Paul Verhoven got his inspiration for Black Books, and it's all a bit Allo Allo without the laughs (which some may prefer, of course).

Very good movie, well worth watching. Not like the other Timto Brass movies I've seen. Even though Livia was no angel and certainly did wrong, the Lt got what he deserved. I was afraid it wasn't gonna go that way and backfire on Livia. She was very foolish! Whether it was love or lust or both, she was blinded. I thought the guy looked like a snake from the beginning but it all became clear when they went to the orgy. He was a snake!

The marketing for this film refers to Tinto Brass's much earlier works, The Key, and Salon Kitty. Although Brass made many films since, this referral is entirely appropriate, as the style of Senso '45 is very much inspired by (if not derived from) these pictures, especially The Key. For the uninitiated: this is soft * of the classy kind. As in both of these films, Brass sets the story during WWII. As in The Key, we have as central character a woman well past her twenties (in this case even well past her thirties) who explores her sexuality. Her lover is a blond SS officer, whose mannerisms recall the character played by Helmut Berger in Salon Kitty. Slightly unusual for Brass is to move from comedic to dramatic territory, but this shift proved useful when it came to depicting the dark and obsessive side of the central relationship. The casting of Anna Galiena was excellent, and not just regarding her acting abilities. On the one hand, there is no credibility-stretching age gap between her and her husband (as there was between Sandrelli and Finlay in The Key). On the other, she looks fantastic for her age, even in the *, and thus the sexual chemistry between Livia and Helmut appears quite real, despite the 20 year age gap between Galiena and Garko. Still, Gabriel Garko's SS officer leaves something to be desired, most simply put: his hair colour does. Garko's hair had been dyed straw blond, but he does not look like a blond man at all. Perhaps Italians do not have an eye for this, or, more likely, it was too late to change casting and Brass insisted on a blond SS man for this leading part, so he went ahead regardless. This bit of sacrificed realism is certainly at odds with the drama.