Gestapo’s Last Orgy (L’ultima orgia del III Reich), 1977

Indipendenti Regionali

A Nazi Commander and head of Camp Money-Shot is sodomized by an Ilsa – She Wolf of the SS-like character who resembles Irene Papas from The Guns of Navarone, 1961. The scene is made hilarious, especially when Commandant Conrad von Starker gets whacked on the butt with leather gloves – and he is in full SS uniform.
He returns immediately in the next scene projecting his humiliation on to the captives and highly attractive (for 1977) women; making them gag, on his name. It IS a mouthful. 

The home video release of this film bore the title, Caligula Reincarnated as Hitler, just saying. Director Cesare Canevari uses the Seventies sexploitation queen-sized bed, yet again (why not, it paid the bills?) to get a reaction or an audience or a mighty strict ban (still in effect in the UK) to keep moving, shouldering his way through a dozen naked couples and erect penises to his last project as a director, six years later.

Point being, there is a shit-load of Caution: Men Working/raping/taking their sweet time at the dinner table/mad doctor laughing like an idiot/hot chick dissolving in lime-salt/Lise’s (Daniela Poggi) inability to effectuate (ha!) an orgasm or a single expression on her pretty face, that gets in the way. And not just for the viewers, it even interrupts the Monster in a Monster film for the sake of gleaning the Monster dry until a non-white Monster shows up three decades later. Even then the original Monster stands strong like an Inglorious Basterd when it comes to Monsters with mustaches and beards and myths and madness and lies and WWII pop culture. Like how all unspeakable acts take place under a huge, trippy portrait of the Fuhrer, the old one; not the carrot man. 

The female performers are degraded and vilified (again) Salo style and yet the effect is arousing (don’t be scandalized, I’ve implicated myself in a lot worse, in my other essays) rather than repulsive as in 120 Days of Sodom. I am not comparing the films, oh no, just pondering over Pasolini‘s astute, penetrating, repulsive, dangerous, and strict handling of desires in his film, and how desire turns to pristine disgust by The End or Fin.

That was the mighty, a merger of extreme bourgeoisie ideologies; Salo. Doctrines, when combined can take the entire genre apart. This, Last Orgy film, Imported from Italy and rated X, is apolitical in its presentation – if not for the Hitler Yellow-Submarine wall-sized painting – but only after Commandant Conrad von Starker (gag) gets fucked in the ass, with what looked like a hookah pipe, the wide and round end of it. I’m guessing this is therapy, for both the filmmakers and the viewers. 

One thing could be sensed – very strongly – for sure, it made itself obvious even through the spiced up scenes, the anger and rage, which can still be found in the swing of a bat by the Bear Jew.

Never mind and never again. However the latter is reserved for a privileged few and it’s again and again for the rest of the gentiles.

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