Radley Metzger

Radley Metzger

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The Lickerish Quartet Review


OK
Often touted as Metzger's best movie, The Lickerish Quartet is at the least a departure from his straight-up eroto-soft-core-porn work. Here Metzger ups the art cred of the film to a level that would make Andy Warhol blush, setting sex scenes in silence in fields and in a library where the floor is wallpapered (floorpapered?) with dictionary entries of naughty words.

The story itself is a bust: Four people in a proper British manor couple in various formations; the blonde girl they (mother, father, and son) picked up at the local fair because she looks like the girl in the sex film they like to watch. The ending doesn't quite pay off the promise of epic violence or a bizarre coupling... instead the film serves mainly as mood music for its entire running time.

Continue reading: The Lickerish Quartet Review

The Alley Cats Review


Weak
Think of Radley Metzger as Russ Meyer without the stones. And think of The Alley Cats as Faster Pussycat! Kill! Kill! without all the violence and the nudity.

Shot within a year of each other, both films were scandalous during their eras, but Alley Cats is practically PG-13 by today's standards.The story is minimal and without much substance: A couple about to get married aren't getting along so well, so he has an affair with another woman, and she has an affair with a man. Her affair doesn't turn out so well, so she hits up another woman for a lesbian encounter. How will it end?

Continue reading: The Alley Cats Review

Therese and Isabelle Review


OK
Ah, young love. How could it be better? Well, if it's two young girls, duh!

Essy Persson's Therese arrives at prep school, full of wide-eyed inquisitiveness and, well, a little curiosity. We aren't 20 minutes into the film before she's tailing Isabelle (Anna Gaël) and poking her head into lesbianism. Not much, unfortunately, comes of this outside of the expected mushy gushy feelings that develop and the inevitable scandal it creates in the school. Told in flashback from a now older Therese as she wanders the halls of the school, Radley Metzger develops a story with substantial grace and beauty (best seen in an immortal shot of Persson raising her head to peer out over Gaël's bare ass), but not much substance.

Continue reading: Therese and Isabelle Review

Camille 2000 Review


OK
Radley Metzger's updating of Dumas' Camille doesn't quite make it to 2000, but he does a pretty good job of giving us the swingin' 1969 version -- set in Euro-dubbed Rome's high society.

The story is relatively faithful to the original tale -- never mind all the sex parties and the bondage -- with Camille (Danièle Gaubert) falling for a man out of her social class, only to watch it dissolve as she sacrifices their love for his social advancement. Meanwhile, she's dying, anyway.

Continue reading: Camille 2000 Review

Camille 2000 Review


OK
Radley Metzger's updating of Dumas' Camille doesn't quite make it to 2000, but he does a pretty good job of giving us the swingin' 1969 version -- set in Euro-dubbed Rome's high society.

The story is relatively faithful to the original tale -- never mind all the sex parties and the bondage -- with Camille (Danièle Gaubert) falling for a man out of her social class, only to watch it dissolve as she sacrifices their love for his social advancement. Meanwhile, she's dying, anyway.

Continue reading: Camille 2000 Review

The Princess and the Call Girl Review


Grim
Radley Metzger's final film gives up most pretense of being artistic, and that's unfortunate. Made for the Playboy Channel, this is low-budget softcore without much to redeem it.

Inspired (blatantly) from The Prince and the Pauper, Carol Levy stars in two roles as a virginal socialite and her lookalike pal, a high-priced call girl. For whatever reason, they decide to switch places for a weekend -- the virgin jets to Europe for a series of trysts, while the call girl stays home on the eve of her pal's wedding to a nebbish loser. Throw in an amorous maid who's constantly losing her clothes and I guess you've got a movie.

Continue reading: The Princess and the Call Girl Review

The Lickerish Quartet Review


OK
Often touted as Metzger's best movie, The Lickerish Quartet is at the least a departure from his straight-up eroto-soft-core-porn work. Here Metzger ups the art cred of the film to a level that would make Andy Warhol blush, setting sex scenes in silence in fields and in a library where the floor is wallpapered (floorpapered?) with dictionary entries of naughty words.

The story itself is a bust: Four people in a proper British manor couple in various formations; the blonde girl they (mother, father, and son) picked up at the local fair because she looks like the girl in the sex film they like to watch. The ending doesn't quite pay off the promise of epic violence or a bizarre coupling... instead the film serves mainly as mood music for its entire running time.

Continue reading: The Lickerish Quartet Review

The Dirty Girls Review


OK
Radley Metzger's second feature is a real oddity, as we follow the lives of two prostitutes in various cities in Europe. Garance (the lovely Denyse Roland) plies Paris. Monique (Reine Rohan) works in Berlin.

In the first vignette, Garance hops through about three guys in one night. One's shy. One tries to beat her with his belt (before neighbors burst in and turn the tables). A third likes costumes. Garance lives to screw another day.

Continue reading: The Dirty Girls Review

The Alley Cats Review


Weak
Think of Radley Metzger as Russ Meyer without the stones. And think of The Alley Cats as Faster Pussycat! Kill! Kill! without all the violence and the nudity.

Shot within a year of each other, both films were scandalous during their eras, but Alley Cats is practically PG-13 by today's standards.The story is minimal and without much substance: A couple about to get married aren't getting along so well, so he has an affair with another woman, and she has an affair with a man. Her affair doesn't turn out so well, so she hits up another woman for a lesbian encounter. How will it end?

Continue reading: The Alley Cats Review

Therese and Isabelle Review


OK
Ah, young love. How could it be better? Well, if it's two young girls, duh!

Essy Persson's Therese arrives at prep school, full of wide-eyed inquisitiveness and, well, a little curiosity. We aren't 20 minutes into the film before she's tailing Isabelle (Anna Gaël) and poking her head into lesbianism. Not much, unfortunately, comes of this outside of the expected mushy gushy feelings that develop and the inevitable scandal it creates in the school. Told in flashback from a now older Therese as she wanders the halls of the school, Radley Metzger develops a story with substantial grace and beauty (best seen in an immortal shot of Persson raising her head to peer out over Gaël's bare ass), but not much substance.

Continue reading: Therese and Isabelle Review

Carmen, Baby Review


Weak
Uta Levka gets the honors in this go-round to be Radley Metzger's oft-naked vamp. In this rendition of the classic opera and novel Carmen (dig the title), Carmen is a bit of a tramp who woos a cop who's trying to arrest her and then a rock star, despite the fact that she's married. Jealousy rears its head eventually, with disastrous consequences. (Hell, if you saw the way Carmen could dance -- it's just her and a long-necked Chianti bottle -- you'd feel the same!)

Metzger earns points for picking good source material, but in his typical fashion he meanders all over the place en route to telling his story. He gets around to it eventually, but there are so many cocked eyebrows and sultry glances that it's easy to miss the actual plot amidst all the sexy subtlety.

Continue reading: Carmen, Baby Review

Radley Metzger

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