Bambole e sangue

A great film, but don't expect Paul Bartel's comedy that you've seen in Lust in the Dust and Eating Raoul. While the humor is there it isn't has strong. If you go into this film not knowing what you're about to get (which few do), then you will love it.

A film that is by far ahead of it's time, it brings on issues not dealt with until Beyond the Valley of the Dolls, and The Crying Game. This was Paul Bartel's second film to direct, and you wouldn't know that by watching it.

A classic that is way ahead of it's time. On a scale of 1 to 10, Private Parts gets a 10!

This bizarre and entertaining cult film was Paul Bartel's first feature, and it's probably his most interesting film. Good use of seedy LA locations and an effective score by Hugo Friedhofer create a genuinely creepy atmosphere. Well cast and acted. Lucille Benson, who could easily be Norman Bates' mother,is a standout as Aunt Martha.

"Too nosy for her own good", runaway Cheryl Stratton investigates the various characters and rooms in her aunt's hotel, while a resident photographer spies on her; ultimately, with her knowledge and participation. Like so many films, Private Parts owes a debt to Psycho. Though the film becomes somewhat silly with the arrival of the 2 policemen near the end, it is original and compelling, and Bartel displays admirable restraint throughout. The film ends with a good last shot:Cheryl checked-in a girl, and checks-out a vicariously experienced woman.

When the film opened in New York, at the now defunct First Avenue Screening Room, The New York Times' reviewed it favorably. Happily, it has finally been released on DVD with the trailer. Definitely worth checking out. "Follow Cheryl as she leads you through the darkest corridors of your mind", you'll be glad you did.

A runaway bad-girl touches ground at an urban hellhole...a residence hotel owned and operated by her kindly, but captious and set-in-her-ways Aunt Martha. The tenants of the hotel are a curious bunch, among them a senile old bat, a gay transvestite priest, and a handsome, mysterious photographer with a secret that's darker than pitch. An unidentified psychotic killer is active among them, as well...before long, Aunt Martha's hotel has several unexpected vacancies.

A steady momentum of shocks and a vague, peculiar climax help to make PRIVATE PARTS something rather special. Splendidly perverse creative gusto which could only have escaped from the bizarre mind of the sorely missed Paul Bartel...this is a very unusual picture, infused with brooding atmosphere and deftly appointed in every aspect of its poverty-line production.

8/10

A teenaged girl out to discover womanhood early takes refuge from home and friends in her aunt's dilapidated, poverty row hotel. The hotel houses a bizarre assortment of characters including a photographer wearing nothing but black leather and never saying much, a drunk who leaves bottles out in the hallway, a reverend who has tons of homo-erotic art and photographs pasted on his walls, a handicapped woman constantly crying for her Alice to return, and, of course, Aunt Martha, the proprietor. Aunt Martha is a heavy-set woman who preaches about the way things used to be and how her hotel is a place for respectable people not tramps and the like. Lucille Benson plays Martha and does an incredible job with what is really a difficult role. Martha is a complex character of old-fashioned values being fused with strong sexual repression. She is in many ways a man trapped in a woman's body. Think about that when you finish the film. Benson has a grand presence on screen and such a distinctive voice. The rest of the acting is generally good as well. Stanley Livingston(Chip from My Three Sons) has a small role. Director Paul Bartel does a fine job capturing the perverse nature of the inhabitants of the hotel. Each seems to have some seedy perversion. The hotel sets the mood perfectly as it is grand in stature and just as filthy in reality. Bartel uses genuine horror and some really dark humour together. In one scene a boy's head is lopped off quickly. A rat is pushed down a garbage disposal. Bartel also uses some nifty lines like when an elderly woman cries for her Alice, someone says, "Alice doesn't live here anymore." A weird, quirky film whose atmosphere, direction, and a real creepy performance by Lucille Benson carry it beyond the ordinary and into the area of cult classic.

"Private Parts", the directorial debut of Paul Bartel, is a wild and thoroughly engaging black comedy. Ayn Ruymen plays Cheryl, a young but not so innocent girl, who runs away from home and eventually ends up at the hotel of her Aunt Martha (Lucille Benson)in the skid row section of downtown Los Angeles. Although warned by her puritanical aunt to stay put, Cheryl explores the old place at every opportunity,soon becoming involved with George, a mysterious photographer. He is only one of the odd tenants in the establishment, but he's the one who fascinates her the most. With its lurid plot, beautiful color photography and great, brooding score, "Private Parts" is not to be missed! This October, Warner Home Video will release it in a widescreen DVD featuring the original trailer! It's not likely to be in print long, so grab it while you can!