Partes Privadas

Paul Bartel's vision of perversity in a seedy L.A. hotel has more entertainment value than most of today's re-hashed, redundant, repulsive, wannabe exploitation flicks. The acting alone is uncommonly good for this type, with Ann Ruymen as the not so innocent Cheryl, and Lucille Benson as the proprietor of the unforgettable King Edward Hotel, absolute standouts. The quirky residents are both believable and intriguing. Murder, fetishism, voyeurism, what more could you ask for from this wonderful mixture of bizarre characters? Great photography, great character development, great script, great dark comedy. Highly recommended. - MERK

"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!

Both an unsettling horror film, and a very dark comedy, this is my favorite Paul Bartel film.

Avoiding the sometimes too overt self-congratulatory humor of "Eating Raoul", this story of a "nice" young girl who comes to stay at her aunt"s creepy hotel, only to be surrounded by all sorts of disturbingly depraved types frequently leaves you both laughing and cringing (in a good way) at the same time.

Only the less than stellar (in fact sometimes near porn film level) acting keeps this from being a classic of disquieting, semi-surreal cinema.

But there are scenes and images that stick with me, and Bartel creates a lot of atmosphere with his use of music, compositions, and light.

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