Guess Who's Coming for Breakfast

Die Nichten der Frau Oberst (1980), directed by Erwin C. Dietrich, is a softcore erotic film that blends period drama with steamy encounters, yet it falls short in terms of narrative depth and character development.

The film follows the lives of two young women, the nieces of Frau Oberst, played by Karine Gambier, as they navigate their burgeoning sexuality under the watchful eye of their strict aunt. The film is set in a lush, picturesque European countryside, which serves as a visually appealing backdrop for the unfolding erotic escapades.

Visually, Die Nichten der Frau Oberst benefits from its period setting, with elaborate costumes and sets that effectively evoke the early 20th century. The cinematography captures the beauty of the landscapes and the opulence of the interiors, creating an aesthetically pleasing experience.

The performances are a mixed bag. Karine Gambier brings a commanding presence to her role, balancing authority and allure, while the young actresses portraying the nieces manage to convey innocence and curiosity convincingly. However, the film's focus on erotic scenes often overshadows any deeper exploration of their characters, leaving them feeling one-dimensional.

The film's primary appeal lies in its erotic content, which is tastefully shot and avoids descending into crudeness. However, the emphasis on sensuality comes at the expense of a compelling plot. The narrative is thin and serves mostly as a framework to connect the various erotic encounters. This lack of substance may leave viewers desiring more in terms of story and character engagement.

Additionally, the pacing of the film can be uneven, with some scenes dragging on without contributing significantly to the overall plot. The dialogue, while serviceable, lacks the wit or complexity that could have elevated the film beyond its erotic focus.

In conclusion, Die Nichten der Frau Oberst (1980) is a visually appealing period piece that succeeds in delivering erotic content but falls short in terms of narrative depth and character development. It's a film that might appeal to fans of vintage erotic cinema and those interested in visually rich settings, but it lacks the substance to engage a broader audience looking for a more balanced and compelling story.

No pun intended - also this counts as softcore - yet that doesn't mean it is not touching ... again no pun intended. Now there is no (visible) penetration, but there is lots of nudity, so if that floats your boat ... well you could do way worse of course.

With Brigitte you have quite the icon here - and she knows about sleaze. She is the big draw here - well was for me. Great actress (in many horror movies too) - and she shows off ... I can't help myself with the puns, but I reckon you have noticed.

While the story is quite ... well simple, there is a lot of shenanigans going on. And while there is no ... in and out going on, there is quite a bit of rubbing (petting as it is also known) and the usual positions ... I reckon. Anyway, I don't think anyone should be surprised with what they will be getting with this.

This is a nicely photographed softporn feature from the time when the girls had to show a bit more to keep the punters interested - as a result the female cast comprises of regulars of French porn flicks.

Although there had been rumours of hard porn versions of Dietrich's films from this era, they seem to be largely unfounded. Except that the full length version of this film contains several labia showings which would have had to be cut for certain markets, e.g. they are missing in the UK version.

Dietrich does not even attempt to get any acting out of his cast (although at least Brigitte Lahaie and Cathy Stewart are quite capable in that department), he just goes for the looks. In several scenes a dialogue is dubbed to the film, although quite clearly nobody is speaking at the moment - this is so blatant that it looks deliberate, a bit of self-mockery. In the German language version Dietrich pursued this strain of self-mockery by having some original text from Guy de Maupassant (the original inspiration for this film) read to comment on rather less sophisticated scenes. The English language version lacks this little intricacy.

Overall, the film is pretty to look at - pretty girls, pretty scenery, pretty fruit blossoms [yes, Dietrich is obsessed with this stuff], and male actors with pretty well-developed muscles. But there is no real story, not the slightest bit of tension, the film is not going anywhere.

This Erwin Deitrich production (the notorious Swiss producer responsible for Jess Franco's sleaziest films) was sold in the English-speaking world as "Come Play with Me 2", a sequel to the (somewhat) more famous British Mary Millington vehicle "Come Play with Me". This has absolutely nothing to do with the other film though other than it uses the same horrible theme song (at least in the English version). Rather than featuring Millington, Suzy Mandel or other English no-clothes horses, this has a cast of French actresses like former hardcore star Brigitte Lahaie and Jess Franco regulars Karine Gambier and Nadine Pascal. Lahaie, at least, is a far better actress than Mary Millington, et. al., but you would never know it from this three-hanky, weasel-milking, time-waster.

The plot, as it were, concerns a sexually repressed "aunt" (Karine Gambier) living on a country estate with her two nymphomaniacal "nieces" (Brigite Lahaie and Nadine Pascal), who when they're not having lesbian sex with each other, are going at with the male farm hands or their respective fiances.(In typical porno fashion Gambier, Lahaie, and Pascalall look pretty much the same age, so it it is pretty arbitrary that Gambier is the "aunt" while the other two are the "nieces"). There are also two frisky chambermaids who are doing pretty much the same thing as the other young women . Naturally it isn't long before Gambier's "aunt" gets in on the action (you can tell she's starting to come out of her shell when she starts fellating an ear of corn while spying on a shirtless farm laborer).

Although strictly softcore, this movie nevertheless suffers from all the same liabilities as hardcore porn. There is little talent in evidence either behind or in front of the camera (Brigitte Lahaie's later superior work for directors like Jean Rollin not withstanding). And the constant, numerous sex scenes pretty much push out anything else of any interest. This not nearly as sleazy as some of the films Deitrich made with Franco, but it also far less entertaining. Naturally Lahaie, Gambier, et. al. have nice bodies and they are pretty much constantly on display, but since most of these actresses have probably done hardcore, this relatively tame movie will probably disappoint even their fans, and it will bore the holy hell out of anyone else. The only thing this really achieves (and, believe me, it's quite an impressive feat) is to make the "original" "Come Play with Me" with seem comparatively entertaining.

There is some dispute over the real authorship of the original book. Widely attributed to Guy de Maupassant, the book looks to have been originally published with the French title Les Cousines de la Colonelle, by Vicomtesse de Coeur-Brûlant, possibly aka Madame de Mannoury aka Marquise de Mannoury d'Ectot (according to the blurb on the book cover).

This is another erotic film from Swiss filmmaker Erwin C. Dietrich who specialises in this sort of countryside nude romp. If the film lacks a plot then this is more than compensated for by the amount of very attractive female flesh on display, which after all is what interests the viewers.

Karine Gambier plays the widowed Frau Oberst who likes to try out potential suitors for her two nieces played by Brigitte Lahaie and Pascale Vital but the nieces seem to have eyes only for each other, not that they are not interested in the guys but the guys seem a bit half-hearted in their attempts to make it with the girls. Still, never mind, with several girl/guy scenes they all come good (no pun intended) in the end.

One aspect of Mr Dietrich's filmmaking that I find interesting is his ability to secure picturesque locations such as castles and grand houses for his films. If this sort of film had been made in the UK, there would no doubt have been screaming headlines in the press calling for heads to roll and questions asked in Parliament but the Swiss and the continentals in general seem to take it all in their stride - and, in this reviewer's opinion, thank goodness for that.