Flossie

Mac Ahlberg has come up with a winner in this porn film. Marie Forsa is superbly cast as Flossie the young girl who entrances embassy worker, Jack Archer (Jack Frank) as well as entrancing the male population who see this film. Marie Forsa oozes innocence as well as sexuality which explains her popularity. We must not forget the other beautiful women who appear here.

Maybe the film has been censored to some degree because although Jack Frank appears several times with an erection and there are a number of sex scenes, there are no climax shots and no penetration shots that we get in hard porn nowadays. There are some imaginative scenes such as the orgy scene in which a blindfolded Jack has a threesome in front of an audience; and another scene in which a local stud has the pick of several girls.

Overall, this film combines very sexy girls with a good script, the only blot though is a too frequent use of the close-up of faces when a bit of restraint to show those beautiful bodies would not have gone amiss. Well worth seeing though.

Mindy Wilson as FLOSSIE: A VENUS OF FIFTEEN is the ultimate Victorian porn heroine in my book. The beautiful Maria Lynn/Marie Forsa is similarly well-cast as Mac Ahlberg's FLOSSIE, a film that only flirts with hardcore -perhaps its main defect.

Maria is perhaps the ultimate embodiment of borderline hardcore action: her films for Joe Sarno are still revered as perhaps the ultimate of representing explicit sex on screen tastefully -without showing penetration. That is the format here -we see massive hard-ons (from hero Jack Frank) and simulated fellatio, but it's strictly softcore.

Story has been updated from 19th Century to contemporary milieu, and follows exactly the same storyline as the VENUS OF FIFTEEN hardcore version. Capt. Jack Archer (Jack Frank) is immediately smitten with Flossie when he meets her and her patroness Eva (Kim Frank), and spends the rest of the film dry humping Lynn, until as a threesome he gets to deflower the young virgin under Eva's scrutiny.

Ahlberg includes many flashbacks, as per the Victorian source novel, showing Flossie's sexual initiation into lesbianism as a school girl. Anita Ericsson is her mate in these segments -and went hardcore quite effectively opposite Lynn in the later film "Molly" as well as a favorite of mine "Girl on Her Knees" (both of these made by FLOSSIE producer Inge Ivarson).

Lynn is so appealing, and the direction expert, that FLOSSIE is continually arousing. Even the requisite orgy scenes are well-done, within the confines of softcore.

It is interesting that all three leading ladies worked with Sarno on various of his Scandi shoots. So this authentically Swedish opus is recommended to the growing Joe Sarno cult for comparative purposes.

Sol says: The beautiful Maria Lynn/Marie Forsa is similarly well-cast as Mac Ahlberg's FLOSSIE, a film that only flirts with hardcore -perhaps its main defect.

Not actually true. The film features plenty of hardcore footage of fellatio and intercourse. The film only lacks the current obsession with male ejaculation.

The film is beautifully lit and filmed, and the lead actress is adorable. I'd describe it as an excellent "couples movie", unlike the vast majority of the current product. It is explicit, without being gynecological.

I have this on a drive-in compilation, and was expecting some Erwin C. Dietrich-level smut (both Swedish-related). What I got was exactly one hair short of full-blown porn. As in, you can tell when people are actually having sex, minus any graphic close-ups or finishes.

I'll say what I actually liked first. There are plenty of reasons I feel the Golden Age of porn is the best. Flossie exemplifies some strong characteristics found in a lot of 70's plot-driven, erotic X-rated films. First of all, this movie has an overarching story, and it's a good premise. Second, the fantasies (er, mostly told in flashback) are very thoughtful. My favorite 70's adult films (usually) have a great way of incorporating the sex into the story and plot line. This movie is wonderful in these respects.

Alright, Jack (Jack Frank) is one of the three main characters in this film. Why? All I can figure is he's got a pretty face and a big D. It sure as hell ain't his personality or his passion. This actor and character literally cripples what's good about this film.

The connection Jack has with Eva and Flossie is ultimately explained, but what preceded had me constantly asking Why?! Jack has exactly zero charisma, and looks stone-faced, no matter the situation. Flossie FALLS IN LOVE with the dullard minutes after they meet. Even after exuding the personality of a rotten tree stump. He gets some blowskis from Flossie, and puts both hands behind his head like he's a sultan entertaining his harem. Stone-face. Somehow, in another galaxy, he gets into a four-way with three female strangers from a limo. Apparently just another day at the office. I think he goes Oh! When the ladies remove his blindfold to reveal an orgy observing them. Bravo, Jack! A pretty face'll only get you so far, unless you're a rock star. Jack travels to different embassies, in some capacity, and wanders the streets of Stockholm gawking at foxy ladies. Me? Envious? Maybe.

There ARE unintentional laughs to be found, courtesy of Jack blandly reciting graphic sexual acts. Also, one performer looks disturbingly like Neil Young.

There's a fly in my soup. Burn in hell, Jack.

"Flossie," directed by Mac Ahlberg in 1974, is an erotic drama that attempts to blend sensuality with a compelling narrative, but ultimately falls short of delivering a fully engaging film. The story follows the titular character, Flossie, played by Marie Forså, as she navigates a world of sexual exploration and liberation. While the film is visually appealing and daring in its portrayal of erotic themes, it struggles to balance these elements with a coherent and engaging storyline.

One of the film's notable strengths is its cinematography. Ahlberg, who is also an accomplished cinematographer, brings a stylish and polished look to the film. The use of soft lighting and aesthetically pleasing compositions creates a dreamlike quality that enhances the erotic atmosphere. The film's visual appeal is further complemented by its scenic locations and tasteful set designs, which add a layer of sophistication to the otherwise explicit content. The music, with its sensual tones, also plays a significant role in setting the mood and enhancing the film's eroticism.

Despite its visual allure, "Flossie" falters in its storytelling and character development. The plot is thin and often feels like a series of loosely connected vignettes rather than a cohesive narrative. This fragmented approach makes it difficult for viewers to become fully invested in the characters or their journeys. Flossie, as the central character, lacks depth and complexity, making her more of a symbol of sexual freedom than a fully realized individual. The supporting characters are similarly underdeveloped, serving primarily as backdrops to the film's erotic scenes rather than contributing to the story in a meaningful way.

Additionally, the film's pacing is uneven, with moments of intrigue and sensuality interspersed with lengthy, drawn-out scenes that add little to the overall narrative. While the erotic content is undoubtedly the focal point, it often comes at the expense of plot development and character engagement. This imbalance results in a film that is visually stimulating but emotionally flat, failing to leave a lasting impression beyond its explicit scenes.

In conclusion, "Flossie" offers a visually captivating exploration of erotic themes, showcasing Ahlberg's skill as a cinematographer. However, its lack of narrative coherence and shallow character development prevent it from being a truly engaging film. While it may appeal to those interested in the genre, it ultimately feels more like a stylistic exercise than a fully fleshed-out story.