Sensations

Lasse Braun's first full length feature following a string of surreptitiously circulated loops revered by connoisseurs and collectors in the know - his PENETRATION a/k/a FRENCH BLUE was merely a collection of shorts offset by behind the scenes footage - remains the crowning achievement of his (in light of his reputation) remarkably checkered career, a prime example of the artistic style and wit that mark the finest of his fornication featurettes. Due to a short attention span perhaps, these traits rarely translated well to his 90 minute projects, most of which contain their fair share of sizzling sexual set-ups but also an all too generous amount of pseudo-philosophical self-indulgence that could only qualify as mental masturbation in the connecting footage. While the sex remains as scorching as ever, three or four decades down the line (cementing the late Jim Holliday's sacred statement that truly erotic sex never goes out of style), the director's soap box lamentations on the twin subjects of sexual freedom and the conceived conspiracies of state, religion and mass media to the suppression thereof have badly dated many of his movies in the meantime. To its credit, SENSATIONS contains fewer of these half-baked homilies than much of his subsequent work and anyway surrounds these mercifully brief interruptions with such a lot of lascivious fireworks as to successfully (if perhaps not wholly intentionally) drown out the director's dire diversion of discourse.

Loosely plotted along the lines of Alice in Wonderland, the prude heroine being an ignorant American (surely as close to a sheltered "innocent" as the worldly-wise Italian, whose real name's Alberto Ferro, could imagine) with an acid-fueled Amsterdam standing in for Carroll's mushroom-ingesting netherworld, swiftly scurries from one sublime sexual set-piece to the next once the stage is set. Making her way across the pond from London (no longer swinging now that the '60s had well and truly passed) to hot 'n' happening Amsterdam, ostensibly to meet her photographer boyfriend, naive Margaret from Minnesota (Braun's then girlfriend and muse Brigitte Maier) will get a lot more than she bargained for when she falls in with the cheese country's carnal crowd, cautiously clutching onto her beleaguered modesty like a prize commodity until ultimate surrender to the sins of the flesh set her free and literally allow her to "blend in" during film's oft-discussed quizzical final scene.

Fashions and general behavior may make for something of a time capsule but the constantly cooking carnality shot with a peeping tom's precision transcends such curatorial preciousness. Cult favorites Véronique Monet and Trixie Heinen, both of whom starred in the classic collaborative effort that was THE KINKY LADIES OF BOURBON STREET (ascribed to Didier-Philippe Gérard but with considerable creative input from both Claude Mulot and Francis Leroi), do the dressing room dyke thing that's a million miles removed from the routine mechanical "girl/girl" scenarios porn's littered with. Early French hardcore starlet Frédérique Barral, who worked for the idiosyncratic José Bénazéraf on LES DEUX GOUINES and THE RANDY WIDOW, plays Margaret's Dutch liaison Liza, donning the CLOCKWORK ORANGE cutaway dress as a prelude to seduction of one shot stud Pierre Latour.

Braun loop regulars Bent Rohweder and Claudio Rossi (from his ludicrously elaborate Casanova short included in PENETRATION) appear as Margaret's shutterbug fiancé and celebrated erotic painter Alonso Suarez respectively, the former romping with yin and yang exotic models Nicole Velna (black) and Eva Quang (Oriental) and the latter at the mercy of legendary British dominatrix Tuppy Owens as kinky Lady Pamela Weatherby. Sylvia Bourdon's Dutch poet sex slave Jan Wilton, whose ordeal was painstakingly detailed in Jean-François Davy's sulfurous EXHIBITION 2, leaves an indelible impression as the hook-handed manservant Arthur.

All of the casual kink merely serves as an entrée to the pornographic piece de resistance that is the gallery group grope with saucy septuagenarian Lord Weatherby (who else but Robert Leray, one time stand-in for Jean Gabin !) making a play for girls not half but probably just a quarter his age, including the Suarez offspring (a rare hardcore appearance for Jess Franco mainstay Tania Busselier) who subsequently performs an unspeakable act of kindness for overlooked admirer Jean-Claude Bertin, the rotund Lothario from Francis Leroi's LOOKING GOOD, currently excised from US prints but gloriously present on Alpha France's recent Region 2 DVD restoration as part of their superb Braun box set further incorporating PENETRATION, the Klaus Schulze-scored BODY LOVE and no less than 30 of his most notorious loops.

I agree with the other reviewers that this movie could have set a high bar for adult movies. That didn't happen, but it is remarkable because it is both artistic and extremely exciting. I am not into the kinky stuff, but that's why god created fast forward (satire). Brigitte Maier has so much of the "girl next door" quality that she burns bright in the sex scenes. She reminds me of a woman I knew in the 1970s with long hair, pretty face, extraordinary body, etc. I thought the ending was bizarre when I first watched it, but maybe it is saying that the old Brigitte is gone and the woman in her is set free. I could be wrong. Anyway...enjoy!

I only saw this movie because I read excellent reports of it, and they were right. This movie is *very* artistic, and that is clear from the beginning where you realize it is first of all a "film production", not just a porno one.

The plot is very simple, it shows what happens in one girl's day, when she meet by accident a bunch of somehow lusty people, whom bring her to a new level of unashamed sex.

This movie was years ahead of his time. A controversial art gallery of atmospheric sex situations.

Why not a better qualification? It was because it could be too hardcore in some shoots. Insinuating things are better than show them raw, sometimes.

The film fails largely because of the acting and poor filming. The sex scenes are quite graphic but poorly edited. The film itself attempts to view an American girl's discovery of European sexual morals and has a quite interesting ending if you can take it seriously. It is saved only by the presence of Brigitte Maier who was one of the truly beautiful porn stars of the 1970s.

This was the first hard-core film I've ever seen, and I found the content fairly shocking back in 1975. Those who are used to run-of the-mill mainstream porn films should beware: the mundane and the kinky are presented equally here, and the notorious Braun doesn't seem to care who is offended. Lasse Braun was not a director who was concerned with making cinematic art; he wanted sex to be dirty and raw onscreen. The film was a huge success at the Cannes Film Festival; that combined with Maier's popularity as a Penthouse Pet made it a curio here in NY. For the adventurous, give it a try. For everyone else: you have been warned.