Tinto Brass Collection [DVD]

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Hold Me Tight A woman in the throes of a sexual relationship with her doctor is soon to discover that the doctor is in fact a nun! Arrow (Blu-Ray & DVD) (UK RB/R2 HD/PAL) / WS (1.78:1) (16:9), Cult Epics (US R0 NTSC), Raro (Italy R0 PAL) / WS (1.66:1) (16:9) Brass keeps things moving at a rather energetic clip, with no segment wearing out its welcome.All physical intimacy appears to be faked, and degradation is never at all the name of the game.Perhaps this is part and parcel as to why Tinto Brass (we’re told) maintains a strong female following.

Tinto Brass fans will not want to miss out on this special set.Cult Epics is smart to pair the filmmaker profile documentary with the worthwhile but admittedly slighter feature film.Between the fictionalized documentary-esque framework of P.O. Box Tinto Brassand the earnest documentary approach of Istintobrass,their coupling is anything but incongruous.The presence of Tinto Brass himself in both films, in all his affable chimney-like smoke-spewing glory, is the logical and ultimately welcome connection. Brass shoots lady-parts the way that Sergio Leone shot Clint Eastwood’s eyes.That level of focused intensity is perhaps the auteur-studies through-line here, as each segment otherwise takes on a tone of its own.(Particularly a VHS videotape, the contents of which are included and Brass in reality claims he really did receive).They are all colorful and vibrant little fantasies, ranging from the lighthearted to the absurd.Cult Epics, in promotion of its attractive new Tinto Brass Blu-ray double feature of P.O. Box Tinto Brassand Istintobrass, leads its own copy with that semi-clarifying quote by the aged patriarch of erotica himself.Whether one receives Brass’s pronouncement as legitimate or just more smoke being blown by the perpetually cigar-wielding filmmaker, it is hard to deny the sure-handed nature of the otherwise light-as-feature comedy P.O. Box Tinto Brass (Fermo Posta Tinto Brass). Voyeur: A hotel employee betray s his position of authority to spy on the rooms through networked screens and discovers extra-marital affairs with one of the hotel's waitresses... Arguably the classiest of Brass's films, The Key sports a lush period setting in pre-World War II Venice, with Mussolini's rise to power mirroring the increasing decadence of the characters. The vintage setting proved to be ideal for his cinematic style, and he returned to it several more times including his later underrated classic Senso '45. The visual potency is enhanced by Sandrelli, giving her all with an uninhibited and often undraped performance, and a catchy Ennio Morricone score that set the tone for future bouncy Brass music to come.

Blessed Transgression: By chance, a divorced couple meet each other in a local park. They soon play a game with two complete strangers and the old passion is re-ignited, this time with a difference... From there, Brass runs things through his quite-male filter in creating short vignettes, which ostensibly has been the hope of the letter-writers all along.The wish fulfillment of it all is a two-way street, granting the senders the satisfaction of their letter being adapted to film by Brass, while for Brass himself, they’re an opportunity to indulge his posterior fetishes and soft gyno-gaze in the name of fan service. Julia: One of the world's greatest erotic photographers takes three beautiful models on a trip to Rome. Perverse yet innocence, they find redemption in the Vatican City... The undisputed King of Erotica lends his name to twelve of the sexiest short stories imaginable. Directed in the Tinto Brass style by some of the most talented new Italian directors working today, Tinto Brass has produced the films as well as featuring in his trademark cameo appearances.To be clear, there’s plenty about Brass that doesn’t sit well.Not now, anyway.The optics of a cigar chomping mogul leering at beautiful women one-third his age are simply not good, no matter who comes in to defend the guy. Brass plays himself in the film’s playful office-bound framework, in which his gorgeous personal assistant (Cinzia Roccaforte) helps Brass sort through submissions, deciding together which might warrant adaptation to film.Naturally, when they seize on a keeper, the film transitions to said segment, complete with a revolving door of very game actors and actresses taking on the described roles.(Including Erika Savastani, Paolo Lanza, Cristina Rinaldi, Gabriella Barbuti, and several others).Some are sexier than others, some are more voyeuristic than others, but all share Brass’s trademark libido. Quattro: December 31st 1999. Two guys. One girl. A brand new experience for them all as they enjoy one night of wild passion in a hotel room! After watching P.O. Box Tinto Brass,viewers may be surprised to learn of Brass’s deep and lofty cinematic ties, not to mention his earlier reputation as an up-and-coming avant-garde savant.Much time is devoted to his early “cineaste” years, wherein he served under Henri Langlois of the Cinémathèque Française, was commissioned by Umberto Eco, and worked closely with Roberto Rossellini and Joris Ivens.He was never then not respectable and proved to be quite respected.

Thankfully, he nets the necessary interviews to lend Istintobrassa good amount of scholarships and authenticity.Yes, it’s ultimately a lot of talking heads saying nice things about Tinto Brass, but one never assumes that it’s exaggeration or untruth.Hyperbole, perhaps. But hey, this isthe movies. The plot of The Key is dervied from the novel Kagi by Jun'ichirô Tanizaki, which has been adapted numerous times including 1959's Odd Obsession by Kon Ichikawa and another little seen version made the same year in '83 by Akitaka Kimata. The original 1956 novel was written in diary form between the husband and wife, with a sexual frankness that made it one of the more controversial works for the author (who also wrote the often-filmed Manji). Before Brass was “the aged patriarch of erotica”, however, he earned a reputation as a boldly artistic visionary, was dubbed “the Antonioni of the 1970s” and the heir apparent of the Nouvelle Vague.He made highly visible films such as Salon Kitty, Dropout, and quite notoriously, Caligula- one of the most-seen Italian films in the United States.

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Paired with P.O. Box Tinto Brassis Massimiliano Zanin’s 2013 documentary, Istintobrass.Though a legitimate feature-length filmmaker profile, one couldn’t be blamed for perhaps questioning Zanin’s objectivity, seeing how much of his own online resume is made up of previous Tinto Brass projects.