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Original Music by Robert O. Ragland
Music Department
Fred Aronow .... music editor (as Fred Arnow)
Donald W. Ernst .... music editor (as Don Ernst)
Ennio Morricone .... composer: additional music
Arlon Ober .... music supervisor

Born in a tribe of fierce warrior women, Hundra has been raised to despise the influence of men. An archer, fighter and sword fighter, Hundra is superior to any male. Hundra finds her family slain and takes a vow of revenge until one day she meets her match.(Here)

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A husband and wife lock their diaries in a drawer and also know that they read each other's entries, a device which takes them from one sexual encounter to another.(Here)

The Key is the tale of a Husband and wife in living in Venice during the run up to the declaration of the Second World War. After twenty years of marriage their sexual relationship has become stale. The husband Nino longs for his wife Teresa to set aside her modesty and inhibitions. Nina herself remains unsatisfied by their sexual encounters but is bound by her own modesty. After getting a little to drunk one night while out with their daughter Lisa and her Fianc¨¦ Laszlo, Nino stumbles upon a way to re-ignite the flames of their sexual encounters. How ever has he really thought through the consequences of such a scheme?

Nino Rolfe is a British born art professor living and teaching in Venice, his wife Teresa runs the guest house in which they live. Frustrated by his wife¡¯s modesty which restricts his own sexual excitement, he devises a way in which he can explain his frustrations without actually confronting her. To this end he begins to write a dairy describing his fantasies and feelings. He locks it in a drawer in his study and then leaves the keys conveniently on the floor knowing his wife will find it when she cleans. Its not long before she too is writing her own diary and as such they are able to communicate their desires covertly without having to directly mention them, this in itself becomes part of the sexual interplay between them. How ever things don't stop here, Nino recognises that he is excited by jealousy and so through his writing and a number of schemes pushes his wife slowly into an affair with his daughter¡¯s young Fianc¨¦ Laszlo. In the arms of Lazlo Teresa finds even greater sexual liberation and this she brings home to the marital bed.

The Key is adapted from the classic Japanese novel Kagi by Junichir? Tanizaki. The novel had been previously brought to the screen by Japanese director Kon Ichikawa under the title of Kagi which was released in 1959. Cult erotica director and some say European master of the genre Tinto Brass, had long been a fan of the novel and after several attempts was finally able to acquire the film rights from the then deceased Junichir? Tanizaki's wife. Brass moved the setting to Venice a city he describes as smelling like a female sex organ (See the interview on this DVD). On the surface The Key plays like classic soft-core erotica with an air of decadence and soft focus artistry, how every beneath the obvious Brass has in fact created a very subversive film. Brass is a pretty skilled director the film has a very European art house look and certainly does not look cheap and sleazy. Limited locations are used, but then they are all that's needed after all this is all about character interplay. The acting for the most part is of the serviceable variety, nothing outstanding but certainly not poor enough to bother the viewer. The film is dual language with the majority in English. The four main characters converse in English but if they speak to anyone outside of this circle they use Italian and are subtitled. The Italian seems more comfortable to all except Frank Finlay who plays Nino, but then he is English.

Tinto Brass clearly finds censorship especially around something as natural as sex an undesirable part of culture. His film is as much about that as the story we see on the screen. Nino in particular being an art professor constantly makes references to classic art and art history which featured nudity and erotic images, he also mentions Items that where censored in the past by church and state and the fate of some of those involved. In away it is this external censorship and the attitudes towards sexually prevalent in society that have spoiled the couples sexual relationship. The need for a woman to be modest, and overt displays of sexuality being frowned upon have shaped the way Teresa is. Brass illustrates this at several times in the movie, in particular the reaction of guests at the dance when a drunken Nino puts his hand on his wife¡¯s bottom during a dance. As with many Italian films there are also some veiled swipes at the Catholic Church and its dominating moralising presence in Italian society. Maybe the most interesting thing is the change in the balance of power with Teresa and Nino's relationship once she begins to become sexually liberated. Anecdotal evidence often supports the idea that faced with the sexually liberated woman they wish for men feel a loss of power. Often a man who pushes his wife or partner into the likes of swinging comes to regret it once she begins to enjoy it and really want to do it in her own right.

The Key is first and foremost soft-core erotica, if nudity, overt sexuality and scenes of simulated sex offend your sensibilities; this is not a film for you. Those comfortable with such things will find much to like here as its an attractive and interesting film with the kind of protagonists who would maybe not feature in more modern takes on sexuality. Depending on what pushes your buttons you may even find some of it quite stimulating, I certainly am a fan of hosiery and I am sure I am not alone in that. (Here)

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In another typical Jean-Paul Belmondo vehicle, the French action hero plays a policeman prone to advancing the cause of justice by any means necessary. On his agenda is a powerful drug cartel working out of Paris and Marseilles, with a drug lord (Henry Silva) who is essentially inaccessible -- but not immortal. Stunts (performed by Belmondo) and chase scenes on land and water enliven the story, but the scenes with Belmondo's love interest are rather marginal themselves. (Here)

Just as Jean-Paul Belmondo's THE PROFESSIONAL (1981) recalled the Charles Bronson 'loner' action vehicles, this one evokes memories of Clint Eastwood's "Dirty Harry" cop shows¡­which, by extension, connects it to the Italian poliziotteschi ¨C of which the American co-star of THE OUTSIDER, Henry Silva, was a regular! Anyway, Belmondo is a maverick cop up against drug kingpin Silva: he intercepts a consignment of heroin (chasing the speedboat transporting it via helicopter), but the criminal's influence with city officials gets him transferred from Marseille to a low-life district! As was the case with the earlier film, the credits take care to establish the fact that the ageing star performed his own (often dangerous) stunts; in fact, every fifteen minutes or so, he's seen getting into a scuffle, a chase or a shoot-out ¨C without necessarily advancing the main plot.

Still, in spite of the protagonist's superficial nonchalance, he's shown to have a heart: befriending a hooker, saving a convict's teenage daughter from life as a junkie, and paternally overseeing the 'legitimate' activity of a young small-time crook; when the latter opposes Silva's offer of 'protection' and winds up dead, the conflict between policeman and racketeer becomes a personal one. Mind you, the overall handling is anything but subtle ¨C and blatantly commercial (why else would we be treated to the excess of sleaze on display, including an irrelevant excursion at a gay club?)! The film features another Ennio Morricone score which virtually hinges on a single catchy riff, though it's not quite as haunting as his work on THE PROFESSIONAL. The R2 DVD I rented also featured an Audio Commentary by director Deray which was, unfortunately, unsubtitled and enticing theatrical trailers for two other films Belmondo made for director Philippe De Broca, LE MAGNIFIQUE (1973) and L'INCORRIGIBLE (1975).(Here)

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Sam Fuller (1911-1997) directed this rather mediocre crime story about a Bonnie-and-Clyde couple -- how they got together and how they are pursued for a murder they never committed. Francois (Bobby Di Cicco) and Isabelle (Veronique Jannot) meet in an unemployment office, a likely place to find others in their profession: he is a cellist and she, an art historian. While there, Isabelle gets into a nasty incident with one of the clerks, and Fran?ois helps her out of the office with the end result that the two continue meeting and eventually fall in love. They try to make money as street musicians, though nothing seems to work out. Isabelle then suggests they rob the three unemployment office personnel who were the most obnoxious to them, a suggestion that leads to their breaking into an apartment in which the occupant accidentally falls to his death. At first both Isabelle and the police believe she pushed the man out the window -- and the chase is on. (Here)

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In Zola's Paris, an ingenue arrives at a tony bordello: she's Nana, guileless, but quickly learning to use her erotic innocence to get what she wants. She's an actress for a soft-core filmmaker and soon is the most popular courtesan in Paris, parlaying this into a house, bought for her by a wealthy banker. She tosses him and takes up with her neighbor, a count of impeccable rectitude, and with the count's impressionable son. The count is soon fetching sticks like a dog and mortgaging his lands to satisfy her whims. She bankrupts him, arranges the debauching of his wife, and seduces his son on his wedding day. What else can she accomplish before she leaves Paris airborne? (Here)

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After her father dies, young Dale takes his place in a trans-African auto race, but ends up being abducted by a desert sheik. (Here)

The setting is in the year 1927. After her father dies, a young woman (Shields) disguised as a man, takes the place of her father in a race across the Sahara. She ends up prisoner to Rasoul (John Rhys-Davies), but is rescued by Jaffar (Lambert Wilson). However, more trouble awaits her before she can finish the race. She ends up marrying Jaffar (Lambert Wilson) and Jaffars uncle (Rasoul) ends up dying in the end. She does end up winning the race, becoming the first woman to win this race.(Here)

Exciting WWII drama based on a true story. Gregory Peck stars as a Vatican official who hides escaped POWs and refugees from the Gestapo under the eyes of German officer Christopher Plummer. With John Gielgud, Edmund Purdom, Raf Vallone, Barbara Bouchet, Kenneth Colley. AKA: "The Vatican Pimpernel." 156 min. Standard; Soundtrack: English Dolby Digital stereo Surround.(Here)

In 1943, Nazi Germany completely occupies Rome. The Pope (John Gielgud) is approached by General Max Helm and SS Head of Police for Rome Colonel Herbert Kappler (Christopher Plummer). The Colonel expresses concern that escaped Allied prisoners may attempt to seek refuge in the Vatican, and requests permission to paint a white line across St. Peter's Square in order to mark the extent of Vatican sovereignty. The Pope grants his permission, but upon the departure of the SS officers, looks out the window to see the white line had already begun being painted. Kappler's main rival is Monsignor O'Flaherty (Gregory Peck), an Irish clergyman who runs an underground organization which provides safe haven and eventual escape to Jews, escaped PoWs, and refugees in Nazi-occupied Rome. He is assisted in this enterprise by several other patriots such as Ms. Francesca Lombardo. Kappler attempts to end their activities and destroy the group, but is increasingly frustrated by O'Flaherty's repeated successes, due to a combination of his clever plans, numerous disguises, and stressing the very limits of international law. Met with continuous failure, Kappler begins to develop a personal vendetta against O'Flaherty. Despite O'Flaherty's efforts, Kappler manages to recapture many escaped PoWs, deport many Jews to death camps, and exploit and oppress the general population; a number of O'Flaherty's friends are also arrested or killed.As the war progresses, the Allies succeed in landing in Italy and begin to overcome German resistance, eventually breaking through and heading towards Rome itself. Kappler worries for his family's safety from vengeful partisans, and, in a one-to-one meeting with O'Flaherty, asks him to save his family, appealing to the same values that motivated O'Flaherty to save so many others. The Monsignor, however, refuses, disbelieving that after all the Colonel has done and all the atrocities he is responsible for, he would expect mercy and forgiveness automatically, simply because he asked for it, and departs in disgust.As the Allies enter Rome, Monsignor O'Flaherty joins in the celebrations of the liberation, and somberly toasts those who did not live to see it.Kappler is eventually captured and questioned by the Allies. In the course of his interrogation, he is informed that his wife and children were smuggled out of Italy and escaped unharmed into Switzerland. Upon being asked who helped them, Kappler realizes that it must be O'Flaherty, but responds simply that he does not know.The film epilogue states that Kappler was sentenced to life imprisonment, but was frequently visited in prison by O'Flaherty, eventually becoming a Catholic and being baptized at his hands in 1959.(Here)