#Ilsa: She Wolf of the SS

[vintage1981]

Kino Lorber Launching ‘Kino Cult’ as Packaged-Media Label

Home entertainment distributor Kino Lorber is launching its Kino Cult genre brand as a packaged-media imprint focusing on collector-oriented Blu-ray and 4K Ultra HD releases.

The Kino Cult imprint will debut as its own label in October 2023 with special Blu-ray editions of Jess Franco’s erotic horror masterpiece Lorna … the Exorcist (1974, featuring Lina Romay), as well as 4K restorations of Alien Outlaw (1985) and The Dark Power (1985), two video rental favorites from North Carolina indie Phil Smoot.

Kino Cult’s premiere 4K Ultra HD Blu-ray release will be a deluxe edition of Clive Barker’s Underworld (1985), directed by George Pavlou, and featuring Denholm Elliott and Ingrid Pitt. Upcoming 4K releases for 2024 include the exploitation classic Ilsa: She-Wolf of the SS (1975) and its sequels, Ilsa: Harem Keeper of the Oil Sheiks (1976), Ilsa the Tigress of Siberia (1977), and Ilsa, the Wicked Woman (1977).

While focusing mainly on horror and science fiction, Kino Cult will continue to embrace its trademark brand of “unapologetically weird” with such diverse genres as European erotica, grindhouse classics, and cinematic rediscoveries that defy categorization.

“Some of the most exciting rediscoveries are happening in the realm of cult cinema,” said Kino Cult curators Frank Tarzi and Bret Wood. “These strange and twisted movies are so unique that we feel they deserve their own imprint within the Kino Lorber family of labels.”

Kino Cult will expand its partnership with legendary cult label Something Weird, with collector’s edition releases to be announced soon.

Additional Kino Cult releases will be announced monthly.

[ornithorynquerouge]

Dyanne Thorne - Ilsa: She Wolf of the SS. 1974

[rarelyupforair]

[movieposters1]

[grindhousecellar]

$15 Flash sale on my Threadless shirts.

Only 24 hours left.

[papas-majadas]

‘The First Power’ is so underrated.

[oldshowbiz]

1975.

Protesting Ilsa She Wolf of the SS in Vancouver, British Columbia.

[cipheramnesia]

I have zero dogs in this fight, but frankly it's purely unsettling how every day I see a new picture where Taylor Swift looks more like Ilsa, She Wolf of the SS, than the last. I keep having to blink away double images of nonexistent Nazi propaganda posters about Aryan purity or something and discover I'm looking at the cover of Time magazine.

[floridaboiler]

52 years ago today, April 4, 1971, the final episode of Hogan's Heroes aired. It ran for 168 episodes from September 17, 1965, to April 4, 1971, on the CBS network. Bob Crane starred as Colonel Robert E. Hogan, coordinating an international crew of Allied prisoners running a Special Operations group from the camp. Werner Klemperer played Colonel Wilhelm Klink, the incompetent commandant of the camp, and John Banner was the inept sergeant-of-the-guard, Hans Schultz.

Hogan's Heroes won two Emmy Awards out of twelve nominations. Both wins were for Werner Klemperer as Outstanding Performance by an Actor in a Supporting Role in a Comedy, in 1968 and 1969. Klemperer received nominations in the same category in 1966, 1967 and 1970. The series' other nominations were for Outstanding Comedy Series in 1966, 1967 and 1968; Bob Crane for Outstanding Continued Performance by an Actor in a Leading Role in a Comedy Series in 1966 and 1967; Nita Talbot for Outstanding Performance by an Actress in a Supporting Role in a Comedy in 1968; and Gordon Avil for cinematography in 1968.In December 2005, the series was listed at number 100 as part of the "Top 100 Most Unexpected Moments in TV History" by TV Guide and TV Land. The show was described as an "unlikely POW camp comedy.

Hogan's Heroes was filmed in two locations. Indoor sets were housed at Desilu Studios, later renamed as Paramount Studios for Season Four and then Cinema General Studios for Seasons Five and Six. Outdoor scenes were filmed on the 40 Acres Backlot. 40 Acres was in Culver City, in the Los Angeles metropolitan area. The studios for indoor scenes were both located in Hollywood, CA. Undoubtedly, one of the most original and curious aspects was to create the effect that there was always a snowy winter, something unusual in warm Southern California, but normal in the German winter. The actors had to wear warm clothes and frequently act like they were cold, even though it was warm for much of the year and usually hot during summer.

Although it was never snowing on the film set and the weather was apparently sunny, there was snow on the ground and building roofs, and frost on the windows. The set designers created the illusion of snow two ways: the snow during the first several seasons was made out of salt. By the fourth season, the show’s producers found a more permanent solution and lower cost, using white paint to give the illusion of snow. By the sixth and final season – with a smaller budget – most of the snow shown on the set was made out of paint.

After the series ended in 1971, the set remained standing until it was destroyed in 1974 while the final scene of Ilsa, She Wolf of the SS was filmed

The actors who played the four major German roles—Werner Klemperer (Klink), John Banner (Schultz), Leon Askin (General Burkhalter), and Howard Caine (Major Hochstetter)—were all Jewish. Furthermore, Klemperer, Banner, and Askin had all fled the Nazis during World War II (Caine, whose birth name was Cohen, was an American). Further, Robert Clary, a French Jew who played LeBeau, spent three years in a concentration camp (with an identity tattoo from the camp on his arm, "A-5714"); his parents and other family members were killed there. Likewise, Banner had been held in a (pre-war) concentration camp and his family was killed during the war. Askin was also in a pre-war French internment camp and his parents were killed at Treblinka. Other Jewish actors, including Harold Gould and Harold J. Stone, made multiple appearances playing German generals.

As a teenager, Klemperer, the son of conductor Otto Klemperer, fled Hitler's Germany with his family in 1933. During the show's production, he insisted that Hogan always win against his Nazi captors, or else he would not take the part of Klink. He defended his role by claiming, "I am an actor. If I can play Richard III, I can play a Nazi." Banner attempted to sum up the paradox of his role by saying, "Who can play Nazis better than us Jews?" Klemperer, Banner, Caine, Gould, and Askin had all spent the real Second World War serving in the U.S. Armed Forces—Banner and Askin in the U.S. Army Air Corps, Caine in the U.S. Navy, Gould with the U.S. Army, and Klemperer in a U.S. Army Entertainment Unit. But the sitcom was not the first time Klemperer had played a Nazi: in 1961, he starred as the title character in the serious drama Operation Eichmann, which also featured Banner in a supporting role. Ruta Lee, Theodore Marcuse, and Oscar Beregi, Jr. also appeared in the film, each of whom went on to make several guest appearances on Hogan’s Heroes.

https://www.facebook.com/Retrovision

[dirtythi3f]

Ilsa She Wolf of the SS (1975), the original.

[movieposters1]

[obrother1976]

im normally so critical of nazisploitation movies, bc most of them refuse to deal in any way w systematic extermination, starvation & actual nazi ideology (basically anything that had to do w the holocaust at all), which im partially grateful for ngl. i rlly dont think an ilsa she wolf of the ss film or the beast in heat would in any way do a good job depicting any part of the shoah. but the fact that the title sequence of a in a glass cage already deliberately shows and references all this is def a mark in its favour

[ladythatsmyskull]

Would Substack allow Ilsa, She Wolf of the SS to post?

[anhed-nia]

BLOGTOBER 10/15/2022: A personal essay on THE BEYOND (1981)

There is a lot to say about THE BEYOND as a work of art, and it's been said by smarter people than me—including Tenebrous Kate, a writer and critic who handily kicked off the Brooklyn Horror Film Festival's Fulci retrospective with a compact, insightful introduction to the prolific director's genre-spanning career. Besides situating his work historically, and breaking down his key themes, Kate also reflected on what it was like to discover someone like Fulci in a pre-internet world where you really had to care and network and sleuth out movies like his, and you could often be surprised—traumatized, even!—by stumbling upon films you never saw coming. THE BEYOND was like that for me, and Kate's observations sent me spiraling into old lady reverie and musing about whether that kind of mentally revolutionary discovery can still happen in this day and age. So, this piece is more about that, than it is about THE BEYOND specifically.

Just to be clear, I was never some sort of tape-trading hero. I made most of my discoveries in mom & pop video stores, and then later in more esoteric rental places where there was an escalated risk of experiencing something that I was in no way prepared for. When I was 14 and had my first personal membership at our local shop, I picked up something that looked for all the world like an old F.W. Murnau movie. When I took it home and pressed play, I realized how wrong I was; it was DER TODESKING, an explicit essay on suicide by Jörg Buttgereit, the director most famous for the still-shocking NEKROMANTIC. About 20 minutes later, after a segment that suggests a hardcore version of ILSA: SHE-WOLF OF THE SS including graphic castration, I took the tape out, returned it, and spent the rest of the afternoon crying. Many years later I found a love for Buttgereit, who makes intelligent, satirical art that tends to target past and contemporary German culture—but at the time, I was REALLY not ready for it. I didn't even know anything like that existed. And actually, I wouldn't trade that experience for anything in the world. It made watching movies an adventure, with a real sense of peril, and it encouraged me to take them very, very seriously.

When I was a little older but not necessarily wiser, I took a semester off college in Portland, Maine, where there was once the greatest video store I've ever been in to this day. I would beeline for that place every day or three and grab a handful of movies—typically, anything that I couldn't sort out just by looking at the box, or even anything that seemed potentially threatening. This is how I first encountered CANNIBAL HOLOCAUST. It was the first movie of its kind that I had ever seen. I didn't even know that it was a whole category of thing, let alone the most challenging and feared version of the type. So, with absolutely zero context, I met with a movie around which probably the most people have drawn lines in the sand. It completely blew my brains out of my mind. I returned it the next day in a daze and sheepishly asked the clerk, "What……..is this?" The guy rolled his eyes and gently assured me, "It's just one of those Italian endurance tests." I still like to use this phrase, and I still like to maintain my initial, naive impression that what I had seen was, in fact, a snuff film. Not that I think it's cool to, like, kill people, or that I like the idea of filmmakers having their work literally put on trial like Ruggero Deodato's was. I just love that I had that folkloric kind of experience where I really didn't know what had happened to me. Years later, I came to really like CANNIBAL HOLOCAUST—which feels weird to say, it definitely doesn't strive to be liked! But I do think it has a certain kind of editorial intelligence that becomes clear if and when you can get passed the visceral shock of the images.

Anyway, in between DER TODESKING and CANNIBAL HOLOCAUST, I was enduringly shocked by THE BEYOND. It was the end of high school, and Quentin Tarantino's distro Rolling Thunder Pictures was circulating a print of the movie that turned up at our nearest theater with a midnight program. I had seen ERASERHEAD and PINK FLAMINGOS there, and as challenging as those can, they came with a certain reassuring reputation establishing their position in the art world, and those screenings were joyful experiences. Still, my friends and I didn't know a thing about Fulci. We had no idea what we were in for. The whole audience seemed to anticipate that we were in for a fun time, as it was the late '90s, and our collective ears had pricked up when we heard the name Tarantino. We thought THE BEYOND was probably going to be a charming thrill ride like EVIL DEAD 2 or something…and we quickly found out we were dead wrong.

As soon as the movie began and the warlock Schweick was being chain whipped to death in a swampy basement by a sweaty mob, a very, very bad vibe descended on the theater. It was grim, and grimy, and unforgiving, and it just got worse by the second. Fabio Frizzi's perverse, spidery score was also something the most of us had never heard anything like before, and we were experiencing the evil, perverted potency of italo disco in the best/worst possible context for the first time. As the movie unspooled, a thick pheromonal fog of fear and misery gathered in the air around us, and no one made a sound. We were trapped with this film, unable to escape it, compelled to see how much worse it could possibly get. Finally in the middle of the movie, as someone was being protractedly pulled apart like so much monkey bread by a swarm of tarantulas, my most sensitive friend simply couldn't take it anymore, and screamed out loud: "OH MY GOD THEY'RE RIPPING OUT HIS EYEBALL!" It was exactly the icebreaker the audience so badly needed. Everyone laughed, and that midpoint catharsis helped us survive the rest of the movie. But still, we all walked out marked by an experience we would not soon forget, whether we all liked it or not. (Of course, I really, really liked it)

I definitely don't mean to complain about the availability of movies and information that we enjoy in today's computerized environment. To me, nothing beats the pleasure of movies and the stories about how they came to be. But I wonder how often people still get to experience the thrill of seeing something that they are truly, completely unprepared for. If you have a story like this, past or present, please feel free to ad it to this post.

[goingrampant]

Raiders of the Lost Ark Boardroom Meeting

Studio Executive: Listen, Steven, we've got to talk about this monkey thing. Steven Spielberg: What monkey thing? Studio Executive: It says in the latest draft that Indy gets a pet monkey that dies on-screen! Steven Spielberg: What about it? Studio Executive: You can't kill a cute animal on-screen! Steven Spielberg: It's okay. We can cut away. Studio Executive: No, Steven! Audiences love cute animals! Steven Spielberg: Oh. Well... Studio Executive: So, no monkey death? Steven Spielberg: Uh... Look, it's kind of important to me that the monkey dies, okay? Studio Executive: Why would that be important? Steven Spielberg: I just don't like monkeys, okay? Studio Executive: Well, audiences do! You kill a cute, little monkey, and they'll never forgive us! Steven Spielberg: We could make the monkey unsympathetic. That way, the audience will root for it to die, as all monkeys should. Studio Executive: What? Listen to yourself. How do you make a monkey unsympathetic? Steven Spielberg: By making it a bad guy. Then they'll see the true evil that lies in simiankind! Studio Executive: A bad guy? Steven, it's a monkey. How bad could it possibly be? Steven Spielberg: ...It could be a Nazi. Studio Executive: What? Steven Spielberg: It could throw up a Roman salute as human Nazis sieg heil. Studio Executive: ...Well, if it's that important to you to kill a monkey, I guess a Nazi monkey isn't so bad. After all, Nazis aren't cute and cuddly. Steven Spielberg: Well, Nazis can be cute. Studio Executive: ...What the hell are you talking about? Steven Spielberg: Ilsa, the Nazi dominatrix in Ilsa, She-Wolf of the SS. She's cute, and she's a Nazi. Studio Executive: ...Fine, whatever. Nazis can be cute, just none in Raiders of the Lost Ark. Steven Spielberg: Right. I'll save cute Nazis for the sequel. Studio Executive: Steven! This isn't trash cinema! We can't have Nazi dominatrixes in a major film! Steven Spielberg: Dominatrices. Studio Executive: What? Steven Spielberg: The plural of dominatrix is dominatrices. Studio Executive: Duly noted. You can't have dominatrices! Steven Spielberg: What if there's a third film? Studio Executive: What? What would you even do with Nazi dominatrices? Steven Spielberg: Well, I'd have Ilsa be Indy's love interest! She'd be a sexy femme fatale but an intellectual like him! Studio Executive: Uh... Well, Ilsa is copyrighted, Steven, so even if I wanted to, I couldn't allow that. Steven Spielberg: What if we called her Elsa? Studio Executive: Damn it, that would probably work. Steven Spielberg: So, I get my Nazi dominatrix? Studio Executive: Ugh, fine, if by some miracle we get a third Indiana Jones film... you can have your Nazi dominatrix be Indy's love interest. Steven Spielberg: After sleeping with his father. Studio Executive: What? Steven Spielberg: In my fantasy-- I mean, vision for the third film, she has sex with Indy's father before pursuing him. Studio Executive: Fine. Whatever. Just fix the monkey thing, okay? Steven Spielberg: Sure, no problem. Studio Executive: Good, I'm glad we can agree on that. Steven Spielberg: I bet the monkey fucks. Studio Executive: Goodbye, Steven!

[paginapodrida]

Ya disponible la colección de Ilsa más sus versiones no canon en el grupo de telegram. - Ilsa, She Wolf of the SS (1974) Dyanne Thorne es Ilsa, la implacable comandante de un campamento médico nazi que usa sus prisioneros (muchas veces mujeres desnudas) para las torturas más dolorosas y brutales que le pasan por la cabeza en el nombre de la guerra, y para demostrar su supremacía sexual. También usa a los reclutas masculinos para acostarse con ellos y al día siguiente castrarlos. - Ilsa, Harem Keeper of the Oil Sheiks (1976) Continuación de las sádicas hazañas de la loba de las SS, ahora convertida en suministradora de carne femenina para el harén de un millonario caid del petróleo. - Ilsa the wicked garden (1977) Greta (Ilsa) es la sádica directora de un clínica para chicas, situada en plena selva sudamericana, en la que científicos locos se dedican a curar a las chicas de desviaciones sexuales. Una joven consigue entrar para averiguar qué es lo que ha pasado con su hermana, la cual estuvo interna. Mientras, Ilsa y una de las guardias brindan todo un catálogo de perversiones sadomasoquistas con las internas y prisioneros masculinos... - Ilsa, the Tigress of Siberia (1977) Ilsa se encuentra con un antiguo prisionero del GULAG 14, el que fue uno de sus más duros oponentes. Ahora Ilsa regenta una cadena de lujosos hoteles y utilizará su poder para vengarse de su viejo enemigo. - Helga, la louve de Stilberg (1977) Helga traslada la acción a América del Sur, donde domina un castillo de prisioneras políticas, que son desnudadas y torturadas a su antojo. - nathalie escape from hell (1978) Una doctora rusa se encuentra encarcelada en un lujoso y elegante burdel para oficiales nazis de alto rango, a merced de un diabólico oficial de las SS. Si queires ver el catálogo de películas, puedes hacerlo desde aquí: https://letterboxd.com/pagina_podrida/list/catalogo-pagina-podrida/page/44/ Apóyame siendo colaborador y accede a todo el catálogo podrido de bizarro desde aquí: https://www.paypal.com/webapps/billing/plans/subscribe?plan_id=P-17T15945GG2998632MGRHJFY O desde aquí: https://www.facebook.com/becomesupporter/paginapodrida/ https://www.instagram.com/p/Cn93WNXu6j0/?igshid=NGJjMDIxMWI=