Aumont, Tina

Salon Kitty

From Tinto Brass, the Director of CALIGULA

Berlin, 1939: At the dawn of World War II, power-mad SS Officer Wallenberg (Helmut Berger of THE DAMNED) is ordered to find and train Germany's most beautiful women to work in the opulent brothel of Madam Kitty (Ingrid Thulin of CRIES AND WHISPERS). Here these Nazi nymphs will submit to the bizarre passions and carnal degradations of the Reich's highest-ranking men and women while Wallenberg secretly records their acts for blackmail. But when an innocent young prostitute (Teresa Ann Savoy of CALIGULA) uncovers the conspiracy, her revenge will ignite a holocaust of pain, pleasure and shocking sexual perversion. The story is true. The depravity is real. The film is SALON KITTY.

John Steiner (MANNAJA), Tina Aumont (TORSO) and John Ireland (RED RIVER) co-star in this infamous epic co-written and directed by Tinto Brass and featuring exquisite production design by Oscar© winner Ken Adam (BARRY LYNDON, GOLDFINGER). Released in America as the heavily censored MADAM KITTY, this controversial shocker has been fully restored from the director's own personal vault print and features extended scenes of sexual atrocities. EXTRAS:
o International Trailer
o U.S. Trailer
o Tinto Brass Bio
o New `Collectible' cover art

Modesty Blaise

A pop-art explosion that makes Austin Powers look demure, Modesty Blaise is a bizarre relic from the heyday of Swinging London. Based on a comic book, the movie is strong on psychedelic art direction, long on camp (especially Dirk Bogarde's aristocratic, white-haired villain), and thin on plot--and what plot there is cannot possibly be deciphered. Italian actress Monica Vitti, the ennui-weary star of many Antonioni classics, makes an odd choice for stylish spy Modesty Blaise (a female 007 without portfolio), especially given her uncertain command of English. The gifted director Joseph Losey, not noted for his humor, apes various New Wave techniques in his approach, even allowing Vitti and costar Terence Stamp to warble an off-key song. But the most coherent contribution is the jazzy swing of John Dankworth's score, which you won't be able to get out of your head, even if you want to. --Robert Horton

Torso

There's a killer on the loose who's murdering and mutilating beautiful young college girls, and there's no shortage of suspects. Four comely coeds decide to escape the madness by vacationing in an isolated country villa, but the maniac has his eye on them--one of them suspects his identity--and drops in for a homicidal holiday. With a title like Torso you know what you're getting, but despite the high body count and the suggestion of dismemberment, most of the gore in this Italian giallo is offscreen... with a few exceptions (an icky eye gouging stands out). Director Sergio Martino is no Dario Argento and the film is blunt, direct, and vicious, as can be seen when the killer disposes of a witness by ramming his skull into a brick wall with his car, not once but twice (with the appropriate close-up). The killer, who hides behind a ratty ski mask and strangles his targets with a florid scarf, is haunted by some obscure childhood memory involving a porcelain doll and a traumatizing accident. He straddles two clichés, the Norman Bates-variety psychos and the hooded, zombielike automatons of Halloween and Friday the 13th. It doesn't make much sense, but like most slasher films, it's really about suspense, spectacle, and a body count, and Martino doesn't disappoint. To restore the film, Anchor Bay has included a few brief scenes in Italian with English subtitles. --Sean Axmaker

Two Orphan Vampires

Salon Kitty

Berlin, 1939: At the dawn of World War II, power-mad SS Officer Wallenberg (Helmut Berger of THE DAMNED) is ordered to find and train Germany's most beautiful women to work in the opulent brothel of Madam Kitty (Ingrid Thulin of CRIES AND WHISPERS). Here these Nazi nymphs will submit to the bizarre passions and carnal degradations of the Reich's highest-ranking men and women while Wallenberg secretly records their acts for blackmail. But when an innocent young prostitute (Teresa Ann Savoy of CALIGULA) uncovers the conspiracy, her revenge will ignite a holocaust of pain, pleasure and shocking sexual perversion. The story is true. The depravity is real. The film is SALON KITTY.

John Steiner (MANNAJA), Tina Aumont (TORSO) and John Ireland (RED RIVER) co-star in this infamous epic co-written and directed by Tinto Brass and featuring exquisite production design by OscarAE winner Ken Adam (BARRY LYNDON, GOLDFINGER). Released in America as the heavily censored MADAM KITTY, this controversial shocker has been fully restored from the director's own personal vault print and features extended scenes of sexual atrocities now presented for the first time ever.

Lifespan

Cult icon Klaus Kinski features in this dark and intriguing existential thriller. He plays the mysterious Swiss Man - ruthless industrialist Nicolas Ulrich - who is obsessed with a search for the elixir of life. He tricks a young American scientist into joining him on his demonic quest. A quest that ends in suicide death and madness.The story takes place in the atmospheric European city of Amsterdam. Its winding alleys and ancient canals trap the characters in a labyrinthine maze as they find themselves manipulated like figures on a giant chess board.The film was controversial in its day for the extended bondage scene featuring female star Tina Aumont. This was cut in many countries but is complete in this version. The brilliant soundtrack unavailable for over 30 years is by avant garde composer Terry Riley.Format: DVD MOVIE Genre: HORROR UPC: 843276012595 Manufacturer No: MOD125

The Game Is Over

Jane Fonda plays the bored wife of an ambitious and cynical industrialist who ends up falling in love with her stepson in Roger Vadim's tragic and passionate story. DVD features: filmographies, weblinks, subtitle control.

Nico Icon

A striking and harrowing documentary about fame, drugs, pop culture, and celebrity, Nico Icon casts a harsh light on the underground world of pop art and music in the 1960s and 1970s through the prism of a girl who lived too hard and died too young. The German-born Nico is presented as someone who never fit in, no matter what she was doing, from her career as a fashion model in the 1950s (including an appearance in Federico Fellini's La Dolce Vita) to her tenure in the 1960s as one of the cast of characters in artist Andy Warhol's "Factory" to her stint as a backup singer for Lou Reed and the Velvet Underground. Most of the film concentrates on her sordid relationship with her son with French actor Alain Delon and her decline into heroin addiction and obscurity. This visually innovative and challenging documentary doesn't judge her but uses her life to illustrate the excesses of the world around her. Nico Icon will be a revelation for those interested in the world it depicts. --Robert Lane

Nico Icon [Region 2]

A striking and harrowing documentary about fame, drugs, pop culture, and celebrity, Nico Icon casts a harsh light on the underground world of pop art and music in the 1960s and 1970s through the prism of a girl who lived too hard and died too young. The German-born Nico is presented as someone who never fit in, no matter what she was doing, from her career as a fashion model in the 1950s (including an appearance in Federico Fellini's La Dolce Vita) to her tenure in the 1960s as one of the cast of characters in artist Andy Warhol's "Factory" to her stint as a backup singer for Lou Reed and the Velvet Underground. Most of the film concentrates on her sordid relationship with her son with French actor Alain Delon and her decline into heroin addiction and obscurity. This visually innovative and challenging documentary doesn't judge her but uses her life to illustrate the excesses of the world around her. Nico Icon will be a revelation for those interested in the world it depicts. --Robert Lane

Partner

Inspired by Karl Marx, Sigmund Freud and Jean-Luc Godard (and beating FIGHT CLUB to the punch by 30 years), Academy Award® winner Bernardo Bertolucci's third feature is the schizophrenic parable of Jacob, a would-be revolutionary (Pierre Clémenti) whose lonely existence is shattered by the appearance of his exact double at the moment he contemplates suicide. While his doppelganger urges Jacob towards a greater commitment to protest against the Vietnam War, the young teacher falls in love with the daughter (Stefania Sandrelli academic predecessor, forging a romance that defies the revolutionary ideals of his alter-ego.

Bernardo Bertolucci was heavily influenced by psychoanalysis when he adapted Fyodor Dostoyevsky's 1846 story THE DOUBLE as a reaction to the political unrest of 1968. Scripted with Gianni Amico (BEFORE THE REVOLUTION), PARTNER reflects Bertolucci's struggle to reconcile the use of cinema as a political tool with the gloss and spectacle of Hollywood filmmaking. Alternating uninterrupted Dogme-style takes with canted angles, process shots paintings and the bracing Techniscope photography of Ugo Piccone, PARTNER was Bertolucci's last art house film before his crossover successes with THE CONFORMIST and LAST TANGO IN PARIS established him an A-list international filmmaker.

Released by New Yorker Films in 1974 but largely ignored in the wake of Bertolucci's subsequent achievements, PARTNER is a neglected title in the director's long and distinguished career. NoShame Films is proud to present the film's DVD debut as a 2-disc collector's edition, remastered from the original source materials and loaded with exclusive supplementary materials that include Edoardo Bruno's long lost Italian Nouvelle Vague feature film LA SUA GIORNATA DI GLORIA (His Day of Glory), unseen since its 1969 debut at the Berlin Film Festival and Italian theatrical release