Monday, August 24, 2015


The German label SUBKULTUR, which recently put out an excellent BluRay of DON'T GO ON THE HOUSE,  scores again with MADCHEN: MIT GEWALT aka THE BRUTES aka CRY RAPE.

To answer the obvious question for exploitation fans, no, there is not a lot of rape in CRY RAPE. A woman does do some crying, and she does get chased through a quarry by the featured middle-aged rapists, but the level of rape in this movie amounts to about five minutes.

The sexual marauders of the title are serial rapists, but we don't get any flashbacks of their past crimes. We just get their background activities via a number of clever dialog exchanges.

To the credit of director/star Roger Fritz, the film floats very nicely without a plethora of forced intercourse. In fact, it's what happens AFTER the rape that the film is really about, so I won't go into the kind of details that will spoil the experience for the first-time viewer.

Released in the US as CRY RAPE, it did appear for a spell on a crappy VHS that was panned and scanned and transferred from a bloody awful print.  Fortunately, the Subkultur BluRay––there is also a DVD––features a jaw-dropping transfer that just couldn't possibly look any better.

For the first time, you can marvel at how beautifully shot this film is, and, under better viewing conditions, witness the blossoming of every other element from performances (Fritz, Arthur Brauss, Helga Anders) to editing to the staging of the action scenes.

It's certainly a curious choice for Subkultur to put serious time, effort, and money into the BluRay release of this unsung hero of a film, but it's a choice that is much appreciated.

As CRY RAPE was made in 1969, it reminded me  of the look and tone of short Scandi porn flicks from companies like Color Climax Corporation, Videorama, H.O.M. (House of Milan), and Viking Productions from that period. Although those notorious slices of cinematic nastiness were hardcore, and often ineptly staged, they had an undeniable feel for the era and subversive edge that is found here also. I sure miss that dangerous vibe in my cinema.

The film was co-financed by Oscar-winning producer Arthur Cohn.


  1. "As CRY RAPE was made in 1969, it reminded me of the look and tone of short Scandi porn flicks from companies like Color Climax Corporation"

    Gee, you wouldn't happen to be referring to the notorious underage porn material that Color Climax produced during that era, would ya? (Europe in the '70s... what else can one say?)

  2. More like "adult" titles such as DEBASED DOLLY, KILROY WAS HERE, BEATEN AND BUGGERED, and films produced by H.O.M. Color Climax released many of these, even though they didn't necessarily make them.

  3. Am preparing a piece on the notorious 1977 Italian-German flick Maladolescenza and, in writing about the tenor of the times in which such a film could even be made, I was reminded that I'd read somewhere about CC producing a whole slew of films that it now tries to pretend never existed.

    Having seen a handful of their regular, non-Roman Polanski-approved titles, I would agree with you that the sleazy, homemade feel of them characterizes '70s Euro-porn to an overlit, badly dubbed, furry-beavered tee.

  4. As you can read in Hebditch/Anning's superb PORN GOLD book, CCC/Rodox dabbled (for years) in a lot of totally underage porn, but I don't think any of them involved rape or shorts with stories.

    They have an on-line site, but even that site ignores their rougher adult output and titles like I mentioned above.

    This article by my mate John Harrison covers the rougher titles CRY RAPE made me think of:

    1. The most extreme on the list are DEBASED DOLLY, KILROY WAS HERE, TORTURE CHAMBER, and RAPED AND ABUSED. All feature adults, of course, but are very rough.

      Because CCC indulged in bestiality flicks, too, any title featuring anything four-legged (such as KILROY) is notoriously difficult to find, even on websites dedicated to extremity.

      There is no company in the world like CCC these days, and it should be clarified that many of these rougher shorts were produced by other companies but distributed or sub-distributed by CCC/Rodox (the Redox name came from the first street the company was trading from).

    2. Thanks for the heads-up on Porn Gold. I find this whole era fascinating — an era in which record shops kept the cover to Blind Faith's debut on open display, an era in which one could walk into an adult shop in Times Square or most major cities and legally purchase the kinds of Color Climax titles we're talking about. (Or so I'm told; I came of age to Nirvana and Bill Clinton.)

      I definitely get off the bus when it comes to bestiality stuff but, still, in an "I can't possibly imagine what must have been going through people's heads back then" sense, I find the cultural anything-goes permissiveness of a long-dead era fascinating, if ultimately destructive.

  5. Scott, I also recommend an amazing hardcover book (500+ pages) called DANISH PORNOGRAPHY (Edited by Gordon Schindler).

    It is interviews with publishers, priests, police and officials in Denmark when the laws relaxed.

    Also: International Exposure:Perspectives on Modern Euro Pornography 1800-2000 (Edited by Lisa Z. Sigel)

    and The Danish Pornography Report (by JV Vincent, M.A.)

    It is/was a fascinating, almost surreal era.

    Beasty production is extremely curious. It only occurs to a small extent in Japan now, but to a large extent in Brazil (where scat is also commonly produced). Definitely not my bag, but the entire business and anthropological aspect of it continues to intrigue me.

    I remember porn shops in Sydney's Oxford St. selling zoo films and ultra-hard XXX stuff from companies like CCC, H.O.M, Scandi Film, Chick, Viking, and even Exim (a really harsh company that produced a super-extreme mag called Sadio that I've only seen covers of). Other companies making super-hard stuff were Gold Medal and Film and Book International, which holds copyright on a lot of really gross porn.

    1. Intriguing is exactly what it is. I find myself fascinated by the mental processes of the people involved in such things. I mean, Wikipedia says this about CC's underage material:

      "The participating girls were mainly between the ages of 7 and 11 years; however, some were younger."

      What exactly could the mental process of an adult involved in producing or directing or distributing such material even be? How did they even find these girls? I assume (based on some rather unsavory scandals I've read about over the years) that they might have poached orphanages or groomed these girls. What's even more frightening is the possibility that these girls' parents knew full well what they were submitting their daughters to in the name of "free love," sort of like the fame-hungry mothers who sent their girls off to auditions and "photo shoots" with Roman Polanski and other Hollywood bigwigs, knowing full well what that stuff likely entailed, or — since I'm finishing up my piece on Maladolescenza — Eva Ionesco's mother, who essentially pimped out her own little girl as an "erotic" model for the sake of art-world notoriety.

      For that matter, whatever became of these little girls who starred in the CC films? I mean, I can't imagine the great lot of them went off to become well-adjusted mothers and pillars of society but, surely, they can't all have died in some flophouse motel room with a needle in their arm. How do those women now feel about the things they did on camera back then? How do the people involved in producing that stuff back then now justify it or look at it?

      I've actually known girls who had similar stuff in their pasts and I know it does quite a conflicting little number on their heads as they get older.

      The Seventies, man...

      I may just hunt down that Danish Pornography book.

  6. All fascinating questions.

    In PORN GOLD, the answer to your question is slightly less sinister. It seems most of their underaged material was submitted by readers. The company, per the book, didn't actually hold photoshoots with these kids. They were sent submissions from all over the world.

    Ionesco recently sued her mother; she also made a film of her own about aspects of her life.

    I am very interested in the adult roughies CCC distributed, too, as some were directed by Lasse Braun and directors who later became more famous in Europe and the US.

    There is a pretty amazing documentary about this era in the US, UK, and Denmark called THE PORN BROKERS. Make sure you see the 96 minute version.

    1. Oh, and:

      "Ionesco recently sued her mother; she also made a film of her own about aspects of her life."

      I did read about that in preparation for my Maladolescenza piece and I have, in fact, seen My Little Princess. Isabelle Huppert was a hilariously perfect choice for the mother character. I will review it soon...

  7. Just discovered this piece on Color Climax in the '70s:

    He goes through a brief description of several lovely titles, such as:

    "CHICKEN LOVER: Bodil appears in this very unpleasant short as a farm woman who forces the postman to have sex with a chicken. The film is made even more distressing by the way the camera follows the poor animal as it staggers around the barn, blood dripping from its genital area."

    Fucking Europeans. Jesus.

    "It seems most of their underaged material was submitted by readers."

    Yeah, that's "slightly less sinister" by about a hair.

  8. That Harrison blog is the one I first linked to above in my first response today. John's a friend of mine.

    CHICKEN LOVER is a horrid film. I saw it when i was too young, and it burnt itself into me.

    Well, I meant "slightly less sinister" in that they didn't actually hold photoshoots. Of course, they may have lied.

    Peter Theander, who founded CCC with his brother Jens in the late 60's, still lives in Denmark, and is a retired millionaire. He no longer does interviews.

    1. "That Harrison blog is the one I first linked to above in my first response today."

      Whoops. Pay attention, Scott!