Alexander Ross
Adore "Salon Kitty". Many people tend to consider this,and, at its very best, a classic of "Euro trash" or "Euro-exploitation", whatever those terms really mean, unfortunately we all use them rather inappropriately these days, especially, considering the standard creative level of our main productions today! And, in fact, was it trashy? I'd dare anybody to call this film such word, if anything, transgressive and for all the right reasons! Resembling,maybe, even one of those infinite clones that were made (those cheaply horrendous quickies taken after this superb plot,and, put into a green light only to capitalize, after the huge International success that this film had so deservedly achieved up to 1977, all over the World!) mainly in Italy in the late 1970's, with truly poor qualities? NO, it does not and it isn't so! This movie was even banned at its brave premiere, a few months after the long shoot had ended in late November of 1975. It was even put under arrest of distribution and some people (mostly dangerous bigots and nostalgic of a certain extreme right wing's politics) wanted it even burnt, in the late fall of 1975! And, why was it causing so much distress, when already every truly pornographic film (and not Erotic) was released without protests from anyone? Because, "Salon Kitty"was obviously a very important movie and one that'd make you think and even remember a little too much, and, a little bit of everything that is normally left unspoken! As usual courageous Art is passed by fake talent and moral depravity, only by those who are fearful or have reasons to be fearful of such story! And, obviously, there were quite a few! Why? This film wasn't obscene, or offensive whatsoever, and, it was showing only a certain, very well known, Nazi's degradation and sexual perversion, through the eyes of 2 women of different generations and backgrounds, the melancholic, but carefree Kitty (Ingrid Thulin, extraordinary presence and actress),on one hand, and, on the other, the bored, mysterious and gorgeous young German girl, Margherita(played with interior darkness and severely troubling eyes, by the incredibly talented, almost mystical beauty and Cult star, Therese Ann Savoy) from a potent family, who, when embracing National Socialism, mostly to kill time, than anything else, finding herself deeply troubled, and, in despair, from circumstances she could have never even have imagined, and, even from deep, existential motives that were in part also related with the repression, she had been raised with, and along with the imposition over a very wrong faith, and, squalid superstitions, all taught to her by her privileged and amoral family. Then, there was of course the brothel, too, with its intricate affairs linked to a very "Film Noir" espionage plot, and, also the use of several cult actresses in the supporting roles, while on the background, but, not too much on the background, a stylized, exquisitely imaginative reconstruction of Berlin in 1940 circa, with the diabolical greatness of the Nazi's(here it is another great performance from actor Helmut Berger, who draws the lines, truly!)envisioned with the same stupor and Classic fashion, one great artist would have inspired himself to re-paint the fearful brutality and moral decadence plaguing the Roman Empire in AD 500 circa, too, if such artist could have then even used a way to blend in together the absurd cruelty, the brutality and moral devastation, killing then Berlin, with the same foolish abuse of power that had been so typical of only one very Empire, before! A metaphor, that is, and, an exceptionally provocative one, created to amaze and entertain, for sure, as a film should also do, but, to deplore and condemn too, through its almost sarcastic fate, unraveling the tragic, almost Shakespearian's events, until one of the most beautiful ending scenes ever filmed, including 2 women, where the two, alone, but never fearful, and, both well aware and liberated, by old judgments and corrupted politics, cheers with Champagne, while waiting for the imminent end, in the now deserted luxury brothel, while the Allies triumphantly are bombing the city of Berlin, over the course of a very long, foggy, shady night.. Amazingly produced, and, with some of the most prominent International names, making eventful filmmaking, and, certainly not "trash", beginning from visionary, eccentric, protester and director, editor, writer (with Maria Pia Fusco and Ennio De Concini) master Tinto Brass,and, Ken Adams, one of the most inventive production designers ever(think he made also, among others, the first couple of James Bond's, and, both 2001 and Barry Lyndon,for director Stanley Kubrick), the saturated, always exceptional cinematography of another great Italian name, such as Silvano Ippoliti, and,with the help of Fiorenzo Carpi's music themes, and, Jost Jackob's defining classic period costumes and looks, this film is a traditional example of how rich and creative was instead all European cinema, back then, and, especially the Italian one, that was allowing a budget so big at the time, for such a provocative, controversial and all together almost infernal movie,then winning so a huge bet, and, realizing a classic little masterpiece of contemporary Cinema, and, look, almost 40 years later, this has not certainly been forgotten. When a movie never ages like most parts of this one, how could we argue it couldn't be good? I'd understand maybe not your cup of tea, that'd be legitimate, but, please don not call "Salon Kitty" ever less than a mesmerizing experience, that could haunt you for decades.
