Grimerlana
Plenty to Like, Plenty to Dislike
Smartorhypo
Highly Overrated But Still Good
Salubfoto
It's an amazing and heartbreaking story.
arfdawg-1
Nicely staged Nazi movie.But is it good?Uhhh, not so much.Kinda talkie and not so interesting.It plods on and on with no hot chicks getting naked.Isn't that what we so desperately want?Half the movie is over and we still haven't seen a naked chick.Bore.The Plot.An illustrious group of German industrialists plot to overthrow Hitler by negotiating a peace treaty with England. Disgraced, but dedicated Nazi officer Colonel Werner von Uhland is assigned by his superiors to ferret out these deceitful dissidents and stop them before it's too late. von Uhland recruits a bunch of beautiful women to seduce these traitors and undermine their conspiracy.
Woodyanders
An illustrious group of German industrialists plot to overthrow Hitler by negotiating a peace treaty with England. Disgraced, but dedicated Nazi Colonel Werner von Uhland (a solid performance by Enzio Miani) is assigned by his superiors to ferret out these deceitful dissidents and stop them before it's too late. von Uhland recruits a bunch of beautiful women to seduce the traitors and undermine their nefarious conspiracy. Director Fabio Di Agostini, who also co-wrote the intriguing script with Oscar Righini, eschews the Naziploitation genre's trademark harsh and graphic depictions of torture and brutality to focus instead on a pleasing plethora of tasty female nudity, steamy soft-core sex, and oodles of carnal perversion that runs the gamut from nymphomania to sadism to breast fetishism to lesbianism to even a scorching drag strip act involving a lovely distaff Hitler impersonator (!). Better still, the gals playing the colorful assortment of sexy whores are all smoking hot, with Isabelle Marchall as the alluring Isabelle, Alessandra Palladino as the buxom Greta, Almina De Sanzio as the masochistic Martha, and especially ravishing blonde knockout Carla Schiavanocic as the insatiable Linda rating as the sexiest of these lascivious ladies. Moreover, there are sturdy supporting turns by Francesca Righini as von Uhland's loyal and worried wife Frau, Fred Williams as vain and suave nobleman Helmut van Danzig, Rosita Torosh as von Uhland's icy and duplicitous henchwoman Ursula Turner, and Mike Morris as the stern General von Gurderwal. Antonio Maccopi's glossy widescreen cinematography gives the picture an impressive slick look while both the sets and costumes are pretty lavish for the genre. Francesco Valgrande's classy orchestral score likewise does the trick. One of the classier and hence quite praiseworthy entries in the much-derided Nazispoitation cycle.
MARIO GAUCI
Unlike the typical example from the short-lived but oddly prolific Nazisploitation subgenre, THE RED NIGHTS OF THE GESTAPO does not deal with the dehumanizing activities in Nazi concentration camps but rather with all the salacious perversions that a group of renegade anti-Nazi Germans get down to when they are holed up in a castle one night under the supposed pretext of plotting Hitler's downfall. What is even more surprising is that the plot is not only based on a book by one of the supporting characters but is ostensibly driven by actual historical events like Rudolph Hess' defection to Britain in early 1941 seeking to sign a Peace Treaty, the proliferation of anti-Hitler sentiments among key figures in the German bourgeoisie which came to a head in the unsuccessful "Night of the Long Knives" assassination attempt on Hitler's life, Hitler's march on Russia in mid-1941, etc.The Gestapo blackmail Hess' right-hand man (after bugging his apartment and threatening him with the kidnapping of his son) into organizing a party which would gather together the leading figures of the uprising. But, for most of the film's running time, the Gestapo's intentions seem not to find out how the latter plan to overthrow the Nazi regime but rather to prove that even these would-be saviours of the Fatherland have their sordid weaknesses: aided by a handful of truly loose women, the meeting degenerates into one sleaze marathon which ends with the unceremonious gunning down of all concerned by SS troops. As can be expected, there is a sheer barrage of nudity on display exacerbated with the pre-requisite traits of lesbianism, paedophilia, sado-masochism, etc. Unfortunately, there are none of the familiar Euro-Cult faces or even a rousing score which would make all this palatable; what we have instead are an abysmal SS anthem, "Lullaby for Monsters"(!!), whose lyrics have to be understood to be disbelieved, stiff acting (pardon the pun) including a female Hitler impersonation and a hilariously defiant farting gesture from one silver-haired stud of an aristocrat!
John Mclaren
Disappointing "Salon Kitty" wannabe WW2 WIP flick. This is Nazi exploitation at its most mediocre. The production values are higher than some of its co-genre (viz Love Camp and SS Camp), but it fails to deliver in most other areas.If you like full frontal nudity, you wont find much. If you are into jackboot torture, again it is not going to deliver for you. If you really want to see "wimmin who shag in ze name of exposing traitors to ze Fatherland", then you have come to the right shop (again). How many times have we seen this old yarn re-worked and churned out?Fraid it doesn't work for me any more. Watch the original if you are into this cinematic style...
