The Counterfeit Traitor (1962): The Celluloid Dungeon

 Celluloid Dungeon  No Responses »
Sep 172023
 

The Counterfeit Traitor is a 1962 spy thriller starring William Holden. I’m covering it solely for a couple of scenes.

Holden plays Eric Erickson, an apolitical American everyman living in neutral Sweden in the early days of WWII. Allied intelligence blackmails him into working as a spy in Nazi Germany. While slowly paced at the beginning, the tension picks up as Erickson sinks deeper into his cover and becomes entangled into the war whether he wants to or not.

Inevitably, Erickson’s cover is blown, and he has to depend on the resistance network to get him back to Sweden with vital intelligence. His backup contact is just a street address in Berlin. This turns out to be in the city’s red light district, with sex workers standing on the street or posing in windows.

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Verfolgt, aka Punish Me (2006): The Celluloid Dungeon

 Celluloid Dungeon  No Responses »
Aug 282023
 

Verfolgt, also released as Hounded or Punish Me, is a 2006 German drama directed by Angelina Maccarone. Amazon

As I’ve pointed out before, female dominants who aren’t sex workers are almost invisible in popular culture. Verfolgt is one of the rare examples of a dominant woman who is not in part motivated by money. Elsa, a youth probation officer, has an obsessive, sadomasochistic affair with Jan, a young offender fresh out of juvenile detention.

Elsa Siefert (Maren Kroymann) is in her 50s, and looks like it. You can see her wrinkles and soft belly. She does wear a black leather coat and shoes, which hint at her interests. Early in the film, her daughter moves away, and her relationship with her husband, Raimar, has begun to sour. She resents his past infidelity. The loss of her roles as wife and mother has left her adrift.

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Dishonored (1931): The Celluloid Dungeon

 Celluloid Dungeon  No Responses »
Aug 142023
 

L-R: Josef von Sternberg, Marlene Dietrich, on set

Dishonored is a 1931 spy thriller directed by Josef von Sternberg and starring Marlene Dietrich as Marie Kolverer, aka “X-29”.

Set in during the First World War and loosely based on the life of historical spy Mata Hari, this is the third of seven collaborations between director von Sternberg and star Dietrich, following The Blue Angel (1930) and Morocco (1930). Dietrich usually played remote, independent and seductive women in these films.

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Nymphomaniac Vol.2 (2013): The Celluloid Dungeon

 Celluloid Dungeon  No Responses »
Aug 082023
 

Nymphomaniac Volume 2 is the second part of notorious director Lars von Trier’s 2013 film about a woman with sexual compulsion.

The framing story is that Seligman, an elderly academic, finds a beaten women in an alley near his apartment, and takes her home. She says her name is Joe, and when Seligman asks her how she ended up in his alley, she says she would have to tell him her entire life story. Over one night, Joe tells Seligman her biography in search of sexual pleasure, with frequent asides from both of them on topics ranging from techniques of fly fishing to the history of religious art. This dialog also acts as a kind of trial, with Joe prosecuting herself as a bad person who deserved her mistreatment, and Seligman defending her decisions and her worth as a person.

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June 18, 2023: Webinar on Kink in Mainstream Film

 Celluloid Dungeon, Event, Presentation  2 Responses »
May 252023
 

I’m giving a webinar on kink in mainstream media on 18 June 2023 at 10:00 AM Pacific. This is based on my ongoing research for The Celluloid Dungeon. I’ll be digging deep into the history of kink in film, going back to the dawn of the moving image and showing some of the moments and images and individuals. Admission is free for CARAS subscribers and $25 for everyone else.

O Fantasma (2000): The Celluloid Dungeon

 Celluloid Dungeon  6 Responses »
Feb 042023
 

O Fantasma is a 2000 Portuguese film directed by Joao Pedro Rodrigues. It concerns Sergio, a young man working as a night time garbage collector in Lisbon, and his sexual development.

Sergio is, to say the least, alienated. He inhabits a largely empty night-time world. While he flirts with a female co-worker, Fatima, his main sexual connections with others are wordless, anonymous sexual encounters with men. Not only does he connect to the company’s mascot dog, he’s animal-like himself. He rarely speaks, and often sniffs and licks people and things. Sergio just doesn’t have the social vocabulary to express his sexual identity. He operates more on intuition.

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