His lens probes in and around his leads’ genitalia or backside with the finesse of an amateur gynecologist, but sometimes, as in LA CHIAVE(The Key), Brass’ imposition never once comes across as clinical or puerile. Less cartoonish than his American counterpart Russ Meyer’s heroines, Brass’ ladies actually exude a real humanity with their sensuality.Īs mentioned above, Brass’ camera can be intrusive. The bigger the better.Īlthough Brass would probably chuckle at the idea that his films have a strong feminist slant, Brass’ female leads are strong, independent, and almost heroic in their quests to become emancipated from their roles as housewives, concubines, or mothers. Brass also isn’t shy about what he likes most about a woman’s body, either - her ample backside. Brass’ camera lovingly (and intrusively) explores the many facets of a woman’s beauty, be it physical or psychological. His films - excluding Caligula (1980), which doesn’t really fit into his overall body of work - are filled with curvaceous women who are uninhibited and bold enough to freely express their healthy appetites for sex. Director Tinto Brass is a man of big passions.
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