What are the differences between the Italian VHS Version and the Danish VHS Version?

the nasty, ugly men in the wonderful costumes

THE Nazisploitation classic that has a sense of style

Proof that even exploitation can be boring...

Smart and opulent 70's Euro-smut; a visual feast but unengaging.

Tinto Brass and Cinzia Roccaforte in P.O.Box Tinto Brass (1995)

Anna Galiena and Gabriel Garko in Black Angel (2002)

What frightens you, what you see or what you don't?

Tito LeDuc and Ingrid Thulin in Salon Kitty (1976)

Helmut Berger and Teresa Ann Savoy in Salon Kitty (1976)

Tina Aumont and Teresa Ann Savoy in Salon Kitty (1976)

John Bartha and Tom Felleghy in Salon Kitty (1976)

Helmut Berger

Ingrid Thulin

Teresa Ann Savoy

Ennio De Concini

Maria Pia Fusco

Tinto Brass

After an SS officer wiretaps a brothel and replaces its prostitutes with spies to obtain blackmail on the clientele, the Madam and a vengeful young hooker seek to bring about his downfall.

Salon Kitty

Of all the sordid, exploitative Nazi-era cash-ins that came out of the 1970s, &quot;Salon Kitty&quot; is one of the most regularly-mentioned titles. Director Tinto Brass (who, like Joe D&apos;Amato, is more renowned for his porno epics) spends a great deal of time--arguably 3/4 of the film--garnishing the screen with images of decadent excess, including bizarre sex acts, deformed dwarfs, and copious nudity. Unfortunately, that&apos;s really all this shallow, 2-hours-plus venture has to offer. The story line--consisting of a young Nazi commandant (the underused Helmut Berger)&apos;s attempt to seize power by eavesdropping on the SS patrons of the titular character&apos;s high-class brothel--would take up all of 30 minutes&apos; screen time (and even that is a stretch) had the exploitation elements been removed. What we&apos;re left with, then, is a slickly-made trash pic with high production values, a good cast, and an insufferably drawn-out story (I challenge anyone to still give a damn by the time the film reaches its &apos;revelatory&apos; crescendo); Brass&apos;s attempts at prurient titillation, an underdeveloped (and ultimately pointless) romantic subplot, and the fearless courage of icily unlikable prostitute Margherita (Teresa Ann Savoy) fall completely flat, much to the film&apos;s detriment. While not as luridly exploitative as the &quot;Ilsa&quot; trilogy, nor as lethargically dull as Luchino Visconti&apos;s &quot;The Damned,&quot; &quot;Salon Kitty&quot; never really manages the suspense, pathos, and passion that marked Liliana Cavani&apos;s superior 1974 post-Holocaust romance, &quot;The Night Porter.&quot; It&apos;s a film that should have been much more than just a ponderously average pile of celluloid.

The most shocking and controversial of Italian director Tinto Brass&apos; films, SALON KITTY presents a serious, unflinching depiction of moral decay within the Nazi Party at the time of World War II, and of how power ultimately leads to corruption.

Now, courtesy of Argent Films, the fully restored Director&apos;s Cut of this notorious film is being made available on DVD, presented in its original widescreen format, completely uncensored and featuring 21 minutes of never-seen-before footage. Finally, the extremely disturbing, bordering-on-the-hardcore content of SALON KITTY can be seen as originally intended by the film&apos;s director, Tinto Brass.

Based on actual events, the story takes place in Berlin, in 1939, at the start of World War II. SS Officer Helmut Wallenburg (Helmut Berger) is instructed by his superiors to set up an elite brothel, the eponymous Salon Kitty, especially designed to serve high-ranking Nazi officials and foreign diplomats. In order to cater to the clients&apos; darkest perversions and desires sufficiently, Wallenburg is also charged with finding and rigorously training twenty beautiful and intelligent women, who are not only dedicated to the ideals of National Socialism but are also prepared to perform the most extreme acts of debauchery imaginable. What these prostitutes and their customers don&apos;t know is that the brothel is bugged and is being used to collect intelligence and to monitor the clients&apos; loyalty to the Nazi Party and its cause. Wallenburg exploits his position, feeding his insatiable need to dominate and using the information he receives to blackmail his way to the top. Meanwhile, one of the prostitutes, Marguerite (Teresa Ann Savoy), discovers the truth about the brothel when a soldier she loves is executed for revealing to her his plans to defect from the Party. With the help of the brothel&apos;s madam, Kitty (Ingrid Thulin), Marguerite plots to turn the tables on Wallenburg and exact her revenge.

https://m.media-amazon.com/images/M/MV5BMTYwMzU0NDQ4N15BMl5BanBnXkFtZTcwMjg1NjYxMw@@._V1_.jpg

Of all the sordid, exploitative Nazi-era cash-ins that came out of the 1970s, "Salon Kitty" is one of the most regularly-mentioned titles. Director Tinto Brass (who, like Joe D'Amato, is more renowned for his porno epics) spends a great deal of time--arguably 3/4 of the film--garnishing the screen with images of decadent excess, including bizarre sex acts, deformed dwarfs, and copious nudity. Unfortunately, that's really all this shallow, 2-hours-plus venture has to offer. The story line--consisting of a young Nazi commandant (the underused Helmut Berger)'s attempt to seize power by eavesdropping on the SS patrons of the titular character's high-class brothel--would take up all of 30 minutes' screen time (and even that is a stretch) had the exploitation elements been removed. What we're left with, then, is a slickly-made trash pic with high production values, a good cast, and an insufferably drawn-out story (I challenge anyone to still give a damn by the time the film reaches its 'revelatory' crescendo); Brass's attempts at prurient titillation, an underdeveloped (and ultimately pointless) romantic subplot, and the fearless courage of icily unlikable prostitute Margherita (Teresa Ann Savoy) fall completely flat, much to the film's detriment. While not as luridly exploitative as the "Ilsa" trilogy, nor as lethargically dull as Luchino Visconti's "The Damned," "Salon Kitty" never really manages the suspense, pathos, and passion that marked Liliana Cavani's superior 1974 post-Holocaust romance, "The Night Porter." It's a film that should have been much more than just a ponderously average pile of celluloid.

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