MovieChat Forums > Cheeky (2000) Discussion > Older woman pursuing younger woman

Older woman pursuing younger woman


I especially loved the way the older woman (Moira) aggressively pursued the pretty younger blonde (Carla) in an attempt to seduce her so as to enjoy her beautiful body! I wish the entire movie had been about Moira and Carla, exclusively!

Why aren't there more films involving older women going after pretty younger women? It's a "can't miss" plot!

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I agree. I think there was something to be exploited there which hasn't been done quite often, although there are movies that deal with the subject. You should check out the classic Maedchen In Uniform. A lot of times you find it filed under "lesbian interest" haha. I esp. liked the idea that Carla didn't refer to herself as "lesbian" or "bisexual," but was somewhat reluctant about sleeping with Moira. "Reluctant lesbian" = sexy You should also check out David Hamilton's Bilitis. There's a subplot dealing with the same thing: Older woman with a young lass.

Oh, and did you notice how the character of Moira was kinda modeled after "Velma" of Scooby-Doo fame? I think this is as far as Tinto Brass knows of what a lesbian is


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Dude, I give him ALL the credit for making some of the best erotic films I've ever seen, matched only by other world-famous directors such as Just Jaeckin, David Hamilton, and, maaaaaaybe, Radley Metzger (at least for getting the ideas out there).


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I thought about that for a fraction of a minute and I came to the conclusion you're on drugs. That's it for Brass's directorial style, but it's everything at the same time. Sorry to break this to ye, but we cannot compare his work with that of Hitchcock, Kurosawa, Tarkovsky, Bergman, and such. His technique is regional. He speaks a regional film language, not an international one. The day Brass directs something to the extent of The Man Who Knew Too Much, Stalker, Hidden Fortress, 2001: A Space Odyssey is the day he will have more than the regional dialect of Mediterranean eroticism.


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And you are absolutely out of your coconut to think the others are "just pornographers." Do you have any idea what the difference between erotic and pornographic is?! David Hamilton's quality easily dwarves Brass's better efforts in the field of erotic films. Monella and La Chiave are the best I've seen from him, but if I had my druthers, I'd still choose Laura and Premiers Desirs as the top of what erotic films should strive to look like. D'Amato is a pornographer. Andrew Blake is a pornographer. Gregory Dark is a pornographer. Just Jaeckin directed erotic movies. There's a fine line that might get blurred, but the distinctions are there.



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Um, no. La Chiave is good, but it does not compare to the level of an international movie. Alright, forget Hitchcock - he is no Kubrick or Coppola, he is no Altman, he is no Bunuel, he is no Fellini or Antonioni, he is no Renoir, he is no Eisenstein, et cetera, et cetera, et cetera. Tinto Brass himself - from the interviews I've seen - is complacent with the knowledge he directs erotic movies with his own trademark style and nothing more. I think the earliest Brass movie I've seen is Salon Kitty and it was mediocre compared to his other films - only Caligola is up to par in how bad it was. Now, if anything before that can be according-to-Hoyle less focused on regional attributes and away from his usual fixations, then, by all means, name one; although I doubt it'll be a movie on the level of the work of the directors whose movies we're all acquainted with and whom we all know to be good.


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An international kind of movie goes beyond photographic style and cultural references; something most any audience around the world can understand through images and music alone without the need to know the background of the people and places portrayed in the movie without losing most of the meaning in the translation. A regional movie relies heavily on the particular nuances of the director and you have to know a bit of the culture, history, and particularities of the time and place; it's the kind of thing that often only that culture has a word for and doesn't translate very well to others unless you give them a bit of background.

Examples of international movies:

The Battle Of Algiers
The Hidden Fortress
Koyaanisqatsi
M
Nights Of Cabiria
The Shining
The Wages Of Fear

- A lot of action, sci-fi, and horror movies fall into this category, but not the kind which are of a grindhouse or exploitation nature.


Examples of regional movies:

Cidade De Deus
Clerks.
Cremaster Cycle
The Driller Killer
Liquid Sky
Scorpio Rising
Lo Strano Vizio Della Signora Wardh


- It includes a lot of genre and exploitation fare to which Brass's movies would fit. Sometimes, it may have a director who relies on pure style to demonstrate an idea, so even a director such as Bunuel or Pasolini have done regional kinds of movies (Un Chien Andalou and La Riccota, respectively).

Unless Tinto Brass has made something other than an erotic romp, it most likely won't reach the heights of a director that can transcend the safety of already-exploited territory (i.e. erotic movies) OR unless he was the first to introduce the style, technique, or idea into the big screen, then he's gonna play second fiddle to the more clever directors. If Brass had directed action, comedy, suspense, horror, sci-fi, and others, THEN you got someone with the capability of speaking beyond his limited audience of erotic purveyors. If Brass had directed the first erotic film, THEN you got someone who took a chance on uncharted territory. It's what separates the David Cronenbergs from the Tinto Brasses.


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I don't think anyone has seen those movies. Funny that other directors, critics, and movie viewers alike never mention those films. They might be good, but, then, are these history-making, note-worthy films? That's pretty much limited up to the opinion of two Brass fanatics.


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Yes, but you'd think that directors, cinematographers i.e. people who work in the industry and those who have an encyclopaedic knowledge of movies would list a Tinto Brass movie as something they consider significant. I have never heard someone such as, say, Martin Scorsese mention any of his movies - and he is reputed to know A LOT about movies (not just directing them, but has seen a sh!tload more than the average person). We don't ever hear David Lynch mention a Tinto Brass movie (although he has gone on the record as saying he admires the work of Hitchcock, Fellini, Kubrick, Altman, and such). It's not just about the distribution of movies, but how they are considered by everyone combined. You can't even go into a intro to film history class and see any of his work be demonstrated; at best, a professor might talk about Caligula being some kind of "midnight" or "cult" movie, which then brings us back to one of my original points: Tinto Brass is a genre director and nothing more. He does direct good movies (for the most part), but they are not top-of-the-line work that stands out above other world-renown directors. Let's face it, Salon Kitty will not be a Nightporter, The Damned, much less Il Conformista; Monella will not be Amarcord; Transgredire will not be Last Tango In Paris, etc, etc, etc. In fact, his fans should be proud one'd compare his work to that of David Hamilton's since his films and photography is some of the best erotic work out there, not to mention made soft-focus famous back in the early 70s. His movies have a distinct look that very few, if any, had before.


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Rest assured Brass is not up to the standard of Fellini's work. It's like comparing Italian cuisine from The Ritz Carlton and pizza from a New York deli. There IS an objective difference.


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If you cannot taste the difference, then you need a palate.


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You need to accept that there is art out there which is better in quality, objectively speaking. It has nothing to do with personal taste. Heck, I could be a fanatic of bad movies, but that doesn't mean that those bad movies are suddenly good, or that the good movies are suddenly on the level of the bad movies I love. It doesn't work that way.


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Hahaha. You'd probably be the only viewer who'd argue the great qualities of such classics as Troll 2 and the opus of Uwe Boll. The proof is in the pudding.


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I have seen most everything from Salon Kitty up to Fallo! and they all pale in comparison with Fellini's work. Sure, I have not seen the earlier works and maybe on a fluke he directed something that exceeds the usual quality of his work, but I find that hard to believe in light of the fact none are ever mentioned by anyone other than a couple of his hardcore fanatics.

Edit: Hell! La Chiave is what I'd consider the best film I've seen by him so far (although Monella is damn good). If anything, La Chiave might be the stand-out film from his opus and something I'd recommend as a must see.


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i just watched 'trasgredire' and i enjoyed it immensely. but it's not a great film. not everything is relative. 2001 is a better film than killer klowns from outer space and just because there are people out there who disagree doesn't make them right.

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e-moronik strikes again! Hahah. This is the kind of retort I'd expect of someone who ranks well below the braindead; you manage to sink lower and lower every time you come back that I sometimes wonder if there IS a bottom to the depth of your stupidity and lack of comprehension of simple ideas. Actually, to refer to you as "stupid" would be an insult to real stupid people. Seriously, go drink a couple of gallons of water and play in traffic. This is a forum for movie discussions for members who have something substantial to say.


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Another satisfied customer


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