Word: metzgers
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...these reasons, in the long-ago days of my soft-core connoisseurship, I preferred Metzger's films. As director, he made such money-making dramas as "Camille 2000," "Therese and Isabelle" and "The Lickerish Quartet." As a distributor, he imported and meticulously re-edited (sometimes re-shot) movies by soft-core masters Max Pecas ("Erotic Touch of Hot Skin"), Jos? B?naz?raf ("Sexus") and Mac Ahlberg ("I, a Woman...
...some ways, Meyer and Metzger had much in common. Both were meticulous artists and canny businessmen, adept at anticipating audience trends. Metzger saw that sex could sell if it spoke in a foreign accent; Meyer saw it could sell if it offered an unbuttoned version of steamy Hollywood melodrama. Working opposite sides of the sexploitation street, the two men elevated the genre from the grindhouse to the art house and the drive-in. Eventually, as noted, Meyer's films graduated from the agricultural school frat house to the Yale film society. Metzger's films, which were thoughtfully reviewed by Vincent...
...film style and personal temperament, the two men formed perfect bookends for '60s sex. Metzger was the European sophisticate to Meyer's canny version of the all-American yahoo rube. Metzger's films were caresses, Meyer's were comic assaults. Metzger's languid tracking shots of fabulously decadent femmes suggested a heated-up Max Ophuls; Meyer, with his brisk shearing of every shot to milliseconds, was the redneck Resnais. Metzger was the elegant gent on a leisurely prowl of the haut monde, as fascinated by the d?cor of a bedroom as by the woman on the silk sheets; Meyer...
...together an issue of Film Comment devoted to cinema sex. One of the attractions was Ebert's essay on Meyer, which examined the director's adherence to the principles of Eisensteinian montage and all-round breast fetishism. Another was a long interview I conducted with Metzger, who proved himself the most engaging and articulate of auteurs. In the interview Metzger recalled that, in his 1967 film "Carmen, Baby," "There was a very famous sex star, Barbara Valentine, who had just had a baby, and her breasts were so out of proportion to the rest of her that I felt they...
...With that engulfing wave of porno chic, the soft-core genre that had been so smartly personified by the Janus face of Meyer-Metzger became instantly obsolete. Metzger, in his interview, declared that "the soft-core arousal film, the turn-on movie, has always been with us, and will always be with us." Yet two years later he was directing, under the pseudonym Henry Paris, classy hard-core features like "The Private Afternoons of Pamela Mann" and his porno "Pygmalion," "The Opening of Misty Beethoven...