Watch Thriller: A Cruel Picture For Free

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

By the time the dramatic fireworks start popping off, each one feels earned.

The poster says it all: "The movie that has no limits of evil." When people talk about grimy, evil pictures, this is the one they're talking about. Quentin Tarantino called this "the roughest revenge movie ever," and that's including I Spit on Your Grave and Last House on the Left, one would suppose. After all, Elle Driver in his Kill Bill directly takes her look from this film, with outfits that match her eyepatch.Frigga (Christina Lindberg, Teenage Playthings, Exposed) is a simple farm girl who's been silent since she was a kid, thanks to being raped. Her loving parents spend all of their money to try and get her voice back with speech therapy. One day, she misses the bus and ends up going on a date with Tony, who seems like a real ladykiller. Turns out he is — he gets her hooked on heroin, telling her that she needs it every 48 hours if she wants to live. To pay him back, she has to become a prostitute for him.Frigga — possibly named for Odin's wife (and Odin is one eyed, after all) — cannot be tamed. She escapes twice and scars the face of the first john who tries to sleep with her. As punishment, Tony takes her eye — a scene shot with the cadaver of a young girl who had committed suicide. Remember what I said above — this film takes no prisoners.Tony has sent a letter home to her parents, telling them she hated them and would never be back. In answer, they both commit suicide. Add in the death of Frigga's only friend, fellow prostitute Sally, and it's time for revenge. She starts charging more for whatever her clients want to do to her, all so that on every Monday, she can learn the skills she'll need to kill everyone and everything.What follows is a leather overcoat clad Lindberg — a gorgeous creature of pure hatred and violence — destroying everything. Even two cops who try and take her out are decimated in slow motion in a tour de force scene that Rob Zombie could only dream of shooting — sound dropped out, violence given to full display. The film flirts with art while keeping both feet mired in exploitation — there's a lesbian scene and in some versions, a hardcore insert — but gorgeous shots of police sirens with electronic music droning mark this as just as much masterpiece as masturbatory fodder.Finally, after killing all of her clients, Frigga challenges Tony to a duel. Getting the better of him, she buries him in a hole, ties a rope around his neck and like some cowboy in a spaghetti western, makes a horse run away, killing him. She watches, mute, as the man who ruined her life finally dies. What can be left after this? She has become Shiiva, Death, the destroyer of worlds. Her family destroyed. Her friend dead. Even the police, who could not help her, dead at her hand. She drives the cop car into the distance, sirens blaring as wind and sound fills the soundtrack.This isn't a movie for everybody. But it's why I love movies — it's an experience. I can't recommend it to everyone, but if you're here and reading this, you know that you'll probably love it. Heck — you've probably already seen it.Lindberg — who claims herself that she was a horrible actress — goes all in here. She injected water and saline into her veins for the heroin shots. She learned how to fight. Hell, she got arrested after practicing shooting her shotgun — in public no less. She owns the screen in this.Read more at http://bit.ly/2iqIpEn

As part of the 'rape and revenge' exploitation sub-genre that cropped up in the glory days of 70's grindhouse, Thriller - A Cruel Picture (aka They Call Her One-Eye), stands out amongst the rest due to the fact that it's actually bloody good. Frigga (played by exploitation regular and occasional porn-star Christina Lindberg) is mute due to being sexually assaulted as a little girl. On her way to the doctor she is offered a life by sleazy rich-boy Tony, (Heniz Hopf) and wined and dined before being drugged in his apartment. She wakes up to be told she's been hooked to heroin, and is forced into prostitution as Tony becomes her pimp.When Frigga begins to show resistance, Tony reacts badly and stabs her in the eye, causing her to wear an eye-patch. After months of being forced into sex by her strange and abusive clients, Frigga uses her savings to plot a deadly and bloody revenge against the people that caused the misery in her new life. The film was banned in Sweden, and only received a heavily-censored release in the U.S.A., mainly due to the notorious eye-popping scene in which director Bo Arne Vibenius used an actual dead body for a close up of the eye being stabbed.Quentin Tarantino frequently refers to this as one of his all-time favourites, and although hardly a masterpiece, you can kind of see why. Also, Frigga is an obvious inspiration for Daryl Hannah's sadistic assassin Elle Driver in Kill Bill, and possibly for Kurt Russell's Snake Plissken in Escape From New York. Frigga is a very interesting character. One half an innocent, shy girl that seems to accept her new situation with sad resignation. The other, a silent, patient killer-in- waiting. Lindberg pulls it off admirably, even though never speaking a word during the whole film.When the film threatens to become monotonous with the scenes constantly drifting from a scene of heroin abuse to a scene of sex, the second act kicks in as Frigga begins weapons training, drag racing lessons and martial arts. And when the revenge comes, it's as stylish as a film of this budget could possibly be. Frigga mows down her victims in super slow motion, as bullet shells fly gracefully through the air, and objects explode into pieces in vivid detail. It's a style mirrored in Guy Ritchie's Lock, Stock And Two Smoking Barrels, although it's much more effective in this film. It is, however, also one of the films negatives as it highlights how low the budget actually was, as fake, brown-looking blood erupts on the victims' torso's. It is also way overplayed in a scene where she uses her martial arts skills to fend off two policemen.It clearly benefits from a director who had the honour of working with Ingmar Bergman earlier in his career as the film transcends similar films to the genre (such as Wes Craven's Last House On The Left). I would possibly urge you to watch the censored version if you can, as the unnecessary hardcore sex scenes bring the film down a level. A virtual classic in it's genre and compulsive viewing for exploitation film fans.www.the-wrath-of-blog.blogspot.com

A young woman misses her bus and accepts a ride into the town by who she believes is a swell enough fellow, not knowing his plans for her. It seems Tony(Heinz Hopf)has a little enterprise where he picks up young women, treats them to a nice dinner, drugs their drink, injects heroine into their blood stream, day after day until the body needs it to survive, forcing them into prostitution to remain dependent on him and the narcotics. Madeleine(Christina Lindberg)has remained mute since a terrible sexual molestation at the hands of a rotten vagrant, whose relationship with her farming parents is close. Tony, after kidnapping her, sends typed cruel letters to Madeleine's parents claiming she no longer wishes to see them. Deeply hurt beyond repair, her parents commit suicide, and this act sends Madeleine careening into madness where she uses the money made through prostitution to train for combat on her days off. Tony doesn't recognize that she is studying martial arts with a karate instructor, learning how to drive a car at high speeds with an expert at car handling, and working with a professional gunman teaching her the ability to fire weapons with marksman skill. Only adding extra motivation to her cause, Madeleine discovers that Tony had a fellow hooker killed. The film shows an alternating group of customers who take advantage of her through rough sex(..one takes photographs of her in whatever positions turn him on), setting themselves up as future targets when Madeleine goes on her rampage, equipping herself with a sawed-off shotgun, stolen from a rifle range shack. Soon all of her training will pay off in one way or another until all who wronged her meet their doom, wishing they had never crossed paths with the one-eyed "pirate."Director-writer Bo Arne Vibenius handles the material with a methodical approach(..he sure takes his time, not in any hurry to speed the movie along)really ratcheting up the violence towards the very end as Madeleine hunts down and kills all those who caused her embarrassment and grief. In Peckinpah fashion, all the major action sequences are shot in slow motion, such as when victims are shot repeatedly by Madeleine's shot gun(..also, there an extended sequence where Madeleine pummels two policemen with her recently adopted martial arts skills). Shocking eyeball piercing packs a wallop. The hardcore scenes I could do without, but they merely represent the sex that was taking place, placing extra emphasis on why Madeleine sought to get even in the first place. Lindberg(..a stunning beauty, her pouty lips and long hair, never uttering a word, yet showing the burst of emotion when she sees the funeral procession taking away the caskets containing her parents;steely and cold-blooded when taking out those that wronged her)has the role of her career in this bleak, uncompromising exploitationer. The film essentially is made up of three parts:(1)Madeleine's capture and slavery(2)her influx of customers and preparation for her future revenge and (3)the bloody assault itself. Tony's fate is especially satisfying..if not as explicitly gory as I'd have liked. Lindberg's allure is the film's strongest asset, in my opinion. Her colored eye patch(..often matching her wardrobe)and leather trench-coat certainly add dimension to Lindberg's iconic image. The countryside of Sweden where a great deal of this takes place is idyllic.

I glanced at a couple of Bergman films the other day, but couldn't get into them. This film shows that there is something other than Bergman out of Sweden.I heard that this was a predecessor to Baise-moi, and I wanted to see Christina Lindberg, who I watched recently in Sex & Fury. If you are not looking for a Baise-moi type movie, then there is a R Rated version of this film called They Called Her One Eye.I thought for a moment I was watching Bergman's The Silence, as there was no dialog. Madeliene (Christina Lindberg) never does talk in this film. Things don't move very fast either. It is excruciatingly slow.She is taken by a scumbag (Heinz Hopf) that hooks her on heroin and has her prostitute herself after he stabbed one of her eyes out.She gets Mondays off, and apparently, she manages to use them to learn karate, driving and shooting. Of course, she is still hooked while doing this, which stretches credulity.The sex scenes are raw, and you do not know if she is using a double. Maybe they were just porno clips spliced into the film.Once she is ready, she gets a shotgun, saws it off and seeks revenge. The blood effects were really pathetic. Some of the things just didn't make sense along the way. I guess that is why Bo Arne Vibenius only had a three-film career.