Watch Venus in Furs For Free

I like the storyline of this show,it attract me so much

Powerful

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

With a poll for the best films of 1969 coming up on ICM,I started looking for titles to view for the event. During this,I read a very good review from fellow IMDber Red-Barracuda about a Laura Antonelli movie. Finding Antonelli outstanding in Malizia and The Wifemistress,I decided to get the fur coat out.View on the film:Whipped by Gianfranco Reverberi's spidery Jazz score,director Massimo Dallamano & cinematographer Sergio "Don't Torture A Duckling" D'Offizi eye up top quality sleaze with lush stylisation of ruby reds and pristine whites giving a decadent atmosphere to the couple. While some of the more left-field choices interrupt the mood, ( a sex scene between two horses gives turns the erotica dead!)Dallamano makes most of them work by using them to peel the layers of Severin,from extended first-person shots handing out S&M punishment from Severin's view,and splintered flashbacks unveiling Severin's desire for humiliation.Unfolding Leopold von Sacher-Masoch's 1870 novella for the jet-set Euro crowd, "Fabio Massimo" (likely a fake name-this is Fabio's lone credit) adaptation does extremely well at retaining the feeling of breaking taboos from Severin's and Wanda's relationship, with each new erotic act they partake in, (beginning from Wanda whipping Severin, to him requesting Wanda to sleep with other men so he can watch them)placing a weakness in the armour of their romance. Dominating proceedings, Laura Antonelli gives an outstanding performance as Wanda,that brims with an erotic sensuality,that Antonelli hooks with a restrained sorrow over the tears in their marriage. Chained up from all sides, Régis Vallée gives an excellent, expressive performance as Severin, which captures the arousal and the pain Severin receives from the venus in fur.

If the sight of a big floppy horse's dobber dribbling spunk isn't enough to convince you that by this point Italian cinema had discarded restraint and headed off for 'pushing boundaries' territory, then I don't know what will. Except maybe the other bits of this film that don't involve horse porn. Severin is some sort of messed up guy who can't get over the time he was spying on a maid doing the nasty with some guy, getting caught, getting slapped around, and then being held between the maid's boobs (I'm not sure if that part was strictly legal in 2017). Now an all grown up messed up pervert, he finds himself spying on attractive model Wanda, who likes to dress up in furs and do a bit of invisible banjo playing - and she knows Severin is watching!Eventually these two hook up and Severin wants Wanda to sleep with other guys in front of him and beat him up and all sorts of crap and at first Wanda seems to think this is the ultimate freedom until she starts getting second thoughts (right about the time Severin gives her a letter that would serve as an alibi should Severin end up dead during their crazy sex games!).But is she really fed up or is her rage and beatings part of some elaborate game? And what about the lesbian house maids? Or the bizarre fantasies of Severin. Or the last ten minutes? No really? What was that all about? Was it her or some other chick?If you like boobs, pubes, short-changed dudes and lesbian interludes you'll like this one I guess. I can't believe I actually paid money for this! Or an HMV voucher - something like that.

The 1969 "Venere in pelliccia" could have been Laura Antonelli's big break, had it been released in Italy. It would have predated "Malizia" by four years, but due to censorship problems, it came out in other European markets only. Finally, in 1975, in Italy as well – but in a heavily edited and changed version. More on that later.The lake Tegernsee in Upper Bavaria: Writer Severin's leisure is interrupted when the gorgeous model Wanda arrives at his hotel. He can spy on her through the wooden wall between their rooms, and quickly falls in love with her. After a rather old-school advance, they get together. Severin then discloses his sexual fantasies: In his view a man is defined by his childhood experiences and traumas. For him, this means he has to suffer in a relationship, both physically and mentally. Wanda on the other hand is used to cheat on her partners, but she falls in love with Severin and agrees to play along in his games. This means for her to have sexual encounters with other men, enforced and watched by Severin. But after a couple of weeks, during their honeymoon in Spain, Wanda is sick of it and the relationship spirals downwards into disaster… This may sound very plot- and dialog- driven, but it actually isn't. Characterisation and motivations are explained very quickly and mostly through thoughts (in voice-overs). It's up to the viewer to interpret the rest, although there are instances where this doesn't work out completely. Especially regarding Wanda's actions I was not convinced throughout. At one point she is obviously sick of it all, beats Severin down and we see him hurt and bruised. But in the next scene, the bruises are gone (some time must have passed) and they are back in their role playing. Why would she stay with him after that, given that she is a nymphomanic, self-confident dream girl and can do whatever she wants? But maybe that's just me who can't see that, as said, it's up to the respective viewer. A little bit of explanation would have helped, especially since this is a rather short film, not reaching the 90 minutes mark.Problems like these are easily forgiven, as this is a fantastic film to watch. The visuals are incredibly well- made, every single scene is shot perfectly. The locations are beautiful, too, especially the lake and meadows of the first half. The score supports the plot perfectly. A fascinating mix of 60ies lounge-piano and wild, psychedelic flower-power feel.And oh boy, this movie is hot. Incredibly hot. For the time of production, it goes surprisingly far, but this is still the time when you couldn't show all and had to be creative. The amount of nudity (including full frontal) and sex scenes performed by Laura Antonelli is absolutely incredible, and the director and camera knew what they were doing. Tasteful and absolutely arousing.Speaking of the actors, Régis Vallée performs decently and is convincing, although he may seem a little bit too passive towards the end of the film. Laura on the other hand puts her heart and soul into her role. She steals most of the scenes with Vallée, and definitely not just for appearances.Now let's speak of the Italian version of 1975. You can see by the way it was made that the censors have had problems with two things: The sado-masochistic aspect of Severin wanting to suffer, and some of the sex scenes were too explicit. So they brought in Vallée to shoot a background story: Severin is in jail (and later in court), being accused of the murder of that guy Bruno (they shot some extra scenes with that actor, too). Severin tells the story of his relationship to Wanda and how it could come to the murder. It is terribly boring. The 1969 scenes are arranged differently (mixing Bavaria and Spain scenes at random), and strongly edited. The voice-overs, all the "suffering" dialogs, all gone. It's not true the sex scenes were all cut, many are completely intact. Others were shortened, for the scene at the lake, when Severin satisfies Wanda orally, they even added a filter on the right side of the picture in order to cloak what's going on. And the horse sex scene is gone, too, luckily. The film was re-dubbed completely and shows Severin as a normal guy who falls for Wanda, who is the one to openly cheat on him and cause them to break up which leads to the murder. Anyway, the 1975 one is a total waste of time and should you decide to watch it, you should do it before you watch the 1969 version.Overall, this is a very good film and an absolute must-see for fans of Laura Antonelli (although I didn't like her dyed hair and the strong make-up too much). The sexual liberality is surprising, sometimes shocking, clearly the film was way ahead of the times. Superb cinematography and soundtrack, convincing actors and a controversial subject – but go for the 1969 version please.

This movie combined the overrated novel of Leopold Sacher-Von Masoch (who gave us the word 'masochism'), the talent of underrated Italian director Massimo Dallamano, and the physical charms of European sex diva Laura Antonelli. It has often been confused with the identically titled Jesus Franco movie released about the same time. It is not quite as good as Franco's surreal masterpiece or Dallamano's own follow-up "What Have You Done to Solange?" (which was easily better than ANY Franco movie). Still it is certainly not a waste of time and it does adhere pretty faithfully, perhaps too faithfully, to the banal source novel.The movie tells the story of a jaded cad who meets a beautiful young woman (Antonelli) and falls in love in love with her after spying on her showering, masturbating, and having sex with strange men. The problem is that she also reminds him of a maid who relentlessly teased him as a adolescent by having sex with the butler while he watched. The woman falls in love with him, but her love quickly sours into contempt when he insists that she beat him and openly cheat on him with various men. This is one of those movies like Godard's "Contempt" or Polanski's "Bitter Moon" where you want to jump onto the screen and slap the protagonist for scorning the adulation of the kind of beautiful woman who most mortal men will never enjoy (but then this guy would probably like that).Antonelli would go on to be one of Italy's biggest female stars after she went from taking all her clothes off in movies like this to taking all her clothes off in more arty, big-budget fare. This movie is fairly unpretentious at least. Antonelli has her hair dyed blonde and is nearly unrecognizable (at least, until she gets undressed for the first time), but her performance, though regrettably badly dubbed into English, is quite passable. Dallamano also delivers a lot of the superior visual style he would demonstrate in later films like "Solange?". Fans of "Eurotica" who want to venture beyond established auteurs like Franco, Jean Rollins, Walerian Borowzyx, and Jose Larraz would be well advised to check this one out.