Sure to Go Down: a posting of Radley Metzger's 'The Image'

YouTube sure has changed. Its capricious enforcement of copyright claims continues apace, but its anti-nudity/anti-sex stance has morphed into a “don't ask, don't tell” mode, in which adult materials stay up until someone, anyone, complains about them.

Thus, the surprising discovery of Radley Metzger's The Image (aka The Punishment of Anne,” 1975) in its entirety, unedited and uncensored, on YT. Don't get me wrong — I'm not complaining about this. I think adult clips should be on YT, behind a firewall, as is the case with this film. The picture is a stylish slice of “Euro chic” from Metzger that he signed with his own name. The only other film with hardcore scenes he released under his real name was Score (1974), which circulated in various versions, some of which were decidedly “soft.”

The Image was made at an interesting time in Metzger's career. Softcore had lost its audience — late-night “Skinemax” was a decade away, and the VCR was a luxury item at best. Hardcore was the only way to go in terms of sex pictures, and so Metzger assumed the “Henry Paris” pseudonym. Starting with The Private Afternoons of Pamela Mann (1974), he made a quintet of hardcore features. All of them were visually well-crafted and several light years above the average porn “product.”

Although it starts out like Metzger's softcore features, The Image takes a full turn just before its midpoint and becomes a hardcore s&m movie that lacks only “money shots,” as Metzger's female characters were allowed to enjoy their orgasms and the lead male here comes inside them, rather than doing the usual “full display” ritual.

The film boasts picturesque location footage of Paris and has one aspect familiar from Euro-produced sexploitation — a bizarrely chosen older male voice for the lead (think Norman Rose or John Bartholomew Tucker on a not-so-wholesome day), meaning the narration sounds like a slightly skewed movie trailer.

The picture has an interesting pedigree: It was adapted from a kinky 1956 novel by “Jean de Berg,” an alias of Catherine Robbe-Grillet, the wife of novelist (and fellow bondage lover) Alain R-G. The plot is a variation on The Story of O, with a dominatrix character added into the proceedings. The protagonist (Carl Parker) is “offered” his slave (Mary Mendum) by the domme (Marilyn Roberts), who starts out as a stereotype but winds up becoming the true female lead in the story.

Catherine Robbe-Grillet

Given that Catherine R-G (still with us, as of this writing) is a rather buttoned-down type (see her supporting roles in her husband's films), it makes perfect sense that the more intense but less conventionally attractive domme figure ultimately becomes the most intriguing member of the lead trio.

Although the domme figure is the best-sketched female character, the submissive is the best rendered, thanks to an intense performance by Mendum. She is the single best “discovery” in the later work of Joe Sarno. She starred in five of Joe's films under the name “Rebecca Brooke,” most notably Abigail Leslie Is Back in Town (1975).

Coming across as a kinkier cousin to Lara Parker (“Angelique” from the original Dark Shadows), Mendum was terrific in the Sarno films, mostly because she always appeared on the verge of both an orgasm and a nervous breakdown. She delivered Joe's often over-ripe dialogue perfectly and was, along with Jamie Gillis, one of the few performers who really “got” what Sarno was doing (angst-ridden melodramas with a kinky undercurrent).

In The Image she is equally “on the edge” throughout. She perfectly conveys her character's desire for pain and her transformation when forced to sublimate her desires in a public setting. Online sources say that she was dating Metzger at the time the film was made, which indicates that theirs was, shall we say, an “understanding” connection.

Given the fact that Sarno kept making softcore for as long as he could (and he never used his real name on the hardcore he subsequently made), it's surprising to see Mendum engage in two graphic oral sex scenes, letting go in two urination humiliations, and being whipped and tormented in Metzger's picture.

As noted above, Metzger was no stranger to directing hardcore by '75, since he was already in his Henry Paris period. It is jarring, though, to see The Image make the turn from soft- to hardcore midway through — the beautiful Parisian location footage, for instance, is suddenly used only for establishing shots rather than providing picturesque locations for the action.

What is not surprising is how (that word again!) classy the film is, compared to other hardcore, and how the film has a distinctly male point of view but  also explores the conflicted sensations and emotions of its women characters.

Catch it while if you can on YT, but most certainly also check out the Metzger-authorized Synapse release of the film on disc!

Pornography – with class? A tribute to Deceased Artiste Radley Metzger

Last year, the deaths of Ted V. Mikels and Herschell Gordon Lewis meant that the last great “showmen” of genre/exploitation pics were gone. Radley Metzger's death two weeks ago at the age of 88 meant that the last link to the classier side of adult filmmaking is now gone. Metzger formed a sort of “unholy trinity” with the other two auteurs of softcore, Russ Meyer, and Joe Sarno. Metzger was the one who worked with the highest budgets (Russ's pair of Fox productions aside), and he was accorded the most respect of the trio.

This respect came from the fact that he crafted “Euro chic” softcore, which looked beautiful and felt like the films that ruled the arthouse at the time (the Sixties and early Seventies). While the other two titans of tease were clearly influenced by foreign art films – Sarno's work was inspired by and looked like much of the Swedish cinema of the period, while Meyer's films were the truest expression of Eisenstein's editing principles ever committed to celluloid – Metzger clearly mimicked the style of the European masters in his work, to the extent that his films looked as if they were made by a European (and, thanks to the sometimes stilted dialogue, often sounded as if they had been written by a person who was indeed writing subtitled, translated English).

I wrote a tribute to Metzger for a magazine that is now defunct. You can find the full text on the Funhouse website, here. In reproducing a good deal of the text here, I wanted to supplement it with clips. I notice that YouTube's whimsical and sporadically (but adamantly) enforced rules against the display of the undraped human body have kind of gone by the wayside in the last decade. A lot of scenes from Metzger's softcore are up, as are entire features.

His “Henry Paris” (aka Harry Paris) hardcore films are present on YT in the guise of trailers, still photos, and dramatic scenes – yes, they were dramatic scenes in Metzger's porn, and that made it like nothing else that was being made then, or today.

Herewith, tribute to Metzger, written in the 2000s:

Like the other two softcore gods of the ’60s, Russ Meyer and Joe Sarno, Metzger cut his filmmaking teeth in the Army, serving in the Motion Picture unit during the Korean War. Unlike Meyer and Sarno, Metzger got his first commercial experience in the film biz as an editor removing censored scenes from (what else?) “risque” foreign films – ironic, given that the films he made and distributed later on were the subject of various legal battles with state censors. Shortly after leaving the service, Metzger made a no-budget independent feature called Dark Odyssey (1957) with William Kyriakis. This family-loyalty drama is notable only for its eye-catching NYC locations and its Greek-American milieu. In 1960, Metzger started the distribution company Audobon Films with a colleague and began a profitable career acquiring and “reworking” foreign movies.

Metzger made his first adult feature in 1965. The Dirty Girls started a seven-year run of imaginatively made softcore movies, all of which are being brought out on DVD from First Run. Dirty set the tone for them all, with its La Dolce Vita-inspired Euro decadence, and two elements that became Metzger staples: location shooting in picturesque European cities and an amplified amount of implied sex. “They saw the nudity even if I didn’t put it in,” he later joked to an interviewer.

Metzger’s longer erotic interludes, in which a character would frequently “service” another by slipping out of camera range (leaving an orgasmic young woman’s face onscreen to imply what was really going on), owed a debt to one of the more notorious French imports of the era, Louis Malle’s The Lovers (the ultimate “dirty foreign movie” made in 1958). In that film, the male lead disappeared out of camera range for a few seconds, making actress Jeanne Moreau quite happy – and enraging every state censorship board in the Bible belt.

Metzger’s next b&w tease, The Alley Cats (1966), boasts some terminally cool surf music and some of the aforementioned overripe dialogue. When asked if she’s afraid of making love, one young lady declares, “I plan to go moist to heaven…”

The transition to color in Carmen, Baby (1967) encouraged Metzger to make his tales of bored jet setters and their ladies of easy virtue even more bold and audacious. Two favorite moments: a girl entertains at a party by performing a suggestive dance with a phallic wine bottle to a pitch-perfect Herb Alpert-style instrumental, and the host of the same bash-cum-orgy encourages his female guests to get into the groove by offering “pills, ladies… pills!”

From ’67 to ’77, Metzger made four softcore classics and a small handful of hardcore features that rank among the best ever made. Therese and Isabelle (1968), his tale of a lesbian affair between French schoolgirls (supposed to be teens, but look severely twentysomething). The movie is still copied today – witness the Piper Perabo cumming-of-age cable staple Lost and Delirious (2002). [Can you tell this was written for an adult publication? --Ed.]

It’s most notable for Metzger fans because it introduced his wildest trademark: the “obscured frame,” in which either the “naughty” part of what we’re watching is covered up – yes, Radley was one of the innovators who first used the technique spoofed to no end in the Austin Powers movies – or we view a sex act from a distance, usually through a distorted glass surface (most often a mirror). Thus, when we finally “see” Therese and Isabelle consummate their teen-girl love, they are seen: disappearing behind some furniture in a church chapel, reflected on the surface of a vase (!), and exploring each other’s bods in a stylishly composed long shot that reveals…not much of anything.

Despite the obvious tease factor at work, the movie is still sexy as hell, since Metzger concentrates his energies on the build-up to sex, utilizing classical music and soft, graceful camerawork to complement a very obvious but effective voiceover. Our heroine Therese tells us what we’re missing visually, boasting in classically purple prose about the way Isabelle enters her: “Three fingers entering me, three guests to take the pleasure to…”

Corny dialogue, to be sure, but in the period before Deep Throat and the “couples porn” rage, Metzger’s movies were the only high-profile American erotic films a couple could check out without feeling unduly uncomfortable. In fact Metzger’s next picture, his most psychedelic, Camille 2000 (1969), was crafted to make them feel very comfortable indeed… particularly during a long, lush sex scene, viewed (natch) in a rippled mirror. Metzger had great confidence in his audience’s attention span, especially when it came to sexy interludes like Camille’s prison-themed party in which tuxedoed gents lead super-mod babes around on leashes and in handcuffs. 

The Lickerish Quartet (1970) is Metzger’s most “experimental” and arguably his best movie. Fantasy and reality collide as a trio of jaded sophisticates (mother, son, stepfather) watch an old stag reel for entertainment (oh, the idle rich) and then discover that the brunette star of the loop is performing at a local carnival as a motorcycle stunt rider (!). Upon bringing the girl back to their labyrinthine castle, they find that the film has changed and their newly-blonde house guest is clearly going to have her way with the lot of them.

As he moves this kinky variation on the arthouse classic Last Year at Marienbad, Metzger delivers his most extravagant sex scene ever: a bibliophile’s wet dream in which our blonde temptress, clad only in go-go boots, and the master of the house (a rather unsightly older man wearing nothing but black socks) screw in a home library, rolling over and over on a floor embossed with the dictionary definitions of words like “phallus,” “fornicate” and, naturellement, “fuck.”

The male lead’s paunchy nude bod is one of several bizarre details (including quick cuts to that favorite bar toy, a bird dipping his head in a drinking glass) that Metzger inserts into Lickerish – they can be interpreted as tongue-in-cheek that the director himself is caught up in the same delirium his characters are experiencing. The last line of dialogue probably supplies the best answer: “Don’t take it so seriously, it’s only a film!”

Metzger’s last theatrically released softcore film, Score (1972), is the perfect product of the porno chic era, a film that couldn’t possibly appear in multiplexes today – unless, perhaps, it was made by Pedro Almodovar. Here a Dangerous Liaisons-like couple bet each other they can seduce an innocent young couple they’ve invited over for a dinner party. When the swinging takes place, the wives wind up together… as do the husbands.

The fact that the evening’s events are fueled by pot and amyl nitrate makes Score a gorgeous relic from a far freer time; the film also was released in three separate cuts, each one containing a bit more of the male gay coupling.

In 1975, Metzger turned a corner and embarked upon a short career in hardcore under the pseudonym “Henry Paris.” The six triple-X features he made from ’75 to ’78 are still given high marks by porn aficionados today because their production values were uncommonly high, the explicit sex is cleverly worked into a (gasp) storyline and the acting is well above par. The best known of the Harry Paris productions, The Opening of Misty Beethoven (1976), is a “Pygmalion” tale of a sophisticate who trains a young woman in the finer points of social etiquette, and, er… cocksucking. Misty was shot in Paris, Rome and NYC, and is surprisingly witty for a porn film – all in all, a few light years beyond the crude and clunky Deep Throat.

Imagine the idea of fans for porn soundtracks – they exist, and they are especially fond of the music for Metzger's Henry Paris films.

So the last of the truly talented erotica/porn filmmakers of the pre-home video era has left us. Erotica is now reduced to Fifty Shades of Gray, and porn has gone back to its initial state of tiny little sequences that showcase “the act” and perhaps (if time permits) have a minute or two introduction with something approximating a “plot” (or, better stated, a motivation for the sex).

Metzger flourished in the time when there were indeed movies about sex being released to both arthouses and grindhouses. He lent a lot of style and (that word again) class to his soft- and hardcore features. Before the Sixties that wasn't called for, and sadly, that became the state of things again (with a scant few major exceptions, like Andrew Blake and Rinse Dream) after the Seventies. Thankfully Metzger's films remain available and do show those who make sex videos today many things about how erotic (and even, on occasion, sophisticated) sex cinema can be.

This one sequence is a distillation of what Metzger’s work was all about. It’s corny yet sexy, playful yet adult, old-fashioned yet Sixties “modern.”