José Bénazéraf – Anthology of Forbidden Scenes (1975)
José Bénazéraf shows scenes from his films which were originally censored because they were considered pornographic or subversive. This doc itself was edited from JB-1 which included longer hardcore scenes from the “The Hideout” films.
POOR TRANSLATION FROM FRENCH:
There are obviously many versions of this famous anthology of scenes banned, more or less hard. The one that came out in 1975 and lasted 1 hour 50 apparently contained a long sequence pornographic final, made up of excerpts from The Hideout The Hideout I and II where the filmmaker set to work the principles that generalize his legendary JB 1.
The X classification of the film was canceled in 1982 and a new assembly will be made for broadcast on Canal +. This new version, Herbert.P Mathesis wrote: “The last quarter hour of the version to Canal + is made up of excerpts from The Hideout, more clean, shall we say, and colors, giving more Image product of a new-look, lick for Canal. Nothing to do with the theatrical release version.
I’m afraid that the DVD version is even more watered down version Canal since the footage lasts only 72 minutes (instead of 95!) And the famous last chapter of this anthology (“Child”) reduces to relatively soft five minutes! I do not know perfectly the legislation edition DVD but I assume it is not possible for a publisher’s “classic” films offer non-simulated scenes (unless they fall within the part of the movie “author”). Still, the film that I have could easily be broadcast in prime time on a cable channel …
It’s a shame because the scenes banned Anthology is a project really exciting. On paper, the solution is feared because of laziness Bénazéraf we offer a potpourri of erotic scenes which he glazed her movies since her debut at the dawn of the 60s. Moreover, the filmmaker had used this method of “compilation” by realizing Bacchanalia Bacchanalia 69 and 73 (probably the same film, released 4 years later). It is probable that the beginning of the Anthology return to the same assembly as the Bacchanalia as the contemporary critic noted a sequence at the Palais des Sports (youth break chairs) that can be found here. Still, interest never wavered before this film editing.
The film consists of five chapters: The first, entitled The Boulevard strip, Don Jose offers us the striptease scenes that pepper his early work (including that of Joe Caligula which earned him a ban for almost two years). The second [Frustration], is divided into two sections: the first shows excerpts of The Desire and the Sublime, the second extracts Frustration [a fantasy drama recalling the films of Jess Franco and featuring Janine Raynaud’s dual lifestyle which splits between a housewife with unfulfilled desires and a sexual predator]
The fourth chapter is called Rape and offers us a memorable passage of French Love [quite striking, showing a biker gang, all leather clad, helmeted faces, indulging in an orgy in a country house]. The fifth chapter, Pornography, as I mentioned above and it is here more than a bare minimum. All these passages are discussed by Bénazéraf Himself, sometimes echoed by a female voice that reads extracts from the decrees of censure which struck his films. Suddenly, the Anthology scenes banned seems a very nice summary of the evolution of morality in the cinema and the parallel, censorship. Needless to say that the director angrily attacked with scissors Anastasia and it is true that the time has come to him right (which today would be offended performing these charming retro strip-tease?) Revisiting his work Bénazéraf seeks to show how he has cut off the censor in his quarters in filming a number of “first time” (for example, shows an excerpt from one of his films – the cry of the flesh? – where for the first time a woman lustfully caressing his chest).
Besides burning eroticism, the anthology is also a good way to rediscover what Bénazéraf based cinema: his intellectualism shocked (we lost count of the number of literary quotations that pepper extracts, from Hegel to Marx through Kierkegaard and Baudelaire), his way of mixing the “cultural and political” (extracts the desirable flavor and sublime actors booed when the censor), who broke his lyricism time sequences are really nice.
Perhaps it is here that, for me, the real discovery of this anthology. Even if I had the opportunity to see frustration and the desire and the sublime, the film Bénazéraf remain rarities and I’ve never seen, for example, sex or naked French love. But the excerpts given here are a erotica as it has rarely seen on screen. These films are “freeware” but they have nothing to do with erotic navetons that flourished at that time (whether those of George Fleury and Pierre Unia). The railway scene Sex naked is very tender, very well filmed and not talking about the amazing orgy of land where the French love bikers. Bénazéraf beautifully filmed the bodies and by the grace of illumination, an inventive installation, it gives us a sequence Baroque incredibly sensual.
We know that after 1975, JB 1, Bénazéraf become an overachiever’s hard shabby (I have not seen any but I trust the experts). Before, he did not raise again the question of hard or soft: he makes movies. Before the flood “official” pornography on the screen, some of his films (Black love, Adolescente pervertie (1974): not seen either) contained some sequences hard (sometimes for export).
The anthology reflects a time when sex was still an issue of development stage and film could curl the limits of the representable with great talent. That’s what makes the strength of this film.
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