Sexual adventuress takes trip to the country with disastrous results. Best described as an early British venture in the giallo mold it lacks some of the style of that genre but is notable for the debut of Spanish cult director Jose Ramon Larraz (Vampyres, 1974). Perhaps as interesting is that it details a nascent killer warming to his task and climaxes in a nihilistic ending. Scoring so high on the sex/nudity quotient in the U.S., it was considered an out-and-out exploitationer.
Wealthy older woman Sarah (Pia Andersson) brings home model Tulia (Vivian Neves) for her protégé Theo (Karl Lanchbury), a budding photographer. Sarah’s proclivities are apparent from the start, preferring young women though young men will also suffice, a switch in the normal power play of the era (and now for that matter) of rich old men chasing younger women.
Tulia is no innocent, lured or straying into the big dark house, and she’s game for anything, happily participating in a game of strip poker that ends in sex with Theo. However (and striking a contemporary note), he is unable to perform – for reasons that might be similar linked to young people today who suffer from the same condition due to over-exposure to porn – and in Theo’s case because he prefers watching.
Quite how far he is willing to go to achieve his kicks is shown in a scene where he drives Tulia to the woods where she is almost raped by his friend Tom so that Theo can photograph the act. Quite how far Tulia is willing to go is indicated by the fact that, while upset at this incident, she doesn’t run a mile and instead continues to enjoy games of seduction, this time with Sarah, with Theo at first limiting his participating to recording the action but later taking part in a menage a trois.
Meanwhile, a Scotland Yard Detective Inspector (Barry Craine) interrogates businessman Mr. Field (Edwin Brown), sugar daddy to missing Irishwoman Rhonda (Johanna Heger), and Field takes it upon himself to pay Theo a visit. Quite how he knows of Theo’s involvement with Rhonda is unclear but he doesn’t accept the explanation that the girl has gone home and hangs around to do a bit of spying. Not such a good idea, because he pays the penalty.
Although it’s a pleasant detached cottage and far from an old dark house, Tulia takes it upon herself to take a look at Theo’s studio where she finds various items of female clothing and photos of an unsavoury nature. A flashback reveals the death of Rhonda, seduced by Tom, then, following the arrival of Theo and his trusty camera, raped by a tramp. But it’s not Theo who kills her. It’s Tom, and largely by accident.
So what’s being set up really is how far beyond his normal games Theo will go, with Tulia providing the test case.
A chunk of the tension comes from having no idea what’s going on beyond Sarah indulging Theo. She appears ignorant of the depth of his perversion. And with Tulia being so complicit initially in the sex it appears to be going down a different route to the slasher pictures like Scream and more in keeping with the giallo which had yet to get into its stride. Tulia is a modern girl for the times, certainly not sexually repressed, which was refreshing, and being a model comfortable with her body. But she would not have been expecting something like this.
Karl Lanchbury (What’s Good for the Goose, 1969) looked like he was perfecting the creepy persona that would carry him through a few more Larraz pictures. Vivian Neves was a model, famous two years later for featuring in the first nude advertisement in The Times, but also a glamour model with pictorials in Penthouse and The Sun, and known as “The Body” a quarter of a century before that title was appropriated by Elle Macpherson, and later set up her own modelling agency. Pia Andersson only made this one picture.
Given he was dealing with so much inexperience and was himself a debutant, Larraz does a pretty good job. He would go on to make another 25 films mostly in the exploitation vein.
I came across this on YouTube while looking for the Otto Preminger film noir Whirlpool (1950). The version I saw is taken from a very ropey VHS with time codes but there’s a better print on the channel under the title of Perversion Flash.
2 thoughts on “She Died With Her Boots On / Whirlpool / Perversion Flash (1969) ***”
That top poster…yikes! I hope you had a good wash after seeing this, I feel I need one just from looking at that poster. For once, I can say I’m not ashamed that I haven’t seen this! Strange how such outre work now turns up on YouTube…
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I think it’s also on Amazon Prime. I may even have seen this at Green’s Playhouse – if not I certainly remember walking past the poster and stills outside on my way home from school, something of a meander as I had to get round all the cinemas to check out their stills and peer inside to see what was coming next.