YOR, THE HUNTER FROM THE FUTURE (1983) (Blu-ray Review)

YOR, THE HUNTER FROM THE FUTURE (1983)

Label: Mill Creek Entertainment
Region Code: A
Rating: PG
Duration: 89 Minutes
Audio: English LPCM Stereo 2.0 with Optional English Subtitles
Video: 1080p HD Widecrseen (1.78:1)
Director: Antonio Margheriti
Cast: Reb Brown, Corinne Cléry, John Steiner, Carole André

Yor, The Hunter from the Future (1983) offers up some sweet eighties sword and sorcery cheese for fans of that ilk, we have Reb Brown (from the 70's Captain America TV movie) starring as the titular Yor, a bare-chested, blond-maned barbarian-warrior who at the top of the movie is jogging through the pre-historic wasteland to one of the cheesiest  80's theme songs you will ever EVER hear, it's awful stuff. Along the way Yor encounters pretty cave-girl Kala (Corinne Cléry, Lucio Fulci's The Devil's Honey) and her mentor and adopted father  Pag (Luciano Pigozzi, Exterminators of the Year 3000) who are hunting a baby dinosaur (which is obviously a baby pig wrapped in a cheap dino-skin) when they are attacked by the hybrid dinosaur  "stegoceratops", which Yor kills using his trusty stone-ax with a few crushing blows, which were surprisingly bloody! Afterward he drinks the dino's warm blood, offering some to Kala and Pag, saying that drinking the blood of your enemies makes you stronger, Pag humorously refuses the offering.  

Yor accompanies his new friends back to their village, enjoying a dino-feast and a seductive dance from Kala, until they gala is interrupted by the arrival of a warring tribe of purple-skinned cavemen who kidnap Kala and take her back to their cave. Yor and Pag track the kidnappers and Yor kills a giant bat, using the creatures leathery wings as an impromptu hang-glider to fly into the cave, afterward flooding the cave killing the purple-skinned enemies along with a few innocent villagers who were being kept prisoners, but he saves his woman so all is good. 

Pag and Kala continue to travel with Yor on his aimless adventure, along the way Kala competes for Yor's affections with a blond woman named Tarita (Marina Rocchi) who also has blond hair and wears a similar amulet to that worn by Yor, but she is killed by more purple skinned cavemen, but not before revealing to Yor with her dying breath as to where he can find more of his own kind, a blond haired race of advanced people who live on an island surround by storms.

The trio find the island, discovering the technologically superior  race of blond people led by the tyrant Overlord (John Steiner, Tenebre), here we discover in a fun Planet of the Apes (1968)sort of twist that this is not pre-historic Earth at all, but Earth after a nuclear apocalypse, which begs all sorts of questions, like why are dinosaurs roaming the earth! While the film begins in a standard Beastmaster/Krull sword and sorcery sort of way it becomes a serious Star Wars rip-off with the Overlord, who is sort of in the Ming the Merciless vein, overseeing over an army of Darth Vader-esque looking androids, there's even a scene that lifts large portions of the scene from Star wars with Luke bridging the chasm in the death star with a trapeze twist! The film culminates with the trio aligning  themselves with a group of rebels led by the scientist, Ena (Carole André, The Bloodstained Butterfly)and a blind man known as the Elder. It's all cheesy fun, very low-budget but never less than fun. 

The film is helmed by Italian director Antonio Margheriti (The Long Hair of Death) who keeps things lively if lo-fi, the creature effects are decently awful but thoroughly entertaining, the sword and sandals imagery does the job, and having been shot in Turkey the film has some nice locations that add flavor to the sword and sandal sci-fi stew. Actor Reb Brown seems to be having a blast making this one, running around with his loin cloth with a smile plastered on is face, there's a moment after his first dino-kill where he seems so excited, giving out a strange howl that almost seems like he's going to burst out in a victorious song! Corinne Clery is super-sexy, a beauty that holds her own just fine against Reb Brown, not that it would take much, but they make for a decent enough coupling. Luciano Pigozzi as the mentor Pag physically has always has reminded me of director Lucio Fulci, imagining him in this sword and sandal epic brought a smile to my face. As for the dino special effects, they remind me not of Harryhausen but more akin to what we saw with Kevin Connor's  The Land That Time Forgot (1975), and that's not a bad thing! 

Audio/Video: Yor, The Hunter from the Future (1983) arrives on Blu-ray from budget-label Mill Creek Entertainment in 1080p HD and framed in 1.78:1 widescreen. Not sure what the source is for the HD Master but I know it's not the 35mm negative, the image is soft and marked with blemishes including white speckling, dirt and debris and the occasional vertical scratch. darker scenes are bogged down in grain and murkiness, it falls short of my modest expectations but is never not watchable. Audio comes by way of an English LPCM 2.0 Stereo track, and it does the job without much fuss. Extras include a theatrical trailer and a new audio commentary from actor Reb Brown who is very candid in his memory of making  the film.  

This single-disc Blu-ray release comes housed in a standard Blu-ray keepcase with a one-sided sleeve  of artwork featuring the original U.S. theatrical poster, it also comes with a sweet slipcover (o-card) sporing a gorgeous illustration, which I believe is the European artwork, easily besting the U.S. artwork, looking a bit ike Thundarr the Barbarian with that flaming sword! It's too bad we do not get a reversible sleeve of artwork featuring this, it's a great slipcover with attractive lettering on the spine that makes it stand out when it's on the shelf.

Special Features: 
- Audio Commentary with star Reb Brown
- Theatrical Trailer 

Yor, The Hunter from the Future (1983) is a fun watch, if you have love for 80's sci-fi/sorcery cheese along the lines of Space Hunter and Metal Storm there's bound to be a lot here you will love, and this can be picked-up for under $10 right now.       

TENEBRAE (1982) (Synapse Blu-ray Review)

TENEBRAE (1982)

Label: Synapse Films
Region Code: A
Rating: Unrated
Duration: 101 Minutes
Video: 1080p Widescreen (1.85:1)
Audio: English and Italian Language DTS-HD MA Original Mono 2.0 Release Mixes with Optional English Subtitles
Director: Dario Argento
Cast: Anthony Franciosa, Christian Borromeo, Mirella D’Angelo, Veronica Lario, Ania Pieroni, Eva Robins, Carola Stagnaro, John Steiner, Lara Wendel, John Saxon, Daria Nicolodi, Giuliano Gemma, Mirella Banti, Ippolita Santarelli

After the one-two punch of the supernatural tinged fantasy horror of Suspiria (1977) and Inferno (1980) Dario Argento once again returned to the stylish black-gloved whodunit thriller genre which had brought him to prominence with a stylish video nasty that amped up the violence and brought a new vivid style to the sub genre with Tenebrae (1982). American murder mystery writer Peter Neal (Anthony Franciosa, Curse of the Black Widow) is a best-selling novelist throngs of devoted readers. At the story begins Neal arrives at an New York City on his way to Italy to promote his new novel 'Tenebre'. Shortly before his arrival in Italy a gorgeous young woman Elsa (Ania Pieroni, the Mother of Tears from Inferno) is caught shoplifting 'Tenebre' from a department store, she avoids a charge of petty theft by arranging to meet with the store loss prevention officer at her home for something most assuredly promiscuous. While walking home she is accosted by a horny bum who chases her down the street, she just barely escapes his grasp when she slams his hand in the apartment security gate. Inside her flat she is attacked by a razor-wielding maniac who crams pages from 'Tenebre' down her throat causing her to choke on the pulpy pages before her throat is slashed by the blade of a razor, the scene ends with a nice geyser of arterial spray. We're only a few minutes into the movie and the first kill is already something very special, and with that the murder mystery is underway

Arriving in Italy the author is joined in by his upbeat publicist Bullmer (John Saxon, Black Christmas), his personal assistant Anne (Daria Nicolodi, Shock) and a young Italian assistant named Gianni. While settling into his hotel room Neal receives a letter from the killer which was slipped under his door. The note indicates that 'Tenebre' has inspired his blood lust, the alarmed author phones the authorities and Detective Giermana (Guiliao Gemma, The Opponent) and his partner Inspector Altieri (Carola Stagnaro, Opera) arrive soon after, questioning the author about the note and how it may relate to the earlier murder of the shoplifter. Argento's borrows a page from his earlier works  wherein a visiting artist-type is immersed in a murder mystery, though Argento does throw a wrench into this one which switches up the dynamic a bit. Neal becomes entrenched in the investigation which puts those around him in danger, with a black gloved razor-slasher murdering what he calls "filthy, slimy perverts" from the face of existence.

Tenebrae (1982) is rightfully remembered for the acrobatic lensing of cinematographer Luciano Tovoli (Suspiria), particularly an elegant crane shot that ascends one side of a villa peering through the windows, continuing over the rooftop and down the opposite side revealing the black-gloved killer breaking into a first floor window. Once inside the killer dispatches of two young women, journalist Tilde (Mirella D'Angelo, Caligula) whom earlier had an angry confrontation with the author, and then her prostitute lover Maria (Lara Wendel, Zombie 5: Killing Birds). Both kills are iconic and have been used on numerous releases as cover art, this is classic stuff.

No one close to the author is safe, including the hotel manager's daughter Maria (Lara Wendell) whom after a disagreement with her boyfriend (director Michele Soavi, The Church) unwittingly wanders into the murderer's lair while escaping a vicious doberman pinscher. Improbably the murderer has conveniently left the key in the backdoor, allowing her entrance. Once inside she discovers photographs and mementos from the killings, when the murderer returns home, having forgotten the key 'natch, he is displeased by her presence and hacks her into pieces with an ax.

Throughout the film the killer is prone to bizarre flashbacks from his youth, images of being emasculated by a woman on a beach who mouth-rapes him with her red high heels, very odd stuff. Perhaps odder still is that the the woman is portrayed by transgender-actress Eva Robins (Masacra), who was born a male but due to a rare syndrome developed feminine characteristics during puberty, yet more weirdness on-top of weirdness, this is the kind of stuff you will only find in these Italian whodunits, love it.

During a TV interview with reporter Christiano Berti (John Steiner, Cut and Run) it becomes apparent that the reporter has an strange obsession with the writer after a series of oddball questions and statements. Later Neal recognizes a turn of phrase used by the reporter in the murderer's letter. Of course he does not call the authorities, instead Neal and his young assistant Gianni head to the reporter's home, the become separated and the assistant witnesses the reporter take an ax to the face, scared witless Gianni runs away and discovers Neal unconscious on the ground, apparently knocked unconscious by the unseen killer with neither man having seen who the killer was. Next publicist Bullmer is stabbed to death in broad daylight at a public square... and that is all I can say for fear of ruining the film for those whom are watching  this for the first time. 

That final disorienting moments of the movie are dazzling, beginning with the dismembering of an woman's arm that ignites a geyser of blood spray which paints a white wall a deep red, truly a vision of blood-red awesomeness that sets off a chain reaction of events that never fails to satisfy upon repeat viewings, the finale is a delirious tour de force of misdirection and bloodshed.

Tenebrae ends on a crazed, bloodcurdling scream that is the perfect punctuation to such a stylish, violent and classic slice of Italian whodunit horror. Argento's famous eye for horror also extends to his taste in gorgeous European women, the movie is heavy with sex appeal, including Ania Pieroni, Mirella D'Angelo and Lara Wendell, it is worth noting is that Tenebrae is one of Argento's more erotic-fueled outings. Unfortunately, longtime Argento collaborator and scream queen Daria Nicolodi is relegated to a smaller part here, she does what she can with the part, and her shrieking does provide the nerve-shattering crescendo to the whole affair. 

The stunning cinematography of Luciano Tovoli (Suspiria) is among the best of any Dario Argento film, gorgeous stuff. Noteworthy is that setting this movie apart from Argento's previous films Tenebrae is bathed in swaths of bright light instead of dark shadow, even the night shots are lit brightly, which look fantastic, such a stylish and sharp looking movie. Italian prog-rock band Goblin sadly do not appear on the score having disbanded in 1980 but three fourths of the band (minus the drummer) appear as Simonetti-Pignatti-Morante to score the movie, the electronic-synth-rock fusion is fantastic and is an integral part of the movies tone and atmosphere, as with all of Argento's movies it just wouldn't be the same without the score, fitting it like a black glove.

Audio/Video: This is not the first time Argento's Tenebrae has appeared on Blu-ray, having come to HD twice before from UK distributor Arrow Video. However, this Synapse restoration the best the movie has ever looked on home video in glorious HD. Synapse used the same HD Master as the Arrow Video Steelbook which was sourced from the original camera negative, then they went above and beyond with a brand new color correction and scene by scene restoration. Framed in the original 1.85:1 widescreen aspect ratio the movie looks simply wonderful, with the Luciano Tovoli (Suspiria) camerawork nicely preserved in wonderful HD with vibrant colors, deep blacks, a ore pure grain structure and an abundance of fine detail, very crisp and clean. 

The disc includes dual English and Italian language DTS-HD MA Mono audio tracks with newly-translated English subtitle tracks for both options. Dialogue and the awesome synth-rock score from Simonetti, Pignatelli and Morante sounds like an earful of audio nirvana, well-balanced and crisp.

Onto the exclusive Synapse extras we begin with an audio commentary from Maitland McDonagh, author of Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento. I love that we are getting an Argento commentary from a woman's perspective considering the accusations of cinematic misogyny on the part of Argento, particularly from someones as knowledgeable of the director as McDonagh. The conversation is a smart dissection of the movie which addresses the claims of misogyny, the score and the unusual setting/tone and style of the film. She also speaks about her personal experience obtaining bootlegs of Argento's movies back in the early '80s before they were widely available in the US, going so far as to hire a I translator who watched movies with her, translating the Italian dialogue into English. This is a loose and informed, a bit like a fun college lecture that I thought was right up there with other Argento expert commentaries from Kim Newman, Alan Jones and Thomas Rostock. I do hope Synapse brings her back for their upcoming Blu-ray releases of Suspiria and Phenomena.

The other exclusive extra on the disc is the High Rising Production movie length Giallo documentary Yellow Fever: The Rise and Fall of the Giallo featuring interviews with Maitland McDonagh, Directors Umberto Lenzi, Ruggero Deodato (House on the Edge of the Park), Richard,Stanley (Hardware) author and critics Michael Koven, Alan Jones, Kim Newman, screenwriters Dardano Sacchetti (The Beyond) and Jace Anderson (Mother of Tears), and of course Dario Argento himself. It begins with a nice definition of the black gloved killer sub genre, explaining the roots of the genre, going beyond influential directors like Hitchcock (Vertigo) and Mario Bava (Blood and Black Lace), but back to the mystery novels of Agatha Christie and Cornell Woolrich, American noir movies from the 1940s, the German movies of Edgar Wallace from the 1960s and  the influence of Italian director Michelangelo Antonioni (The Passenger) on Argento The doc is Argento-centric but does also touch on the movies of Lucio Fulci (Lizard in a Woman's Skin), Sergio Martino (Torso), Umberto Lenzi (Eyeball), Massimo Dallamano (What Have You Done to Solange?) and Also Lada among others.  During the bit on Fulco actress Barbara Boucher remembers the Maestro as being very difficult but well-planned, her interview is great, I love when she explains why she enjoyed playing bitches on film. This is great stuff, easily worth owning this disc just for the doc by itself, though this is not a definitive Giallo doc, as stated it tends to be very Argento-centric. .

Other extras on the disc include alternate opening credits sequence, the original "Unsane"(U.S. version of Tenebrae) end credits sequence with alternate music cue, the original international trailer and the Japanese theatrical trailer under with the alternate "Shadow" title card, plus the option to watch the movie with the rare English insert shots in HD which are playable via seamless branching. 

This single-disc version of Tenebrae is a is a only slightly pared-down version of their deluxe three-disc Steelbook version. What you're missing out on is the collector's booklet, the DVD version and a remastered soundtrack CD. There are still a few copies of that release available directly from Synapse Films, but if you're looking to save a few bucks or just don't need the deluxe package this single-disc release is fantastic, the synapse restoration is the definitive version of the movie.

Special Features:
- All-new Synapse Films supervised color correction and restoration of a 1080p scan from the original camera negative, presented in the original aspect ratio of 1.85:1
- Dual English and Italian language options with newly-translated English subtitle tracks for both language options.
- Audio Commentary from Argento scholar, Maitland McDonagh, author of Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento
- Rare high-definition 1080p English sequence insert shots, playable within the film via Seamless Branching (101 Mins) HD
- Feature-length documentary, YELLOW FEVER: THE RISE AND FALL OF THE GIALLO by High Rising Productions, chronicling the Giallo film genre from its beginnings as early 20th century crime fiction, to its later influences on the modern slasher film genre (80 Mins) HD
- Original UNSANE (U.S. version of TENEBRAE) End Credits Sequence (2 Mins) HD
- Alternate Opening Credits Sequence (2 Mins) HD
- International Theatrical Trailer (3 Mins) HD
- Japanese SHADOW Theatrical Trailer (2 Mins) HD

Tenebrae (1982) has aged like a fine blood-stained wine, chock full of the usual Argento voyeuristic cinematography, iconic set-pieces, and gorgeous women being murdered in a depraved manner by a nefarious black gloved razor-slasher, rarely does horror-cinema get better than this, this is pure black-gloved perfection and this is the definitive version of the movie, this is the one to own!

EUROCRIME! THE ITALIAN COP AND GANGSTER FILMS THAT RULED THE '70S (2014)

EUROCRIME! 

THE ITALIAN COP AND GANGSTER FILMS THAT RULED THE '70S (2014)

Label: Cinema Epoch

Duration: 127 Minutes

Region Code: 1

Rating: Unrated

Video: Anamorphic Widescreen (1.78:1) 

Audio: English, Italian  Dolby Digital Stereo 2.0 

Director: Mike Malloy
Cast: Franco Nero, John Saxon, Henry Silva, Luc Merenda, Antonio Sabáto, Fred Williamson, Richard Harrison, Chris Mitchum, Enzo Castellari, Leonard Mann, Joe Dallesandro, Michael Forest, Claudio Fragasso, John Steiner Ottaviano Dell'Acqua, Mario Caiano, Nicoletta Machiavelli, John P. Dulaney, Greg Stephen, Sal Borgese, Ted Rusoff

Something I didn't even know I was yearning for was a comprehensive documentary about the high octane Eurocrime police films coming out of Italy in the 1970s following the decline of the lucrative spaghetti westerns. At first these films were out and out copycats of American angry cop films like DIRTY HARRY but the Italians quickly made it something all their own by informing their stories with the true life violence of the era. The format usually dealt with an angry cop fed up with crime but also infuriated by the bureaucracy and red tape that prevented them from taking the scum off the streets ending with a fed-up cop pushed over the edge and taking things into their own hands with bloody consequences.

Mike Malloy's two hour plus documentary covers all the facets from  Enzo Castellari's HIGH CRIME (1973) starring Franco Nero (DJANGO) onward offering up a steady stream of movie posters, clips and talking heads. We gets some great info about the second career it offered both seasoned Italian and American actors and just which films were ripping off what other films. Some of the dialogue comparisons are quite fun and just a cunt hair short of being verbatim.

The interviews with John Saxon, Henry Silva and Franco Nero are my favorite with candid and often funny recollections of making these oftentimes misogynist crime thrillers under suspect and hurried circumstances.

Plenty of tales of shooting death defying stunts and action sequences peppered with live ammunition - the spaghetti western may have died off but the down and dirty nature of some of these shoots are right out of the wild west.

I've seen only a handful of Eurocrime capers from the likes of Blue Underground and Raro Video so it was a treat to sit down with  this and just take notes with pen and pad jotting down names of films to further my Italian crime education - this was quite an introduction to a sub genre of Italian cinema that has eluded me for the most part.

There's a metric ton of interviews crammed into this, it's a veritable who's who of Eurocrime cinema spread out over two hours and divided up into chapters with a great soundtrack from Calibro 35 among others. The editing is down and dirty and not overly glossy and that's just fine by me, this is a great documentary packed with more info than I could ever hope to absorb in one sitting. The passion for the genre by the filmmakers is dripping off screen and makes for an electrifying watch one critique might me that at over 120 minutes it's a bit long in the tooth and might wear out the less initiated but not me, I wanted it to on for another hour! 

If you have a curiosity for Eurocrime and Italian cinema I strong encourage you to seek this out and immerse yourself in the glory of the action-packed and ultra-violent Eurcrome cinema of the '70s, a damn fine documentary.

DEPORTED WOMEN OF THE SS SPECIAL SECTION (1976)

DEPORTED WOMEN OF THE SS SPECIAL SECTION  (1976)

Label: Intervision Picture Corp

Region Code: 1

Rating: Unrated

Duration: 97 Minutes

Audio: English Dolby Digital Mono

Video: Anamorphic Widescreen (1:78:1)

Director: Rino Di Silvestro
Cast: John Steiner, Erna Schurer, Solvi Stubing, Lina Polito

During the finals days of WWII A group of women are deported to a Gothic castle by the Nazis to be trained for service as prostitutes in the service of the Third Reich. Once they arrive they are deloused and have their beavers neatly shaven in an appropriately gratuitous sequence. Afterwards they are assigned positions as either forced laborers or whores. 

What we have hear is a scuzzy women-behind-bars prison film wrapped in the swastika trappings of a Nazi exploitation movie with copious amounts of nudity and depraved sexuality. If you're into that sort of thing there's some entertainment to be had here. 

The camp is run by a few mean-spirited women named Helga (Erna Schurer) and Greta (Solvi Stubing, STRIP NUDE FOR YOUR KILLER) who routinely have their naughty parts nibbled on nightly by the inmates in exchange for preferred treatment. As for men at the camp we have just Commandant Erner (John Steiner,TENEBRE) and his mute sidekick Doberman (Giorgio Cerioni) whom suffers Erner's man-on-man desires. Erner plays it both ways though and has an eye for a young Polish deportee named Tania (Lina Polito, ALL SCREWED UP) who refused his advances years earlier and is no more eager to please him now during her incarceration. Invited to dinner by Erner the depraved commander attempts to seduce the young woman by forcing her to watch Helga and Greta pleasure him - which seems a strange choice for a seduction but maybe I'm just old fashioned that way. 

Tania is sent to solitary confinement where she embarks on a defiant hunger strike before ending up in the infirmary where a sympathetic doc informs her of an underground tunnel from which to escape. Armed with that knowledge Tania plans a daring escape but not before she can exact her cock-shredding revenge against Erner for the humiliations she suffered at his hands.

The film rambles along pretty damn slowly at first but things pick-up for the better about half-way through so just be patient - the ending comes on strong with a spirited and tragic finale. Some interesting angles are played-up including the separation of the poor and wealthy deportees and the politics that come into play but nothing that's fleshed out fully. 

The female cast were decent with a mix of stern-faced bitchiness and sympathetic young ladies in an impossible situation with but it was actor John Steiner as the depraved Nazi commander that stands out - once he shows up things get way more interesting. He plays the role with wonderful enthusiasm which alone is worth the price of admission.

There's no shortage of sleaze in this entry as nearly every woman in the film is stripped bare of and subjected to twisted sexual acts with other women - so yes there are copious amounts of nudity and sex. The more grotesque stuff is kept to a minimum with only a few tit-clamping torture sessions with one particularly brutal session ending with a woman clubbed on the head until her skull bursts opens spewing gore. 

Deported Women of the SS Special Section arrives on DVD framed in anamorphic widescreen (1.78:1) from Intervision Picture Corp and it's a bit shaky at first with a cropped opening credit sequence is sourced from what appears to be a video tape but soon enough it opens up to something a bit more pleasing to the eyes. A few of the scenes are overly grainy with some vertical lines and white speckling -  but overall this is a very watchable presentation with some nice cinematography from Sergio D'Offizi who shot CANNIBAL HOLOCAUST and DON'T TORTURE A DUCKLING. A great example of an exploitation film with a few art house moments -  bathed in deep shadows and a cold blue tint this is quite an attractive piece of Eurosleaze. 

The English language mono audio does the job albeit with no small amount of audio hiss. As with  the GESTAPO'S LAST ORGY there's a very nice score which transcends the images  this time from the prolific Italian composer Steivio Cipriani who scored Mario Bava's A BAY OF BLOOD. 

Extras includes a nine-minute interview with star John Steiner (TENEBRE) who looks back at the making of the film with good humor as he remembers taking the just part for money, the nude women on set, the power of the Nazi uniform and his displeasure that the female lead refused to do nudity as well as explaining why he transitioned from actor to California real estate agent. 

There's also a half-hour interview with the director Rino Di Silvestro who speaks about doing script work alongside Lucio Fulci in the early days before getting director gigs and the amount of time he spent striving for authenticity on the film. Carried over from the GESTAPO'S LAST ORGY release is A Brief History of Sadiconazista featurette with Film Historian Marcus Stiglegger (36:30) with the film historian giving a brief history of the nazisploitation sub-genre. 

Special Features:
-A Brief History of Sadiconazista- Interview with Film Historian Marcus Stiglegger (36:30)
- What Does John Steiner Think? (9:19)
- Camp Rino- Interview with Director Rino Di Silvestro (29:29)
-Theatrical Trailer

DEPORTED WOMEN OF THE SS SPECIAL SECTION is not as depraved or haunting as GESTAPO'S LAST ORGY but stick around for John Steiner's scene chewing turn and some fun exploitation elements.