I get that this is going for some counter-culture commentary on escaping classical institutions, specifically those engaging in complicity with fascism, but I can't help but feel that the annoying parts of this are done with much more deft, excitement, audacity, and visual acumen in Daisies (1966).
What's cool here is that, as with many early Tinto movies, you can really feel the director developing some of the signature style that makes his later movies feel much more effortless and guided in their themes and motifs. Societal commentary is very much in Tinto's wheelhouse but for that first decade or so, he was really trying to find his footing from a cohesion standpoint.
Gotta be one of my least favorite Tinto Brass flicks, but I don't feel I've completely wasted my time thanks to the short runtime.
I get that this is going for some counter-culture commentary on escaping classical institutions, specifically those engaging in complicity with fascism, but I can't help but feel that the annoying parts of this are done with much more deft, excitement, audacity, and visual acumen in Daisies (1966).
What's cool here is that, as with many early Tinto movies, you can really feel the director developing some of the signature style that makes his later movies feel much more effortless and guided in their themes and motifs. Societal commentary is very much in Tinto's wheelhouse but for that first decade or so, he was really trying to find his footing from a cohesion standpoint.
Gotta be one of my least favorite Tinto Brass flicks, but I don't feel I've completely wasted my time thanks to the short runtime.
