Skip to content

Category: Arne Ragneborn

Published on

Plot: Eva’s milkshake brings all boys to the yard…

To say it in the immortal words of the great philosopher Franz Josef Gottlieb: “Hurra! Die Schwedinnen sind da.” After Joseph W. Sarno’s Inga (1968) (with Marie Liljedahl) the only way to continue was to push the envelope further. Thus was born Eva den utstötta (released under a variety of sensationalist titles in various territories while the original title translates to simply Eva - the Outcast, just Eva hereafter) that placed divinely proportioned auburn haired starlet Solveig Andersson at the top of Swedish sexploitation pantheon. Or at least until the arrival of one Christina Lindberg just twelve months later. Eva is no Dog Days (1970). No, Eva is better on all fronts. Biblical implications or no. This is probably the closest Sweden ever got their own Schoolgirl Report (1970). Equally sensationalist and framed as a serious exposé on youth sexuality Eva takes a well-deserved jab at the small-town obsession with what everybody does in the privacy of their bedrooms and reveals the rank hypocrisy of small-town provincialism in all its utterly banal ugliness. It’s, if nothing else, another excuse to have att se vackra flickor bli nakna.

Solveig Andersson had a blitz career that burned bright and fizzled out quick. In just 6 short years she was in the Danish-Swedish classic Dagmar's Hot Pants, Inc. (1971) and co-starred alongside Christina Lindberg three times, in Every Afternoon (1972), Thriller – A Cruel Picture (1973), and Wide Open (1974). As far as Nordporn goes, there are only a couple of names that really matter: the Maries Liljedahl and Forså, Solveig Andersson, Christina Lindberg, and Birte Tove. We’d love to include Leena Skoog on that list but her two Laila (17 år) (1969) one-reels are her only real contributions and not even her Four Dimensions of Greta (1972) is enough to consider her anything more than a blip on the radar. What Leena Skoog was to freezing hot Nordic blondes Solveig was to the redhaired girl-next-door. And to the definitive queens of Svenka ero somebody like Skoog could, and cannot, possibly compare. Wide Open (1974) would be the swansong for both Andersson and Christina Lindberg and was preceded by the Japanese pinky violence feature Mitsu no shitatari (1973) on one side and the western Dead Man’s Trail (1975) on the other. Interestingly (but not very surprisingly) somewhere after 1976 when her career had truly and well ended Andersson became a born-again Christian. She now is a poet and in 2014 briefly returned to television. Since then little has been heard of her and it’s safe to assume she has retired permanently.

Eva (Solveig Andersson) is a 14-year-old tonårsflickas in a sleepy hamlet somewhere in Sweden and she has a problem. She can’t relate to her friends in school as she’s quite developed for her tender age. She’s a girl in a woman’s body. As a victim of parental neglect all Eva craves is some warmth and love. Or a candy bar. Her full figure drives men insane, and that’s the only currency she has. When Eva one day offers her body to vagrant 'Järla-Bana' Karlsson (Arne Ragneborn) she suddenly becomes to talk of the town. She has brought scandal upon her pastoral community and embarrased her foster parents Alma (Hanny Schedin) and Peter Fredriksson (Arthur Fischer). Now den utstötta the moral guardians of the town form a council of elders and propose an investigation into the young wench’s sinful conduct. Community gatekeepers such as psychiatrist Jenny Berggren (Barbro Hiort af Ornäs) and the pastor (Segol Mann) each present their views into Eva’s psychological profile and her state of mind. The judge (Lars Lennartsson) will then deliberate and announce the verdict. The investigation from the police superintendent (Jan Erik Lindqvist) attracts the attention of Landsposten newspaper editor-in-chief (Einar Axelsson) who assigns journalist Lennart Swenningson (Hans Wahlgren) to follow up on the pending court case. When Eva is called to the stand she tells that she’s just a girl finding her way in the world. How she experimented with her friend Berit Svensson (Inger Sundh) during a sleepover and drew the ire of Berit’s mother (Karin Miller). However, not everything is just mischief and in her interview Eva implicates a number different men whom she provided sexual services to. Some of them poor working class slobs, others aristocratic gentlemen and distinguished bourgeoisie; and even the police superintendent.

22-year-old Solveig Andersson was probably the Scandinavian equivalent to German soft sex superstars as Barbara Capell, Ulrike Butz, or Mascha Gonska. Much like the aforementioned Leena Skoog, she too had that girl-next-door quality and pretty much the same build as Edwige Fenech, Danielle Ouimet, and Luciana Ottaviani. Whereas Christina Lindberg was an anime sex doll given flesh, Andersson was more regular looking (but never plain or ordinary like, say, Gisela Schwartz) and it was the same thing that made Marie Liljedahl famous. In many ways she was similar to Eurocult queens Muriel Catalá, Christina von Blanc, and the Pascals, Françoise and Olivia. It’s perplexing how she never ended up in the strange world of Jess Franco as Solveig was exactly the homely and innocuous type Franco loved. Andersson would have fit seamlessly with the likes of Soledad Miranda, Romina Power, Christina von Blanc, Susan Hemingway, as well as the French and the Pascals, Françoise and Olivia.

In many ways Eva is a lighter, more wholesome alternative to Dan Wolman’s Maid In Sweden (1971), or Wickman’s own depressing tale of teenage woe Anita Swedish Nymphet (1973), by way of the sensationalist Schoolgirl Report (1970). The wide availability of anti-conceptives and sex now being seen as recreative heralded a new era of hedonism reflected in a veritable explosion of soft erotica. Inga (1968) pushed the envelope as far as it could, and Eva does even moreso. It has the heart of Alfred Vohrer’s Herzblatt (1969) (with Mascha Gonska) and the lighter tone is very much akin to Joe Sarno’s Butterflies (1975) (with Marie Forså). Swedish erotica was always more matter-of-fact and naturalistic in comparison to the slapstick of Great Britain, West Germany, and Italy. In that sense Sweden was closer to France while not nearly, if it all, having that oneiric Mediterranean quality. Nominally described as a comedy Eva is more of a drama, but doesn’t shy away from the occasional comedic moment. In a particularly funny exchange Eva and her friend Berit are lolling about semi-naked in the latter’s attic bedroom during a sleepover at the Svensson abode. “Does sex make breasts grow?” Berit wonders out aloud while feeling Eva’s and complimenting how soft hers are, “No,” she continues having given it further thought, “then I would have had giant breasts.” It’s the kind of quip you expect from Lederhosenporn specialists Franz Josef Gottlieb, Alois Brummer, or Hubert Frank – not some Swede.

Torgny Wickman apparently wants the viewer to take this as a serious piece of socio-political filmmaking as he examines the ins and outs of teen sexuality. Wickman never fails to hide his more exploitative inclinations behind the thinnest veneer of an exposé. Nobody is going to watch something like this for the supposed social commentary it offers and more than likely for the bröst and röv that Andersson and some of the other flicka put on display. At least there’s some semblance of a story which is never really a given with these sort of things. The witness testimonies at the trial are a really economic framing device for small vignettes involving all different parties. It’s not exactly Schoolgirl Report (1970) styled cinema verité and it’s never as transgressive as Joël Séria’s Don't Deliver Us from Evil (1971) either. Wickman wisely concludes that the wise community gatekeepers (cranky old people and moral guardians) shouldn’t concern themselves too much with what people do in the privacy of their own bedrooms, lest their obvious hypocrisy be exposed in the process. It’s exactly the kind of comeuppance they deserve, and one you seldom see in Hollywood treatments.

Published on

Plot: nymphomaniac explores the sordid underbelly of Stockholm.

Anita Swedish Nymphet was one of the last directorial efforts from Swedish screenwriter Torgny Wickman. Wickman is mostly remembered for Ur Kärlekens Språk (1970), released internationally as The Language Of Love, that sparked massive protests in London upon release. Skräcken har 1000 ögon (1970), released internationally as Fear Has A 1,000 Eyes, allegedly was the first Scandinavian erotic horror movie of note. Anita - Ur En Tonårsflickas Dagbok (released internationally as Anita Swedish Nymphet, as it will be referred to hereafter) wasn’t Wickman’s first foray into sexploitation. It is, for all intents and purposes, a reimagining of his earlier Eva - den utstötta (1969), with Christina Lindberg replacing Solveig Andersson, and one of the early roles for Stellan Skarsgård.

During high school Christina Lindberg started modeling, first in bathing suit in local newspapers and later for nude pictorials with Mayfair, Lui and Playboy. She was a Penthouse Pet in 1970. In 1973 she released her photo book This Is Christina Lindberg by her photographer and soon-to-be husband Bo Sehlberg. Sehlberg refused to let her work with other photographers and forced Lindberg out of exploitation cinema. For much of the 1970s Gothenburg-born starlet Christina Lindberg was the subject of a number of mostly impoverished exploitation films awash with full frontal nudity and simulated sex. Together with Janet Ågren, and the lesser known Leena Skoog, Christina Lindberg was one of the more recognizable faces in the Scandinavian exploitation industry. A few exceptions notwithstanding Lindberg's filmography is about as nihilistic as it is depressing.

Christina debuted in the naturalistic and very matter-of-fact comedy Rötmånad (1970) (or Dog Days internationally). It was good-natured and amiable despite its nasty Darwinian streak. Things got considerably darker with Exponerad (released in the US as The Depraved) and Maid In Sweden (1971). The latter mostly resembles Anita Swedish Nymphet and the former was remade in Italy three years later as The Minor (1974) with Gloria Guida. 1973 was a career-defining year for Lindberg as she starred in both this, and the infamous rape revenge caper Thriller – En Grym Film. Thriller – En Grym Film (1973) contained hardcore porn inserts, and even an actual corpse. It sort of was a Swedish remake of Turkish revenge drama Karate Girl (1973) with Filiz Akin. As an exercise in nihilism it easily matches, if not surpasses, Niko Mastorakis’ Island Of Death (1976) and Meir Zarchi’s I Spit On Your Grave (1978) in its commitment to shock and offend as much of its viewership as possible in little under two hours.

Anita (Christina Lindberg) is a 16-year-old student and left to fend for her own in a cold, uncaring society that has written her off before she was able to make something of herself. Anita has a problem. She's a nymphomaniac, a concubine of despise. Her classmates shun her, her parents consider her a lost cause and have cut her off. When not even her family cares for her plight, no wonder then that every lowlife and degenerate in Stockholm tries to take advantage of her when the possibility arises. The only that actually goes out of their way to make Anita feel comfortable is psychology student Erik (Stellan Skarsgård). She comes knocking on Erik's door all battered, bruised, and broken. Black-eyed and with blood seeping from her lip. As they mutually engage in household chores in and around Erik’s studio apartment he takes the time to let Anita tell her story.

She has sollicited men at the local pub, the train station, the library, the art club, and in the streets. How she ended up falling in with Stockholm’s least desirable, leading to her arrest during a drugbust. In her darkest hour she threw herself at closeted lesbian social worker Agnes (Berit Agedal, as Berit Agerdal), and to make ends meet worked in a burlesque cabaret. From all this Erik concludes that Anita's rampant nymphomania must be the product from some unprocessed childhood trauma and/or neglect. Anita confides in Erik that he's one of the few to be friendly to her despite her vulnerable emotional/psychological state, and the only to never take advantage of her condition. Not even when she threw herself at him. Erik on his part figures that it's not sex what Anita has been seeking all this time, but love and human connection. The way he sees it the only way for Anita to be cured is to experience a real orgasm while being with a man that truly loves her. The morning after experiencing love (and not sex) for the first time Anita returns home to find that her parents have changed the door locks...

Whereas British, Italian, and German sex comedy starlets would typically alternate between light fare and more cynical outings, the deeper Christina Lindberg got into her career the bleaker and unpleasant her projects became. The advent and legalization of hardcore pornography in 1979 instantly made redundant the entire softcore genre and nudity-heavy variants of both comedy and horror. The increasing demand for actresses to do hardcore led to several (Paola Senatore, Lilli Carati, Ilona Staller, and Brigitte Lahaie, to name three Italian and one French example) changing careers. Stockholm never had its own regional variant of Madrid, Spain's Cine-S, the pornochanchada from São Paulo, Brazil, or the maple syrup porn from Québec, Canada. Sweden (and Finland too, for that matter) had always been very liberated compared to the rest of Europe - and thus a regular soft erotica industry made no sense. It's sad that the first victim of that was Christina Lindberg, one of Sweden's greatest sex symbols up until that point.

As unbelievable as it may sound today international English-language distributors had the gall to cut the promotional trailer in such a way to make Anita Swedish Nymphet look as an innocuous coming of age drama as Faustine and the Beautiful Summer (1972) or a general audience goofy sex comedy as Herzblatt oder Wie sag' ich's meiner Tochter? (1969). It presented itself as an exposé of something that happens to "every girl" when she reaches "a certain age." As exploitative as the Schoolgirl Report (1970) series were they never were as intentionally nasty and bleak as the average Christina Lindberg romp. Maid In Sweden (1971) pretty much suggested what Lindberg's early career was going to consist of. Christina, 23 at the time, is seldom seen smiling, always on the verge of crying - and it doesn't help one bit that every other movie she did tried to outdo the last in terms of wanton cruelty and nihilism. In that sense it's a sobering realization that Rötmånad (1970) was Christina Lindberg's finest hour, and that it was only and invariably downwards from that point going forward. While the tricks it plays may be underhanded and deplorable at least it delivers exactly what it promises.