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Ewa Aulin

Ewa Aulin, photo credit unidentified


Aulin was a 16-year-old Miss Sweden when she began her career in exploitation cinema, starting with prolific erotic aesthete Tinto Brass' Deadly Sweet (1967), followed by her breakthrough role as the teen temptress in Giulio Questi's Death Laid An Egg alongside European mega-stars Gina Lollabrigida and Jean-Louis Trinignant (a role she would re-imagine for The Double (1971)) Aulin was unleashed on American audiences with the movie adaptation of Terry Southern's psychedelic Candy in 1968, where she floated through the muddled incestuous subplot with an endearing naivete. 1972-73 were Aulin's banner years in terms of onscreen skin, appearing in a few of the better Decamerotics, including My Pleasure is Your Pleasure and Vittorio De Sisti's Fiorina the Cow, but her piece de resistance - whose steamy lesbian sequence was cut out for American release - was Joe D'Amato's Death Smiles on A Murderer (1972 - also starring my fave euro-hunk Luciano Rossi as her lovestruck hunchbacked brother). In 2002, the German TV doco Ewa Aulin - Die Zeit mit mir als Candy was assembled in tribute to this Swedish nymphette, whose career was brief but momentous. --Kier-La's Top 10 Sexadelic 70's Euro-Starlets (originally written for Celebrity Skin Magazine) via http://www.criminalcinema.com/films/EuroTrashStarlets.htm [Apr 2005]


Candy (1968) - Christian Marquand [Amazon.com] [FR] [DE] [UK]

Candy, based on the naughty, notorious erotic satire by Terry Southern, whose wicked pen contributed to Dr. Strangelove and Easy Rider (among other '60s classics), and adapted for the screen by the sly Buck Henry (The Graduate and Catch 22), is a bizarre second-hand reconfiguration of Candide for the permissive '60s. Swedish teen beauty queen Ewa Aulin is Candy, all breathy, wide-eyed innocence as a curvy blond kewpie doll--think Lolita, Barbarella, and Baby Spice all rolled into one--whose naiveté lands her in the sack with one dirty old man after another on a sexual odyssey. Guest cads include Ringo Starr as an embarrassingly unconvincing Mexican gardener; James Coburn preening as a surgeon who puts the "theater" into his operating theater; Walter Matthau as a snarling, insane general; and French crooner Charles Aznavour as a humpbacked spider man. Richard Burton stands out as a soused, sex-mad poet with an ever-present wind machine dramatically blowing his hair, and Marlon Brando's phony guru with a seductive line of mystic patter is downright hysterical.

Despite luscious cinematography by longtime Fellini collaborator Guiseppe Rotunno and gorgeous opening and closing sequences of space flight by Douglas Trumbull, this clumsy misfire has all the cutting satire of a Monkees episode and only half the style. Director Christian Marquand lets the film ramble interminably while his cast mercilessly mugs their way through ill-conceived roles (except Aulin, who remains a passive, almost alien presence in the center of the chaos). The result is a sloppy all-star sex farce with blunt, misdirected attempts at social topicality buried in teasing peekaboo pinup photography and sexual romps, pleasing enough eye candy but hardly the erotic, satirical, transgressive portrait the picture promises. --Sean Axmaker

Decca / 1969

Extrait de la BO du film plus ou moins sulfureux Candy (avec Marlon Brando) ce 45 tours déborde de guitares sales et de larsens incontrolés, repoussant avec folie les limites du psychédélisme 60's le plus barré. Sur le morceau de la face A, "Constant journey", la mélodie de l'orgue, incandescente, s'achève dans un chaos rythmique gavé de feed back et de roulement de caisse clair, dans le pure style garage/acid rock. Le morceau de la face B se la joue dans un registre plus pop avec ses choeurs naïfs et ses gimicks de guitare millésimés. Bon groove et déjante totale, bref, tout ce qu'on aime chez scopia. --http://perso.wanadoo.fr/scopia/45t1.html [Jul 2005]

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