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Joseph W. Sarno (1921 - )

Related: American cinema - sex film - sexploitation - Sweden - Marie Liljedahl - director

Joe Sarno directing
image sourced here.


Joseph W. Sarno (15 March 1921) is an American film director and screen writer and was one of the most prolific and brilliant of the 60s sleazemeisters. He has more than 40 feature films in the sexploitation subgenre to his name. Whether it's his New York nudies or Swedish sex pictures, he certainly left his mark on the nudie film industry. Joe Sarno's brand of sexploitation offers unusual character, relationships, psychologically compelling stories played out in suburbia and beyond. He used to shock audiences with riveting and taboo sex scenes. He lives in New York during the winter, and Stockholm during the summer. --http://en.wikipedia.org/wiki/Joseph_W._Sarno [Dec 2005]

* RE/Search No. 10: Incredibly Strange Films RE/Search Publications, 1986 by V. Vale, Andrea Juno, ISBN 0940642093


Of all the directors working in the sex-exploitation cinema of the 1960s, Joe Sarno was one of the few who truly believed in the redemptive power of both the cinema and of sex.A man of the Second World War generation who cut his directorial teeth photographing bombing raids over the South Pacific,by the early Sixties Sarno had joined the advance forces of another invasion -the sexualization of American movies. Sin in the Suburbs, Warm Nights and Hot Pleasures, Moonlighting Wives, The Bed and How They Made It, Come Ride the Wild Pink Horse, Bed of Violence, Vibrations, Young Playthings - Sarno ’s films blasted away post-War mores and set the stage for an increasingly explicit investigation of the human sexual experience.

While sin and skin were sexploitation ’s respective bread and butter, Sarno ’s cinema was never content to trade in flesh alone. His 60+adult features made between 1961 and 1983 are unified by an effort to delve deeply into the dark heart of sexual desire, teasing out the conflicted passions of his snugly-situated suburban protagonists like a patient -if mildly sadistic -lover.With the assistance of his wife -and sometime actress -Peggy Steffans,Sarno ’s cinema of sensuality intimates rather than illustrates the secrets of obsession.

A consummate cinema stylist as well, Sarno ’s sexual landscape is sketched out in stark swatches of shadow and light,a place within which the mysteries of eroticism are forever masked in all their unknowable intimacy.A passion for the staging of psychic conflict in extreme close-up has also earned Sarno comparisons to Bergman,a compliment he refuses to accept out of deference to the great Swede whose native land has become Sarno’s second home.

Like most filmmakers of the sexploitation generation,Sarno did not embrace the transition to hardcore with relish.The prerequisites of the hardcore regimen add nothing to Sarno ’s work and effectively subtract much.But his extensive efforts in rendering the secrets of sex into celluloid will certainly guarantee Joe Sarno a place within the canon of adult filmmaking.And because his highly personal and idiosyncratic cinema was often misplaced within the context of the grindhouse as well,his unrepeatable efforts should also earn him a permanent position in the annals of outsider filmmaking.

Michael J.Bowen JOE SARNO FILMOGRAPHY All titles written and directed by Joe Sarno Sin You Sinners (1961) Lash of Lust (1962) Nude in Charcoal (1962) Sin in the Suburbs (1962) Warm Nights and Hot Pleasures (1963) Pandora ’s Box (1963) The Lace Rope (1963) Step Out of Your Mind (1964) Flesh and Lace (1964) The Love Rebellion (1965) The Love Merchant (1965) The Bed and How They Made It (1965) The Swap and How They Made It (1966) Skin Deep in Love (1966)) The Naked Fog (1966) The Sex Cycle (1966) Scarf of Mist ,Thigh of Satin (1966) Red Roses of Passion (1966) Moonlighting Wives (1966) The Magic Touch (1966) Deep Inside (1966) Come Ride the Wild Pink Horse (1966) Bed of Violence (1966) Anything for Money (1966) My Body Hungers (1967) Wall of Flesh (1967) Vibrations (1967) Passion in Hot Hollows (1967) All the Sins of Sodom (1967) The Beach House (1967) Inga (1967) Odd Triangle (1968) The Layout (1968) Karla (1968) Indelicate Balance (1968 ) Desire Under the Palms (1968) Daddy,Darling!(1968) Kvinnolek (1968) Marcy (1969) The Young Erotic Fanny Hill (1970) The Seduction of Inga (1971) Young Playthings (1972) Love in the 3rd Position (1972) Every Afternoon (1972) ...aka Swedish Wildcats Bibi (1972) ...aka Confessions of a Sex Kitten Veil of Blood (1973) ...aka Vampire Ecstacy Deep Throat II (1973) Butterflies (1973) Baby Love (1973) Sleepyhead (1973) The Switch (1974) Abigail Leslie is Back!(1974) Laura ’s Toys (1975) Misty (1975) Slippery When Wet (1976) Kärleksön (1978) ...aka Love ’s Island Confessions of a Young American Housewife (1978) Fäbodjäntan (1978) Wolf Cubs (1983) Sacrilige (1989) *some dates are approximate,based upon available information --http://lion.phpwebhosting.com/~nyuff2002/2003/index2.php?p=spe&s=ada [Dec 2004]

Marie Liljedahl (1950 - )

Marie Liljedahl
image sourced here.

The Seduction of Inga (1969) - Joe Sarno [Amazon.com] [FR] [DE] [UK]

The Seduction of Inga (1969) - Joe Sarno [Amazon.com] [FR] [DE] [UK]

One of the most beautiful films to be shot in Sweden, although filmed with black and white stock, Inga (Jag en oskuld, 1967) introduced Marie Liljedahl to audiences in the United States. During the film, there is a dialogue scene that takes place in a suana during which the is a beautiful shot of her that dollies back before she comes toward the camera. During an early scene of the film, characters are kept at a diagnal to each other, one in the foreground of the shot, the other in the background, during their conversation. There is then a cut to a scene during which Greta is sunbathing and reintroduced to a former lover. Marie Liljedahl enters the film by entering a living room from what appears to have been her bedroom, as though already dressed for bed, she had returned to say good night; in the film she is about to leave to meet Greta, who is her aunt. Characters during the early scenes often deliver lines at a diagnal to each other, but in close shot, one behind the other at their shoulders, almost off to the side, as they both face the camera.

Marie Liljedahl also appeared in the film Inga Two/The Seduction of Inga (Nagon att alska, 1971). For anyone who has seen her in film, particularly of interest is her brief inclusion in a dialogue scene in Eva-den uttstotta. Shown in the United States as Swedish and Underage (1973), the film stars Solveig Andersson. During the film there is a dialogue scene where Ms. Andersson, in an attic, is trying on a hat in a mirror shot. The line delivered by Marie Liljedahl is "But I don't see a connection between them." --http://scottlord.aaawebpage.com/scottlord.htm [Jun 2005]

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