Cult Epics third release of the early works of Italian director Tinto Brass comes ATTRACTION. Presented from the series of films from “Radley Metzger Presents” (Audubon Films) originally given the English title “The Artful Penetration of Barbara”. 

Tinto Brass’ earlier work has a distinct quality to them that makes you wonder why he abandoned the Art for style  (not substance, that is something else). Some might say art and style are the same, but in Tinto’s case, there is a difference). Art in this case appears as if Tinto is after something, exploring, experimenting with his craft and coming up with some wonderful moments, as in the case with this recent release, ATTRACTION. It plays out like a bizarre version of  The Who’s Tommy, but never really captures any of the symbolism (or understands it). The  music is there for the visuals to play along with, but never really lends itself more than just that. There is some political interest in the film, but more for the sake of visuals than for what they might mean. I am referring to the idea of the repression of sexual images in society while violent images are permissible. Ultimately the themes are not consistent throughout, but play as scenes in the film, moving from one theme to the next, but never riding one, or seem to have passion of one over the other. The themes are almost fleeting characters that the two main character pass by trying to connect in on their own in a crazy world.

Style on the other hand is readily available in his later erotic works which are smooth, beautiful images of lusty, voluptuous women who are more interested keeping the audience turned on than the men they attract on the screen. Style I see as the sheen or the polishing of Tinto’s work with the female as object, but never the subject within a context. Here, in this film, the female is more within a frame of context, even if never a fully realized one.

The film ATTRACTION never seems to have a direction, but more of an idea. The film begins with a beautiful blonde woman (Anita Sanders) who imagines for a brief moment on a train of being with an African-American man. When she discovers she is being watched by one such man, she continues to evade him at every turn, but at the same time, appears to lead him on throughout the film. This is also suggestive of the times of bringing together the races on film and a statement about interracial relationships in general.

There is little dialogue, but as with these films, its all about the editing. Tinto is having fun with all these images and you could see that as it plays along fascinatingly. There is no reason to figure out why things are happening - that might make it confusing. Just let it happen. Otherwise, our lady star is narrating most of her work while there is a band playing on-screen music at certain times. 

However, what is common from this film to his later more popular stuff is the copious amounts of nudity. Here its scattershot, with random breasts and butts with no faces attached, or in unexpected places - and they are all very nice to look at! Which I think is the intention. Given Tinto’s career, you wonder if at this time in his career, some superficial political message was only a ploy for Tinto have many actresses get naked for him. Perhaps his small scene which the Young Tinto plays the gynecologist might indicate the answer.

ATTRACTION  is released by Cult Epics in widescreen format. There are a few special features which includes the other Tinto Brass trailers of L’Urlo and Deadly Sweet. Considering the age of the film, it seems to be presented well. Definitely some damage to the print, but not enough complain. It seems as cleaned up as it possibly can at this time. It sounds just as good and is a worthy edition to the Cult Epics Tinto Brass Collection. Expect later on this year from Cult Epics is the third Tinto Brass Collection which will include his earlier works of DEADLY SWEET, ATTRACTION and L'URLO (review coming soon).