THESE SEXY SISTERS SHARE EVERYTHING! The beautiful Brigitte Lahaie (SWEDISH GAS PUMP GIRLS, Jean Rollin's FASCINATION) and uninhibited adult actress Flore Soliier star as Jenny and Juliet, a pair of swinging siblings who indulge their lusts with wild abandon in THE AMOROUS SISTERS, yet another vintage raunchy sex comedy from legendary exploitation film producer/director Erwin C. Dietrich (THE YOUNG SEDUCERS, BARBED WIRE DOLLS), working here under his pseudonym Michael Thomas. The film (also known as JULCHEN AND JETTCHEN and COME PLAY WITH ME 3) tells the tale of the titular sisters, who attend an elite finishing school run by the comely Miss Brown (Barbara Moose). Though presumably more classes are on the curriculum, Jenny and Juliet are specifically interested in Miss Brown's in-depth sex education lessons and enjoy putting their suacy teacher's carnal knowledge to the test. And they do, in an endless series of intense, explicit sequences featuring tons of female (and male) nudity, wanton lesbian encounters and eye-opening solo acts. But unlike some of Dietrich's standard bump 'n' grind fare, THE AMOROUS SISTERS is much more cinematic experience, featuring some rather beautiful cinematography, handsome natural locations, delirious surrealistic passages and a gorgeous score by Dietrich regular Walter Baumgartner (JACK THE RIPPER, ROLLS ROYCE BABY). Full Moon is pleased to present this classic voyeuristic romp in a gloriously restored, totally uncut high definition transfer culled from Dietrich's own digitally remastered negative. If you like tons of sex set against sumptuous scenery, THE AMOROUS SISTERS is the skin flick for you!
The amorous sisters english 18
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Cordelia, Lear's youngest and favorite daughter, listens to her sisters' empty speeches and thinks this love contest is stupid. Words of love are no substitute for actually feeling love, and her love is richer than her ability to flatter. So when her turn comes, she says, "Nothing," which her father says will net her exactly nothing in his will.
CORDELIA Good my lord,105You have begot me, bred me, loved me.I return those duties back as are right fit:Obey you, love you, and most honor you.Why have my sisters husbands if they sayThey love you all? Haply, when I shall wed,110That lord whose hand must take my plight shallcarryHalf my love with him, half my care and duty.Sure I shall never marry like my sisters,To love my father all.115
When Lear warns Cordelia that she'd better say something or she won't get her piece of the kingdom, Cordelia lashes out at the premises of the game. Her sisters' claims that 100% of their love is devoted to their father makes a mockery of their marriages.
Cordelia offers a tense goodbye to her sisters. She basically says, "I know how awful you are, but I won't say it," which, of course, says how awful they are. She asks them to take good care of their father, but says that if she were in charge of his care, the last place she'd leave him is with them.
Milagros, a young orphan raised in a convent, begins to work as a maid in a mansion. There, her strong temperament, brutal honesty, and street smarts clash with the good manners and pretentious behavior of her employers, leading to a plethora of mysterious, humorous, and amorous entanglements.
I have to admit that not being English, I was not familiar with the Mitford sisters until very recently (and this has become quite an embarrassment of mine). However, this book sounds fantastic. I have planned on reading the letters between the sisters edited by Charlotte Mosley this summer so I get to know them a little bit, but this one goes straight to my Christmas wishlist. As usual, Jacqui, GORGEOUS cover. You have the most beautiful books.
Despite initial resistance, many of Elinore's daughtersbecome self-denying in response to her harshness towards them. For example,Lena becomes a little mother to her younger brothers and sisters, tirelesslycooking and cleaning for them. Soon after Elinore sends Lena to live with oldladies in the country as their companion, Lena leaves them because they workher too hard and do not feed her well. Also, she misses her suitor andsiblings. Notwithstanding Lena's sadness, Elinore forces her to returnto her position with the ladies. Eventually, though, Lena becomes devoted tothe old women; finally, they promote her to housekeeper. When they die yearslater, they leave Lena their fortune. At that point, Lena is happy aboutbeing able to put her mother and brother, Will, in the luxurious surroundingsshe believes that they deserve.3 Lena forgets to think about her ownhappiness, for she has learned to share her mother's prejudices,effacing herself as an Irish Catholic, female servant. Boylan exposes theinjustice of Elinore's manipulation of Lena, Beth, and Weenie so thatthey behave abjectly.
Daisy foils her mother's plan to turn her into a domesticslave by joining a nunnery. Still, who could be more self-abnegating and purethan a beautiful young nun? As a nun Daisy will have the dignity of sanctity,along with greater freedom and higher status than she would have had as hermother's servant. She will have her own room, instead of having to shareone with her sisters. Elinore realizes that these are the reasons why Daisychooses the convent, not because of having a vocation. Becoming a nun was oneof the few careers open to Irish women--perhaps this was because conventsadopted the roles associated with mothering such as educating the young,nursing, and providing charity to the old and impoverished (Innes 1993: 40).
When she is young, Daisy blames her mother for mistreating her andher sisters. It is only when Daisy goes through the pain of childbirth thatshe understands what her mother went through while bearing ten childrenagainst her wishes. During the late- nineteenth century, the "risks ofdeath in childbirth increased with each successive birth" (Lewis 1986:153). Elinore practices contraception through placing a bolster betweenherself and her husband on their bed, but he throws it away. She then lockshim out of their bedroom, but, on occasion, he climbs up the drainpipe andthrough the window. When she becomes pregnant for the tenth time, Elinorebathes in boiling water to try to abort the fetus. Under these circumstancesof numerous, inescapable pregnancies, readers can begin to understand whyElinore resents her daughters as well as her husband.
Even in their highflown romantic style Daisy and Cecil imitateElinore and Danny, if on a grander scale. Julia Kristeva writes that modernnovels portray "the amorous flash. The one in which the 'I'reaches the paranoid dimensions of the sublime divinity while remaining closeto abject collapse, disgust with
Notwithstanding brief spells of joy, Mags and Cecil'smarriage has problems that recall those of Elinore and Danny. In bothgenerations, Dublin neighbors admire the husband for hisaltruism--Danny's of the physically heroic type, and Cecil's of thephilanthropic. Cecil, as a successful businessman, can afford to bephilanthropic, whereas Danny as a poor man could only act heroically. The twomen's contrasting styles of charity coincide with Bourke'sobservation that women in Ireland were better fed in 1914 than in 1890 (262).This is reflected in the improved adult economic status of Mags (and hersisters Beth, Janey and, ultimately, Lena) compared with Elinore.Nevertheless, Mags, like Elinore before her, resents what she regards as herhusband's dangerous hobby of charity. Cecil brings homeless people hometo stay in their house overnight, and they are routinely robbed as a result.A snob like her mother, Mags hates entertaining the poor, feeling that theycontaminate her drawing-room. Some of Cecil's charity cases are women,whom Nellie, the maid, suspects that Cecil seduces. Instead of molesting hisdaughter as Danny does, Cecil compensates for his wife's disinterest insex by quietly pursuing other women, including Mags's sister, Ba. Inboth Danny and Elinore's and Daisy and Cecil's marriage, a youngfemale relative becomes the lonely husband's victim--first Daisy ofDanny, then Ba of Cecil.
Daisy not only neglects her husband and daughters, but dislikesmost of her sisters. Elinore's disdain of Daisy and her sisters kindledtheir distrust of each other. As Kristeva might predict, Mags and Ba followtheir mother in seeing themselves as "unique among women"("Stabat"), so preserve emotional distance from their supposedlyinferior sisters such as Janey. Because Mags (like Elinore) hates to dohousework, Mags invites Ba to live with her and Cecil as their unpaidservant. Ironically, Mags never suspects Ba of having an affair with Cecil orof bearing his son, though people tell her that Ba's boy looks likeCecil. Instead, Mags mistakenly imagines that Cecil is sleeping with Janey,her least favorite sister. Meanwhile, Ba pretends to serve Mags as herself-denying housekeeper while actually becoming her rival for Cecil'saffection. Taught by their mother to compete against their sisters, Ba andMags covertly work against each other, as Kristeva might have foreseen.
Nan's friendship with Dandy does not survive the sudden onsetof adult burdens after leaving school. However, Nan's friendship withDoll continues because that unconventional girl marries a young Jew whoallows her to see her friends. Holy Pictures ends with Doll taking Nan andMary on a picnic to celebrate Christmas, since they lack the money to pay forthe traditional festivities. Instead, they climb a nearby mountain todecorate a snowy tree and enjoy the snacks they have brought. This endingprovides an image of beauty and friendship that opposes the deprivation anddrudgery Nan and Mary face at home. Nan is heartened by Mary's growingmaturity and practicality, knowing that she will soon have someone with whomto share the labor of her mother's lodging house. Mary's precocioustalent for earning pocket money suggests the possibility that the two sisterseventually will find a way out of domestic slavery. 2ff7e9595c
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