This section of a biography of a living person does not include any references or sources. Please help by adding reliable sources. Contentious material about living people that is unsourced or poorly sourced must be removed immediately. Arguably the classiest of Brass's films, The Key sports a lush period setting in pre-World War II Venice, with Mussolini's rise to power mirroring the increasing decadence of the characters. The vintage setting proved to be ideal for his cinematic style, and he returned to it several more times including his later underrated classic Senso '45. The visual potency is enhanced by Sandrelli, giving her all with an uninhibited and often undraped performance, and a catchy Ennio Morricone score that set the tone for future bouncy Brass music to come. Tinto Brass discusses his original ideas for the film, plus talks about the style of the current film as it was released (video)". YouTube . Retrieved 5 November 2014.

The plot of The Key is dervied from the novel Kagi by Jun'ichirô Tanizaki, which has been adapted numerous times including 1959's Odd Obsession by Kon Ichikawa and another little seen version made the same year in '83 by Akitaka Kimata. The original 1956 novel was written in diary form between the husband and wife, with a sexual frankness that made it one of the more controversial works for the author (who also wrote the often-filmed Manji).

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La Chiave" is one in a series of medallions of beautiful women,astounding studies of women,on a par with Miranda (1985),Andrea Barzini's Desiderando Giulia (1985),Andrea Bianchi's Dolce Pelle Di Angela (1987),Spiando Marina (1992),L'Uomo Che Guarda (1994),Malèna (2000) ,etc..In the unconventional erotica,Brass' equals are the far less famous Andrea Barzini (the author of the best Serena Grandi show,made when she was 27 years),Andrea Bianchi,the author of the underrated Dolce Pelle Di Angela (1987).These masterpieces,signed by Bianchi and Barzini,and other wonderful Deborah Caprioglio and Serena Grandi shows could be seen in Romanian movie theaters 13 years ago.

Article about Tempo Libero and Tempo Lavorativo" (PDF). Archived from the original (PDF) on 5 November 2014 . Retrieved 5 November 2014. Fast forward to 1976 with Tinto’s powerful Salon Kitty, where themes of espionage, romance, sexual games, and more play out in Nazi-era Germany. The way that Tinto deftly contrasts the cabaret glitz of Madame Kitty’s (played to perfection by Ingrid Thulin) establishment with the brutality of fascism is mesmerisingly visceral. It’s a work that often gets planted with the “naziploitation” label and while its success certainly did influence that weird and nasty sub genre, Salon Kitty is as arthouse and essential as Bob Fosse’s Cabaret. Its notoriety also helped garner the attention of Penthouse magazine founder Bob Guccione, who would bring Tinto into the still-controversial saga that would become 1979’s Caligula.Hollywood Reel Independent Film Festival: Article about Tinto Brass retrospective" (PDF) . Retrieved 5 November 2014. A main female character sums up this pile of narrative nonsense at the conclusion of the film saying something like, "I was faithful by being unfaithful." Meaning she was compliant in her husband's wishes for her to link up with their son-in-law so her horny husband could become sexually excited by watching her, thus sparking their marriage alive again. Set against Mussolini's rise to power in 1940s Italy, I suppose auteur Tinto Brass is trying to make some haughty comment on how the Italian populace of the time, repressed by Catholic guilt, succumbed to Il Duce's desire for them to fall faithfully in line with Italian pride and become unfaithful from the moral direction of the Church. Who knows really, because Brass is more concerned with Stefania Sandrelli's derriere than he is about political/spiritual ambivalence. Oh, let’s count the ways, starting with provocateur, auteur, ass-obsessed, movie director, subversive, sleazy, uncompromising, golden, offensive, vital, brilliant, gutsy, and most importantly, artistic.

Chi è Caterina Varzì, moglie di Tinto Brass". Viaggi News (in Italian). 10 July 2010 . Retrieved 25 August 2020. Frank Finlay is aptly cast as the professor, returning to Venice for the third time in his career, having hatched Iago's plan to sexually manipulate Othello in the Olivier film there, and then having been imprisoned in Venice by the Inquisition for his sexual transgressions as the title character in Dennis Potter's mini-series Casanova. Stephania Sandrelli gives a spirited and extraordinarily brave performance as Teresa, throwing off her art-house airs to luxuriate in the most lurid scenes of soft-core erotica, and having the voluptuousness and acting skill to trace her characters emotional and physical journey in the most eye-poppingly sexy and seductive way.Tinto Brass candidato con i Radicali". La Stampa (in Italian). 22 January 2010 . Retrieved 25 August 2011. Many of Brass' works qualify as period drama set during World War II ( Salon Kitty and Senso '45, set in Berlin and Asolo respectively), in postbellum Italy ( Miranda and Capriccio), antebellum Italy ( The Key), and in 1950s Italy ( Paprika and Monella). An ageing professor of art is bothered by his younger wife Teresa's modesty and priggishness. He lays a plan to manipulate her into expressing her sexual side, through the use of diaries purposefully left to be discovered, erotic photography, alcohol and finally a stage-managed affair between Teresa and his daughter's fiancé. Yet setting the workings of desire in motion this way leads to things slipping from the professor's control: his wife becomes increasingly an agent in her own sexual liberation, his fascist daughter schemes for her own ends and finally the professor's own body escapes the control of his mind, leading to spasm, thrombosis and death. Yet the death doesn't seem tragic, as it frees both the professor from the evils of history which are about to be spectacularly unleashed (and this is a man who has been helping the Jews of Venice) and his wife from her socially imposed role of modest matron and submissive object. Brass' films since his early works follow an impressionistic style – they tend not to show immense landscapes, but bits and pieces of the scenery and peripheral characters and objects through pans and zooms, thus imitating how the viewer might see the events if he were actually present. This also gives the films an extraordinarily rapid pace. He often uses a television-like multicam method of shooting, with at least three cameras running at once, each focusing on something different.