Plot: What’s it about?
Nino Rolfe (Frank Finlay) and his wife Teresa (Stefania Sandrelli) have just celebrated their twentieth year of marriage, quite an accomplishment. Nino is quite a bit older than his bride, but things have went well to this point and of course, he loves having such a young, beautiful lover. But of late, the spark has left their bedroom and this had caused other problems, which means a solution needs to be found as soon as possible. As Teresa is so beautiful, she gets all kinds of looks and offers from other men, which upsets Nino at first, but he soon discovers this jealous streak turns him on and revamps his sexual energies. So when he learns his wife is attracted to the young, handsome fiancee of their daughter, Nino sees some real potential. Instead of chiding her for her interest in another man, a younger and better looking one no less, Nino encourages his wife to explore herself and engage the young man’s affections. But even if she does follow through on her husband’s wishes, will the results be as he expects?
This picture is held by some as a true erotic masterpiece and while it won’t suit everyone’s tastes, I do think The Key is one of director Tinto Brass’ finest efforts. The story is based on a Japanese novel and provides ample development for Brass’ approach to cinema, which means lush visuals and plenty of naked women to soak in. Brass never shies away from his stars either, moving the camera in close and using sometimes awkward angles, to ensure the audience is taken up close & personal with the nude subjects. His focus lingers on the backside in most cases, but Brass also makes sure to cover the entire female form, of course. As I mentioned above, this movie won’t be for us all, but fans of Brass and erotic cinema will be pleased, as the film has some well executed sex scenes and Brass’ usual wonderful visuals. The themes can sometimes be a little off balance and some will want to shower soon after, but The Key is a brave, effective erotic film and another notch in Tinto Brass’ resume. So if you’re a fan, then check out this release, as Cult Epics has given us a terrific overall disc.
Video: How does it look?
The Key is presented in a 1.85:1 anamorphic widescreen transfer. The first things I noticed here is that I had to darken the image quite a bit, as the contrast is very light on this release. But that was solved with a quick adjustment with the remote, so no worries on that front. Once I done that, the image was more than solid, though as should be expected, it cannot compete more recent, higher budget releases. The colors seem a little muted, but look good overall, while flesh tones are accurate throughout. The print used does look a little soft at times, but seems to be in good condition, so I think most viewers will be pleased there. Again, you’ll have to fiddle with the black levels on some sets, but on the whole, this is a solid, acceptable presentation.
Audio: How does it sound?
A basic, but more than acceptable audio option is used here, which ensures all the needed elements come across in solid fashion. The materials have little wear & tear, which is good news and on the whole, I was pleased with the results. The dialogue is presented in English (with some Italian sequences) and comes through as clean & crisp, while the music is as rich as can be expected in this case. On a side note, the music of this film was handled by Ennio Morricone, a true legend of cinematic scores. So not a very memorable audio treatment, but in truth, this material simply doesn’t need all the bells & whistles.
Supplements: What are the extras?
This disc includes a seventeen minute interview with Tinto Brass, some talent files, and a selection of still photos.
