The idea that sex and violence primarily everything they sell is a long -standing axiom in numerous industries, but especially in fun. Human beings are insincerely attracted to the darker side of life and want to have experiences that safely allow them to deal with these concepts and feelings. However, censorship has always existed in art for a variety of reasons, which are too complex and culturally diverse to enter here. It is enough to say that artists have always found clever ways of encouraging and approximating such restrictions. This is why, when watching a movie made in America during Chase's production, you can often find moments and topics that are Incredibly smart in the way they deal with Riske elements, the better we deceive the censors, but not the audience.

In the end, of course, the Chase code collapsed, in the era of the Association of Pictures of America (which has been shortened to the MPA these days) in the late 1960s. The assessment system has allowed the films to be made with strong explicit content for adults, and thanks to the previous 30 years under the production code, the adult content dam has really started to burst during the 1970s. The artists were thrilled that they could have expressed much freerAnd the audience is thrilled with more and more hip, bold and crazy movies that began to be released. Surely, this wave of cinema saw that directors and exhibitors realize that sex and violence can now sell even more than ever, as such content had an additional bonus of seemingly bold and new ones.

A director who discovered this change in real time was Michael Tinson, a London -born director who gained a reputation during the second half of his career of making particularly unwanted films for exploitation, Especially the series "Death Desire". In 1971, the winner made "Night companies", a horror film that acted as a foretelling of the novel by Henry Jameseims "Screw Turning". The unusual download of the source material, plus the involvement of Starvala Marlon Brando, was not enough to be a huge draw, however, at least not according to the winner, who claims that the reason for the modest profitability of the film is its sexual and violent content.

Michael Winner's films are among those that can be claimed to be filled with sexual and violent content that is unambiguously free. However, such arguments fail to take into account the whole point and attractiveness of the exploitation film, a category in which the winner works easily. Of course, sex and violence may not be explicitly necessary to tell the story, but in the case of an exploitation film, sex and violence are a story or at least deliberately contribute to the tone and style of the film. During his career (again, especially when it comes to the films "Death Desire"), the winner was accused at different times that he was a little too much in his topic, and his open nature did not belong. A member of the Conservative Party (Tory) and a supporter of Margaret Thatcher, he was also someone who at the time had liberal views on Peder's rights. As such, his moral and political intentions include so many crazy materials in his films were not so easily defined.

However, his artistic intentions were easily explained, and the winner himself. In an interview with Theujork Times About the production of "Deathly II", the winner came across completely pragmatic and practical on the subject of sex and violence in his cinema, and used "night companies" as an example:

"The pictures I have made with sex and violence have done very well; the pictures I made without them did badly. It's as simple as that. Even when we made the" night companies ", with Brando, which won several festivals, it was just the sex and violence that made it profitably. It was a pretty intellectual act, but without violence it would go anywhere. "

It's a point of view that most of us are used to nowadays - a witness "Quentin Tarantino" because it's a lot of fun, Jan! "Sound about violence in his filmsFor example. However, when he spoke in the establishment of the 1970s, which grew with much less permits in their media, however, the winner tried to emphasize the fact that sex and violence were just selling intellectualism and that he was just going where the action was (literally):

"Now, of course, they say I'm sold out." This intelligent man who made these miraculous films has become brutal that makes pictures of blood and paths. And I say, in fact, I'm the same.

What the winner did not explain in that interview in Nyyork is that he was still very intelligent in choosing stories and objects for his films, choosing themes that would not only allow, but to look for sex and violent material. Of course, the "mortal desire" and his sequels go lavishly above the top, but the story of vigilance filled with rage is very adapted to the moments of extreme violence. If "nightclubs" were a direct adaptation of the Jameseshes novel, telling the same story of a governor who tends to anxious children who can communicate with the ghosts of their dead gardener and the previous governor, his sex and violence may have really been labeled. After all, Jackec Clayton, with his adaptation to the Jameses' "innocent", is that the story can be immensely powerful (even subversive) through the Chinese proposal ten years before.

However, winner and screenwriter Michael Hastings did not want to tell the same story of ghosts that the Jameseses and Clayton said, but instead depicting a psychosexual, sadomasochist relationship between Peter Quint (Brando) and Miss Essel (Stephanie). As such, the sexual and violent aspects of the film are necessary to tell this story, especially as it is about how the perverse relationship between the couple has effectively influenced both children with Blue Manor, Flora (faithful Harvey) and Miles (Christopher Ellis), which may not have been so well adapted. Yes, while the story could have been told in a much more appropriate and elegant way, there would be almost the same amount of power that the unintended, incessant camera of the winner.

The winner could really be accurate in lifting the success of "night companies" to his gentle material. Of course, its connection to the "screw turn" was not played so much in her marketing, and even Brando's starved was at the time of low frost - at the time - at the time - at that time - at that time - His Starwar was only one year away from a rise thanks to the "godfather". However, it is just as true that the content of the story corresponded to his exploitative style, something that the winner must know inherent, as his subsequent films prove. It is a shame that "night companies" were so forgotten because it is easily ranked as one of the most intriguing and unusual adaptations of Jameseims's work. Maybe now, after reading this, you may be thrilled to look for it.