Every Afternoon (1972) Online

This late-period Sarno opus jettisons the social commentary that made him unique, rendering the plot a mere soap opera. The sappy score makes it seem like one of those limp British sex comedies of the period. However, the artist's vision shines through in the imaginative cabaret scenes. Diana Dors, in my opinion, is marvellous -- (intentionally) funny and professional despite her (knowingly) over-the-top performance -- she's definitely wise to her own persona here.

I only grabbed this one because Christina Lindberg (of THRILLER: A CRUEL PICTURE and SEX AND FURY fame) is in it, and I've got a serious hard-on for that chick. Unfortunately...she's not in it for long, and you only see her tits once, so what you're left with is a boring and un-erotic sleaze film.

Swedish WILDCATS is about a bunch of sluts that work in a brothel. They do some un-sexy dances for their male patrons, and afterwards they do what hookers are best known for. Somewhere in this boring mess is a "love story" between one of the ho's and some guy she met at the park. Throw in a scumbag that the guy from the park works with who has seen the chick at the brothel and wants to ruin their relationship - and there ya have it...

Like another reviewer mentioned - Swedish WILDCATS is pretty much an over-glorified chick-flick with a few tits and asses thrown in for good measure. There are definitely some smokin' chicks in this one, but the sex scenes are dull and un-sexy. The under-use of the ravishing Christina Lindberg is absolutely criminal - and everyone involved in this production should be shot for this unforgivable oversight. Don't bother unless you like dull romance films with a little bit (but not nearly enough) sleaze thrown in...

Every Afternoon (1974)

** (out of 4)

Mix of melodrama and sex/nudity from director Joseph W. Sarno takes place in a Copenhagen brother being ran by Aunt Margareta (Diane Dors). Inside the walls the main story focuses on two orphan sisters who find themselves living two different lives with one quickly falling in love with a man. This film, also known as Swedish WILDCATS, isn't really something that's going to appeal to too many people. I guess fans of Sarno will want to take a look at it but I'm willing to guess that the majority of viewers are going to be fans of Christina Lindberg. Obviously she's such a sex goddess that her fans are going to watch anything she's in but sadly she has a very small part here so her fans will probably be disappointed. As for the film itself, I think it's obvious that Sarno wanted to be the Douglas Sirk of sexploitation pictures. There's no question that he has a certain talent in making these sex pictures look a lot better than they probably deserve to be but at the same time the melodrama is just so dry and boring that it's pretty hard to really care about anything that's going on. The love stories involving the sisters really aren't that interesting and even worse is that the film really doesn't have much plot anyways. The performances are pretty much above average for this type of film and that includes Dors who really makes her character a lot more entertaining than it deserved to be since it's pretty one-note. EVERY AFTERNOON really isn't going to appeal to many people but it's slightly well-made and has some nudity to help keep it moving along.

I had thought that this 1972 film was on the road to oblivion, but I have just seen a notice that it is scheduled for a new release as a DVD for home viewing next March. This is why I am now submitting comments on a film which was very forgettable, and which I had almost forgotten. Choosing older films for release as DVD's has become a big gamble for distributors - the residue of many of those selected often end up in the clearance bins of large stores, priced sometimes as low as $2 each. This debases the market, making many purchasers wary about paying the listed price for a new release. "Every Afternoon" was probably selected for re-release because it was felt to come into the niche area of erotic but not hardcore productions which make an appeal not only to the customers who used to purchase, but later abandoned, the many very monotonous hardcore productions that swamped the early DVD market; but also to those adults who are looking for slightly more spicy fare than traditional family comedies. However, as I remember it, I certainly would not have classed this film as genuinely erotic; it had more in common with British sex comedies from the same period that were sometimes quite enjoyable to watch but were mostly extremely forgettable. What distinguished it from such films was a memorable performance by Diana Dors as the Madam of a house devoted to providing visiting gentlemen with both kinky cabaret performances and other delights - partly provided by her two nubile daughters. (SPOILER FOLLOWS) The film is the story of a rising urge by these two young women to establish lives of their own, and it predictably ends with them finally leaving "home", despite the ingratitude that their mother feels such behaviour shows. (END) Diana Dors was a great actress and her early death was a real loss for the entertainment industry. In a very busy life she had roles in about eighty films as well as numerous television and stage appearances. She was a dedicated professional who appeared in her first film at the age of 15, and thoroughly earned her major part in the classic film "Oliver Twist" (1948) two years later. She always showed great sex appeal, and was not above showing her attractions on stage in the twilight days of the British Music Hall when other work was not plentiful. But in selecting her roles she never relied on sex appeal to substitute for dramatic ability and one of her earlier film successes was in "Yield to the Night" (1956) where she played a condemned murderer in prison under very non-glamorous conditions. Later she had a significant success in a Shakespearian role, in the highly regarded BBC film of "Timon of Athens" (1981). In "Every Afternoon" she played the part of a Madam - a role which she undertook very successfully more than once. Her performance certainly provides the most valid reason for watching but, as I remember, it was not as well rounded as the one she gave a few years later in a similar role in "Champagnegalopp" (1975). Although the latter was not a great commercial success, it was a much better film that provided not only excellent comedy but also a significant insight into the social mores of the Victorian era.

DVD's of most of Diana Dors performances are not easy to come by, and I would really like to see more of her earlier works such as "A Boy, a Girl and a Bike" (1949) made available for home viewing. "Champagnegalopp", which was released as a DVD last year, would be my choice for purchase above "Every Afternoon", but to those who admire Diana Dor's work as much as I do, watching both DVD's will be a must. Nevertheless, although I remember that some of the kinky cabaret scenes in "Every Afternoon" were very amusing, I do not feel the film was good enough to justify its purchase. If you do not greatly admire Diana's work, I would recommend passing this one when it appears, but for admirers of Miss Dors I would suggest hiring the DVD once it becomes available before you decide whether you want to purchase it.

A final comment, I was a little disturbed to see that this DVD is being released under the alternate title "Swedish Wildcats" that was used in an early videotape of the film. The somewhat disparaging ethnic implications of this title (the film is listed as banned in Sweden - is this why?) are not only not PC today, but are completely unnecessary. The title under which it is released is unlikely to influence me when I see it again and finally decide whether to purchase a copy for myself, but the distributors should be aware that I would feel less comfortable buying a copy of "Swedish Wildcats" than of "Every Afternoon".

This is one of director Joe Sarno's more tepid films. Ostensibly, it is about two sisters, orphans who both work as prostitutes at the bizarre Copenhagen brothel of their "Aunt Margareta" (Diane Dors) where, among other things, the girls all dress up in skin-tight suits as various wild animals and the clients chase them around with giant butterfly nets. The sisters are renown at the brothel/showclub as the "famous Swedish sisters". The problem is though they really look nothing alike, and their main act seems be posing as topless "executioners" who tie a third, completely naked woman up, so a male "executioner" can whip her. Why you need two "Swedish sisters" to do that is beyond me. And even in the bedroom afterwards only the older sister is very skilled at, uh, pleasing the clients. It would seem to make a lot more sense to have two genuinely talented performers/prostitutes and have them just PRETEND to be sisters, but oh, well.

The "plot" involves the two sisters both meeting men outside the brothel. The older sister meets a shipping clerk while walking in the park. He tells her he's a pilot; she tells him she's a Russian ballerina. Then the man's mean-spirited boss lures him to the brothel where both their lies blow up in their mutual faces. The younger sister meanwhile meets a rich American--entirely offscreen mind you--and then just completely disappears halfway through the movie!

Although the plot obviously isn't one of them, this movie does have a few things going for it. Diana Dors is very good. Unfortunately, her character is not very well-developed--she's too amoral and money-grubbing to be sympathetic, but she never does anything REALLY evil either. (Former glamour queen Dors was also none-too-svelte at the time, so it kind of beggars belief that she's so popular with the clients). The movie also features Swedish sex bomb (hell, Swedish sex NUKE) Christina Lindberg. Regrettably, she has only a very small role though and only one brief nude scene. Finally, (descending entirely into the realm of strange personal fetishes) this movie also features a nude belly-dancing scene. I have lived in Turkey where there is not enough nude dancing, and the US where there is not enough belly dancing--but nowhere in the world is there NEARLY enough nude belly dancing. I don't if you can really take any of this as recommendation, but it's all I got. . .

I recently bought this film as it seemed an intriguing title when teamed up with Diana Dors-my mind was boggling! However, I was even more mind boggled when what seemed the spitting image of Arlene Philips from Dance X fame appeared as a topless Bellydancer an hour into the film.The credit at the end is Simara Wale but is this just a stage name for this film? If anyone can confirm or deny this I'd much appreciate it. The sound taken from the master is a little worn in places with very noticeable 'pops' and 'cracks' making this film seem a lot older than it actually is. I did enjoy the film though as this is from a bygone era when what you saw was what you got i.e. no falsies or plastic surgery etc.

Swedish Wildcats: 2/10: Have you ever been watching a film and a slow creeping horrific realization comes over you. You know despite the box art and the blurbs you realize this movie isn't what you thought it was. It is something much more dastardly and vile. It's a chick flick.

Swedish Wildcats is a chick flick in all its Harlequin Romance, bad Anime back-story glory. The original title Every Afternoon should have been a clue and the music certainly gives hints but it isn't till the fortieth shot of a fully clothed woman wandering around the parks in sun drenched Copenhagen that the true level of horror sinks in.

The girls are attractive enough and do disrobe from time to time but seem remarkably bored with the whole affair. The men all resemble euro trash surrender monkeys with a couple resembling flaming surrender monkeys if you know what I mean. The wildcat scenes are nothing you haven't seen Rebecca Romijn-Stamos do in the X-men movies.

In fact all the stage productions look more like NEA grant fodder than an actual erotic show. There is no real erotic edge and the plot with a whore pretending to be ballerina finding chaste love with mechanic pretending to be test pilot is right out of every bad Japanese animated series ever (Minus the giant robots of course). This movie needed giant robots, a serial killer, something besides romance and a tour of Copenhagen.

New York Wildcats: 1/10: More of a featurette than a full blown movie NY Wildcats takes the cats motif from Swedish Wildcats and runs with it… into a brick wall.

A showcase for some of the worst line reading this side of public access, NY Wildcats doesn't deliver on the eroticism it promises, While avoiding the mind numbing tedium that Swedish Wildcats is full of.

It brings a level of incompetence to the table rarely scene outside of early Full Moon Pictures releases. Add on a very unattractive cast and you'll find yourself fast forwarding through the sex scenes as well as the plot, never a good sign.

I can't for the life of me recall why I ordered this film from Netflix. Watching it brought me no clue either. Although it features a past her prime Diana Dors the film has little else to recommend it. It is stultifyingly unsexy and humorless so it has neither erotic nor camp value. The DVD even has interviews with some of the "creative" team who claim that there actually was a script. Little evidence of that in the film. If you are interested in pre-hardcore erotica with some attention to plot and great cinematography I would recommend the films of Radley Metzger. They aren't GREAT films but Metzger has a wonderful camera eye and the scripts are a lot more intelligent and sometimes even interesting.

Swedish WILDCATS, aka EVERY AFTERNOON, is a British sexploitation movie directed by the notorious erotic film director Joseph W. Sarno in a rare detour to the UK - he spent most of his career making US-based movies. This one's very much a complete waste of time, a surprisingly tame film that focuses on stultifying romantic interludes between waste of time characters.

The action is centred around a brothel presided over by the game for a laugh Diana Dors, who is dressed up in revealing attire and barks orders and does patter throughout the movie. The plot then follows the love lives of various prostitutes who work at the place. There is some nudity which comes from seeing them at work stripping and the like, but for the most of the time we're stuck with long, drawn-out interludes of them falling in love with wooden male actors. There are bit parts for two infamous actors: Alan Lake, Dors's real-life husband, and Swedish starlet Christina Lindberg, of THEY CALL HER ONE EYE infamy.