" is again a bourgeois adventure,but set in nowadays).WW2 is only an epic convention,because it gives a certain sense of exciting and violent trepidation and brutality and decrepitude,an epic device of the nihilist aestheticism (Pasolini,Bertolucci,Brass).Brass used WW2 as a narrative background in his Teresa Ann Savoy show,Salon Kitty (1976) in his Stefania Sandrelli show,La Chiave (1983) in his Serena Grandi show,Miranda (1985) in his Anna Galiena show,Senso '45 (2002).Under the pretext of unmasking this Fascist epoch,it is obvious that these directors pretty much indulged in the world they described.(The same device,of a shattering and totalitarian epoch,was exploited the same way in some Romanian films of the '90s,using the Bolshevick era of the '50s as a background for sexual frolics). "La Chiave" is an anecdote of bourgeois sexuality during WW2,and a study in Animality in fact,Brass' coldness and detachment shows no trace of sympathy for his characters,hence the movie's naturalism.("Miranda" brings on screen a rustic debauchery during the same WW2,while "L'Uomo. Sandrelli's most interesting role,and a peak of the European "trash films" of the '80s.I have seen this flick 4 times,and I found it excellent.Here,Brass is how he knows to be:shameless, shocking,clandestine, lascivious, tasty, scandalous, voluptuary,lustful,Nothingarian,misogynist at the basest level,lubricious yes,indeed,quite a lot of things to enjoy.Brass is extremely skilled in exploiting his actresses' physical endowments. La Chiave (1983) is Brass' only masterpiece,Mrs.
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