You may not know the name Max Pecas, but along with Jose Benazeraf and Jean Rollin, he was one of the more famous French directors of softcore erotic/exploitation films of the 60s and 70s. Two of his earliest films helped launch the film career of German sexpot Elke Sommer. De Quoi tut e Meles Daniela! (English title: Daniella by Night, 1961) was an espionage melodrama highlighted by some brief nudity of the lead actress and Douce Violence (English title: Sweet Violence, 1962) depicted jaded teenagers going wild on the Riviera in a style imitative of the New Wave films of that era. Pecas later moved on to more explicit adult fare in films like The Sensuous Teenager aka I Am a Nymphomaniac! (1971) and I Am Frigid…Why? (1972) before turning out some genuine hardcore X-rated features such as Felicia (1975) and Sweet Taste of Honey (1976), which were also released in edited R-rated versions. Despite low budgets, his films often had a classy veneer with gorgeous actresses but critics routinely derided his work despite their popularity with grindhouse audiences. Then toward the end of his career, Pecas surprised everyone with a dynamic but violent crime thriller set in the seedy underworld of Paris – Brigade des Moeurs (English title: Brigade of Death aka Death Squad, 1985) – which was closer to the gritty style of an Abel Ferrara film like Ms. 45 (1981) or Fear City (1984).
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The Kidnapped Heiress
When it comes to crime films, what’s your pleasure? The genre breaks down into so many sub-categories that it helps if you have a particular theme in mind. Bank Heists? Home Invasions? Police procedurals? Gang wars? How about kidnapped heiresses? James Hadley Chase’s 1939 pulp fiction novel No Roses for Miss Blandish is a classic example of this edgy situation and has been adapted for films at least twice – the 1948 British noir of the same title starring Jack La Rue and The Grissom Gang (1971), Robert Aldrich’s violent remake with Kim Darby as the unfortunate victim. Even real-life cases involving kidnapped heiresses have inspired numerous crime dramas such as the 1974 kidnapping of Patty Hearst which spawned Abducted (1975), a sleazy exploitation rip-off from director Joseph Zito, The Ordeal of Patty Hearst, a 1979 made-for-TV dramatization, Patty Hearst (1988), Paul Schrader’s take on the events with Natasha Richardson in the title role, and probably the best of the lot, Robert Stone’s 2004 documentary, Guerrilla: The Taking of Patty Hearst. But, if you want to see an arty, minimalistic treatment of the kidnapped heiress theme with erotic interludes and a cool jazz score by trumpeter Chet Baker, look no further than L’enfer dans la peau (1965), a French softcore crime drama from director/writer/producer Jose Benazeraf, and released in the U.S. in an edited form entitled Sexus.
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