Roxanna (1970) Poster

(1970)

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4/10
Saturday Night Wrist
mcrpghk16 June 2021
Warning: Spoilers
The only reason I watched Roxanna was the same one that most people had I believe, the Saturday Night Wrist album by Deftones, in this case a screenshot of the underground movie was used on the cover and is a reference among the band's fans.

But the movie is too weak, the premise that a woman suffers from nymphomania and drug abuse is too complicated to be worked out so poorly.

Amidst the sex scenes is a narration of a mysterious woman (who was probably Roxanna's sex partner) describing who the protagonist is, why she does what she does, and how she is feeling doing it, however , in addition to the sensual voice disturbing the viewer's focus, she transforms this tragic situation into something to delight in.

The acting of the main actress is also deplorable, whether in the sex scenes, scenes where she is high or the melancholic ones, it's hard to hold back the laughter seeing the girl moving like a puppet doll or forcing a cry.

I don't know if this was the director's intention, but these complications that Roxanna goes through seem more like a way to promote fetishes in mentally unstable people than to convey a message. The only compliment I can give the work is the montage in one of the scenes where a psychedelic music plays in the background while scenes of Roxanna being violated and her suffering after the act are interspersed (too bad they make this scene last 10 minutes).

An addendum: Watching the film with the soundtrack of the album that pays homage to the film makes the experience hundreds of times better, but in this case it would not be worth the film.
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Pretty Good
Michael_Elliott14 November 2008
Roxanna (1970)

** 1/2 (out of 4)

Roxanna (Louise Thompson) is a stripper who just can't get enough sex. On her little journey she runs into a lesbian (Uschi Digard), a strange man, a transvestite and a nymph. This is my second sexploitation film from Phillips and I must say that I'm really enjoying his style that he brings to these films. This film plays out with just some narration as we watch all the action that's going on. For the most part we get four sex scenes in a row and this completes the short 51-minute running time, which is just long enough to get the film complete without making it drag on too long, which is often a problem with films like this. I've seen quite a few of these films from this era but Phillips' films have something different and that's the ability to mix erotic sex with an ugly subject matter. This film certainly wants and does become erotic but at the same time it doesn't shy away from the ugly nature that this young girl is getting herself in. There's only one road her type of lifestyle leads to and the ugliness is something that a lot of these films doesn't show but that's what makes this rather unique. The sex scenes are intercut with scenes of Roxanna in an asylum having a breakdown, which is very effective. Thompson is very good in her role or at least her visual appearance in the film. Digard, star of countless sexploitation and Russ Meyer films, is well....herself. This was my first time seeing her and she certainly won't be leaving my memory banks anytime soon.
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9/10
A marvelously odd and interesting anti-erotic soft-core flick
Woodyanders20 May 2008
Warning: Spoilers
Uninhibited swinging young gal Roxanna (attractive willowy blonde Louise Thompson) can't control her raging libido. Roxanna has sordid carnal encounters with a predatory lesbian (the one and only Uschi Digard), some hairy guy, a transvestite (the lovely Monica Gayle of "Switchblade Sisters" and "Nashville Girl" fame), and a tireless nymphomaniac (luscious brunette Lynn Harris). Roxanna's insatiable penchant for bizarre copulation and inability to form emotional attachments with her ever-changing multiple partners causes her to sink into a bottomless abyss of despair, insanity and loneliness. Writer/director Nick Phillips concocts a strikingly strange and startling soft-core feature that boldly goes against the grain by subverting one's standard expectations; Phillips intercuts the raunchy and graphic sex scenes with haunting and disturbing shots of Roxanna naked and quivering in a cell at an asylum. These jolting and upsetting shots stop the film from being remotely arousing; instead this picture proves to be quite grim and unsettling, yet still compelling just the same. Moreover, Phillips makes a potent and provocative statement about the perils of having constant wild wanton sex without a net and further spices things up with some kinky fetish stuff involving leather gloves and boots. The gloomy narration, a simply stupendous groovy psychedelic acid rock score, the gritty, rough-around-the-edges cinematography, the unsparingly downbeat tone, and Phillips' stark, no-frills, unadorned style all add considerably to the authentically funky avant-garde experimental vibe of this gloriously idiosyncratic exploitation marvel.
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