I løvens tegn/In the sign of Leo - a unique look behind the scenes, part 2.

Mulholand · July 3rd, 2007, 02:41 AM

Part 2 of a look behind the scenes of I løvens tegn as reported by Ann-Marie Berglund. Part 1 is here: http://vintage-erotica-forum.com/sho...73&postcount=1

New scene. Me in black stockings and black garter belt in a chair, caressing myself. Just like “Emmanuelle”. But it’s not Emmanuelle in her beautiful wicker chair, it’s me, in some armchair in Denmark.
“This OK?”
“No. Pull up your legs even more. No. Even more…”
Until I can’t pull them up any more, after which the gentlemen get a bit cross. “For Christ sakes, you don’t see nothing, you got to see something, that’s the whole point, we’re doing a close-up here, come on. Try a little more…”
I don’t know why I’m here, showing a boring body, I don’t know why these men want to look at it, why they want to pay to own the image of it, if it now happens to be that boring. It’s great secret to me.
I’m sitting in my chair, spread-eagled, looking like a wounded flower. And I’m supposed to look like I enjoy it. The director says nothing. The camera hums. “That’s enough!” the director says.

Straight to the next scene. Change of costume, new make-up. My fear is gone, and replaced by a sense of wonder. Everything is done so correct, so business-like. Still, it’s all a game, some magic game. Why be ashamed? Why be scared?
The next scene has three cocks sticking out of holes in a wall and three ladies bottoms receiving them. It’s one of the most fun scenes to do in the whole film. The cocks peek out of the holes like hesitant little snouts. Just when one has gathered enough courage, another shrinks and disappears. They just have such different temperaments, haven’t they? On our side of the wall, we wait, rather gleefully. On the other side, the guys eagerly struggle in order to get some life into their unreliable members. What they don’t know is that they can be seen by us, thanks to the mirror in the ceiling. I see, for the first time, how men do it when they aren’t observed (or think that they aren’t). Some of them help each other. Oh, the tenderness, the carefulness! One really gets the impression that it’s a tenderness more holy than the one given to a woman.
Finally all of them peek out of the holes. Then it’s up to our holes to adapt to them. Not that easy, as the holes in the wall are a bit too high up for us. There is a certain sadistic feeling of content with which I notice that his member gets both torn and blistered by my hands, before we get into the right position.
[The three girls are Gina Janssen, Anne Magle and Ann-Marie Berglund. The men are Bent Warburg, Peter Loury and Knud Jörgensen. Loury is probably the one who is coupled with Berglund. Warburg might have a stunt penis, possibly Acrobat Guy. See below.]

Several of the male models as well as some male members of the team are gay.
One of the male models is good and tender, just like a little god. He likes men as well as women and he can suck himself, he’s an acrobat. It’s with him that I have the next scene. It’s a couple of days later now, and we’re outdoors. It’s early spring and the ground is still a tad frozen. The sun is shining, but it’s nippy, and my skin can feel it. We are four models [Berglund, Magle, Jörgensen and Acrobat Guy] and we’re supposed to tumble around with each other. Sheep are grazing about and a large ram would very much like us to leave. He’s the worst thing about this shoot, the ram, and he looks quite threatening. We have two camera operators with us, and that’s it. Much nicer than the studio.
When we get down and at it, I forget the camera. I’m a teenager again and all the smells are just like then; grass, moist earth. And a little chill. I remember it well; you’d freeze, it was late, you’d be in the arms of someone, you’d do anything not to shiver, not to chatter with your teeth, just so you could be touched by awkward boy hands at places on your body where no one had been before. The ensuing triumph, when that place was no longer untouched. Someone touched me there, someone really touched me there, such euphoria, for several days ahead. And what for? For what you’d think would be the start of an ecstatic life when it was really the start of a life in prison of sorts.
Well, right now it’s the acrobat man with the kind eyes who is on top of me and above us the blue skies. It’s a reminder of the decidedly good sides of a porno shoot, because they really exist. [This scene is only seen is a short glimpse in the Danish version. It does appear in the French cut, though, available on DVD through Blue One as "Les belles femmes du temps jadis". The acrobat – a baby-faced, jumpy guy who licks his mouth a lot - also turns up in several CeeCee loops, like “Big Orgy”, “Sex Show Orgy” and “Sex Club Service”, and also in “I tyrens tegn”/"The Sign of Taurus". In the last three, he demonstrates his autofellatio talents. This guy is weird and legendary. I know nothing about him.]

We lie on the grass and chat a little after the shoot, the acrobat and I. “I do this because it can be so heavenly sometimes”, he says. “My day job is being a ticket seller at the Tivoli fair ground. I don’t think you should be cool and detached just because it’s film. Why can’t we be more tender, more sensuous with each other, us porn models? It would make our “job” much more pleasant.”
Of course he’s right. But porn models are not usually liberated spokespersons for free sex. They are prudish and petty bourgeois, greedy for money. And they suffer because of what they have chosen to do, from this “demeaning” work. How can anyone who doesn’t appreciate his or her own body really afford to be tender or sensuous? Most people I’ve worked with do everything to maintain their dignity even in the most daring of scenes. They work so hard; they get so tense, to the point of not even noticing their onscreen partner. And they are full of shame and disgust, to the point that it gets contagious towards the others.
Everything that liberates our erotic imagination, and with it our creative force, is revolutionary. But such a revolution is nothing that anyone wants, not even the left wing.
There are no boundaries broken by participating in a pornographic film, not within oneself, not out there in society. But there’s still a bit of fun to be had. Especially as there's always someone out there, willing to get really offended by it.

[soon after this, Berglund did make her own version of “tender porn”, in “Veckända i Stockholm” (1976), a film she also directed, and which co-stars Knud Jörgensen. Berglund also provides the narration, and possibly wrote the script, for “L'Éducation d'Orphelie” (1981), a French-Swedish co-production]

Xiccarph · July 3rd, 2007, 08:38 AM

If you have more curiosities like this...

**JollyHumper** · July 28th, 2014, 12:12 AM

Quote:

Originally Posted by Mulholand

Part 2 of a look behind the scenes of I løvens tegn as reported by Ann-Marie Berglund. Part 1 is here: http://vintage-erotica-forum.com/ind...c,13457.0.html

Very interesting! Thx.
But the link to part 1 does not work. Anyone who has part 1?

Jolly

garhaq · July 28th, 2014, 09:27 AM

Quote:

Originally Posted by JollyHumper

Very interesting! Thx.
But the link to part 1 does not work. Anyone who has part 1?

Jolly

A quick search can do miracles: http://vintage-erotica-forum.com/showthread.php?t=6974

July 3rd, 2007, 02:41 AM	#1
Mulholand Senior Member Join Date: Feb 2007 Posts: 167 Thanks: 547 Thanked 2,666 Times in 163 Posts	I løvens tegn/In the sign of Leo - a unique look behind the scenes, part 2. Part 2 of a look behind the scenes of I løvens tegn as reported by Ann-Marie Berglund. Part 1 is here: http://vintage-erotica-forum.com/sho...73&postcount=1 New scene. Me in black stockings and black garter belt in a chair, caressing myself. Just like “Emmanuelle”. But it’s not Emmanuelle in her beautiful wicker chair, it’s me, in some armchair in Denmark. “This OK?” “No. Pull up your legs even more. No. Even more…” Until I can’t pull them up any more, after which the gentlemen get a bit cross. “For Christ sakes, you don’t see nothing, you got to see something, that’s the whole point, we’re doing a close-up here, come on. Try a little more…” I don’t know why I’m here, showing a boring body, I don’t know why these men want to look at it, why they want to pay to own the image of it, if it now happens to be that boring. It’s great secret to me. I’m sitting in my chair, spread-eagled, looking like a wounded flower. And I’m supposed to look like I enjoy it. The director says nothing. The camera hums. “That’s enough!” the director says. Straight to the next scene. Change of costume, new make-up. My fear is gone, and replaced by a sense of wonder. Everything is done so correct, so business-like. Still, it’s all a game, some magic game. Why be ashamed? Why be scared? The next scene has three cocks sticking out of holes in a wall and three ladies bottoms receiving them. It’s one of the most fun scenes to do in the whole film. The cocks peek out of the holes like hesitant little snouts. Just when one has gathered enough courage, another shrinks and disappears. They just have such different temperaments, haven’t they? On our side of the wall, we wait, rather gleefully. On the other side, the guys eagerly struggle in order to get some life into their unreliable members. What they don’t know is that they can be seen by us, thanks to the mirror in the ceiling. I see, for the first time, how men do it when they aren’t observed (or think that they aren’t). Some of them help each other. Oh, the tenderness, the carefulness! One really gets the impression that it’s a tenderness more holy than the one given to a woman. Finally all of them peek out of the holes. Then it’s up to our holes to adapt to them. Not that easy, as the holes in the wall are a bit too high up for us. There is a certain sadistic feeling of content with which I notice that his member gets both torn and blistered by my hands, before we get into the right position. [The three girls are Gina Janssen, Anne Magle and Ann-Marie Berglund. The men are Bent Warburg, Peter Loury and Knud Jörgensen. Loury is probably the one who is coupled with Berglund. Warburg might have a stunt penis, possibly Acrobat Guy. See below.] Several of the male models as well as some male members of the team are gay. One of the male models is good and tender, just like a little god. He likes men as well as women and he can suck himself, he’s an acrobat. It’s with him that I have the next scene. It’s a couple of days later now, and we’re outdoors. It’s early spring and the ground is still a tad frozen. The sun is shining, but it’s nippy, and my skin can feel it. We are four models [Berglund, Magle, Jörgensen and Acrobat Guy] and we’re supposed to tumble around with each other. Sheep are grazing about and a large ram would very much like us to leave. He’s the worst thing about this shoot, the ram, and he looks quite threatening. We have two camera operators with us, and that’s it. Much nicer than the studio. When we get down and at it, I forget the camera. I’m a teenager again and all the smells are just like then; grass, moist earth. And a little chill. I remember it well; you’d freeze, it was late, you’d be in the arms of someone, you’d do anything not to shiver, not to chatter with your teeth, just so you could be touched by awkward boy hands at places on your body where no one had been before. The ensuing triumph, when that place was no longer untouched. Someone touched me there, someone really touched me there, such euphoria, for several days ahead. And what for? For what you’d think would be the start of an ecstatic life when it was really the start of a life in prison of sorts. Well, right now it’s the acrobat man with the kind eyes who is on top of me and above us the blue skies. It’s a reminder of the decidedly good sides of a porno shoot, because they really exist. [This scene is only seen is a short glimpse in the Danish version. It does appear in the French cut, though, available on DVD through Blue One as "Les belles femmes du temps jadis". The acrobat – a baby-faced, jumpy guy who licks his mouth a lot - also turns up in several CeeCee loops, like “Big Orgy”, “Sex Show Orgy” and “Sex Club Service”, and also in “I tyrens tegn”/"The Sign of Taurus". In the last three, he demonstrates his autofellatio talents. This guy is weird and legendary. I know nothing about him.] We lie on the grass and chat a little after the shoot, the acrobat and I. “I do this because it can be so heavenly sometimes”, he says. “My day job is being a ticket seller at the Tivoli fair ground. I don’t think you should be cool and detached just because it’s film. Why can’t we be more tender, more sensuous with each other, us porn models? It would make our “job” much more pleasant.” Of course he’s right. But porn models are not usually liberated spokespersons for free sex. They are prudish and petty bourgeois, greedy for money. And they suffer because of what they have chosen to do, from this “demeaning” work. How can anyone who doesn’t appreciate his or her own body really afford to be tender or sensuous? Most people I’ve worked with do everything to maintain their dignity even in the most daring of scenes. They work so hard; they get so tense, to the point of not even noticing their onscreen partner. And they are full of shame and disgust, to the point that it gets contagious towards the others. Everything that liberates our erotic imagination, and with it our creative force, is revolutionary. But such a revolution is nothing that anyone wants, not even the left wing. There are no boundaries broken by participating in a pornographic film, not within oneself, not out there in society. But there’s still a bit of fun to be had. Especially as there's always someone out there, willing to get really offended by it. [soon after this, Berglund did make her own version of “tender porn”, in “Veckända i Stockholm” (1976), a film she also directed, and which co-stars Knud Jörgensen. Berglund also provides the narration, and possibly wrote the script, for “L'Éducation d'Orphelie” (1981), a French-Swedish co-production] Last edited by Mulholand; November 7th, 2015 at 12:34 PM..

July 3rd, 2007, 08:38 AM	#2
Xiccarph Member Join Date: Apr 2007 Location: Rotterdam Posts: 19 Thanks: 321 Thanked 57 Times in 14 Posts	Re: I løvens tegn/In the sign of Leo - a unique look behind the scenes, part 2. If you have more curiosities like this...