Plot
The film begins with a man named Conrad von Starke (Adriano Micantoni) the Commandant driving down a road, listening to a war crimes trial on the radio. He stops the car and exits at the ruins of an old death camp. There he meets Lise Cohen (Daniela Poggi). It is revealed that Lise is a former prisoner of the camp and the commandant has arranged to meet her several years after World War II, to thank her for testimony she provided which saved him from certain death. Lise and the Commandant make love.
Lise has a flashback to the time she spent at the camp during the war. A shipment of female prisoners arrives. Some are immediately sent to the gas chamber and some burned alive. In a hall, other women are stripped naked and subjected to an orgy by members of the SS-Totenkopfverbände, aroused after watching a porn film depicting scenes of rape, mother-daughter incest and bondage, coprophagia and extreme sex. The female inmates are then raped, tortured, sodomized with bats, and sexually humiliated while the Commandant and his lover Alma, a fellow SS officer, watch in excitement.
Later, a woman has sex with an SS guard, who is himself shot when he speaks out against her rape by other guards. An inmate having her menstrual cycle is ordered to be thrown to the dogs by Alma, and more sex scenes between guards and inmates take place.
Starke becomes interested in Lise, finding himself obsessed by her unbreakable spirit. Since whatever he does to torture her does not demoralize her, Starke grows angry and drops her only friend at the camp into a pit of quicklime as Lise, stripped nude and hanging from her wrists, is forced to watch. The Commandant threatens to drop Lise into the pit as well. Unfazed by this, Lise is whipped, has her head placed in a box filled with rats (clearly gerbils in the film) and raped, but still she does not cry out. She goes to the hospital and is treated by the Doctor, revealing to him why she does not cry. She wants to die, as she betrayed her family to the Nazis years earlier and feels intense guilt about it. When the Doctor tells her it was not her fault, she becomes determined to survive. She has sex with the Doctor, reaffirming her decision to live.
Meanwhile, Starke and his SS staff debate Nazi theories at the dinner table, and an SS Guard tells them of his hopes that there will one day be farms so the Jews can be eaten as a food source. The staff become aroused by this and burn a female prisoner alive by dousing her in liquor and setting her alight. They practice coprophagia and follow by practicing both cannibalism and infanticide, eating a stew made of unborn Jewish infants, finally eating the body of the woman on the table as well.
Lise is tortured further by Starke, who tells her he has fallen in love with her. She claims to love him as well, and begins an extreme sexual relationship with him, willingly donning a gruesome belt made of the scalps of fellow inmates to prove her affections. The Commandant is later sodomized with his own whip by jealous Alma, who realizes the extent of Starke's feelings for Lise.
Lise gives birth to a child, but the baby is killed by the Commandant because it is half-Jewish, and a "half-breed" would have no place in the world. We return to the present-day, where Lise and Starke still stand in the ruined camp. Lise shoots him and his body falls into a pit. In alternate edits of the film, Lise shoots Starke and then herself.
Read more about this topic: Last Orgy Of The Third Reich
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“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
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“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
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“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
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