The only Nazi fascist-perversion films of the ’70s that I could stand watching weren’t exploitation fare — Liliana Cavani‘s The Night Porter and Pier Paolo Pasolini‘s Salo. A couple of times I’ve felt a slight urge to see Tinto Brass‘s Salon Kitty (which is now out on Bluray) but I can’t make myself rent it. I just can’t. I keep hearing Peter O’Toole calling this Italian schlockmeister, with whom he worked on Caligula, “Tinto Zinc.”