"Flossie," directed by Mac Ahlberg in 1974, is an erotic drama that attempts to blend sensuality with a compelling narrative, but ultimately falls short of delivering a fully engaging film. The story follows the titular character, Flossie, played by Marie Forså, as she navigates a world of sexual exploration and liberation. While the film is visually appealing and daring in its portrayal of erotic themes, it struggles to balance these elements with a coherent and engaging storyline.

One of the film's notable strengths is its cinematography. Ahlberg, who is also an accomplished cinematographer, brings a stylish and polished look to the film. The use of soft lighting and aesthetically pleasing compositions creates a dreamlike quality that enhances the erotic atmosphere. The film's visual appeal is further complemented by its scenic locations and tasteful set designs, which add a layer of sophistication to the otherwise explicit content. The music, with its sensual tones, also plays a significant role in setting the mood and enhancing the film's eroticism.

Despite its visual allure, "Flossie" falters in its storytelling and character development. The plot is thin and often feels like a series of loosely connected vignettes rather than a cohesive narrative. This fragmented approach makes it difficult for viewers to become fully invested in the characters or their journeys. Flossie, as the central character, lacks depth and complexity, making her more of a symbol of sexual freedom than a fully realized individual. The supporting characters are similarly underdeveloped, serving primarily as backdrops to the film's erotic scenes rather than contributing to the story in a meaningful way.

Additionally, the film's pacing is uneven, with moments of intrigue and sensuality interspersed with lengthy, drawn-out scenes that add little to the overall narrative. While the erotic content is undoubtedly the focal point, it often comes at the expense of plot development and character engagement. This imbalance results in a film that is visually stimulating but emotionally flat, failing to leave a lasting impression beyond its explicit scenes.

In conclusion, "Flossie" offers a visually captivating exploration of erotic themes, showcasing Ahlberg's skill as a cinematographer. However, its lack of narrative coherence and shallow character development prevent it from being a truly engaging film. While it may appeal to those interested in the genre, it ultimately feels more like a stylistic exercise than a fully fleshed-out story.

Poor Jack Archer...he's handsome, intelligent, well dressed and well hung. But he's trapped in a world of lesbians obsessed with other women. Fortunately, a few of them are willing to spread it for him on occasion. Unfortunately, the latest object of his lust, "Flossie," is not one of them.

Although Flossie is willing to orally service him now and then (and vice versa), our boy Jack has to look elsewhere if he wants to sail his gondola up the Grand Canal. Will this ever change? We don't know, but Jack, Flossie and Flossie's guardian each have a grand old time (and so do we) watching as they narrate flashbacks of their previous sexual encounters.

We see Jack drilling the pipes of various Euro-tarts at orgies and Gothic chateaus...we see Flossie diving for Tuna at the girl's school...and we see the guardian taking on an impressively endowed (and fully aroused) Jack during a previous rendezvous, when she wore a wig and he thought she was someone else.

While most of the sex is softcore, there are at least two scenes (both involving unnamed extras) where vaginal penetration was taking place. This involves a blonde party guest at the orgy, who is in so deep there are only the briefest side-glimpses of what's going on; and at the girl's school, where a man who bones one of Flossie's classmates is clearly "in," but the high angle and distance obscure most of the action.

"Flossie" is still worthwhile as a well produced and exceptionally well-photographed Euro-film. Handsome Jack Frank, whose second film this was, is onscreen much of the time and he makes the movie, no pun intended. (He later went on to hardcore before retiring from films in the mid '80s.)

As will happen in '70s smut films, the camera frequently eschews the sex shots we're there for, and instead lingers and lingers and lingers on closeups of various female faces (after all, where else will you see one of THOSE, right? Gag.)

Worth a look.

Sol says: The beautiful Maria Lynn/Marie Forsa is similarly well-cast as Mac Ahlberg's FLOSSIE, a film that only flirts with hardcore -perhaps its main defect.

Not actually true. The film features plenty of hardcore footage of fellatio and intercourse. The film only lacks the current obsession with male ejaculation.

The film is beautifully lit and filmed, and the lead actress is adorable. I'd describe it as an excellent "couples movie", unlike the vast majority of the current product. It is explicit, without being gynecological.