Research for an online version of Confessions of a Sorority Girl, produced only one result: a DVD burn published in 2 installments in Daily Motion, for some reason in reverse, with lettering running from right to left. Not being a purist, or rather, being one, but no so much that I'd rather not watch a film than watch an "impure" version, I decided to view and review this dysphoric version. I therefore can only speculate what difference it could have made had I seen the "pure euphoric" one. Right now, I believe not much, but I can´t be sure. On the other hand, it did lead me to wonder what effect could there have had watching, say, North by Northwest (Alfred Hitchcock, 1959) or Red River (Howard Hawks, 1948), to name but 2 famously "geometrical" films, as it were, "backwards". Maybe someday I´ll find out. Right now, on to Confessions of a Sorority Girl.
Confessions of a Sorority Girl was the 8th feature and 4th TV film directed by Uli Edel, German director renowned for Christiane F (1981), a biography of a teen heroin addict which inter alia gave David Bowie´s Heroes a second run at the tops, and, more recently, Der Baader Meinhof Komplex (2008) and accomplished reenactment of the story of the infamous German terrorist group, misguidedly, in The MacMahonian´s view, vilified for purportedly glamourizing them, much as Arthur Penn was vilified for purportedly glamourizing Bonnie and Clyde in Bonnie and Clyde (1967).
Confessions of a Sorority Girl tells the story of rich girl Sabrina Masterson (Jamie Luner) sent to a college where her older sister was once sorority president, position she yearns for, along with best friend´s boyfriends and good marks in French without studying, stopping at nothing and stooping to everything to get all of the above, including plotting, scheming, slandering, blackmailing, luring, deceiving and even attempting murdering.
Confessions of a Sorority Girl is slicker than the previously reviewed installments of Rebel Highway, and the plot, perhaps partially due to co-authorship by Debra Hill, much tighter, and more hi soap than 50s B. Smoothly and effectively directed - a bit of a stylistic departure for a somewhat grungy director - the film´s best asset is, however, and validating once again Hitchcock´s dictum to the effect that a film is only as good as the bad guy is bad, Jamie Luner´s Sabrina, maybe 3d in an überbitch ranking I just came up with that places Rosita Quintana in Susana, Demonio y Carne (Luis Buñuel 1951) in the 1st place and Jeanne Simmons in Angel Face (Otto Preminger, 1953) in 2nd.
Confessions of a Sorority Girl was the 8th feature and 4th TV film directed by Uli Edel, German director renowned for Christiane F (1981), a biography of a teen heroin addict which inter alia gave David Bowie´s Heroes a second run at the tops, and, more recently, Der Baader Meinhof Komplex (2008) and accomplished reenactment of the story of the infamous German terrorist group, misguidedly, in The MacMahonian´s view, vilified for purportedly glamourizing them, much as Arthur Penn was vilified for purportedly glamourizing Bonnie and Clyde in Bonnie and Clyde (1967).
Confessions of a Sorority Girl tells the story of rich girl Sabrina Masterson (Jamie Luner) sent to a college where her older sister was once sorority president, position she yearns for, along with best friend´s boyfriends and good marks in French without studying, stopping at nothing and stooping to everything to get all of the above, including plotting, scheming, slandering, blackmailing, luring, deceiving and even attempting murdering.
Confessions of a Sorority Girl is slicker than the previously reviewed installments of Rebel Highway, and the plot, perhaps partially due to co-authorship by Debra Hill, much tighter, and more hi soap than 50s B. Smoothly and effectively directed - a bit of a stylistic departure for a somewhat grungy director - the film´s best asset is, however, and validating once again Hitchcock´s dictum to the effect that a film is only as good as the bad guy is bad, Jamie Luner´s Sabrina, maybe 3d in an überbitch ranking I just came up with that places Rosita Quintana in Susana, Demonio y Carne (Luis Buñuel 1951) in the 1st place and Jeanne Simmons in Angel Face (Otto Preminger, 1953) in 2nd.
