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Radley Metzger made this movie in black and white to, as he told The Rialto Report, “to deliberately align it more closely to classic cinematic love stories of yesteryear rather than the often gaudy sexploitation movies that were de rigueur in the late 1960s.”

Thérèse (Essy Persson, who is also in Metzger’s I, A Woman, Mission Stardust and Cry of the Banshee) and Isabelle (Anna Gaël, also known as Anna Abigail Thynn, Marchioness of Bath; Ceawlin Thynn, 8th Marquess of Bath; Viscountess Weymouth; the Dowager Marchioness; the Honorable Lady Thynn; as you can tell by her title, Gaël’s life was fascinating, beyond acting in movies like Dracula and Son and Zeta One. According to the introduction to her incredible Rialto Report interview, she spent the 70s married to a “…wealthy British aristocrat, a controversial and scandalous union that started when Anna was just 15, and involved salacious stories of hundreds of lovers, erotic paintings of the Kama Sutra that police deemed to be obscene, one of the most famous English stately homes, and allegations of racism that caused the break-up of a noble family.”) are two young women who fall in love after Thérèse is taken to a boarding school by her remarried mother. The entire story is told in flashback; as it was shot without sound in the style of Italian movies, the dubbed nature of the film adds a dreamlike quality.

Roger Ebert called it “the worst movie of the year” and “another of his traveling stupidity exhibitions, which masquerade as “art films” to get into respectable theaters.”

I don’t know if he saw the same movie that I did, to be honest. I was touched by the loss that Thérèse feels as she walks the halls of her abandoned school, remembering when love was young and the feelings of being with the first person that you love. That’s my than smut or a so-called dirty movie in my eyes.