This is the type of film that would have played at the Cameo Moulin or Tatler cinema in London. So it is surprising that there is little nudity in an era where boundaries were being pushed.

An untypical film from cult director Norman J Warren,it is one of his least interesting. Uneven direction and poor acting lessen the impact of the film.

I caught this on London Live-one of the UK's Freeview channels-we should be grateful to catch these rarities; trashy or worthy, they are nevertheless valuable snapshots of an era that must be puzzling to anyone under the age of 50.

Reading up, I see that the movie ran for between one or two years in London, as part of a double bill! I guess there were two principal audiences-lads like myself in their formative years, and the "dirty raincoat" brigade-middle-aged+ men who grew up in a repressed era of nannies, censorship etc. Who were grateful for any "flash" of feminine flesh-they probably enjoyed this.

It is distinctly unerotic, unlike its contemporary "Blow Up", but one shouldn't compare with that masterpiece. This comes from a long line of Nudge, Nudge-Wink, Wink embarrassing Brit flicks with a slight nod to more realism a la "Beat Girl". There is a leering mien throughout, so typical of that age, but we have to view it as a snapshot on that era; there are a few bare breasts, under skirt shots, unimpressive writhings and the obligatory overlong party scene which shows off a lot of mini-skirted leg-you get the picture?

At my age now I got more interest in spotting the 1960s hi-fi components, stylish furniture, terrific Quant-like mini dresses; the girls are universally nice-I wish I knew then what I know now! Oh..there's also a classic early Lamborghini sports car which nearly steals the picture. The "acting" is a joke, but that wasn't the point of these flicks. The B&W photography is very good-almost glistening in many places, with quite effective zooms and near-frantic in/out focusing.

I had to give it 3/10 for my review's heading, but I'd also give it an 8/10 for its period value.

The future British Lion of independently produced, low-budget, high-impact Splatter Norman J. Warren's audaciously salacious 'Nudie Cutie' 'Her Private Hell' proved to be a scurrilously flesh-flashing Box Office shattering, bra-bursting sensation, zealously soiling the minds and rumpled raincoats of a smut-starved Britain, tenaciously remaining on London cinema screens for an entire year! Exotically pretty Latinate brunette Marisa (Lucia Modugno) is lured to the heady environs of a monochromatically swinging 60s London, strongly beguiled by the offer of glamorous, well-paid modelling work, but the handsome, ingenuous Marisa very quickly finds herself both emotionally and financially ensnared by the dark machinations of the model agencies callous boss Neville (Robert Crewdson),summarily being used and abused by manipulative, perma-sweaty in-house photographer, and flash-pad renting cad Bernie (Terry Skelton),her considerable 'talents' aggressively sought after by the more groovy, sylph-waisted, switched-on shutter-bug Matt (Daniel Ollier),and it isn't too long until the boozy parties, petty jealousies, increasingly illicit photo shoots, and devious double-dealing crudely coalesce around poor, beleaguered Marisa's far from 'model' life and becomes 'Her Private Hell'. With a sweetly endearing performance from luscious Lucia Modugno, some remarkably nimble film-making from first time feature director Norman J. Warren, and a perfectly pant-swingingly groovy score by funk master John Scott, 'Her Private Hell' is a still brightly glistering skinflick, its lurid lustre undimmed by the passage of time.