During the 60s, 70s and 80s the European film industry managed to produce some films about children and childhood of incomparable depth and beauty.

I’m not sure why. Maybe this was a period where our ideas about childhood were changing or subject to competing narratives, a period when ‘childhood’ mattered. Or maybe it was a period when the public was more receptive to subtle, unspectacular cinema than it is nowadays.

In these films there is none of the condescension towards children that is all too common today: these children do not enact a label (victim, cute, knowing, precocious, innocent, funny) as children so often do in contemporary films, they are not defined purely in terms of their relationships with adults.

These films simply take children seriously. The children in these films are complex enough to be mysterious, morally ambiguous; they leave us puzzled and intrigued. Their characters are, like a good poem, open-ended.

Dreamchild (1985) – Video Trailer

“Dennis Potter’s haunting, melancholy fictional take on the real-life Alice of Charles L. Dodgson’s (aka Lewis Carroll’s) masterpieces; “Alice’s Adventures In Wonderland” and “Through The Looking-Glass”.
An elderly Alice (Coral Browne) travels to New York to be a special guest in the celebration of the 100th anniversary of Dodgson’s birth. Flustered by press and public attention, she begins to call up hidden memories from that period and reflect on her childhood and her friendship with Dodgson (Ian Holm). She has trouble reconciling these memories, and the complex feelings she has toward them, within the bittersweet scope of her memory of her life through time; a life that has lead her to her present state of reflection in her autumnal years. Phantoms of ambivalence and contradiction and nostalgia begin to spill over into her reality and into the reality of the film, as manifestations of characters from Carroll’s text (brought to boldly realized life by Jim Henson and his Creature Shop) are conjured up, as the film sifts through her memories and staged scenes from the books.”

I hesitated before including this trailer for Gavin Millar’s ‘Dreamchild’.

Not because Dreamchild is anything other than a wonderful film – in my opinion it is both a masterpiece and the most sympathetic and true depiction of paedophilia on film – but because this trailer does this film so little credit, the voice-over alone has all the delicacy of a chain-saw drowning-out a Chopin Nocturne.

As one ‘LazlosPlane’ comments “Brilliant film. Trivialized by this trailer. Sad.”

I had other Youtube clips ready that would have much better conveyed why this is such a special film – but, on coming to write this blog, I found that Youtube had deleted them all.

I’m not sure why. These clips portrayed nothing at all illegal, though they do portray Charles Lutwidge Dodgson (AKA Lewis Carroll – played by Ian Holm) deeply in love with his muse Alice Liddell (wonderfully played by Amelia Shankley) who responds ambiguously and flirtatiously. I can’t imagine Youtube would have felt justified in deleting these clips on legal or moral grounds.

This is a film that gets almost everything right, not least Jim Henson’s puppets and Stanley Myers’s subtle and beautiful score. The only niggle is Ian Holm’s age – Charles Lutwidge Dodgson would have been 30 when he told Alice the story that was to become ‘Alice’s Adventures in Wonderland’. Ian Holm was 54 when he acted this role – however I can forgive this as his performance is convincing and deeply moving, and maybe having him at an older age was useful in emphasising how inaccessible the young Alice is to him.

I hope eventually to write a full blog-essay about this film, which I first saw, soon after its release, at a cinema on the far side of the city where I lived. Afterwards, during a long journey home on public transport, I was unable to restrain the paroxysms of sobbing that overcame me as I obsessively replayed the final scene in my head. I wonder what my fellow passengers must have thought.

Y.Simon : Diabolo Menthe – 1977

Diablo Menthe is an autobiographical film written and directed Diane Kurys. Eléonore Klarwein plays Anne Weber – a jewish girl on the threshold of adolescence coping with the difficulties of school and life.

The film came out a few years before, at the age of sixteen, I first was made aware of my attraction for little girls, when an eleven year from my school’s first year turned round, smiled at me and changed my world. I saw this film soon after and fell in love with Anne.

This film, and Yves Simon’s haunting music, project me back to when I was first discovering this wonderful love: an exhilarating and joyful time when I could still believe that my life might be full of girls like ‘Petite Anne’.

El Espiritu de la Colmena

‘El Espiritu de la Colmena’ (The Spirit of the Beehive, directed by Victor Erice and released in 1973) is a subtle and oblique meditation on Franco’s Spain, illumined by the intriguing and hypnotic presence of seven year-old Ana Torrent, in her acting debut.

The character she plays is also called ‘Ana’. This made it easier for the director to capture the little actresses’s unfeigned responses to the situations he placed her in, effectively making the actual actress a protagonist in the action, rather than the fictional character she was playing.

The early scenes in this clip depict a screening of James Whale’s ‘Frankenstein’ in Ana’s village. Erice actually gave a screening of the film and recorded the reactions of the children and adults as they watched.

Making this film was a harrowing experience for Ana Torrent. As Erice makes clear in the interview at the start of this clip, Ana believed Frankenstein was real. The scene where she meets the monster by a lake required many takes since Ana, terrified, kept running away from the made-up actor playing the monster. Eventually she managed to conquer her fear, but we can nevertheless see her trembling with fear at 8:10.

Incidentally, the appearance of James Whale’s monster was inspired by an etching from the Spanish artist, Francisco Goya’s, satirical series – ‘Caprichos’.


I wonder if Victor Erice also drew inspiration from this series? Is the way Ana looks at the monster at 7:23 reminiscent of the mother in ‘que viene el Coco’ (‘here comes the Bogeyman’) – an expression of both fear and wonder at the appearance in real life of a product of one’s invention?



Cria Cuervos – Porque te vas

“Scene in “Cria Cuervos” where Jeanette’s “Porque Te Vas” sounds.”

“Cria Cuervos” was Ana Torrent’s second film.

Despite the traumas she suffered in the making of ‘El Espiritu de la Colmena’ she was keen to act again and, at the age of nine, and directed by Carlos Saura, played another girl called ‘Ana’ (or is she maybe the same girl as in ‘El Espiritu…’?).

Ana is a little girl burdened with sorrow. She is recovering from the death of her tender and affectionate mother and is troubled by the world around her – the infidelities of her father, a hated aunt, her grandmother who is wheelchair-bound, unable to speak and wishes to die.

The film’s title comes from the Spanish proverb ‘Cría cuervos y te sacarán los ojos’ which translates as ‘Raise ravens, and they’ll take out your eyes’ – which, despite little Ana trying to poison several of the adults in her family and brandishing a loaded gun at her aunt, feels a bit unfair. This is a complex film which obliquely criticises Franco’s dictatorship, and I think the real ‘Cuervos’ in this film aren’t the children but the adults corrupted by their complicity in the regime.

The song we hear in this clip, “Porque te vas” by Jeanette, recurs as a motif.

It’s an intriguing piece of music: although it’s in a minor key, much about it – its heavy rhythmn, its quirky upbeat fills, its comic instrumentation with a squelchy organ in the fore-ground – suggests it should be a funny and happy song – yet it somehow communicates a great melancholy which its poignant lyrics reinforce – has any language got a better word for ‘you will forget’ than Spanish? Olividaras?

A High Wind in Jamaica (1965), directed by Alexander Mackendrick

This is a dramatisation of a novel by Richard Hughes (who was very probably a non-exclusive paedophile).

It explores the events which follow the accidental capture of a group of English children by pirates: the children are revealed as considerably more amoral than the pirates. The presence of the children on his ship affects the pirate leader Chavez (played by Anthony Quinn) – he becomes more caring, protective towards the children, maybe even falling in love with Emily (played by Deborah Baxter), who would have been eleven or twelve at the time of filming.

As so often in the world of films – he who dares love a child is doomed.

CYBÈLE OU LES DIMANCHES DE VILLE D’AVRAY – Extrait (HD – version restaurée)

“Un film de Serge Bourguignon – Avec Hardy Kruger, Patrica Gozzi”

‘Cybèle ou Les dimanches de Ville d’Avray’ tells the tragic story of Françoise/Cybèle (she keeps her real name secret for much of the film. Patricia Gozzi was 11 or 12 year-old when she made this film) who is befriended by Pierre (played by Hardy Krüger), an innocent but emotionally disturbed veteran of the French war in Indochina.

Their friendship borders on love, and brings stability and happiness to both of them. But the World, of course, can not tolerate such a relationship and, in different ways, sacrifices both their lives to re-establish order.

Ville-d’Avrey is a suburb of Paris not far from Versailles. It is not without reason that it forms part of the film’s title – the beautiful village, park and lake are like protagonists in the drama – offering Pierre and Cybèle a dream world that they can’t quite keep hold of. The pond where Pierre and Cybèle are so happy together is known as ‘l’Etang de Corot’ since the painter lived at Ville-d’Avrey and the pond was his preferred motif.

Jean-Baptiste-Camille Corot, Ville d’Avrey, 1867

A quarter century or so after the death of Corot, this same pond was to fascinate the great photographer of neglected Paris, Eugène Atget. Indeed I suspect that not only the decision to use black and white, but also the choice of the film stock, the decision to film the outdoor scenes in soft diffuse light and most of all, the way the shots are composed were all heavily influenced by Atget’s photography.

Eugène Atget, Etang de Corot, Ville-d’Avrey (1900-10)
Eugène Atget, Parc de Sceaux. Avril 1925, 7 h. matin

Selezioni Zecchino d’Oro 2014 – Lucca 25 maggio

And something completely different to finish off.

I’ve expressed my admiration for Marco Lui once before in an earlier blog, and have no scruple in doing so again: his interviews with children are charming and funny, and he brings out the children’s personalities in a way that I have not seen recorded elsewhere.

Marco Lui is a mime artist who presents the annual Italian children’s song competition ‘lo Zecchino d’Oro’ and interviews the participants before their performances. He establishes a real rapport with the children, makes them relax and laugh, and subtly flirts with the little girls. I think his success comes partly from his good looks, but mainly from the way his humour is teasing whilst, paradoxically, showing great respect for the children. He invites them into complicity and together they become a kind of ‘double act’.

I must also confess that I find something almost erotic in seeing a little girl and a man sat close together like this, interacting joyfully, enjoying each other’s company and losing themselves in the quasi-orgasm of laughter. For a reluctant celibate making a loved-child laugh like this is probably as good as it can get.

21 thoughts on “Found on Youtube – Six Films And Something Different

  1. Re-checkin’ some BIG Yank autos in the Dumbed Down PedPANIC ‘Don’t Talk To Strangers’.

    It’s WAY more Swingin’ 60 than Rockin ’50 – still early tho?

    Liked by 1 person

  2. WAY beyond the curve, Swingin ’62 ffffPhone-GRRROOMIN’ Lolis fer fux sake?! ‘Don’t Talk To Strange Men’

    2-years on from ‘Never Take Sweets’, ‘Don’t Talk To Strange Men’ ALSO stars Janina Faye, b. 1948, wholesome, BIG wide-eyes, winsome, snub-nose, rosebud-lips AngGlow Loli, “Oh Gawd, I’ve cum agin!!” Them cynical BIG Biz cats sure know how to pick ‘em (on the HOT Loli-casting couch?)

    dickirish12 months ago Enjoyable film. Just watched it on Talking Pictures TV Channel 81 on Freeview. UK.Lots of old British movies on this channel. Well worth a look!

    DeathsSkull694 years ago “I always talk to strange men”

    Worthy, wordy, walls o’ waffle rave review.
    “All this may sound somewhat disparaging – not at all, I absolutely love this film – but I do believe that the basic premise of it is rather flimsy and even unbelievable by the standards of 1962- I mean, OK, maybe people were more innocent and trusting then and we didn’t have the ridiculous peado-hysteria so wonderfully satirised by Chris Morris in Brass Eye, but there must have been some gauge of the ‘done thing’ and some indication that mysterious strangers weren’t to be trusted, otherwise… well, they wouldn’t have made a film with such a title, would they? Unless it was the first to prove this particular point.”


    Firty-flirty years on from Swingin ’62, all round Lurve Magnet SeXentric (chatted-up even by Gay Guyz) woz mid-Nawty 90s fffphone-grrroomed by a proactive predatory 13y.o. lil sarf Lunnen Loli. Improperly/‘Age inappropriate’ on ‘TalkAbout FreeFone Fer Femmes 18+’ (remember that early interactive phone-dating?) wiv tinkle-trill tongued HOT intro, “I like your voice…Have U got a BIG One?” “Well I ain’t gonna say I’ve got a small one am I? Anyway, U don’t sound like 18, U shouldn’t be on here.” “So what? I ain’t bovvered!”

    “Honest yer Honour. She offered her honour, I honoured her offer, and all nite long it woz honor & offer…”

    Ackshully, SeXentric never met nor even ‘phoned the pesterin’ SeX-craZed lil Loli always rrringin’ up on her early-cellphone fer real HOT chats. E.G. “R U really over-40 like my fat Dad, U sound sooo nice?” “Yep, but still in sharp shape. So, who’s Ur fave-type BIG bloke of the moment?” “Beckhaml” “And, wot would ya do if he woz there now in yer room in his Man U. kit standin’ facin’ U sat on yer bed in yer flimsy lil BabyDoll nightie?” “I’d pull his shorts dahn and suck ‘im off!” “He’s probably got a real BIG One like a BIG pink-not-yeller Tesco-type banana!”….SILENCE as the HOT HARD thought sunk sweetly in, Deep-Throat. Her HOT intelligent chats each lasted circa 20mins when her folks were out in the evening, and loveable SeXentric was like a comfy therapy-counsellor (STILL not yet paid!) Hearing intimate confessions like, “I first got real SeXy-wet when I woz abaht 5 and wanked to Posters of cleancut Pop Stars like Rick Astley (22) and Jason Donovan (20). (Too late fer SeXy 70s BIG Brit-VICTIM Gang Leader Glitter.) By age 8 me and my best mate broke our own virginity and soon got free-fingers right in, and had full-SeX wiv some nice boyz and later wiv BIG teens. So at age 10 me and my mate went privately to the clinic and asked the nice lady not to tell no one, and to put us on the pill and Safe-SeX lessons tho I STILL don’t like RUBBER protection. SeXentric sensitively asked, “When U have bare-back SafeSeX wiv a bloke can U feel the HOT sperm hit Ur womb?” “Yeah! That’s the BEST part, then I KNOW I’ve really got ‘im, and he really fancies me!!” THIS IS KID REALITY – then, now, ALWAYS! Mocking, laughing at so called ‘SeX Laws’!! So DEAL WIV IT! U Thick, Sick, Sad Sucka AngloMOCK-Puritan Power&Control Freak BIG A$$HOLE$!!!

    Quote Late Great SeXy Brit Wit DICK Emery, “Oooooh, U are AWFUL! But I like U!!”

    Later fffphone-tappin’ S.0.5.PedSquad/bent-Cops(iz there a straight-1 can’t get a REAL job?) tried real hard grrrrooomin’/VILELY aBusing her against her will and against SeXentric fer Fake-VICTIM BIG Compo and THEIR promotion. But she soon sussed ‘em out and told ‘em, parrotfazed, ”Fuck Off!! Or I’ll call some REAL cops who my Dad knows.” Proven she woz Firteen when SeXentric passed his BIG Biker young KindPedPal 24 y.o. HEAVY-Leather Shawn’s cellphone-no. to the sarf Lunnen Loli and she pestered him 24/7. Once while he woz Dispatch Ridin’ dahn near Baker St. (soul Sax solo?) she called him in a noizy skoolyard playtime when her jealous lil mate grabbed her ‘phone and blurted, “She’s only FIRTEEN ya know!” 20 yrs on in Y2K+16 she’s mebbe a Firty Free y.o. mum wiv Online/SeXting/Selfie-SeX-craZed HOT lil Lolis of her own? Cos HOT lil Lolis can NEVER be Stopped – FULL STOP!!

    BIG Bonus Vidz: Mebbe the very earliest ‘Stranger Danger’ Public PANIC Flick, Rockin ’50, ‘Don’t Talk To Srangers’ (while 90%+ KidSex woz/iz NON-Stranger NO Danger) sNatch from Anglo L.A. U$A/Uptite SeXual A$$holes where Free Range CaliFornication, Sun, Surf, SeX, Sand-In-Ur-4$kin woz/is Meat & 2-Veg to CONSENTING SeX-craZed HOT Lolis & Shotas.

    Alltime Late Great Brit Rafferty – Baker Street (where Lurve Magnet SeXy 70s SeXentric once chatted up a POSH Xmas Shopping 9 y.o; HOT Loli – tale fo’ ‘nother timewarp.)


  3. Swingin ’65 N.W Lunnen suburban SeXentric recalls diggin a Lunnen Eve Std entertainments page ad fer “Never Take Sweets..” STILL screened fer 3-days ’til the weekend at DEEP east Lunnen East Ham Granada. But, failed to make the 25 mile round-trip – DOH!


    “The Pony Cart”. A three-act play by Roger Garis. An elderly local bigwig persuades the nine year old daughter of the school’s headmaster to dance naked for him. 1st Produced: De Lys Theatre, New York 1954. Parts: Male: 4 Female: 5 Other: various






    Never Take Sweets from a Stranger (1959) – David L Rattigan
    davidlrattigan.com/hhnevertakesweets.htm En cache

    Never Take Sweets from a Stranger … WRITER: John Hunter, from the play The Pony Cart by Roger Garis CINEMATOGRAPHER: Freddie Francis MUSIC: Elisabeth Lutyens

    Never Take Sweets From a Stranger (1960) | Classic Horror …
    http://www.classichorrorcampaign.com/2011/04/07/never-take... En cache
    In fact, Roger Garis, on whom’s play The Pony Cart the film was based, … Never Take Sweets from a Stranger subtly gets under your skin, and despite being dated, …

    Both ‘Never Take Sweets” AND ‘8 o’ Clock Walk” were occasionally on mainstream Brit-TV (late nite or Sun a-noons) WAY thru Swingin 60s/SeXy 70s. Since CENSORED in a so called ‘Free Democracy’ – WTF?!



  4. ”8 o’ Clock Walk'(to the Gallows), 1954, DICKie Attenborough stitched up for a LoliSeX-murder by another early false stereotype ‘Sweets Stranger’/UnSweetPed. And, ‘Never Take Sweets/Candy From A Stranger’, 1960, verbally all but explicit, visually very stimulating. Both viewed YT-FREE FULL FLIX by SeXentric in ’09.

    Now DVD/Download only by BIG Anglo Spivs’ “WE SAY U PAY PAL !”

    Linked to ‘Explorer’s’ post here. Wrongly awaiting dystopian/hyper-inflation for the worst of inhuman instincts, Following, post-WW1 Deutsch/Weimar hyper-inflation Fritz Lang’s 1931, UnKindPed 1st-flick ‘M’ (Lang U.S. remade Rockin ’52). Roger Garis’ US/UK Rockin ’54 UnKindPed play ‘The Pony Cart’ (source for ‘Never Take Sweets…’), beat Vlad’s bi-Ped (confused introvert Hum/confident extrovert Quilty) ‘Lolita’ by 1-year, 1st published by Olympia Press Paris, Rockin ’55.

    Plus, SeXy ’74, U.S. SeXploitation Flick, working/wanking title ‘Wanna Ride Little Girl?”/”Impulse!” STARS ex StarTrek/Capn COCK er, Kirk, a NON-stereotype hip-conman cool killer Matt Stone, wiv HOT lust fer Teen dollz+ but BIG AM/Anger Management issues.

    Quote, Stone to gum-chewin’ store-doll, “Ur (door) buzzer’s ringin'”.

    Real confident HOT Teen Doll, “U better BELIEVE it!”





  5. On film, in fiction, or fact.

    Some rare & not-so-rare, recurrent HOT SeX themes GRAB ever-one’s attenshun, ever motha lovin, lowdown cotton-panty pickin time. And we mean EVER-ONE!

    GOTCHA !!

    SeXy ’76, “The Little Girl Who Lives Down The Lane”

    From 2m.57s, “My name’s Frank Hallet, your father knows me. My two kids will be along. They’re trick-or-treating. I’m just going along to make sure there aren’t any real goblins hanging around. Like dirty old men who try to give pretty little girls some candy.”

    (SeXentric’s SeXy 70s SalesExecYankPedPal met pre ‘Taxi Driver’ 12 y.o. Jodie & entourage in a sWank Paris Hotel where self-assured lil La Foster held court like a seasoned sophistiCAT. Quote SeXentric, “Ur never too old to take sweet nuthins from an eloquent Loli.”)

    BIG Bonus Flick co-Stars Kubrick’s LOLITA/Sue Lyon, Swingin 67, “The Flim Flam Man”. (Snake oil sales dude/Mr Bojangles/Dr Feelgood ‘n’ all ya’ll WAY South o’ Dixie Hic-aBilly hokum. Pass the ‘Jack’ pleeze befo’ ya’ll’s dun swigged that sucka plum dry – Hic!)

    From 1h.21m.21s, HOT Loli tales dun GIT ‘EM – clean outta jail. Ever motha-lovin lowdown cotton-panty pickin time…


  6. Why are they SOOOO ‘fraidy cat of a few firm facts? Paraphrase AngloFine BIG Will, “Wethinks they doth protest too much.”

    SeXentric/TW Fascist BLOCKED, but tries again, and again, and..zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz.
    Your comment is awaiting moderation.

    Tina Willis on May 31, 2016 at 2:22 pm

    Tina not breaching any guidelines surely not Fascist-BLOCKED on a ‘Free Democracy’ site?

    Patiently, politely, tries again.

    Rephrase mainstream Dumbed Down ‘Pop SeXpert’ Mr Tweedle: “Pedophilia remains a rare & negatively misrepresented-demonized subject in film & in all Anglo mainstream media. Since Fritz Lang’s 1931 German-made ‘M’ (US remade by Lang in 1952) several more negative narrative films, like ‘Eight o’ Clock walk’, 1954; ‘Lolita’ 1962; & more recently ‘Mysterious Skin’ & ‘Hounddog’ & others have all made shallow failed takes on the mainstream grossly distorted issue. So, in 1960 when UK Hammer made ‘Never Take Sweets From a Stranger’ they further distorted & exploited the subject ironically, simultaneously MASS CELEBRATED in GERMANY when Rock God Good Pedo Sgt Presley, 24, heavy dated & petted TWO ADULTOPHILES Ingrid, 15 & Priscilla, 14. But for few rare negative cases, benign Adultophilia-Pedophilia is CELEBRATED throughout the whole Rock & Roll era and culture, Rockin 50s ongoing unchecked. Not least a decade later when SeXy 70s Rock Guitar God Good Pedo Page, 26, heavy dated & MORE, proactive predatory Adultophile, Lori, 13.”

    Don’t Dumb Down – Wize UP!!


  7. http://popcultureaddict.com/retro-review-never-take-sweets-from-a-stranger-1960/comment-page-1/#comment-951816

    Rephrase mainstream Dumbed Down Tweedle-Dee: “Pedophilia remains a rare & negatively misrepresented subject in film & in all Anglo mainstream media. Since Fritz Lang’s 1931 German-made ‘M’ (US remade by Lang in 1952) several more negative narrative films, like ‘Eight o’ Clock walk’, 1954; ‘Lolita’ 1962; & much more recently ‘Mysterious Skin’ & ‘Hounddog’ & others have all made failed takes on the mainstream grossly distorted issue. So, in 1960 when UK Hammer made ‘Never Take Sweets From a Stranger’ they further distorted & exploited the subject ironically & simultaneously MASS CELEBRATED in GERMANY when Rock God Good Pedo Sgt Presley, 24, heavy dated & petted TWO ADULTOPHILES Ingrid, 15 & Priscilla, 14. Pedophilia CELEBRATED throughout the whole Rock & Roll era, Rockin 50s ongoing unchecked, not least a decade later when Rock Guitar God Good Pedo Page heavy dated & MORE, proactive predatory Adultophile, Lori, 13.”

    Don’t Dumb Down – Wize UP!!


    1. That ‘Never Take Sweets From a Stranger’ looks, well, ‘interesting’.

      I haven’t watched it yet but it looks like it might offer us a kind of catalogue of stereotypes and misconceptions held about paedophiles over 50 years ago – straight away one stereotype that seems to be less prevalent today is that the paedophile is an old man (with a bag of sweets).

      I suspect that it’ll be the kind of film that is best to watch in a soundproof room, so that the neighbours won’t be disturbed by my shouting at the screen.


  8. Oh, and Diane Kurys also made a great prequel film to Diabolo Menthe, called La Baule-les-Pins. In this one the focus is on the elder sister, played by the beautiful thirteen-year-old (and flat-chested) Julie Bataille. A group of kids play together all summer by the seaside, the elder sister expriences her first crush and first kiss, the younger sister, eight, plays doctor with a boy the same age, and meanwhile their parents’ marriage is crumbling around them. We see the aftermath of this in Diabolo Menthe.

    Incidentally, Eléonore Klarwein, who plays Anne in Diabolo Menthe, was nearly fourteen at the time of filming but only just entering puberty. She had a big growth spurt over the following two years, and then began living independently and working as a model.


  9. Hi LSM,

    Finally, belatedly, getting round to reading your blog. Great stuff, and we seem to have much the same taste in film.

    Sundays and Cybele has recently had a deluxe Criterion DVD treatment featuring “new interviews with director Serge Bourguignon and actors Hardy Krüger and Patricia Gozzi”. I can’t wait to get it. Both the Ana Torrent films you mention have already had the Criterion treatment.

    I highly recommend Anne Wild’s 2002 film ‘Mein Erstes Wunder’. Dole, eleven, child of a single mother, and Hermann, forty-three, a husband and father, fall chastely in love and run away together. But their clock is ticking, because the authorities are after them, and Dole is growing up. The film won the Max Ophüls prize for best first film and stars eleven-year-old Henriette Confurius, with whom I fell madly in love myself the moment I laid eyes on her. Alas, it has never been released with English or any other foreign-language subtitles. There is, however, a DVD release with German closed captions to help along those of us whose German is weak.



    1. >”Finally, belatedly, getting round to reading your blog.”

      “I have been expecting you M̶r̶ ̶B̶o̶n̶d̶ A.” says I, with my dueling scar, stroking a sinister white moggy…”welcome” (pause for effect) “to my lair…”

      I’m seriously tempted by the “Sundays…” DVD – it’s not too expensive and I find it a very beautiful film.

      The ‘Mein Erstes Wunder” looks intriguing – but my german is non-existent. But if the girls (and boys) are lovely enough and the photography good enough then that hasn’t always discouraged me (I’m a great fan of ‘Hugo och Josefin’ despite not knowing a word of Swedish).


      1. Oh, I love ‘Hugo och Josefin’ too (it helps that I know Swedish! 🙂 ). There’s that beautiful scene where the uncle dances with Josefin. Could he be a CL?


      2. There’s a scene in ‘Mein Erstes Wunder’ that always brings a tear to my eye. Hermann has thrown it all away for love and is driving to the beach with Dole in a stolen car. One day, he says to her, you’ll tell your first boyfriend about this trip. It’ll make a funny story — if you dimly remember it. She tells him he’s talking nonsense. But he knows, and she doesn’t. It reminds me of thirty-one-year-old Francis Thompson’s poem to Monica Meynell, then ten or eleven:

        I am but, my sweet, your foster-lover,
        Knowing well when certain years are over
        You vanish from me to another —
        Yet I know, and I love, like the foster-mother.

        Later that year, she contracted pleuritis and nearly died, and Thompson poured out his remembered anguish in the poem ‘To Monica Thought Dying’ in which he imagines Death playing with her toys. As Monica grew up and Thompson spent less time with the Meynell family, the two drifted apart somewhat, but continued to exchange letters, and Thompson write her a final poem, ‘To Monica — After Nine Years’. When Monica got engaged the year after this, Thompson wrote her a tender letter wishing her happiness, promising his friendship to her husband-to-be and recalling her long-ago gift to him of a poppy, which had inspired that first love poem. ” ‘Keep it’, you said (though you have doubtless forgotten what you said) ‘as long as you live.’ I have kept it, and with it I keep you, my dearest. I do not say much or show much, for I am an old man compared with you, and no companion for your young life. But never, my dear, doubt I love you.”

        (Source: Brigid M. Boardman, Between Heaven and Charing Cross: the Life of Francis Thompson)


        1. I don’t know how old you are A. but as I get older and get deeper into middle age the more I feel just how bitter-sweet paedophilic love is: I get older, but those I love and am attracted to stay the same age – and I whilst I almost expected little girls to find me interesting when I was in my teens and twenties, now that I have a beer-barrel instead of a six-pack and a fine head of skin instead of a fine head of hair I can feel little hope that a little girl will ever look at me with those eyes again.

          Also, – we go on remembering, living off, believing in, venerating a love we shared with a child decades ago, and for maybe just a few years: she, now adult, will almost certainly have forgotten all those things we did together, the hugs and the kisses, the swims in the river, my teaching her how to ride a bike, how we’d go to the cinema together, were silly, make up stories, and laugh together, how we would sometimes look deep in each other’s eyes or would, on a long train journey home from an amusement park, fall asleep in each other’s arms, proud of our love, happy for the world to watch and ask its questions…

          I think Humbert (x2) nailed it when he said “I knew I had fallen in love with Lolita forever; but I also knew she would not be forever Lolita.”

          It sometimes seems that with puberty children shed their childhood like a butterfly sheds its existence as a caterpillar – a little girl I’m close to and who is about 10 remembers all the things we did together when she was five or six because her mind still, in a sense, inhabits the same world – but all this seems to be lost with puberty. I remember being 14 or 15 and looking at children of 10 and 11 and thinking how long ago it was that I was a real child, despite it being only three or four years – but all the changes I’d gone through had made that time expand and seem immense.

          I guess it helps to have a poet’s heart if you’re going to be a paedophile – to find some kind of meaning in this inherent melancholy…

          Thanks for alerting me to the poetry of Francis Thompson – I’m quite a fan of Victorian poetry (Tennyson, Browning, Meredith, Arnold, Hopkins, Swinburne, Dowson…) so it’s exciting to have a new body of work to explore, especially if he had a ‘kind’ side to him.


          1. I feel you. The essential sorrow of the child-lover.

            Thompson was definitely Kind. Boardman denies her subject’s sexual attraction to prepubescents, as does Dominic Hibberd in his biography of Wilfred Owen — though not Jad Adams in his biography of Dowson. But in the book we read a great deal about Thompson’s ‘child-friends’, as Dodgson would have called them. One was the niece of one of his employers, whom he’d take for walks of an afternoon (the niece, not the employer!). Another was Daisy Stanford, with whom he picked raspberries in the countryside, and who years later recalled, “He helped me fill my basket, and, childlike, any extra fine one I got I’d give him to eat.” He took the Meynell children ice-skating, and took in good part the pranks they played on him. One, Viola, recalled as an adult that though the children became more critical of him as they grew up — he was an opium addict and partly financially dependent on the Meynell parents — as youngsters “they were never afraid or strange with him, and a child would hold his hand as naturally as hold her doll.” An adult female friend of Thompson’s, with whom he was also in unrequited love, wrote in a letter to him after seeing him cuddle a baby boy in the children’s hospital where she worked, “Your personality now seems incomplete without the child as the natural & requisite finish to the whole man.” “Look for me in the nurseries of Heaven” is engraved on Thompson’s tombstone.


  10. Many of these natural SeXpression kid-vids have now been removed by Anglo Fascist anti social YT/Google for violating their so called “Community Guidelines”.

    While THOUSANDS of YTs still have CRIMINAL Racist comments, and vids of kids VILELY abused by Bullying or killed by War & Famine.

    Not one for Capital Punishment, but surely such 1st Degree Hypocrisy should at least be a Hanging Offence – just stretch ’em a bit?

    “NO!” U say.

    OK then, a lot!!

    Hang ‘Em HIGH – and then Streeeeeetch ’em REAL Loooooooooow!

    Kinda recalls fast-hand Clint’s mean line to a bounty hunter in “The Outlaw Josey Wales”

    Bounty Hunter, “Nuthin’ personal Josey, but ah”m a-takin’ ya in. A man’s gotta make a livin!”

    Wales, “Yeah? Well DYIN’ ain’t much of a livin’ boy!” B-L-A-M!!!

    BIG Bonus Vids: SeXy 70s Cool Clint swamped by HOT Lolis! “The Beguiled”.

    Rates alongside SeXy 70s pro-Pagan/pro-Loli True Brit Flick “The Wicker Man” (Quote the most prolific actor in film history, True Brit Christopher Lee, paraphrased, “Of all my nearly 300 films, ‘The Wicker Man’ stands out as my favourite.”)




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