Furs on Film – The Insatiable Widow (1976)

glamorinfurs

2 years ago

FurGlamor - Featured Image - The Insatiable Widow

We’re no strangers to softcore; we’ve covered The Bitch, after all. So now we travel south of the equator for a little slice of softness from Argentina. This film is both soft of core and fashion, as it has both in vast quantities. The film is in Spanish, but trust me, you’ll pick up what The Insatiable Widow is putting down.

Fur Fashion Gallery – The Insatiable Widow, 1976

The Insatiable Widow – The Film

A married lady enjoys extramarital relations. That’s it—that’s the plot. I will generously assume there is dialog that covers the “previous husband died, rendering her a widow” plot point. I’m not sure about the math on whether one remains a widow when remarried, but this isn’t Cinema Sins, after all.

The Insatiable Widow – The Furs

Brief disclaimer: Fur identification confidence in this film most mostly “very low” because the film is only available in what we in the “biz” refer to as “ass quality.” At a certain point, a muddy haze of pixels cannot be interpreted or upscaled to any decent quality.

Widow+Wife: Carmen, played by former Miss Argentina Isabel Sarli. As the film will suggest via wardrobe, the descriptor “wealthy” can be added to her “widow” status. You will not wait long, as there are feathers in the opening credits. The credits also feature what co-star/director/real-life-boyfriend Armando Bo clearly considered her two best assets.

Carmen wears many fur coats in the film, starting with this white mink. Of all the furs in the film, this one receives the most screen time, which says quite a lot.

While I may ordinarily offer some plot details about what happened in the scene featuring the fur coats, in this case, it’s exactly the same every time. Carmen sees a man, makes a kissy face at him, and has an extended softcore scene with him. This process repeats twice with the white mink.

Now, a few slightly adjusted inquiring minds may ask a follow-up question purely related to the technical science of filmmaking: does Carmen take off the coat? “No.” The answer is “No.” Do with that information what you will. Up next, this white fur coat is notable only because it is one of the few where the process does not entirely repeat itself and appears only briefly.

I’ll skip one where the process repeats itself with what may be a black mink fur coat because it’s shot chiefly long during the “kissy face” phase and quickly moves to hard R once the camera finally drifts up close. The film returns to form promptly with suitable framing for this spotted coat with an oversized black fur collar and cuffs.

Another coat that doesn’t get to the softcore phase is this mink worn at a ski resort, though it fully involves Carmen’s “attention-getting” ritual.

This particular coat may only have a fur collar. Again, source quality makes this a tough call.

At least we can rely on the magic of blue fox fur to transcend poor source quality and make identification a breeze.

The spotted fur gets a brief outing once more before what may be the same black mink alluded to earlier returns. It is slightly easier to see, though only slightly.

This lynx coat and hat combo is one of the more disappointing “does not make to softcore” coats.

Finally, we end with this brown mink at a dock where Carmen sails off with her husband, but not before making some eyes at some other rando on the boat.

So, yes, we have a new entry into the 20% club, and it lands as the second or third most fur-filled movie yet covered. There are 32 minutes of low-res fur fashion, all worn by the amazing Isabel Sarli. Sadly, this is another film I’m not expecting to see a 4K restoration on, but if it somehow does appear in better quality, I’ll update it. Suffice it to say you probably won’t have any problem figuring out what is happening on screen in its current state.