The next in what will be something of a “trilogy” of sorts from Argentine director Armando Bó. We started with perhaps the best of the three, The Insatiable Widow, so why not continue with the weakest: Fiebre. Now, there are a couple of reasons for that. First, and most importantly, it has the least amount of fur in it. Second, it poses an interesting dilemma to the viewer: How do you feel about a beautiful woman in a white mink coat on screen if it’s superimposed over a couple of horses… enjoying one another’s company?

Fiebre – Fur Fashion Stats

• Fur Runtime:  12:31 minutes
• Film Runtime:  90 minutes
• On-Screen Ratio: 13.89%

Find-a-Fur: Fiebre, 1971

• 15:05 – 16:50 – white mink coat
• 19:35 – ”
• 20:44 – ”
• 21:10 – 22:08 – ” w/ equine superimposition
• 25:20 – 38:10 – brown fur to white mink to brown

Fiebre – The Film

The story, such as it is, involves a nice lady who likes horses. A lot.

Fiebre – The Furs

As with most of Bó’s entire filmography, the lady is played by his real-life main squeeze: Isabel Sarli. Magda is a widow, though her level of satiability is not explicitly stated. Magda has what I believe to be a white mink coat, which we see quite frequently throughout the film. The quality of the video is such that I could be wrong, so take that assessment with a grain of salt. 

While there is less of it in this film, the “Isabel Sarli vamps in fur” does happen in this film. Though in this film, sister is doing it for herself and not in front of random dudes. It is during one of these episodes that Magda’s mind drifts to thoughts of equine copulation, which is helpfully? superimposed over the shot. I just want to be clear on this since I don’t want comments about how they were “tricked into seeing horse peen.” 

Bó wasn’t about to let her get away without doing a tease sequence for him. Over a fairly long section of the film Magda appears in a brown mink coat and seduces Bó’s character.

In between two such sequences, we cut back to Magda and her white mink solo session. 

Before we return one more time to Magda’s brown mink and another of Bó’s “signature” scenes, where the actors have to be checked for ticks after filming is completed.

The grand total of Isabel Sarli’s fur screentime in this one is a modest twelve and a half minutes, and all of them in mink, so I’m not going to give it exceptionally high marks due to my personal preferences. But, for mink aficionados, it may qualify for superlative marks. Even if you are going to ignore the bit with the equine lovemaking, you’re only losing about a minute of runtime, so it’s not a significant hit to the stats.