Before I get to the GIMP scenes, I want to emphasize that this movie had godawful "production values" throughout. Bad acting, bad script, poor editing, directing, settings, fake accents, you name it, there is very little in this movie that was done without complete incompetence. So when I describe the GIMP scenes, understand that the written word is going to make these scenes seem better than they really are in the implementation. The film-makers seemed to be going for a parody of Nazi films. At some point, they even interject goofy jazz music and cartoonish sound effects. None of this works. IMO this approach, plus the tediously bad acting, rob the GIMP scenes of authenticity or menace.

The story, if you care, opens in 1955 Argentina where rotund former Nazi and POW camp commander Helmut Schultz (seriously) is confronted by Israeli agents. He escapes and naturally heads straight for the nearest Catholic church to confess his past sins(!). That sets up the flashback to 1945 and the tale that follows.

After a seemingly endless amount of chit-chat and absurd exposition that screams "Don't take any of this seriously!", we finally get to the dungeon and the first GIMP scene. A blonde is stretched out on a simple rack. Her feet are chained to one end of the table, and her wrists are chained to an axle affixed to the other end. She is completely naked and the chains are snug and stretch her out tightly, displaying her fine body. Schultz, munching a chicken leg, interrogates the blonde without success (or a credible German accent). His equally obese No. 2, "Wolfgang", turns the axle, the woman screams, her bleeding wrists are pulled tighter, yet she still won't talk. But wait...Wolfgang produces a bucket of hot coals and pulls out one of those swastika-shaped branding irons, as seen on the covers of men's magazines! He applies it to one of the woman's feet, flames appear, the woman screams and the scene ends abruptly. This could have been a better scene with less inane yapping from Schultz and more shots of the actress' facial expressions. But for me it created expectations for better things to come. And Wolfgang's chuckling was also a nice touch.

The next female captive is a gap-toothed, foul-mouthed African-American who cops a defiant attitude in front of Schultz and Wolfgang. So they strip her, douse her with cold water and chain her AOH to a ceiling beam. She sports a superb "King Magazine cover" body but, unfortunately, some tattoos as well. Wolfgang delivers a ridiculously fake, short-range and cursory whipping, which nonetheless produces bloody marks on her back and trickles of blood running down her nicely-rounded ebony butt. A short scene, very low on the menace scale, and kind of incongruous, but some may find it interesting.

After another long, boring spate of camp nonsense, we are introduced to top-billed actress Tatyana Kot, who plays Russian soldier Natasha. She's the svelte redhead in the promo stills who is standing in a bathtub full of blood, after having seduced a German soldier into her cabin, given him the "I Spit on Your Grave" dick-slicing treatment and then slitting his throat. The German soldier's screams alert his comrades, so the naked Natasha flees wearing only his boots and wielding his weapon. After an lengthy, absurdly-staged shootout in the woods, Natasha is rifle-butted in the face, captured and taken back to the camp. She's unconvincingly rope-tied AOH to a wooden ladder-like structure and forced to watch a newsreel while a female guard passes some kind of chintzy-looking electro-shock device over her chest and belly. It's a very short scene but we get another glimpse of Natasha's slender, athletic body. She moans nicely, it's just too bad she has a hideous-looking gash on the side of her mouth.

A long, boring interlude brings us back to the dungeon. The still-naked Natasha now has a blackened eye and gobs of dried blood around her mouth. Along with Natasha, there are three women in shredded clothes chained to the ceiling, but they are virtually soaked with blood and their faces are either hidden or horribly disfigured. Meanwhile, the blonde on the rack is still there, covered with a multitude of fake-looking bruises and abrasions. I'm left with the feeling that we've come late to the party. Natasha is strapped to a chair and a thumbscrew-like device is used to crush her middle finger until it pops and squirts blood. This scene is helped by good screams from Kot, a different tormentor who conveys some cold menace, and a mercifully short speech by Schultz. But I really don't get off on torturing a woman who is already pretty far gone. What happened to the other women? And why couldn't they be naked too?

The film is not even half-finished when it seems to abandon any stimulating content and goes straight for the gore. Scenes of executions, tortures and mutilations of men ensue. In the final GIMP-worthy scene we see Natasha, still naked and strapped to the chair, and covered with bruises, blood, abrasions and burn marks. A visiting Japanese officer, on hand to give the Germans lessons in torture, shoves sharp bamboo sticks underneath the fingernails of her right hand, and then after a few moments, quickly pulls them out. This scene is brutal, but the somnolent Japanese actor and a cutaway to another scene midway through lessens its impact.

A late opportunity for GIMPwork is missed when a USO dancer is captured as a suspected spy. She is portrayed by the only cast member with the slightest bit of acting talent and comic delivery. She even has a pretty face and an authentic '40's hair-do. But she never does a GIMP scene. So sad.

I really wanted to give this movie an F because it is a festival of ineptitude, incongruities and anachronisms. But the GIMP scenes do display some fine female flesh and occasionally (as in the rack scene) get some details right. So it gets a D in my book. Turning the sound off might make some of the GIMP scenes--the ones that feature Schultz's ramblings--more palatable for the viewer. I just didn't find any of this worth sitting through or sifting through.