In brief, Bordellet is a turn-of-the-century tale of a young country girl (never named in the original version, but referred to as “Lonny” in the English-language version) who comes to Copenhagen and finds work in a brothel. The two main plots deal with 1) the country girl’s initiation into “the big, happy family” (depicting lots of frivolous sexual romps) and 2) the case of the owner’s death and which of his sons will inherit the brothel. A sub-plot concerns a stolen diamond, an escaped jewel thief and two stupid policemen on the case (one of them is played by Gotha Andersen, who at the time starred in a very popular children’s tv-show!). It’s all supposed to fall into place at the end, but the film is quite crudely told as well as badly edited (it’s also, seemingly, shot without sound. Post-dubbing is often painfully wooden). The main attraction here is clearly the girls (sometimes looking a bit self-conscious and awkward) and the sex (looking 60’s-style pornographic rather than 70’s-style erotic). Still, it’s a landmark film of sorts, a great success of the time, and it spawned the series of (much better) burlesque Danish hardcore sex-comedies of the 70’s. Director Ege initially had help with the script from Finn Karlsson (who also co-directed, but left during filming because he felt the whole thing was “just too un-professional”). Karlsson would soon direct I jomfruens tegn. Werner Hedman, director of all the remaining “tegn” films, is heard reading the owner’s will in the film. Annie Birgit Gaarde, star of all the “Sengekant” films, narrates. Thus, the main roster of Danish erotic cinema in the 70’s is involved in Bordellet. Ege himself, a prolific super-8 pioneer of the 60s, never made it in the fiction feature field of erotica. Bordellet remains his last film.