In the first part of this article, we saw how risky it is to be a naughty girl in Germany and Austria, where they are not just spanked but routinely at risk of being spanked on their panties. Now we’re going to extend the bad-girl bad news by tracing a circle around the Teutonic countries at the continent’s center and showing how the same practice can be found in mainstream material all over Europe. Our first port of call is directly south, to Italy. But our example illustrates how Europe can’t easily be divided up into its national components.
La Matriarca (The Matriarch; 1968), released in English-speaking countries as The Libertine, is the work of Italian scriptwriters and an Italian director, Pasquale Festa Campanile, but it’s also a very European movie: the leading cast are Frenchman Jean-Louis Trintignant and Belgian Catherine Spaak.
And Catherine also happens to be the niece of Paul-Henri Spaak, the man who laid the political foundations of the European Union. Though for our purposes her illustrious surname has, or approaches, another kind of relevance…
She plays Mimi, a widow who discovers her dead husband’s secret sex life and sets out to become a libertine and explore her own sexuality, often in a matriarchal manner. Much kinkiness follows with many different men, the last of whom is Dr Carlo de Marchi (Trintignant), who has a novel idea for their relationship: he wants to marry her. She insists that she doesn’t want to marry him. But he also has a novel idea for getting her to change her mind, which involves something not entirely dissimilar to that interesting surname…
The significance of the spanking scene for this particular article is how it begins and ends. Carlo puts Mimi across his knee and, without even pausing for breath, lifts her skirt. It’s going to be a seat-of-the-panties spanking! Though in this case the panties aren’t the pretty bikini style she wears earlier in the film, as seen above, but something more akin to lacy cycling shorts, which go down more or less as far as the hemline itself:
But it is a vigorous panty spanking all the same!
Just under a minute later, after she has tearfully accepted his proposal, he gently restores the skirt to the ‘down’ position. He relaxes, with her still over his lap: the spanking has clearly come to an end.
My point is that what signals the intention to spank her, just as much as putting her into position, is the raising of her skirt, and what signals the decision to stop spanking her is its corresponding lowering – even though he doesn’t then immediately go on to release her from the spanking position across his knee. The maxim may be that it’s not a proper spanking if it isn’t OTK, but in this movie it looks as if a spanking is also (and more) defined by its being administered on the mutandes (as the Italians call panties).
We can reinforce this if we travel east to a country that no longer exists. The film Jedanaesta Zapovijed (The Eleventh Commandment), also known as Korana Plays with Fire, deals with a romantic relationship between an older man and his best friend’s teenage daughter, Korana. It is the work of a Croatian director, Vanca Kljakovic, a Serbian leading man, Dragomir Bojanic-Gidra, and a Bosnian leading lady, Vesna Malohodzic.
In 1970, when the film was made, they all belonged to that loose, doomed confederation of Balkan states known as Yugoslavia. And in 1970, female fashion typically left girls self-prepared for what Korana gets when she plays with fire!
There’s also a photo taken on the set, with a stills camera positioned just to the right of the one capturing the moving action:
Forward in time now and into neighboring Hungary, where we have previously seen some pleasing evidence of panty spanking in professional wrestling. A more recent match, in January 2017, saw one of the valets slung over the ropes of the wrestling ring, which is admittedly not the best position for spanking, but at least she had her little skirt thrown up for the occasion.
And if you look carefully, you can see the edge of her own panties peeking out from underneath the costume panties, too!
Further east brings us to Ukraine, home of the FEMEN movement and scene of the great 2009 spanking protest against sexual harassment at university. The event featured a cast of eleven girls, ten of whom got, between them, an awesome twenty spankings, of which fully fourteen were administered on the seat of their panties!
We’re now at the eastern edge of the continent of Europe, so we have to turn north. But Russia presents us with paradox: it’s a country that starts in Europe but continues eastward to the very ends of Asia. Inconveniently, my example is from the Asiatic part, Western Siberia to be precise, but we’ll treat it as nominally European in a nation whose seat of power lies in Europe. And it’s one we won’t want to miss: a 2009 production of Kiss Me Kate which is one of those rare and enjoyable occasions when Kate’s period dress is lifted to spank her – revealing Lilli’s modern panties!
Now we must head west again, which brings us back inside the European Union, to Poland, where another production of Kiss Me Kate awaits us. It opened in Dziedzice in September 2008, with Sebastian Gabrys as Fred and Anna Pasz as Lilli.
They were (and incidentally still are) a couple offstage as well as on, which adds to the spice of the performances. Though it probably didn’t embolden him to reveal her bloomers for the spanking, since skirt-lifting seems just as standard in Poland as it is everywhere else we’ve been today, in everyday life as well as onstage, as witness this example of a Polish birthday spanking from 2011:
Moving on to Slovakia and the Czech Republic, we can illustrate the same overlap of staged drama and folk customs. Czech film readily offers us the familiar examples of Honza Malem Kralem (1977) and Postriziny (1980):
And in real life there is the widespread pomlazka custom of whacking girls on Easter Monday…
… sometimes after making certain necessary adjustments to their clothing:
Leap-frogging over Germany, which we’ve already covered, brings us to Denmark, where again there’s an obvious example in the 1960 movie Poeten og Lillemor og Lotte (The Poet, Little Mother and Lotte), in which Dirch Passer memorably spanks an extremely self-prepared Judy Gringer:
Again, the stills photographer was positioned to the side of the movie camera, this time just on the left:
It was, of course, a black-and-white photograph that was colorized later without reference to the movie itself, which is why Judy’s red dress is now green and her pink panties are now white!
What will we find in France? We’ll find Barbarella, of course. In 1962, Jean-Claude Forest (1930-98) created the nubile sci-fi heroine for a series of comic strip adventures that were serialized in the men’s quarterly V Magazine and then collected as a graphic novel in 1964. The plots are perhaps best described as visually imaginative (they aren’t notable for their coherence as stories), and Forest’s artwork is deliciously graceful and sensuous. He even has time for an occasional spanking reference, like this one in the eighth episode, in which Barbarella comes off best after an encounter with the wicked Queen of Sogo:
But we’ll find something more satisfying than that in the fourth episode, published a year earlier in issue #5 (Winter 1962-63). Barbarella arrives in the snowy kingdom of Antan (Yesteryear), where the inhabitants dress in the fashions of the 1880s (with certain exceptions that aren’t ordinarily visible but which we’ll be seeing later). The King, for example, is a grave, bearded individual in a top hat, and we’ll also be seeing him later. But the first people Barbarella meets are the twin princesses, Stomoxys and Glossina.
The teen terrors attempt to kidnap her, but she’s rescued by their brother, Prince Topal, and taken on an aerial tour of the kingdom. The naughty princesses sabotage the airship, and proceed to play a nasty practical joke. Barbarella’s reaction:
But as Topal goes to find the girls, on punishment bent, the girls conk him on the head, abduct Barbarella a second time and set their mechanical toys on her – toys that have sharp teeth! But Topal and his royal father arrive before too much damage is done, and…
It’s not clear which of the twins is shown here getting her non-1880s panties spanked, but one thing is made clear: they are both spanked – and then sent away in disgrace for a long stay in the country.
The biting toys from this episode found their way into the 1968 Jane Fonda film, but not the royal spanking – though the panel was included in the publicity materials!
Our final port of call takes us across the Pyrenees. We began with La Matriarca, and we end with La Madriguera (The Burrow; 1969), released in English-speaking countries as The Honeycomb. Like La Matriarca, it’s an example of European multi-national cooperation, with a Spanish director, Carlos Saura, a Swedish leading man, Per Oscarsson, and an Anglo-American leading lady with a significant father, Geraldine Chaplin. (Yes, Charlie’s daughter!) And also rather like La Matriarca, it’s about a couple using sexual games and fantasy to explore their identities inside an otherwise dull marriage. This includes a role-playing scenario in which she pretends to be a schoolgirl who has received an unsatisfactory school report, which results in her receiving something else:
The ruler across her black panties!
So throughout Europe, and especially in the center and east, it seems that it’s a regular, accepted thing to spank girls on the seat of their panties. The reasons for this are bound to be a matter of speculation and can wait for maturer consideration another time. But at this stage it’s important to emphasize that none of these examples are from porn. They are all from the mainstream media, in some cases of cultures that have a relatively relaxed attitude to sex and place the borderline between porn and the mainstream differently from America and Britain: yes, La Madriguera is about sex as part of a marital relationship, but in the context of a haunting, surreal art film.
And the material is not even always from the frank or risqué end of the spectrum: Poeten og Lillemor og Lotte and Honza Malem Kralem are both family films, and the latter, indeed, was made with the expectation that it would have especial appeal to children. You couldn’t get more mainstream than these movies…
… panties and all!