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Reviews and pictures of actress Berta Cabré naked in "Viaje al más allá", "El invernadero", "Estigma", and 4 more titles.
Beautiful and petitely slim, this talented actress early became type-cast as a clothes-shedder, missing out on what could have been a glorious career.
Berta's stills gallery
Mr. Skin has a page for Berta - click here for more of her pics & clips!
Podrías con 5 chicas a la vez? (Ignacio F. Iquino, Spain, 1979) (as Invitada en la boda)
# Las verdes vacaciones de una familia bien (Mario Siciliano, Spain, 1980) (featuring Berta Cabré as Ana Nicosia) ✭ ✭ ✭ ✭ ✭
Loose and shabby collection of portraits of the members of a well-to-do family become dissolute with ennui. The linking device is the small dog neglected on the lawn pining for its walkies as the family shut themselves separately away in solitary pursuits. Said dog's heart sinks further when it hears that sulky teenage daughter Berta has put a record on; she won't be coming down any time soon.
Berta is straight out of the bath and hasn't put any clothes on yet. Has she an en-suite or did she pad across the landing like that? It's nice to ponder such little questions. Anyway, her hair looks wonderfully gothic left to fall free like that, and her petite (if slightly dumpy) figure is blessed with delicious small breasts.
So what does a naughty naked girl get up to in her room alone then? She scrabbles about on the bare floorboards a lot apparently (I was saddened she was only looking for her 'stash') before succumbing to the inevitable. Then it's back to the nail varnish again, only it's going to be 'round the nipple' this time. The record's finished, but that poor doggie's as far from its walkies as ever.
¡En qué lío me han metido! (Enrique Guevara, Spain, 1980) (as Nati)
Los últimos golpes de 'El Torete' (José Antonio de la Loma, Spain, 1980) (as Berta)
# Viaje al más allá (Sebastián D'Arbó, Spain, 1980) (featuring Berta Cabré as Teresa) ✭ ✭ ✭ ✭ ✭
with Alicia Orozco, Narciso Ibáñez Menta, Ventura Oller, Enric Casamitjana, Eudald Macià, Emilio Gutiérrez Caba, Mir Ferry, Juan Viñallonga, Miguel Moncho, Antonio Molino Rojo, Marta Flores and Dolors Duocastella
A lively segment from an otherwise dull Spanish paranormal anthology in which Berta plays one of those possessed schoolgirls who were just going out of fashion at the time.
We join Berta and her schoolmates as the nuns are helping them settle down at bedtime. Nights on convent dormitories are notoriously uneventful so I expect the next scene will be the sun rising in the morning or something. But hang on what's this? Berta with her fingers inside her nightdress and slipping down between her thighs?! Notice how she's the only one of the girls doing this. Blows the theory this is normal and natural right out the window.
Soon Berta is in trouble in class, doodling in her exercise book instead of taking notes. Normal girls might draw pop-stars, but Berta inscribes an intricate depiction of Beelzebub. Time for a visit to the headmaster in his study. Whereupon she wastes little time in spitting in the poor man's face, destroying miscellaneous school property, and the coup de grâce, ripping her tunic wide open. Be thankful for small mercies: some girls only have little pert ones.
It's the start of an absolutely splendid kicking-off session that sees Berta dragged by nuns to the school exorcism room to receive the prescribed treatment from the resident priest. But relax, this man's a pro: he has the Devil out of her before she even gets a chance to rip her pants down.
Dos pillos y pico (Ignacio F. Iquino, Spain, 1981) not nude ✘ (as Catalina)
Barcelona sur (Jordi Cadena, Spain, 1981) (as Prostituta)
# Jarretelles roses sur bas noirs (Gérard Loubeau, France, 1981) (featuring Berta Cabré as Sybille) ✭ ✭ ✭ ✭ ✭
Self-consciously sadistic drama with a Spanish cast but more of a Franco-American aesthetic. Two young thugs dash about in no-longer fashionable motor vehicles doing young women ill while trying to look the most like James Dean. In its casual nihilism and stylistic vacuity it was ahead of its time. One nice thing to say: it knows how to make its leading ladies beautiful.
Berta and her beau (who looks like an Italian gangster so is probably used to this kind of thing), on arriving at their country mansion are jumped upon by the Dean-alikes who, having interrupted several rapes to do this, are in a black mood. Chappie is kicked to bits, chained to a radiator, and shut away, while Berta (to general audience incredulity) is allowed to wander about the bare room completely unmolested.
With her back to the door Berta does a slow and dignified strip and advances towards her man uncertain of what he needs from her. He seems in a depression too deep to ever return. At a loss, she tries banging him to the limits allowed by his awkward location and restricted mobility. All too long drawn-out and porn-filmy, but Berta's initial undressing makes for something of a classic scene.
Violación inconfesable (Miguel Iglesias, Spain, 1981) (as Marta Almeida-Heiman)
Putapela (Jordi Bayona, Spain, 1981)
Las alumnas de madame Olga (José Ramón Larraz, Spain, 1981) (as Chica en discoteca)
Objetivo: sexo (Jordi Cadena, Spain, 1981)
La Cucafera La llum blava (Joan Bas, 1981)
Las aventuras de Zipi y Zape (Enrique Guevara, Spain, 1982) (as Chica Gángster)
# Al sur del edén (Ismael González, Spain, 1982) (featuring Berta Cabré as Maite) ✭ ✭ ✭ ✭ ✭
Unappealing Spanish flick about three glamorous girls on their separate summer holidays. It's a study in alienation more than anything else.
Take Berta for instance, a fiend for the gaming tables, so perhaps she lost herself at roulette to that gruesome blow-dried ponce. She submits to sex with him in the 'ironing board' position, whether due to innate frigidity or the inhibitions of the particular situation I do not know. The BDP is recreating an encounter from his past with a less attractive woman by the way, scenes of which have been edited out hence the jerkiness at times.
The re-match is a little more romantic. Actually it's a qualified success, until the gentleman ruins things with an indiscretion of over-enthusiasm at the critical moment, sending poor Berta scampering for the bathroom.
# Estigma (José Ramón Larraz, Spain, 1982) (featuring Berta Cabré as Julia) ✭ ✭ ✭ ✭ ✭
with Alexandra Bastedo, Christian Borromeo, Emilio Gutiérrez Caba, Irene Gutiérrez Caba, Helga Liné, José María Caffarel, Antonio Molino Rojo, Virginie Blavier, Florencio Calpe, Craig Hill, Massimo Serato and Llàtzer Escarceller
Confusing Spanish horror with too many characters to make much sense of. But then lucid plotting was never director Larraz's strong point even in his best work; atmosphere was more his thing.
So we won't even ask why our troubled teen hero chose to take face-in-a-crowd Berta up a big steel tower on a friendly after-school walk, despite her a) already having a boyfriend (handsomer, maturer etc.) and b) being afraid of heights. Inevitably she soon becomes incredibly whiny about the whole affair. It's not a bad character trait really, this reluctance to climb enormous rickety structures without a full health and safety report, especially in a girl you want to grow up to be the mother of your children. Chappie has something more immediate in mind though, beginning a tragic chain of events that leaves Berta's body dashed bloodied upon the concrete below.
That (barring any unpleasant 'morgue' scenes) would seem to be the end of it. But one night our hero is pacing nervously through a haunted mansion (we've learnt not to ask questions) when a full roll-call of his victims to date (two) appears naked in front of him. It's an undeniably creepy image and perhaps the deceased Berta feels like she's getting her own back on the lad. Which shows how little she knows about the mindset of this age group; he probably considers this eyeful a qualified 'result'.
Catherine Chérie (Jaime Jesús Balcázar, West Germany, 1982) (as Catherine)
Los embarazados (Joaquín Coll Espona, Spain, 1982) (as Enfermera morena)
# El invernadero (Santiago Lapeira, Spain, 1983) (featuring Berta Cabré as Berta) ✭ ✭ ✭ ✭ ✭
with Carmen Serret, Ovidi Montllor, Bernard Seray, Alfred Lucchetti, Víctor Israel, Llàtzer Escarceller, Isabel Salisachs, Lourdes Pedrol, José María Martí, José María Torruella, Guillermo Ramos and Sara Martí
Low-budget Spanish chiller starring Berta as an enigmatic young actress called Berta. A sign that the director needs his mind straightening out just as much as the protagonist, a lonely bachelor modelling himself on Dennis Nilsen. But without the charm and social skills. There's a cake shop nearby for instance where the girl behind the counter looks just like Carmen Serret in glasses. Do you tip a girl in a cake shop (if you're a regular - 'Have one yourself luv', 'Don't mind if I do' etc.)? Or might she take it as a dig at her waistline? Life is a minefield.
Our man picks Berta up off the pavement after an altercation with her boyfriend, takes her back to his flat, and has his pathetic rescue fantasy with her courtesy of a comfy chair and a bottle of TCP. But the areas of chaffing and grazing keep moving lower and lower! When they reach the level of her shoulder the top is hurriedly screwed back on the bottle. Granted the girl hasn't asked for any actual money yet, but would you, in his position, actually trust her? Still, there must be some way a middle-aged pervert can turn the situation to his advantage...
Luckily our man is a dab hand with a soldering iron and has soon rigged up the shower for sound. Yep, that's what an ageing voyeur had to settle for in the way of electronic surveillance back in those days. But getting daringly close to intimacy (less than fifty yards with line-of-sight) he starts sitting in on Berta's rehearsals at the theatre. And sending her flowers afterwards. And snapping her half-naked at the window of her flat...
La gran quiniela (Joaquín Coll Espona, Spain, 1984) (as Blanca)
# Fanny Pelopaja (Vicente Aranda, Spain, 1984) (featuring Berta Cabré as Nena) ✭ ✭ ✭ ✭ ✭
with Fanny Cottençon, Bruno Cremer, Francisco Algora, Ian Sera, Paca Gabaldón, Eduardo MacGregor, Joaquim Cardona, Roberto Asla, Jordi Serrat, Marta Padovan, Carles Sales and Joaquín Castelló
Married Berta is forced to strip at gunpoint by a corrupt policeman as a way of extracting information from her husband. But seeing as there was a similar pointless and nasty scene involving Fanny Cottençon earlier I think the message the director is trying to get across is that it is a way of satisfying his sadistic perversion in a way that won't be a burden on his conscience. (The director I mean.)
Más allá de la muerte (Sebastián D'Arbó, Spain, 1986) (as Florence)
El bigote de Babel Sueños de gato, sueños de gata (Miquel Obiols, 1987)
Material urbà (Jordi Bayona, Spain, 1987) (as Magda)
Ojos sin luz (Juan Alcázar, Spain, 1988) (as Elena)
La Granja, menjars casolans: S02E17 (Orestes Lara, 1991) (as Laura)
La Granja, menjars casolans: S03E01 (Orestes Lara, 1991) (as Laura)
Truhanes: S01E25 Somos como niños (Miguel Hermoso, 1994)
Amb música ho escoltaries potser millor - Salvador Espriu a ritme de Jazz (Daniel Jariod, Spain, 2009)
Los perversos rostros de Víctor Israel (Diego López, Spain, 2010) (as Self)
Want more? Mr. Skin has a page for Berta - click here for more of her pics & clips!
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