Women are occasionally victimized in the Schoolgirl universe: a lone black girl is set up for gang rape by racist classmates, a country lass is forced into prostitution by loutish dad, etc. But such instances usually end up with the protagonist rescued by a convenient Prince Charming, often as our narrator urges us to question whether they brought the abuse on themselves.
The overwhelming majority of tales present a brave new world of brazenly aggressive females demanding satisfaction whenever, wherever, with whomever. Particularly with older men, including priests, teachers, bus drivers, family friends, guest workers (Rinaldo Talamonti often appears as a comedy-relief Italian stereotype addressed in terms like "Hey, spaghetti! Show us your macaroni!"), even sexy older brothers.
Their behavior sometimes edges from fantasy fodder into the fanatical, as when a married fencing instructor tells his obsessed student, "You must be reasonable!" and she replies "I'll be reasonable when I'm 75!" Or when another underage lassie brags that beyond regular partner sex, "I also do myself four or five times a day." Most disturbing is a frequent refrain of blackmail, almost invariably used by nymphets on a reluctant authority figures to maintain a sexual relationship (and/or good grades). In the ickiest instance, Volume 5's 15-year-old Margit seduces Grandpa, saying if he refuses she'll say he raped her; three months of action later he confesses to parents and police rather than endure more shame.
Ostensibly celebrating women's newfound sexual freedom, the Schoolgirl Reports often seem to regard that as a menace to society as well. (At one curious point we're informed "They're all reading Valerie Solanas' SCUM Manifesto, which turns men into slaves and a necessary evil for sex.") Needless to say, the series' major off-camera collaborators were an entirely penis-bearing roll call.
These films made tens of millions, not just in Western Europe but in overseas locations where their copious full-frontal nudity (nearly all female, of course) required cutting or fogging to meet local standards. Entries appeared around the globe under titles like Campus Pussycats, Smartie Pants, Further Confessions of a Sixth Form Girl, and Super Sexy Show. The 1980 final chapter didn't hit American screens until three years later as Making Out — quite the reduction from an original German title translating as Don't Forget the Love in Sex. Meanwhile Germany had been flooded with copycat "reports" (housewife, schoolboy, nurse, etc.), and in 1975 saw the legalization of hardcore porn. So a once ubiquitous, now quaint and bizarre example of mainstream softcore slowly petered (ahem) out.
The Impulse-CAV discs are notably stingy with extras — there aren't any, not even trailers or a horrible-English-dubbing option — but in a way that suits their blunt appeal. After all, one shouldn't expect many frills from movies wherein a dessert-spooning virgin (sex aside, ice cream appears this generation's predominant onscreen indulgence) muses that a passing motorist "could help me get rid of that bothersome hymen," or the "pathological dream world" of a girl troubled by incestuous thoughts features psychedelic imagery of Daddy menacing her nubile naked self with a shish kabob.