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Christina Lindberg - A Biography

by Mike Haberfelner

January 2006

Films starring Christina Lindberg on (re)Search my Trash


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Having seen the Swedish movie Thriller - En Grym Film/Thriller - A Cruel Picture/They Called her One Eye (1974), it's hard to not be impressed by the memorable performance by the film's lead, Christina Lindberg as the mute, eye-patched girl with a vengeance. Surprisingly though, this was her last lead in a feature film, and soon afterwards she gave up filming all together (with the occasional exception). But still, by 1974, this beautifully shaped doe-eyed girl who always seemed to have an aura of infinite sadness around her, had already had a short but interesting career in acting behind her ...


Born 1950 in Göteburg, Sweden, Christina Lindberg's first claim to fame was not as an actress at all, but as a model, more specifically a nude model. Especially a nude picture on the cover of the magazine FIB Aktuellt granted her instant notoriety, and so it came as little surprise that she soon soon appeared nude in more men's magazines like Playboy, Penthouse and Lui as well as erotic films.


Christina Lindberg made her acting debut in a film called Maid in Sweden (directed by Dan Wolman) - a film shot in Sweden with a Swedish cast by an American crew - in 1969, playing a 16 year old girl from the country who visits her sister in the city - and has her sexual awakening.


Maid in Sweden however was not released until 1971, so the first film that presented Lindberg to the paying public was Rötmanad/Dog Days by Jan Halldoff in 1970, a time when erotic cinema was still relatively new, fresh and exciting, and the widespread advent of hardcore was still a few years away. Dog Days, while definitely softcore, did its bit in pushing the envelope of what was acceptable, and it ultimately became a financial success in Sweden. And even though Lindberg had only a supporting role, the film widened her popularity, and more (erotic) features starring her soon followed.


Exponerad/Exposed/The Depraved/Diary of a Rape (1971, Gustav Wiklund) again features Christina Lindberg in the lead in a sex film about a woman (Lindberg) torn between her young nice guy boyfriend and an older man, a sadistic sociopath, whom she feels herself strangely drawn to - though much of the story only happens in Lindberg's character's mind (but we still get to see it of course).

Exponerad had a much-hyped premiere in Cannes where it became an instant (calculated) scandal - and it helped in making Christina Lindberg into an international erotic star ...


It was possibly thanks to Exponerad that Christina Lindberg caught the eye of famous American sexploitation director Joe Sarno. In the late 1960's/early 70's, Sarno had relocated his operations to Sweden to make more daring pictures than he could in the USA at that time, and he was always on the look-out for girls who had no inhibitions to appear in front of the camera in the nude, and who had at least basic acting skills - and Christina Lindberg definitely fitted both bills.


Lindberg would star in 2 films for Sarno in 1972, and while in the first, Every Afternoon/Swedish Wildcats, one of Sarno's lesser films, she would have a supporting role as one of a stable of hookers who frequently appear all naked in animal makeup and body painting, the second, Young Playthings, a bizarre tale about a toymaker and her female toys, would see her in the a lead role.


With her fame having transcended the borders of Sweden, Christina then went on a (two-stop-)world tour to make films elsewhere:

First off was Germany, where in the wake of the successful Schulmädchen-Report-/Schoolgirl Report-films a sex-film industry had developed that would greet everyone who looked young enough (which Lindberg did, despite being 22 she still looked like being in her teens) and would drop their textiles with open arms.

In all, Lindberg starred in 4 German films, Mädchen die nach München kommen/Girls who come to Munich/The Swinging Co-eds (1972, Walter Boos), Was Schulmädchen verschweigen/Secrets of a Sweet Sixteen/What Schoolgirls Don't Tell (1973, Ernst Hofbauer), the 3D-sexploiter Sex in 3 Dimensionen/Sex in 3D (1973, Walter Boos) and the 4th part of the Schulmädchen-Report-series, Schulmädchen-Report, 4.Teil - Was Eltern oft verzweifeln lässt/Schoolgirl Report Part 4: What Drives Parents to Despair/Campus Swingers (1972, Ernst Hofbauer). All of these films are cheesy but - more often unintentionally - funny pieces of erotica, not really memorable for their own cinematic merits but highly enjoyable seen from a nostalgic point of view. Possibly the funniest of these is Schulmädchen-Report, 4.Teil, in which Christina feels an incestous longing for her brother, but after he refuses to shag her, she has a surreal nightmare ... great stuff.


Lindberg's next stop was Japan, where she made 2 films for Toei in 1973: Poruno no Joo: Nippon Sex Ryoko/The Pornstar Travels around Japan/Journey to Japan by Sadao Nakajima and Furyo Anego Den: Inoshika Ocho/Sex and Fury by Norifumi Suzuki. Of these two, Sex and Fury is the more interesting picture, an extremely stylish and completely entertaining mix of yakuza-, swordfight- and espionage-film, with heavy doses of nudity (only topless, since this is from Japan) thrown into the mix. Besides Japanese sex-star Reiko Ike as a thief bent on vengeance Lindberg plays a British spy and gambler looking for her one true love.

The Pornstar Travels around Japan by contrast is a simplistic art- and heartless story about Lindberg coming to Japan and being kidnapped and raped upon her arrival ... and ultimately falling in love with her kidnapper and rapist. Interestingly, this film cannot decide whether or not it wants to be a comedy (!) ...

Need I say it that both Lindberg and Ike have nude scenes in this one ?


Back in Sweden, Christina Lindberg teamed up with director Mac Ahlberg of Jeg, en Kvinna/I, A Woman (1965) and Fanny Hill (1968) fame, for the over-the-top sex-comedy Jorden runt med Fanny Hill/Around the World with Fanny Hill (1974), but in this one, Lindberg's role was relatively small.


Not so in Anita - Ur en Tonarsflickas Dagbok/Anita: Swedish Nymphet (1973, Torgny Wickman), in which she played the title role, a 16 year old girl (despite being 23, she could still pull off a sweet sixteen) who's, well, shagging around until she a) has her first true orgasm, and b) finds her true love (Stellan Skarsgard).


By 1974 however, Lindberg had grown tired of continuously undressing in front of the camera and was looking for roles that required more acting and less nudity.

The 1974 release Thriller - En Grym Film/Thriller - A Cruel Picture/They Called her One Eye by Bo A.Vibenius - a film that was allegedly shot back in 1972 but did not get released because of its controversial plot until now - ably showed that Lindberg's talents went further than just taking her cloths off, her role in Thriller required a lot of acting, which Lindberg pulled off admirably, especially considering she played a one-eyed mute ... but the film also required a lot of nudity. The film (in its uncut form) even featured a few hardcore scenes, but in those, Lindberg - never one for hardcore - was replaced by another actress. She even opposed these scenes, but there was little she could do.


As a whole, Thriller is an incredibly ruthless film about a mute one-eyed girl (Christina Lindberg) drugged into submission by a pimp and made into a prostitute with no will of her own - or so the pimp thinks,as  in her spare time the girl learns all sorts of self defense and race-driving, and eventually, she gets back at her tormentors, pimps and johns alike. The film is violent and intense, made all the more so by Christina Lindbergs superb acting.


Thriller was followed by a supporting role in the rather disappointing Sängkamrater/Wide Open (1974, Gustav Wiklund), in which she had little more to do than get naked every now and again.

After that movie, Christina Lindberg's career did rather quickly come to an end, with her being only 24 and looking even younger than that. About the wh, one can only speculate, but it might primarily have to do with changes in the sex-film business: Hardcore was hitting big time, and like many other softcore actresses, Lindberg did not mind disrobing in front of the camera but she did have her - understandable - reservations against shagging just anyone on film. And Lindberg's appeal with mainstream (as in non-erotic film) audiences was (presumably) too small (yet) to continue her career away from erotica.


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Christina Lindberg did make a few more small appearances in films over the years, including Attentatet/Outrage (1980, Thomas Johansson) and Sverige at Svenskarna/The Battle of Sweden (1980, Per Oscarsson) and she even paid homage to her own role in Thriller in the 2000 parody-movie Sex, Lögner & Videovald/Sex, Lies and Videoviolence by Richard Holm, but by and large, she stayed out of the business and had embarked on a second career: Journalism. In the second half of the 1970's, with her film career rapidly cooling off, Christina Lindberg has started studying journalism and besides writing articles for men's magazines, she had started working for her fiancé's aviation magazine Flygrevyn, which she took over after his death in 2004.


One curious item though I have kept for the end of this article: Christina's Svampskola (1993), a self-directedshort film about mushrooms in Sweden, which she not only hosts but has also written and co-directed and co-produced with Bo Sehlberg.


And who can be both the ruthless one-eyed avenging angel she was in Thriller and a host of a mushroom show in one lifetime deserves at least my respect ...



© by Mike Haberfelner

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Thanks for watching !!!



In times of uncertainty of a possible zombie outbreak, a woman has to decide between two men - only one of them's one of the undead.


There's No Such Thing as Zombies
Luana Ribeira, Rudy Barrow and Rami Hilmi
special appearances by
Debra Lamb and Lynn Lowry


directed by
Eddie Bammeke

written by
Michael Haberfelner

produced by
Michael Haberfelner, Luana Ribeira and Eddie Bammeke


now streaming at


Amazon UK





Robots and rats,
demons and potholes,
cuddly toys and
shopping mall Santas,
love and death and everything in between,
Tales to Chill
Your Bones to

is all of that.


Tales to Chill
Your Bones to
a collection of short stories and mini-plays
ranging from the horrific to the darkly humourous,
from the post-apocalyptic
to the weirdly romantic,
tales that will give you a chill and maybe a chuckle, all thought up by
the twisted mind of
screenwriter and film reviewer
Michael Haberfelner.


Tales to Chill
Your Bones to

the new anthology by
Michael Haberfelner


Out now from