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onsdag 29. august 2012

Sexy Night Report/Le notti porno nel mondo



Italy, 1977

Directed by Bruno Mattei and Joe D’Amato

Hosted by Laura Gemser


I’ve never been a huge fan of the so-called mondo genre, which tends to focus a bit too much on senseless animal killings for my taste, but the many sexy mondo films made by Bruno Mattei and Joe D’Amato in the late 1970s are a different matter. Focusing solely on sex, perversion and kinky nightclub acts, these mondos are staged from beginning to end, and offer a lot of crazy fun. Sexy Night Report was the first of the bunch, and there has been some debate about the film’s authorship. Bruno Mattei wrote the screenplay, while the direction is credited to “Jimmy Metheus”, one of many aliases used by Mattei. According to the documentary Joe D’Amato Totally Uncut (1999), however, much footage was actually directed by D’Amato while Mattei was in charge of piecing together all of the material (which also includes a lot of footage ‘borrowed’ from other productions). Regardless of who made what, the film is clearly a collaborative effort between Mattei and D’Amato, and I think it’s only right to consider both of them as the creative force here.

The film is hosted by a frequent collaborator of D’Amato: the lovely Laura Gemser, who once again plays her signature role as the exotic, globe-trotting investigative journalist Emanuelle. Thanks to her many connections around the globe, Emanuelle’s camera crew has been granted access to the most exclusive, secretive and often bizarre nightclubs in the world, and from her comfy home, Emanuelle cheerfully introduces and narrates the hot, exclusive footage she has acquired for us.



The beautiful Emanuelle is our host for the evening


The show kicks off with a strange act in a Hamburg nightclub, featuring porno queen Marina Frajese as a club performer dressed in a sexy safari costume. After doing a striptease she lies down in a sleeping bag – only to have a guy dressed in a laughable-looking gorilla costume storm onto the stage to attack and chase her around. After putting up a pretty weak struggle, Marina gives in and the pair begin to go at it while the incredibly sweaty and sleazy-looking audience members excitedly look on.



Safari striptease



Gorilla silliness


Apparently the show is quite a turn-on for the spectators


An interesting piece of trivia for this segment is the fact that the guy in the ridiculous gorilla suit is referred to as Lotar in Emanuelle’s narration. In the early 1980s, Marina Frajese was sued by her ex-husband, respected Italian journalist Paolo Frajese, who sought to prohibit her from using the respected Frajese name in the sleazy porn movies she was starring in. As a result, Marina took back her maiden name Hedman but also frequently starred under the name Marina Lotar! But whether or not it was Lotar the Gorilla who gave her the idea for this name I do not know.


Could this be where the Marina Lotar name came from?!?


We then move on to a lesbian club in Hong Kong, where two oriental dancers strut their stuff while the all-female patrons stroke and caress each other in their darkened audience seats. “Are you scandalized?” Emanuelle asks in voice-over. “Why? In an era in which air, earth and water are polluted and the world is becoming a giant trash can, you shouldn’t be scandalized when people go against nature”, she tells us. Some great social commentary from Bruno Mattei there!

If this sequence looks familiar it’s because it’s lifted from D’Amato’s Black Cobra (1976), the first of his many erotic films to star Laura Gemser. The awesome song “My Lyne” that plays during this segment will no doubt also be familiar to D’Amato fans as it featured prominently on the soundtrack of his exploitation classic Emanuelle’s Revenge (1975). The song is performed by a little-known group named The Pennies, and is taken from their only album, The Five Pennies Opera, released in 1972. In fact, most of the songs heard throughout the film are taken from this album.



Hong Kong lesbians


Up next is a woman who does a striptease in a club together with her dog. And so the film continues – jumping from one bizarre club act to the next, with inevitable linking segments where a constantly smiling Laura Gemser introduces each sequence in various stages of undress. While the narration and some grainy establishing stock footage shots try to convince us that the various acts are taking place in exclusive clubs from around the world, it is patently obvious that all of the sequences were shot in a studio in Rome. The fact that the very same set recurs in several club acts is a dead giveaway, and furthermore the various audience members are made up of Italian bit part players whose faces will be familiar from countless other films. But Sexy Night Report also contains plenty of footage lifted from erotic foreign films and possibly some genuine documentary footage that the film’s producer, Franco Gaudenzi, had acquired the rights to. More about that a little later.

I won’t go into details about each of the many segments in the film but there are a couple of highlights that definitely warrant special attention. One of them is a sequence set in a Copenhagen nightclub in which Mandrake the Magician and his female assistant Narda (played by one of the girls from Mattei’s Nazisploitation romp SS Girls, 1977) perform sexy magic tricks. First, Mandrake lets the club patrons examine Narda up close and take a good look at her private parts. Then the magician performs a bit of magic by giving Narda male genitalia! Or, to put it in the words of Emanuelle: “Abracadabra! With his diabolical forces Mandrake changes Narda into an abundantly endowed male – causing the men to writhe in envy and the women to applaud enthusiastically”.


Mandrake and Narda


Mandrake displays Narda in all her glory...


...before giving her a penis!


Mandrake later reappears in another amusing sequence but for some inexplicable reason he doesn’t perform magic tricks this time. Instead he leads a couple of women up on the stage, puts them behind a large screen and has them poke their naked butts through large holes in the screen. The women’s husbands are then given the task of identifying their wives merely from the sight of their butts, and must fuck the one they think is their wife while “My Lyne” plays on the soundtrack again. In her voice-over Emanuelle expresses her doubts that everyone has made the right choice. “But who cares? The important thing is to have fun, isn’t it?”, she chirps.





Butt fun!


In this segment it is worth noting the presence of Dutch-born porn actress Pauline Teutscher as one of the women who stick their asses through the hole in the screen. This was one of the first roles for Teutscher, who in the early 1980s would become one of the most prolific stars of the Italian hardcore scene – appearing in tons of porn movies for the likes of Joe D’Amato, Alberto Cavallone and Mario Bianchi.


An early role for Pauline Teutscher


One of the funniest moments in the film is a segment named “Love on Wheels”, which features a naked man and woman on roller-skates. The man tries to catch the woman but they’re both rather clumsy and repeatedly fall on their asses while “My Lyne” plays on the soundtrack yet again. This cute and charming sequence is actually lifted from the episodic Swiss sex film Blutjunge Masseusen (1972), directed by sexploitation great Erwin C. Dietrich and released in the US as Pin-Up Playmates. Being an undisputed master at borrowing from other filmmakers, Bruno Mattei does of course not leave it at that, but instead pilfers two more sequences from Dietrich’s film. One in which a man is given a discreet blowjob at an Asian barber shop, and another in which a woman performs a striptease in a display window in front of an excited crowd before inviting one lucky spectator in for a lovemaking sessions while the others keep watching.




Scenes stolen from the film Blutjunge Masseusen


Another hilarious sequence shows a sex school in Amsterdam, in which a partially undressed sex teacher uses a blow-up doll to educate her group of naked students in the joys of love making. Undoubtedly, this segment has been culled from a German-language production but I haven’t been able to identify where it comes from. Possibly from another Erwin C. Dietrich film? Whatever its origins, the sequence was later re-used by Mattei in his most extreme mondo movie, the rather shocking Libidomania (1979).




If you recognize the film this scene is taken from then please drop me a line


And then there’s the segment featuring Omar “the world’s greatest lover”, in which an alleged super-stud named Omar attempts to have sex with 100 horny women in front of an ecstatic live audience. And of course he does so to the tune “My Lyne” as well as another great The Pennies song named “Many Doors, Few People”. Unfortunately, Omar gets exhausted after 24 girls and has to be carried off the stage while the furious crowd starts booing and throwing vegetables. “Well, if you try too hard that always happens”, comments a wise-assed Emanuelle. I’m sure it won’t come as a surprise to you that this highly enjoyable sequence has also been pilfered. Not from a European production, though, but from the American sketch movie If You Don’t Stop It… You’ll Go Blind!!! (1975), featuring Uschi Digard, who can be seen here as the very first girl who gets a piece of Omar.




Fun with Omar


Uschi Digard!


Throughout the film we are also served a boob competition, a masked Santo-style wrestler who mud-wrestles with a naked woman, three virgins given to a raja, a macumba ritual, two Arabian performers who due to strict laws are only allowed to mime sex acts, a naked dancer who inserts ping pong balls into her vagina and plops them out, and a black nightclub performer named Lollipop, the so-called ‘sex witch’, who loves to turn on her audience and get them to participate in her act. Many of these sequences appear to be culled from other productions but, unfortunately, I don’t know from where.



Mud-wrestling!


Sex mimers


Lollipop the sex witch


Considering that it was made by Mattei and D’Amato, Sexy Night Report does admittedly come across as somewhat tame. Sure, there’s lots of nudity but most of what’s on display here is rather harmless fun. Only occasionally does the film drift into more sleazy territory – most notably in a segment depicting an African tribe’s execution of two adulterers. The condemned are tied to stakes, and then the man is menaced with a knife before the getting his penis sliced off, while the woman is beheaded with a machete. This violent and brutal sequence stands in strong contrast to the easy-going silliness that precedes it, and as such it comes as a bit of a surprise. But even here Emanuelle’s reaction is merely to smile and cheekily tell us that: “It’s a good thing we don’t have laws like that or we’d all be losing our heads. I know I would”.

Observant viewers will probably recognize the execution footage as it was also used briefly in D’Amato’s Emanuelle and the Last Cannibals (1977), where it serves as the black and white film footage being watched by Laura Gemser and Gabriele Tinti on a projector.




Penis slicing



Decapitation


The execution sequence is immediately followed by another sleazy highlight: a segment called “Taxi Mother”, in which a several women bring their teenage daughters to a seemingly respectable establishment. But appearances are deceptive as the mothers are in fact pimping out their daughters to fat and sweaty old men. While the young girls are forced to service the old perverts, their mothers sit in the waiting room and keep careful count of the minutes just like a taximeter – thereby earning them the nickname ‘taxi mothers’. The entire sequence is filmed through barely cracked doors and featuring some action that is caught only as a reflection in a mirror. Consequently the footage really looks like something that was filmed secretly, and the whole thing is very well put together. Interestingly, this is the only sequence in which Emanuelle’s narration turns serious and critical, with her describing the taxi mothers’ cynical operation as “disgusting” and “monstrous”. Reflecting Emanuelle’s attitude is the soundtrack – playing the melancholy songs “For You My Friend” and “Photograph” – both performed by The Pennies, of course.


A taxi mother relaxes in the waiting room...


...while her unfortunate daughter “entertains” an old pervert


After the release of Sexy Night Report, D’Amato and Mattei churned out three more mondo movies in 1978. Laura Gemser returned as Emanuelle to narrate Emanuelle and the Porno Nights, credited to Mattei, while D’Amato gave us Sexy Night Report n. 2, hosted by black sexploitation queen Ajita Wilson, and Crazy Nights, hosted by Euro-disco sensation Amanda Lear. Of these films Sexy Night Report is by far the gentlest as the other three films take it quite a bit further in terms of sleaze and nastiness. This first entry in the series is more lightweight but that’s not to say that it isn’t entertaining because it really is. Clearly, the film aims more for fun than for shocks, and as long as you don’t mind that, you should be able to enjoy the film.

Using Laura Gemser in her signature role as Emanuelle to narrate the film was a smart choice, and Gemser’s charming presence is a strong asset for the film. There’s no good reason whatsoever for the many scenes of her undressing and changing clothes but it is amusing, and the final scene in which she accidentally exposes one breast and says “Oooops!” – even though she has willingly stripped a dozen times already – perfectly summates the film’s general attitude and the spirit in which it was clearly made.



Laura Gemser keeps changing in and out of clothes for no good reason other than to entice the viewers


Much praise must also go to voice actress Pat Starke, who dubs Gemser’s voice in the English language version. Starke later dubbed Gemser again in Violence in a Women’s Prison (1982), Blade Violent (1983) and Endgame (1983), and her eternally upbeat and girlish voice will be instantly recognizable to most fans of Italian B cinema. Her dubbing of Laura Gemser here is quite good and Starke does a great job of capturing the enticing and free-spirited essence of the Emanuelle character. Of course, she does not only dub Gemser whenever she’s on-screen but also provides a great deal of off-screen narration during the various segments – allowing Starke to deliver a practically never-ending stream of amusing and highly quotable comments that ensure we are never bored.


The great dubbing actress Pat Starke - seen her in a screenshot from Miami Golem (1985), one of her rare on-screen appearances


In sum, I’d say that Sexy Night Report is a pretty enjoyable way to spend an hour and a half. It might feel a bit tame for a Mattei-D’Amato production but it’s likeable, and each of the segments are kept at a suitable length so that they don’t wear out their welcome and become boring. Well worth a watch!


© 2012 Johan Melle

torsdag 9. juni 2011

Orgasmo esotico



Italy, 1982

Directed by Mario Siciliano

Cast:
Sonia Bennett, Marina Lotar [Marina Frajese], Mimì Losy [Fernando Arcangeli], Guia Lauri Filzi, Joe Mignano [Paolo Gramignano], Sabrina Mastrolorenzi, Michel Curiè [Giuseppe Curia], Luigi Tripodi, Sandy Samuel, Peter Brown [Bruno Romagnoli], Alfonso Gaita



We all have a lot to be thankful to Lucio Fulci’s landmark horror movie Zombie (1979) for. It was such a huge international hit that it immediately led to a real boom for gory Italian horror movies. Many of these were zombie movies of course but even the ones that weren’t still owe a lot to Zombie because it was the huge success of Fulci’s film that made Italian producers cough up the cash that made it possible for all these great films to be made. But if there’s ever an undeniable sign of a film’s big commercial success then it is no doubt the appearance of a porn movie that references the film’s title. You know, titles like Edward Penishands, Good Will Humping, Saving Ryan’s Privates etc. Mario Siciliano’s Orgasmo esotico obviously isn’t a pun on the title of Zombie, nor is it really any sort of parody of Fulci’s film. But I am nevertheless confident that without the enormous success of Zombie, this bizarre zombie-porn oddity would never have been made.

Through the years I have seen a lot of strange films but I must say that I don’t think I have ever seen anything as crazy as Orgasmo esotico. This film is demented to the point where I don’t even know how to properly review it, so rather than writing a regular review, this will be more of a long plot summary accompanied by some reactions and comments along the way. I think that is the best way to do it as a summation of the deranged plotline is going to say a lot more than what any sort of traditional critique can ever hope to.

It's a dark, stormy night. A horny housewife named Marina (Marina Frajese) is at home in her big villa and getting it on with her husband (Paolo Gramignano) by the fireplace. They go about doing their naughty business to the strains of some C.A.M. library music but they’ve barely finished up before Marina discovers that a sinister-looking black woman (Sonia Bennett) is standing outside the window looking in.



Love by the fireplace


Scary lady in the window


Now, a voyeur usually isn’t seen as something bad in a porn movie but the filmmakers make sure we know this is dangerous stuff by firing up the frenetic main theme from Joe D’Amato’s gory horror film Absurd (1981) – as well as having Marina act all hysterical. Paolo hurries out to investigate but just as he opens the door, Sonia plunges at him and stabs him to death with a knife. She quickly enters the villa and attacks a hysterical Marina, who tries to escape but faints from the horror of it all when she discovers Paolo's corpse in the doorway.



Sonia goes after Marina


Sonia drags the unconscious Marina into the bedroom and puts her on the bed. Out of the blue, Sonia's very feminine and obviously homosexual assistant (Fernando Arcangeli) appears and they inject Marina with a syringe to wake her up again. Apparently, the injection has also removed Marina's fright and made her horny, and she quickly gets into some lesbian action with Sonia, as the recycled suspense score from Absurd finally disappears to give way to some dreadful porn muzak.


Marina gets a syringe...

...and suddenly she's very... hmm... playful


For whatever strange reason, Fernando wants in on the fun so he strips and tries to jerk off but seriously struggles to get an erection from watching the two women. Well, duh! He finally succeeds (more or less anyway) and joins in – getting a blowjob from Marina while Sonia fingers his ass. Yikes! This scene was seriously awkward and nasty. No doubt Fernando’s erection problem will have rubbed off on anyone unfortunate enough to be watching.



Fernando decides to join in. Just be grateful I didn't include any more graphic screenshots


Cut to the next day, when Sonia and Marina dispose of Paolo's body by dumping it into an old well on the estate. Both women cackle and laugh when the body plunges to the bottom.



Sonia and Marina dispose of Paolo's body and cackle like a pair of crazy hens


Sonia then takes Marina with her to the home of a doctor-friend (Alfonso Gaita), and the two women engage in some threesome action with him. As soon as the women’s needs have been satisfied, though, they murder the doc by shooting him. They then wrap his corpse in a hideous-looking blanket, drag it outside and cover it (very half-heartedly) with some hey.



Some fun at the doc's place


Your services are no longer needed, doctor


Later back at the villa, Marina has fun watching Fernando dance around to awful disco music but then all of a sudden her dead husband Paolo reappears as a zombie! The so-called zombie make-up on Paolo is beyond amateurish and basically consists of some green and purple face paint but Marina nevertheless flips out with fright.


The night Paolo came out of the grave (or, actually, the well)


Apparently, Marina’s reaction angers Sonia and Fernando, who decide to punish her. They tie up Marina on the kitchen table and Sonia tortures her by burning her with a lit cigarette. Fernando then whips out a dildo and rams into Marina’s nether regions, while Sonia forces another dildo down Marina's throat. Okay, what the hell kinda movie is this!? It just keeps getting more and more psycho!




Dildo torture!


Anyway, the insane and totally unpredictable plot continues as we suddenly jump ahead to the evening. A couple (Bruno Romagnoli and Guia Lauri Filzi) who are friends of Marina arrive to visit her and are surprised to find that no one is at home. However, they are not about to let the opportunity of having some naughty fun in an empty house pass them by, so they quickly rip off their clothes and treat us to yet another coarsely executed sex scene. When Bruno and Guia have finally finished, they are scared shitless by the sight of a ghoulish Marina in freaky punk make-up standing outside the window.


Marina in punk... erm, sorry... zombie make-up


Guia freaks out


I guess this means that Marina too is a zombie now, although we never actually got to see what Sonia and Fernando did to her. In any case, Sonia suddenly appears and apparently uses magic powers to gain control over Guia and Bruno’s minds. At least I think that’s what she does – it’s not as if anything is actually explained in this flick.

Anyway, the plot makes a big jump to the next day, where we see that Guia and Bruno are now completely mind-controlled by Sonia. They willingly participate in a threesome with her, which Fernando takes delight in spying on.


Sonia gets a new pair of best friends


Afterwards, Sonia and Guia play around cheerfully in the garden while Bruno sits on top of the well and watches them. Suddenly, Guia lunges at him and pushes him down into the well while Sonia grins in approval.

Up next, a woman named Sabrina (Sabrina Mastrolorenzi) shows up at Marina's villa for some sort of errand, along with her boyfriend Pino (Giuseppe "Pino" Curia). Pino waits at the outside gate while Sabrina enters the villa, where she is overpowered by Guia and Fernando. They hold Sabrina down and Sonia injects her with another one of her mysterious syringes to make her more cooperative. Soon, Sabrina willingly engages in a rather icky lesbian session with Sonia in the bedroom while some tedious music stolen from D’Amato’s Porno Holocaust (1981) plays. Sonia even dons a strap-on at one point. Meanwhile, Pino senses that something is wrong and comes looking for Sabrina but he is met by Guia, who brings him into the living room and distracts him by giving him a blowjob.



Sabrina and Sonia have fun...

...while the trusty Guia distracts Pino


Having finished with their lesbian lovemaking, Sonia and Sabrina then enter the living room, and Sabrina gets furious when she sees Pino getting blown by Guia. She furiously chases after him but after a few seconds of bickering, they have made up and cheerfully stroll away together. You gotta love how all problems have such simple solutions in porn movies!

Back at the villa, however, Guia isn’t feeling well. It looks as if Sonia's magical spell over her is wearing off and she begins to cry and bitch. As we’ve already seen, Sonia doesn’t take too kindly to this kind of behavior, so it’s a pretty safe bet that Guia isn’t going to stick around for much longer. And true enough – in another one of those big jumps between scenes we cut to Guia lying dead on the ground while Sonia is firing up the oven. A little later, what used to be Guia is served to Fernando as a big roast for him to eat!! Again I have to ask: what the hell kinda movie is this? Were they seriously attempting to turn people on with this stuff!?



A touch of cannibalism!


Later, at a different place, a sleeping blonde woman named Sandy (Sandy Samuel) is woken up by a phone call telling her to come to Marina's villa. Sandy does as instructed but upon her arrival she is shocked to discover Marina's corpse. She doesn't take it too hard, though, because a little later she and Fernando are seen dancing cheerfully to some cheesy disco music. I have absolutely no idea of why that happens but at this point I’ve long given up on trying to make any sort of sense from this mess.


Sandy discovers Marina's corpse...

...but you can't let such trivialities stop you from enjoying some bad disco music!


I should perhaps mention that Sandy Samuel was no stranger to disco at this point. In between doing porn she actually found the time to release a really bizarre S&M/disco vinyl called “I Like Sado-Music” in 1980! And thanks to the wonders of YouTube you can all enjoy this wonderful track here:





But back to the plot! The next thing to happen is that we are introduced to Sandy’s boyfriend (Luigi Tripodi). He’s clearly older than Sandy and not very fit-looking either but he does, however, have a really cool and massive moustache, so that earns him some points in my book.


Luigi's awesome porn moustache


Anyway, Luigi shows up at the villa to look for Sandy but instead he is met by a zombiefied Marina and by Sonia, who uses her magic powers to get Luigi to undress and let Zombie-Marina give him a blowjob. Sandy is watching the action from the sofa and gets excited so she whips out a dildo and starts pleasuring herself. Zombie-Marina continues to blow Luigi until he shoots his load all over her breasts, which greatly disappointed me. I mean, come on! What on earth is the point of throwing in a zombie blow job if it’s not going to end with the guy’s dick being gorily chomped off and eaten? Seriously lame!


Zombie blow job!!


Apparently, this is what women do when they become witnesses to zombie-sex


Sandy, Sonia and Luigi then retreat to the bedroom and participate in a threesome. After they've finished, Sandy leaves and Sonia takes out an axe and attempts to kill Luigi. However, Luigi is able to overpower her and pins her to the bed. Then we hear a knock on the door and suddenly Luigi has vanished. It turns out that the one knocking on the door is the no longer zombiefied Marina. Yup, that’s right! Just when you thought that the film couldn’t possibly get any lamer than it already is, a bewildered Sonia sits up and tells Marina that she’s just had the most terrible nightmare. Everything has just been a bad dream!! Uuughhh!


It was all just a dream!


The film still isn’t over, though. We now learn that in real life, Sonia is actually Marina and Paolo's maid. After getting into her maid's uniform, Sonia serves a drink to Paolo but he is very mean to her and calls her names. Oooh... Poor Sonia! No wonder she has to resort to dreaming about turning her employers into zombies. She runs sobbing into the kitchen, where she comforted by Fernando, who is also a servant to Marina and Paolo in real life it seems.

In the evening, Marina and Paolo are getting it on in the living room next to the fireplace – just like they did in at the start of the film. You can probably guess where this is going, can’t you? And sure enough, after the lovemaking is done, Marina discovers a sinister-looking Sonia outside their window and freaks out. The End! The only thing missing here is an onscreen text reading “The nightmare becomes reality...?” à la Umberto Lenzi’s amazing Nightmare City (1980).




The nightmare becomes reality


Although Orgasmo esotico is frequently said to be a Joe D’Amato film, it was in fact directed by Mario Siciliano under his frequent porno pseudonym Lee Castle. One might be forgiven for mistaking this for a D'Amato film, though, since mixing zombie/horror elements together with hardcore porn is a practice more closely identified with D'Amato and his Caribbean-lensed pornos than with Mario Siciliano, whose previous pornos (such as My Swedish Aunt, 1980) fall into the category of more traditional smut. The D'Amato connection is further strengthened by the constant recycling of Carlo Maria Cordio’s frenetic score from D'Amato's gory horror hit Absurd as well as the brief inclusion of a track from Porno Holocaust - itself somewhat of a horror/porn hybrid.

Regardless of director, though, Orgasmo esotico is a terrible mess, and it’s hard to believe it was actually released in theaters. I can’t stop wondering what kind of audience Siciliano had in mind when he made this. Surely, the weird zombie stuff will put off most of the raincoat crowd, while the ugly bumping and grinding on display is unlikely to find much appreciation among horror movie fans. That only leaves fans of genuinely bizarre WTF-movies, and in this regard I suppose the film can be considered a success. Aside from the unforgivably lame cop-out ending, the film’s plotline is completely unpredictable and full of crazy ideas, so I will give it some due credit for its warped creativeness. I also got somewhat of a kick out of watching such hardcore favorites as Marina Frajese, Guia Lauri Filzi and Ferdinando Arcangeli acting completely crazy. Nevertheless, the film is still fairly repetitious, poorly put together and full of tedious and ugly hardcore activity.

All in all, Orgasmo esotico is an absolutely insane and woefully trashy film. It’s thoroughly incompetent and laughable but I must admit that it is truly one of the weirdest films I have ever seen, and that sort of makes it worth seeing. It’s definitely not easy on the eyes, though, so seek out this demented piece of celluloid at your own risk!


© 2011 Johan Melle



The cast:


Sonia Bennett as Sonia


Marina Frajese as Marina


Fernando Arcangeli as Sonia's assistant


Guia Lauri Filzi as Marina's friend


Paolo Gramignano as Marina's husband


Sabrina Mastrolorenzi as Sabrina


Giuseppe Curia as Pino


Sandy Samuel as Sandy


Luigi Tripodi as Sandy's boyfriend


Bruno Romagnoli as Marina's friend


Alfonso Gaita as The doctor