Arah Asproon (Jessica Moore AKA Luciana Ottaviani AKA Gilda Germano, who also appears in Sodoma's Ghost, Convent of Sinners and Top Model) is writing a book about her last one hundred lovers, but she's only had ninety-nine. Then she meets Michael on a boat and despite the fact that he's about to get married (Mary Sellers plays his fiancee Helen and you've seen her in Stagefright, Ghosthouse and The Crawlers), she makes him agree that they will be lovers for - everybody yell out the title - eleven days and eleven nights.
There's an actual budget to this film and it was shot in New Orleans, so it has an American feel, which is exactly what late 80s Italian movies were shooting for. There's even a moment where the couple go see Stagefright in a theater and Michael falls asleep, waking up to Helen remarking, "What a beautiful film. So touching! So romantic!"
So yeah, this movie has a honey scene just like the film that inspired it, but I kind of like this one better. D'Amato is at his best when he's shooting gorgeous women being gorgeous and Moore is, well, one of those reminders that there just might be a God somewhere. A reminder that there may not be is the acting by her co-star Joshua McDonald and the horrible ending where she tells him that he was just being used to be in her book but fell in love, so he bends her over, takes her roughly from behind and leaves her for his boring fiancee. For a film that spent most of its running time with a heroine in charge of her sexuality, this was massively upsetting.
The moral: Don't look for Italian sexploitation movies to have good messages.
There's an actual budget to this film and it was shot in New Orleans, so it has an American feel, which is exactly what late 80s Italian movies were shooting for. There's even a moment where the couple go see Stagefright in a theater and Michael falls asleep, waking up to Helen remarking, "What a beautiful film. So touching! So romantic!"
So yeah, this movie has a honey scene just like the film that inspired it, but I kind of like this one better. D'Amato is at his best when he's shooting gorgeous women being gorgeous and Moore is, well, one of those reminders that there just might be a God somewhere. A reminder that there may not be is the acting by her co-star Joshua McDonald and the horrible ending where she tells him that he was just being used to be in her book but fell in love, so he bends her over, takes her roughly from behind and leaves her for his boring fiancee. For a film that spent most of its running time with a heroine in charge of her sexuality, this was massively upsetting.
The moral: Don't look for Italian sexploitation movies to have good messages.