![]() The bigger the better.Īlthough Brass would probably chuckle at the idea that his films have a strong feminist slant, Brass’ female leads are strong, independent, and almost heroic in their quests to become emancipated from their roles as housewives, concubines, or mothers. ![]() Brass also isn’t shy about what he likes most about a woman’s body, either - her ample backside. Brass’ camera lovingly (and intrusively) explores the many facets of a woman’s beauty, be it physical or psychological. His films - excluding Caligula (1980), which doesn’t really fit into his overall body of work - are filled with curvaceous women who are uninhibited and bold enough to freely express their healthy appetites for sex. Subtitles:English 1980s Andy J.Director Tinto Brass is a man of big passions. While satisfying, it does feel as though Brass reigned himself in to make the film more mainstream but the added production value makes up for that. Fred’s part of the film has he and Rosa on the road with his attempts to relive their whore-client dalliances complicated by Rosa’s wanting more from him.īrass’ film is better made and better written than much of the similar Italian erotica of the late eighties and benefits from the period setting. Jennifer’s part of the film is dominated by flashbacks and tormented narration as she professes her love for her absent Italian. ![]() Forest, who did a handful of Italian movies in the late eighties), an American soldier now working for UNESCO assessing the state of Roman art after the war, reconnects with a prostitute Rosa (Francesca Dellera) while former British nurse Jennifer (Nicola Warren) waits apparently in vain to meet up with Ciro (Luigi Laezza), a waiter/pimp who pursued her years before. Tinto Brass somewhat reigns in the more comic and explicit aspects of his brand of erotica for this well-made tale of a couple in post-war Italy trying to recapture the magic of their wartime romances with other lovers. ![]()
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