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Carlo De Palma
A young woman teams up with an adventurer to find her missing sister in the jungles of New Guinea and they stumble upon a religious cult led by a deranged preacher whom has located his commune in an area inhabited by cannibals.
This is an Italian "decamerotici", an erotic-nudie film based on Bocaccio's famous literary work "The Decameron" (although no doubt more by way of the hit Piero Paolo Passolini film of the same name). Unlike some of the other "decamerotic" films, this lacks any "name" actors like Edwige Fenech, Rosalba Neri, Erica Blanc, Barbara Bouchet, Femi Benussi, Krista Nell, Camille Keaton or Ornella Muti. But it does have a "name" director, or co-director, in Joe D'Amato (aka Aristide Macassessi) who was making the transition here from cinematographer to director.
The dispensable frame story has a bunch of horny medieval priests cavorting with a bunch of promiscuous nuns, but this mild blasphemy only serves as the jumping off point for the three main tales (most of these films actually contain five or six tales, but the ones here are unusually drawn out) with the common theme of marital infidelity. In the first tale a married woman (Marzia Damon) is cheating on her husband, but after she is caught by her sister-in-law, she ends up having to share her lover. The second tale is about a libidinous priest who pursues another married woman who he takes confession from. But after he is caught naked in her room by her husband, he is forced to make a very difficult choice involving a heavy, locked chest and carving knife (think of a coyote having to chew its leg off to escape a trap). Although played strictly for laughs, this story anticipates some of the violent sexual nastiness of D'Amato's subsequent directorial career. The third tale though is back to pure comedy with a man who disguises himself as a maid to get close to HIS married object of affection. He too is found out by the husband, but this husband being considerably more dimwitted decides that this "maid" is a freak of nature and attempts to help her out. . .
These are not very strong films as far as the sex goes, but there is a lot of female (and some male) nudity. Their strengths lie in the bawdy stories (some are taken right out of the Bocaccio book, but I'm not sure about any of these ones) and the period comedy. They're certainly a lot more CLASSY than the majority of sex films. For better or worse, this is probably a classier film than anything than the notorious Joe D'Amato directed afterward. It won't appeal to everyone, but I liked it.
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