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Miele di donna (1981)

R | | Drama | 25 May 1981 (Italy)
The young, naive Annie enters a hotel to spend the night - without knowing that it's this special kind of hotel, that serves more than breakfast. Curiously she walks around and watches the ... See full summary »

Writers:

(story), (story) (as Liliana Betti) | 1 more credit »
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Cast

Complete credited cast:
Clio Goldsmith ...
Anny
...
Escritora
...
Editor
Donatella Damiani ...
The Landlady
Nieves Navarro ...
(as Susan Scott)
Lino Troisi ...
Pensionista
Adriana Russo ...
Inés
Giuseppe Pennese ...
(as Pino Pennese)
Francisca Fernández
...
El hombre de la habitación
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Storyline

The young, naive Annie enters a hotel to spend the night - without knowing that it's this special kind of hotel, that serves more than breakfast. Curiously she walks around and watches the maids doing their job. She's especially fascinated of a forbidden room, where a silent, strange guy lives. Written by Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

R | See all certifications »
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Details

Country:

|

Language:

Release Date:

25 May 1981 (Italy)  »

Also Known As:

Dulce piel de mujer  »

Filming Locations:


Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

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Did You Know?

Trivia

Italian censorship visa # 76649 delivered on 25-5-1981. See more »

Connections

References The Kid (1921) See more »

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User Reviews

 
Surreal, bizarre - and pretentious - erotic fantasy
29 January 2005 | by See all my reviews

The opening is intriguing: a mysterious woman invades the office of a book editor and forces him, at gunpoint, to read her manuscript aloud. Why is this so crucially important to her? The manuscript itself, as we see it playing out on screen, is a surreal erotic fantasy about a young woman who checks into a bizarre, labyrinthine hotel where all the guests and personnel are strange and lustful. As this modern-day Alice-In-Erotic-Wonderland, Clio Goldsmith has a good body but a thoroughly unattractive face - from certain angles, she positively looks like a man in drag. Back at the editor's office, Catherine Spaak and Fernardo Rey are much better - especially Rey, who has a way of making a movie seem better that it is simply because he appears in it. But all through this movie, you're waiting for some kind of revelation, some kind of connection between the "real" and the "fictional" world; it never comes. The ending of "Honey" provokes only a "say what?"/"so what?" reaction, and the whole "reading the manuscript" business turns out to be little more than a pretentious device. Lovely score by Riz Ortolani. (**)


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