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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

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|

Language:

Release Date:

25 May 1981 (Italy)  »

Also Known As:

Dulce piel de mujer  »

Filming Locations:


Company Credits

Production Co:

,  »
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Technical Specs

Runtime:

Sound Mix:

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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

 
Genuinely erotic fantasy
1 April 1999 | by (Canterbury, England) – See all my reviews

This is a superior example of a European softporno, one of the few that dares to use the form of a (kind of) drama, without pretending to have become an arthouse picture. In other words: we are not subjected to the violence, humiliation, or silly humour that is so common in 1970s sleaze or the B-movies of the video era; neither do we have to endure any attempts to bring a message across as in the naughtier arthouse pics. This is an erotic film, full stop.

Miele di donna belongs to the rare breed of films which are genuinely erotic rather than just titillating. Its strength is the semi-real and overcharged atmosphere created by the cinematography, the sets, and Ortolani's excellent music. It is somewhat debatable whether it was a good move to cast Clio Goldsmith in the lead, as she does not manage to radiate any innocence as her character seems to demand and she generally appears a wee bit bland. However, one could argue that her character's innocence is faked anyway, after all she is the focus of a female sexual fantasy; actually, of two female fantasies, as the bulk of the film is a dream in a story in another story. In this sense, Ms Goldsmith plays a nice faked innocence.


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