Tinto Brass - The maestro of Italian erotica is back! Lies, subterfuge, betrayal and mischief - FALLO! is a collection of six stories based on the joys of sexuality and the eroticism of a new generation of women.
William De Vito
A happily married 24-year-old woman who experiences an inexplicable, rather restless craving to finally live her life intensely, retells her extra-marital escapades to her husband intending to spice up their marriage.
This film is a series of letters, photos and video cassettes which women often send in to certain newspapers. By visualizing their story-telling (the name given by the psychologists to ... See full summary »
Kitty runs a brothel in Nazi Germany where the soldiers come to "relax". Recording devices have been installed in each room by a power hungry army official, who plans to use the information to blackmail Hitler and gain power himself.
Teresa Ann Savoy
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In the scene Laszlo shows Nino how to use an instant camera. That was not possible in the period the story takes place (Mussolini's fascist Italy). They are using a Polaroid Land Camera model 95 and its production was from 1948 to 1953. See more »
[while his wife sleeps]
When did you ever give me this flesh that sets my prick on fire?
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this fairly explicit film is about eroticism and not in the main erotic itself
This is a most accomplished and underrated film from Tinto Brass. There are several reasons why the very mention of the director's name will cause many to stop reading right now. His association with Caligula and Salon Kitty and of course his later joyfully, and uncompromisingly erotic later works do not suggest this might be a 'serious' film maker. However, for me, the most difficult aspect was coming to terms with the fact that this has been transposed from the writer, Junichiro Tanizaki's Japanese homeland to a wintry Venice. The whole notion of a couple each keeping a sexual diary (locked up but knowingly made available) as a way of communicating their hopes and desires is so not the way we consider Italians likely to behave. But, never mind, the film is great enough to overcome this and in no time I was under the spell of the beautiful and prestigious actress, Stefania Sandrelli and to a lesser extent by Frank Finlay. I should also clarify the point that this fairly explicit film is about eroticism and not in the main erotic itself. Mr Brass does, of course, indulge himself quite a few lingering shots of certain parts of Sandrelli's anatomy but I'm sure nobody would grudge him that, certainly not I.
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