| Lilli Carati | ... | Alessandra | |
| Annie Belle | ... | Wilma | |
| Al Cliver | ... | Elio De Silveris | |
| Roberto Caruso | ... | Furio | |
| Laura Gemser | ... | Zerbal | |
| rest of cast listed alphabetically: | |||
| Nello Pazzafini | ... | The Gardener (uncredited) | |
Directed by | |||
| Joe D'Amato | |||
Writing credits | ||
| Ugo Moretti | (story) | |
| Ugo Moretti | (screenplay) | |
Original Music by | |||
| Manuel De Sica | |||
Cinematography by | |||
| Joe D'Amato | (as Federico Slonisco) | ||
Film Editing by | |||
| Franco Alessandri | |||
| Mariano Laurenti | |||
Production Design by | |||
| Richard Ribovske | |||
Costume Design by | |||
| Catherine Corbaz | |||
Makeup Department | |||
| Alex Hills | .... | makeup artist | |
| Charles Ross | .... | hair stylist | |
| Betty Russel | .... | hair stylist (as Betty Russell) | |
| Pietro Tenoglio | .... | makeup artist (as Peter Trevor) | |
Production Management | |||
| Donatella Donati | .... | production manager (as Helen Handris) | |
| Antonio Tacchia | .... | production supervisor (as Tony David) | |
Second Unit Director or Assistant Director | |||
| George Walsh | .... | assistant director | |
Art Department | |||
| Albert McCoy | .... | property master | |
Sound Department | |||
| Frank Blake | .... | boom operator | |
| Paul Parker | .... | sound engineer | |
Special Effects by | |||
| Robert Gold | .... | special effects | |
Camera and Electrical Department | |||
| Richard Cohen | .... | assistant camera | |
| Mike Conte | .... | assistant camera | |
| Albert Hillman | .... | still photographer | |
| Daniele Massaccesi | .... | camera operator (as Larry Hessel) | |
| George O'Hara | .... | key grip | |
| Richard Power | .... | chief electrician | |
Costume and Wardrobe Department | |||
| Paula Whiter | .... | seamstress | |
Other crew | |||
| Telly Albert | .... | administrator | |
| Alex Muller | .... | production secretary | |
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| Secret Things | Emmanuelle | Aimee & Jaguar | Bitter Moon | Huevos de oro |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Italy section |
Following a successful campaign in Africa, soldier Elio De Silveris (Al Cliver) returns home to his wife Alessandra (Lilli Carati) bearing all manner of exotic souvenirs, the most unusual being Zerbal (Laura Gemser), an Abyssinian princess presented to him as a slave in return for saving the king's life.
At first Allesandra is hostile to Zerbal, as is Elio's sexy secretary Wilma (Annie Bell), with whom Allesandra has been having a lesbian affair in her husband's absence; but when ownership of Zerbal is transferred to Allessandra (in a strange ritual that entails plenty of licking), the lusty wife's attitude does a 180 degree turn and she takes the dusky maiden for her lover, putting Wilma's nose severely out of joint. Soon, scheming Zerbal becomes the domineering force in the household.
This mid-career effort from prolific Italian sleaze merchant Joe D'amato sees the seasoned exploitation director tentatively entering Tinto Brass territory, delivering plenty of 1930s period charm, an atmosphere of constant sexual tension, loads of lush cinematography, and, of course, oodles of soft-focus, soft-core coupling with the emphasis on lesbianism. No stranger to capturing smut on camera, D'amato masterfully handles the steamy action, concentrating his attention on the sensuality of the lovemaking, although one can sense that the director is yearning to go further, his camera permanently on the prowl for even the slightest glimpse of snatch.
Eventually, Joe just can't help himself and sneaks in some genuine hardcore filth and old school exploitation during the film's final act: the graphic sex arrives in the form of a (genuine?) vintage stag flick screened by Elio, who intends to raise some much needed cash by making similar films, with his three women as his stars. Amazingly, the ladies agree to the project, but when the camera begins to roll, in true D'amato style, events turn decidedly nasty: Wilma is bound and abused by Allesandra and Zerbal, and raped by Elio's eager gardener Pepe (who has been planning to tend to her bush ever since spying it in the garden). After the ordeal is over, an understandably upset Wilma vows to make them pay for what they have done to her.
From an exploitation fan's point of view, this lurid rape/revenge scenario is a great way to end matters, and narrowly saves The Alcove from being just another vapid mid-eighties piece of Euro-erotica. Not essential D'amato, but not entirely worthless either, I rate The Alcove a reasonable 5.5 out of 10, rounded up to 6 for IMDb.