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*** This review may contain spoilers ***
Though not the very first French hardcore production chronologically
Sylvie Meyer's fellatio in François Jouffa's LA BONZESSE and the silly
yet explicit antics of the late if by no means great Lucien Hustaix
(LES JOUISSEUSES, LES TRIPOTEUSES, etc.) paved the way Claude Mulot's
box office blast LE SEXE QUI PARLE holds the historical position of
starting point for the Continental carnal industry, just like Gerard
Damiano's 1972 DEEP THROAT does for its US counterpart. Not so
coincidentally, given the latter film's worldwide notoriety even in
parts of the world where it had not yet been seen, there are strong
thematic similarities between the two with Linda's misplaced joy buzzer
supplanted by Joëlle's gossipy gash !
Grand Prize winner at the first (and only) International Porn Film Festival in Paris, August 1975, it's a nostalgic reminder of what Euro porn could have been if it weren't for upcoming stringent government interference which effectively nipped the genre in the bud by placing tremendous taxes on production, distribution and display of graphic erotica, sentencing these (initially ambitious) movies to the ghetto of backstreet theaters and restricted budgets. As with the subsequent and now more highly regarded MES NUITS AVEC , SEXE served as a breeding ground for several of the most impressive film-making talents the French fornication film factory was to spawn. Claude Mulot, who sadly drowned at the Côte d'Azur in 1986, came to 'core after his feverish "film fantastique" LA ROSE ECORCHEE sank without a trace at least until its recent DVD resurgence and borrowed its main character's moniker ("Frédéric Lansac") for explicit endeavors, even though he had made his directorial debut with a naughty little number named SEXYRELLA back in '68. Producer and uncredited co-creator Francis Leroi, who passed away from cancer in 2002, never felt the need for anonymity, occasional recourse to the "Jim Clack" pseudonym notwithstanding. Didier Philippe-Gérard commenced as production assistant here prior to taking the reins as "Michel Barny". Editor Gérard Kikoïne would emerge as the industry's most incendiary anarchist until he chose to disown his entire catalog of fleshy delights in a startling turnabout and DoP Roger Fellous gained considerable recognition for his awesome achievements on flicks as wide-ranging as Jean-François Davy's EXHIBITION movies and mild-mannered Max Pécas' few forays into full penetration territory, FELICIA and LUXURE.
Where THROAT has sunk to the level of outdated artifact, SEXE still holds up beautifully over three decades later however. Though equally founded on a dirty joke premise, Mulot realized he would have to flesh out the material if he were to sustain critical credibility. As a result, this works very much as a "real movie", bearing resemblance to Radley Metzger's '70s classics incidentally, the film is referenced on a Paris theater marquee at the start of MISTY BEETHOVEN in its casual, Utopian omnipresence of sex at every turn, supplanting its potential shock value with a refreshing matter-of-fact-ness. Beleaguered heroine Joëlle (lovely "Pénélope Lamour" a/k/a Place Pigalle peep show worker Claudine Giret, who balked at and was therefore doubled for actual penetration) works at an advertising agency and is married to up 'n' coming architect Eric, well-played by legit stage thespian Jean-Louis Philippe (billed as "Nils Hortzs") who handled the lead in both Jean Rollin's mesmerizing LEVRES DE SANG and its surreptitiously shot explicit equivalent SUCE-MOI, VAMPIRE. Their nicely organized life is rudely disrupted when Joëlle's nether parts loudly voice their discontent at a posh social gathering, setting in motion a whole chain of trials and tribulations for both husband and wife. Gathering his spouse's unique condition is psychosomatic, Eric calls on the services of media darling pop psychologist Martine Dodd (a deliciously witty turn by the adorably accented Ellen Earl) but winds up coaxed into carnality by the vindictive vag instead, following which the not so good doctor fills in the rest of the world on the evening news prompting a mad pursuit of poor Joëlle.
Intrepid journalist Richard Sadler (Vicky Messica, another legit character actor who worked steadily until his death in '98, atoning for his cinematic sins by appearing in Jean Delannoy's pious BERNADETTE) tracks down her whereabouts to lascivious aunt Barbara (the indomitable Sylvia Bourdon of EXHIBITION 2 infamy) who has no qualms about selling off her nearest and dearest if the price happens to be right. Fleeing to her childhood abode, the place offers a string of flashback memories which aid in enlightening the girl's current crooked situation. The undeniable upside for fans is that young Joëlle is literally embodied by the bountiful Béatrice Harnois, FELICIA herself, displaying erotic energy decidedly lacking unintentionally, this actually makes sense plot-wise in the far more restrained Giret. This is where the movie kicks into high gear sexually, busy Bee sacrificing her maidenhead to a Pinocchio doll (think about it ) when her equally inexperienced boyfriend proves unfit for the task, seducing a teacher notoriously nicknamed "Big Dick" (the aptly appended Claude Dupont) along with fellow student and one shot wonder Françoise Vandelle and even pleasuring the priest (Pierre Tourneur) in the confessional ! With some good wedlock whoopee as the ultimate solution, the turnaround conclusion Eric "inherits" his wife's infection as his dick starts mouthing off sets up the sequel TRIPLES INTRODUCTIONS which would benefit from the enthusiastic participation of sweet France Lomay, whose shining moment came courtesy of Fred Lincoln's terrific THAT'S OUTRAGEOUS. As you might imagine though, the original still reigns supreme, a tribute to the talent and dedication of these pioneering pornographers who would too soon be beaten into submission by the powers that be.
*** This review may contain spoilers ***
Trying to find truly entertaining pron can be quite an undertaking.
This one kept surprising me at every turn, sometimes shocking,
sometimes ridiculous, Pussytalk is one of the best I've seen lately
(although I'm no expert i have been going back through the good old
pron of 70s/80s) trying to find quirky gems.
Best scenes are when the leading lady starts pleasuring herself at a party to the shock of the other guests (i dunno, i just found this scene really amusing), then when she fantasizes about being in a car pleasuring herself while men around the car...make it dirty..with.. what is that toothpaste? heehaw. then when she flashes back to her schoolgirl youth in the confessional booth and her somewhat troubling experience with a Pinocchio doll? PRICELESS. oh yeah, and the fact that the pussy talks is pretty funny all by itself. if you find this one, go for it! i saw the dubbed version and couldn't get enough.
*** This review may contain spoilers ***
I think this is one of the masterpieces of french cinema, even though a porno movie. The actresses are very pretty. The most hot point of the film was the performance of Aunt Barbara the painter played by the excellent porno actress of the 70's Sylvia Bourdon. The strange is that in 1975, Bourdon was only 26 year old, so she couldn't be the aunt of the leading actress Penelope Lamour. The scenes of Bourdon having sex with the two male models in his home is really great. She first gave her two male models a great oral sex lesson, achieving a high level oral performance. After this she eventually enjoys straight penetration by one of the models while a paparazzi knocks his door asking her for some information about her niece. When the sex is completed she eventually opens the door.
The plot of this famous piece of Europorn is pretty self-explanatory
and also, frankly, pretty stupid--and I'm surely the typically
incompetent English dubbing of the version I saw only makes it more so.
But in its favor it at least does not try for (intentional)comedy and
fall flat on its face (like the loose American re-make,
"Chatterbox")--it's actually kind of dark, at times kind of disturbing,
but above all very weird. It's also unusual as an XXX porn film in that
(I think) both the female leads use body doubles for the hardcore sex,
and even then the sex is really somewhere between hard and softcore.
The sex scenes are short and numerous without the traditional "money
shot", but that's one of the things I really like about 70's
Eurotica--it usually tried to be something more than tedious,
zero-budgeted masturbation fodder.
The main lead Penelope L'Amour has a nice body (although I suspect her breasts are somewhat less than authentic), but she's not a great actress, even by porn standards, and not a particularly compelling sexual presence. The best scenes are when she falls asleep and her, um, bearded clam regales her husband with tales of her jaded youth. The younger L'Amour is played by the very sexy Beatrice Harnois (who actually appeared in other movies besides this). In short order Harnois' mischievous, overgrown "schoolgirl" unwittingly seduces her stepfather (with fatal results!), wittingly seduces a naive male school chum, joins with another girl to seduce a well-endowed teacher, and for the capper humps her father-confessor right in the confessional booth (a Catholic priest being molested BY a young GIRL--now that's a new one!).
At the opposite end of sexiness, Silvia Bourdoin, the ugliest woman in 70's French porn (who later went on to become the ugliest woman in early 80's Hollywood porn) shows up as L'Amour's artist aunt, looking like she'd severely lost control of her blue eyebrow pencil and (judging from the head-scarf) may have been undergoing chemo at the time. She has sex with two young guys (who I actually felt sorry for) and then later two young girls in completely gratuitous scenes apparently added just to amp up the skank factor. Then there's the end which is just plain bizarre and threatens a sequel that never materialized featuring a talking schlong (although I'm sure it would have been better than "Me and Him" with Griffin Dunne). This is not any kind of masterpiece (few porn films are) and sexiness is pretty inconsistent, but it's entertaining enough I guess,
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