Famous undercover journalist Emanuelle teams with her friend Cora Norman to uncover a white slave ring that traffics in women kidnapped from various locales around the world. Her ... See full summary »
"Penelope Pulls It Off" (and she probably won't be the only one)
An English noblewoman "Lady Chartlerly" (Linda Marlowe) is going broke and decides to earn some money by forging art masterpieces. She uses two expert forgers--a drunken ill-tempered Scot and a hedonistic German, who spends all his time cavorting with his three nude female models and (in a strange bit of interracial bisexuality) his half-naked black manservant "Othello". But "Lady Chartlerly" is then faced with the task of getting various art experts to authenticate the forgeries as true masters. For that she resorts to her own sexual wiles and those of her nubile daughter "Penelope" (Anna Bergman).
This UK-German co-production is rather unusual as far as British sex comedies in that actually has a genuine plot (well, sort of). Also, it doesn't rely on the unfunny antics of washed-up British comedians and popular TV stars of the day to make viewers more comfortable about watching a sex film, but instead wallows unabashedly in the (strictly softcore) sex. Marlowe and Bergman make for a pretty unconvincing mother and daughter as the latter was actually about twenty five while the former doesn't look much older than thirty. Still, this is no doubt for the best since the idea of a "mother" using her "teenage" daughter to sexually ply men would be pretty disturbing if the casting were any less ridiculous. (At one point, for instance, the elder Chartlerly is trying to seduce a fat, grotesque art dealer, who sheepishly confesses that he likes "little girls", so naturally she sends in Penelope in her school uniform).
The actresses do fit their parts in the sense that Marlowe is quite voluptuous while Bergman is quite slender. Marlowe gives a pretty decent performance (even though all the dialogue here seems to have been post-synced). Bergman, who is the daughter of the famous Swedish director Ingemar Bergman, is less effective as an actress in her debut role, but given that she spends the entirety of the movie either naked or very scantily clad in bikinis or glute-baring micro-miniskirts, I doubt anybody in the target audience then or now is really going to notice.
This isn't nearly as good as the best films in this genre like "Eskimo Nell", "The Sex Thief", or the "Confessions of" series, but it's better than the likes of "The Amorous Milkman" and even some of the "classics" of the genre like the overrated "Come Play with Me". If you're one of the sex-mad and/or brain-damaged reprobates that like these kind of movies in general, then you'll probably want to check out this one.
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