Sticking to the milieu that he knew best, French fornication filmmaker Claude Bernard-Aubert (a/k/a "Burd Tranbaree", one of the prime purveyors of Francis Mischkind's erstwhile theater chain monopoly Alpha France whose back catalog is now distributed by the same man's Blue One company) rarely strayed beyond his favored middle class settings, though he would occasionally send up their morals and double standards as a distinctly more mild-mannered Claude Chabrol. Whenever he did, this would usually result in some of his best work as his latter-day masterpieces LES BAS DE SOIE NOIRE and L'INITIATION D'UNE FEMME MARIEE duly attest. Making the most of its budget-dictated limitations, LE DROIT DE CUISSAGE fits right into this line-up.
Shot with a sleazy shutterbug's eye for raunchy detail by his frequent DoP Pierre Fattori and scored with the immediately recognizable groovy rhythms of equally ubiquitous Paul Vernon, Tranbaree's tale of bourgeoisie hypocrisy run amok benefits from a well-structured screenplay and unusually spirited performances by both leads : the oft if not always well employed Richard Lemieuvre (a/k/a "Richard Allan") and the criminally underrated Elisabeth Buré, a solid supporting actress too rarely found in starring roles such as Michel Caputo's delirious SYBIL, TOUS LES TROUS SONT PERMIS. He's the wearily debauched Vincent who tries to get her as his reticent wife Geneviève to let her hair down at their regular sex parties at which she has until now only been a shocked by-stander. Falling for the charms of friend of the family Gérald (quitessential Italian stallion Gabriel Pontello), she embarks on an extra-marital romance, unaware that it has all been orchestrated by her scheming husband. Horny next door neighbor Mr Paul (engagingly portrayed by France's favorite bit o'rough Dominique Aveline) blackmails Geneviève into sexual submission with the threat of alerting her spouse, to the extent that the poor woman can't enter or exit her luxurious flat without being amorously accosted by either husband, lover or blackmailer in a frenzied farce that surely only the French could get away with !
Endemic to the narrative, the sex is both frequent and surprisingly erotic, Liz proving herself perfectly capably of carrying the brunt of the action while simultaneously delivering a deft characterization as the put-upon heroine. In addition, she has almost certainly never looked more ravishing than she does here. The same goes for the usually underwhelming Danièle David (who played a dowdy maid in Tranbaree's LE RETOUR DES VEUVES), performing enthusiastic oral favors on both Lemieuvre and curly-haired stud muffin Thierry De Brem, and the delectably curvaceous Margareth, best remembered as the naive housekeeper from the same director's enjoyably lightweight PARTIES CARREES CAMPAGNARDES, here the recipient of a stylishly depraved double penetration courtesy of Richard and Dominique. Visiting US actress Serena who did a whole slew of French flicks during her Continental break in 1979 isn't given a whole lot to do yet still manages to garner massive attention whenever she's on screen, sensuously devouring the likes of Pontello and notorious bisexual performer Piotr Stanislas, who's still gainfully employed by the industry to this very day.
Shot with a sleazy shutterbug's eye for raunchy detail by his frequent DoP Pierre Fattori and scored with the immediately recognizable groovy rhythms of equally ubiquitous Paul Vernon, Tranbaree's tale of bourgeoisie hypocrisy run amok benefits from a well-structured screenplay and unusually spirited performances by both leads : the oft if not always well employed Richard Lemieuvre (a/k/a "Richard Allan") and the criminally underrated Elisabeth Buré, a solid supporting actress too rarely found in starring roles such as Michel Caputo's delirious SYBIL, TOUS LES TROUS SONT PERMIS. He's the wearily debauched Vincent who tries to get her as his reticent wife Geneviève to let her hair down at their regular sex parties at which she has until now only been a shocked by-stander. Falling for the charms of friend of the family Gérald (quitessential Italian stallion Gabriel Pontello), she embarks on an extra-marital romance, unaware that it has all been orchestrated by her scheming husband. Horny next door neighbor Mr Paul (engagingly portrayed by France's favorite bit o'rough Dominique Aveline) blackmails Geneviève into sexual submission with the threat of alerting her spouse, to the extent that the poor woman can't enter or exit her luxurious flat without being amorously accosted by either husband, lover or blackmailer in a frenzied farce that surely only the French could get away with !
Endemic to the narrative, the sex is both frequent and surprisingly erotic, Liz proving herself perfectly capably of carrying the brunt of the action while simultaneously delivering a deft characterization as the put-upon heroine. In addition, she has almost certainly never looked more ravishing than she does here. The same goes for the usually underwhelming Danièle David (who played a dowdy maid in Tranbaree's LE RETOUR DES VEUVES), performing enthusiastic oral favors on both Lemieuvre and curly-haired stud muffin Thierry De Brem, and the delectably curvaceous Margareth, best remembered as the naive housekeeper from the same director's enjoyably lightweight PARTIES CARREES CAMPAGNARDES, here the recipient of a stylishly depraved double penetration courtesy of Richard and Dominique. Visiting US actress Serena who did a whole slew of French flicks during her Continental break in 1979 isn't given a whole lot to do yet still manages to garner massive attention whenever she's on screen, sensuously devouring the likes of Pontello and notorious bisexual performer Piotr Stanislas, who's still gainfully employed by the industry to this very day.