I was more than a little surprised to find that this film was made before Porno Holocaust, because I was convinced that it recycled some of the same scenes! The beach side sex scenes between Mark Shannon and a couple of women (among them Porno Holocaust's Annj Goren and Lucia Ramirez) would not have been out of place in that trashy masterpiece. It also seems to have been filmed on the same locations. The street Mark and his friend drive down looks just like the one from the opening of Porno Holocaust. And then there is a dream sequence that is very similar to Porno Holocaust's double teaming scene. I figured Porno Holocaust inspired bits of this one, but apparently it was the other way around.
As a matter of fact, this film has a lot more artistic merit than I could possibly have expected! D'Amato always framed his porn within a dark context, but as the other reviewer mentions this really takes it to a whole new level! Eschewing the escapism of something like Porno Holocaust or Emanuelle in America, this is a hallucinatory drama that comes quite close to transcending its seedy origins. With a little tweaking this could've been a masterpiece. One of the problems is the sex scenes. While I think taking them out would render the main premise pointless, I feel as though they could've been inserted into the story in a more fluid manner. As it stands the plot stands still for these pointless sex scenes, including one that doesn't even feature the protagonist! The final one is strangely poignant however, and definitely tied into the story. Speaking of the story, I wish I had a better understanding of it, but my copy was in Italian with German subtitles. My understanding was good enough to get the gist and meaning of it, but the dialogue might have helped me understand certain scenes better (such as Mark's visit to the weird guy on the beach).
D'Amato's cinematography is nothing special here (especially in comparison to some of his better known works), but every so often a little of his flair comes through. The moody flashbacks and visions Mark has, as well as his visions of his old flame Myra, definitely had the intended effect. These scenes may remind D'Amato aficionados of his Gothic chiller Death Smiles at Murder, though they're not quite that effective. There was one slow motion shot I really liked of Mark and the doctor walking down a hall. As for his direction, his handling of the dialogue scenes is as pedestrian as they come, but he really shines in the more expressionistic sequences. While never reaching what I'd truly call great film-making, I think if he'd taken the material a little more seriously he probably could have done it.
Mark Shannon turns in a surprisingly good performance as his name sake character. The scenes of his character's mental breakdown are thoroughly convincing, though feel a tad rushed. I must also say he really sold his agony about his genital pain.
The ending, I must say, was an absolute knock out! I didn't expect it at all, nor would I have expected it to be done so realistically. D'Amato's films usually feature some really awful special make-up effects, but this time it's pretty convincing. It was this moment that really convinced me how good the movie could have been. Such as it is, this doesn't quite live up to D'Amato's best. Still I'd say it's essential viewing for any fans of Italian sleaze.
As a matter of fact, this film has a lot more artistic merit than I could possibly have expected! D'Amato always framed his porn within a dark context, but as the other reviewer mentions this really takes it to a whole new level! Eschewing the escapism of something like Porno Holocaust or Emanuelle in America, this is a hallucinatory drama that comes quite close to transcending its seedy origins. With a little tweaking this could've been a masterpiece. One of the problems is the sex scenes. While I think taking them out would render the main premise pointless, I feel as though they could've been inserted into the story in a more fluid manner. As it stands the plot stands still for these pointless sex scenes, including one that doesn't even feature the protagonist! The final one is strangely poignant however, and definitely tied into the story. Speaking of the story, I wish I had a better understanding of it, but my copy was in Italian with German subtitles. My understanding was good enough to get the gist and meaning of it, but the dialogue might have helped me understand certain scenes better (such as Mark's visit to the weird guy on the beach).
D'Amato's cinematography is nothing special here (especially in comparison to some of his better known works), but every so often a little of his flair comes through. The moody flashbacks and visions Mark has, as well as his visions of his old flame Myra, definitely had the intended effect. These scenes may remind D'Amato aficionados of his Gothic chiller Death Smiles at Murder, though they're not quite that effective. There was one slow motion shot I really liked of Mark and the doctor walking down a hall. As for his direction, his handling of the dialogue scenes is as pedestrian as they come, but he really shines in the more expressionistic sequences. While never reaching what I'd truly call great film-making, I think if he'd taken the material a little more seriously he probably could have done it.
Mark Shannon turns in a surprisingly good performance as his name sake character. The scenes of his character's mental breakdown are thoroughly convincing, though feel a tad rushed. I must also say he really sold his agony about his genital pain.
The ending, I must say, was an absolute knock out! I didn't expect it at all, nor would I have expected it to be done so realistically. D'Amato's films usually feature some really awful special make-up effects, but this time it's pretty convincing. It was this moment that really convinced me how good the movie could have been. Such as it is, this doesn't quite live up to D'Amato's best. Still I'd say it's essential viewing for any fans of Italian sleaze.