6 April 2016 | lor_
Well-done eroticism early in Adamo's career
AA was a top-ranked filmmaker in the decade he thrived in, just at the turn of this millennium. Much of his work is overblown, big-budget junk by porn standards, but this melodrama shows his technical and creative skills.
Shot in Budapest (which has recently become a leading location for porn) it stresses visuals over storyline, but manages to create considerable interest in blonde heroine Cassandra Wilde, the usual neglected housewife, but whose sexual adventures are always interesting. Decadence is the main theme, and with very lovely visuals (shot on video but well-textured) Adamo does justice to the jet-set lure of surface beauty and excitement. Of course he's no Fellini, but among the inevitable thousands of Fellini followers in cinema (FF is certainly one of the handful of most imitated maestros of all time) he does manage to catch the spirit of his critical works.
Later in the film he brings in Laura Angel, who is top-billed. Her dark allure somewhat overshadows Wilde, but offers welcome variety in the humping content that, after all, is the No. 1 reason fans of Private watched this film in the first place. For me it is a reminder of the high quality of many Private releases a decade or two ago, compared to the assembly-line junk that vagabond company issues today. IMDb classifies this as a Swedish production, but I'm fairly certain the hdqts. had migrated to Spain by 1999 when it was shot.
Adamo is interested in set pieces, and he effectively uses a night club setting for a 3-some live sex show to provide the requisite XXX content here. Many stalwarts of Euro porn have small roles (but not small packages) such as Mike Foster, Frank Gun and Zenza Raggi -last-named billed as Karim.