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Intrigo a Cortina

cast:

Betty Anderson
Laura Angel
Lady Rox
Sheila
Fabiana Venturi

=Franco (Franco Trentalance) and his foreign wife Laura (Laura Angel) go for a holiday in Cortina, but no sooner do they arrive they begin arguing. Pissed off, Franco wonders the streets of Cortina and meets up with friend Andrea (Andrea Nobili), and Franco tells Nobili that in town is also Ale (Manuel Santiago) who has split from his wife and has taken up with his secretary Sabrina (Fabiana Venturi). As Franco is relating this, we move to a flashback scene showing how Ale began his affair with his secretary.
Scene 1: Fabiana Venturi, Manuel Santiago [anal, facial]
=Franco returns home to find a very upset wife. They exchange bitter words, she calls him an asshole and storms out. Laura goes to see her friend (Lady Rox) who works in a clothing store, who at the moment is busy giving Andrea a blow job in a closet. Laura goes looking for her and when she surprises them in the act, the two get Laura to join in.
Scene 2: Laura Angel [anal, facial], Lady Rox [facial], Andrea Nobili

=Some later Franco is having coffee with his friend Roberto (Alex Mantegna). Alex tells him about Sabrina and the evening she and her boyfriend (Paul Santini) had sex, which is shown in flashback). After they had sex, Sabrina discovers he has been unfaithful and walks out on him.
Scene 3: Fabiana Venturi, Paul Santini [facial]

=Roberto goes to visit his friend Giorgio and finds his friend's significant other (Lady Rox) alone and in a very horny mood. The two have sex
Scene 4: Lady Rox, Alex Mantegna [anal, facial]

=Andrea returns home and finds his wife Mary (Lady Rox) dead on the floor. He calls over Franco and Roberto. Roberto confesses he was there in the apartment earlier in the day and had fucked her but she was OK at the time. Franco suggests they get help from his friend Sandro, who is a private investigator. Franco goes home and finds his wife Laura dead in the bath tub. Sandro arrives at Franco's house to investigate the two suspicious deaths. Sandro is confident he can get to the bottom of this with the help of a female associate Elisa (Sheila Kiss). Sandro's plan is to try to smoke the killer out by having Franco and Elisa going around Cortina poking around and asking questions. This brings the two closer together, and Franco and Sheila have sex
Scene 5: Sheila Kiss, Franco Trentalance [anal, facial]

=Elisa returns to her apartment but is followed by a shadowy figure in a woollen hat. Sandro is following close behind. Inside the apartment Elisa is attacked by the stranger and Sandro quickly comes to her rescue. Sandro puts some chains on the blonde attacker (Betty Anderson), hands Elise his gun and tells her to guard the blonde while he goes to get the police. But Elise finds the girl way too enticing and soon the two are having lesbian sex. But near the end, the blonde kills Elise, hides her body, and chains herself again and hides the gun. Sandro returns to find the blonde chained to the table and Elise gone. The blonde makes a play for Sandro, gives him a brief blow job and he jerks off in her open mouth. She reaches for the gun and shoots him dead. We have no way of knowing the motives for the murders or whether she will stop there.
Scene 6: Sheila Kiss, Betty Anderson [lesbian]
Scene 7: Betty Anderson, Francesco Malcolm [bj]


The plot is unnecessarily convoluted (we are not even told of Betty's murderous motives), some character names mentioned or written in title cards don't match (for example Giorgio is supposed to be Andrea, but "Giorgio" is only mentioned in a title card, etc). Some situations are silly and utterly ridiculous (the police is not called in even after 2 murders!). The two investigators are inept, incompetent and unbelievably stupid. We see Sandro has a cellular phone in an early scene, but yet when he captures the blonde assassin, he needs to go out and summon the police (he has a gun, some long chains, but no phone?). And when he returns to the apartment, the police is not even with him!
The two scenes with Fabiana Venturi make no sense to the general plot. The music is loud and irritating. There is no sex scene that really is out of the ordinary, and perhaps Sheila Kiss comes off in general looks and heat better than the others.
The movie plot must have been written on a napkin while eating a hamburger in a fast food outlet.

"The movie plot must have been written on a napkin while eating a hamburger in
a fast food outlet".

A porn-producer writes:
"You mean, there's another way"?

JJ you are a riot.
The reason why I generally avoid plot-driven hard-core movies, is that the plots just do not make any sense.
Yes even in commercial mainstream movies sometimes we have to suspend a bit of logic in order to advance the storyline and circumstances, but in hardcore the plot weaknessses are multiplied one thousand folds.
The further I went on in watching this movie, the stupider it got.

(1) What was the point of bringing Fabiana Venturi in two flashback sex scenes? It did not advance the plot in any way. All it provided was two sex scenes to fill outthe movie running length and nothing else.
(2) Why did the blonde killer murder those two women? What was the connection? No clue whatsoever.
(3) Why was the police not called in? What happened to those two dead female corpses while one husband and one female investigator go around doing essentially nothing? Is Franco in any way interested in solving the murder of his wife, and why does he so quickly want to get in Sheila Kiss' pants?
(4) and the winner is when the blonde killer is finally captured. Why is she interested in following Sheila Kiss, and how close was Sheila Kiss in solving who the murderer was? Why doesen't Malcolm question the blonde assassin right away as to her motives, rather than lamely going for the police (he certainly had a phone, and quite likely Sheila Kiss as well). When Malcolm comes back, the police is not even with him. What did he go out to get, a bottle of milk?
What was Malcolm going to tell the police, that the police was not called in after 2 women were murdered? Evidence was disposed of and tampered with!? And all they had against the blonde girl was that she attacked Sheila Kiss, and that there rweally was not aany concrete evidence against herforthe two murders.
Lame, lame, lame....
Why don't the producers just go for "all-sex" rather that spent time and money with a senseless plot and videotaping even lamer dialogue scenes.

Len801 wrote:
> Why don't the producers just go for "all-sex" rather that spent
> time and money with a senseless plot and videotaping even lamer
> dialogue scenes.

I think I've mentioned before my theory that these guys are all frustrated
mainstream 'auteurs' and actors and hence can't resist attempts to 'legitimize'
their filmic abortions.
For me, the only time 'plot' is acceptable [or relevant: think 'Flossie'] is if
it advances the sense of eroticism. As this requires a modicum of talent rather
than merely a small budget and a head-full of Hollywood tropes, this is naturally
not very common.
As you say: if it's just wank-fodder, why bother? The waste of resources and
time seems counter-productive to me. If the financiers are happy to countenance
this burning of banknotes, fine; that's what the FF is for : -)

What I still have a hard time in grasping is that this "filmic auteur" seems to be prevalent in Euro productions. The US, with the exception of a handful of hold outs (Vivid, Wicked, etc), has abandoned plot-driven movies and have for the past decade dedicated themselves to full "all-sex" content.
Are US directors/distributors that nuch less interested or inclined (than their Euro counterparts) in burning money and wasting precious time and resources in making plot-driven movies?

I don't know- but if pressed I would make the massive generalization that US
society is perhaps more crudely business-oriented and has [at least under that
very thin liberal skin] an unspoken antipathy to 'art' in general, than Europe....
it never ceases to amuse me that everyone remotely associated with Hollywood
styles themself as an 'artist', without the least appearance of any self-irony.

I also observe that [relatively] explicit sexuality has always been a feature of
European but not US filmic tradition..... the sexual act in the latter is often
deemed to be a separate entity, to be alluded to instead of shown; rather than
an integral and perfectly legitimate part of life's drama. The Puritan hangover
continues.... so the admixture of comedy, or drama, with porn may seem less odd
to the European mind than to the Occidental.