For the more intellectually inclined, this film poses some interesting questions such as, who has the greater libido, men or women? How persuasive can a man be in his quest for sex? Can a man-made object such as a robot ever become a sentient being? This is, first and foremost a hard core porn film so any deeper meanings and analysis will have to be left to the more erudite viewers.
The one thing lacking in this film is emotion. There is plenty of sex, obviously, but little or no actual passion. Nicolas (Richard Allan) and Sabine (Helene Shirley) do their coupling with barely a smile or a word. The same goes for Nicolas and Lucille (Laura Clair); and Nicolas and Olga (Nadine Roussai). Even Sabine coming home and finding Nicolas and Lucille together hardly alters their deadpan faces. This lack of feeling reaches its peak with the creation of Nicolas' very own sex slave Kim, (Marilyn Jess) La Femme-Objet.
At first Kim does everything that Nicolas wants but gradually Kim develops her own will, such that she seduces Sabine and the janitor. Thus thwarted, Nicolas builds another robot, Kim 2 (Catherine Marsile) but she also turns away from Nicolas and he finally realises that, in his own words, he has become L'Homme-Objet, the man-object, surely the ultimate irony.
The one thing lacking in this film is emotion. There is plenty of sex, obviously, but little or no actual passion. Nicolas (Richard Allan) and Sabine (Helene Shirley) do their coupling with barely a smile or a word. The same goes for Nicolas and Lucille (Laura Clair); and Nicolas and Olga (Nadine Roussai). Even Sabine coming home and finding Nicolas and Lucille together hardly alters their deadpan faces. This lack of feeling reaches its peak with the creation of Nicolas' very own sex slave Kim, (Marilyn Jess) La Femme-Objet.
At first Kim does everything that Nicolas wants but gradually Kim develops her own will, such that she seduces Sabine and the janitor. Thus thwarted, Nicolas builds another robot, Kim 2 (Catherine Marsile) but she also turns away from Nicolas and he finally realises that, in his own words, he has become L'Homme-Objet, the man-object, surely the ultimate irony.