With a script (albeit relying often on phoned-in dialog scenes) and some characters, I was surprised that this turn of the 21st Century Marc Dorcel release plays more like another generic all-sex film. Normally reliable director Alain Payet takes the path of least resistance and the show suffers as a result.
Almost random sex scenes are very loosely strung together by lovely location photography for non-sex connective footage, generally involving a newspaper employee sent out on assignment, not so much news gathering but rather to keep an eye on the boss's promiscuous wife. I would be interested in the identity of the striking locations (in France or perhaps in the Low Countries nearby) but Payet fails to make any of it relevant or more than a brief distraction from the old in & out.
Femme cast is physically impressive (after all, this is Dorcel who can hardly be faulted in that department) with Dora Venter the most familiar performer but Monica Moore and the mysteriously monikered "Princess Elisa" also diverting. Ubiquitous porn studs like Pascal St. James and latter-day Dorcel regular Horst Baron (here hiding behind a famous name "Horst P. Horst") do the servicing, but they pop up in scenes where they shouldn't be, if the threadbare plot line were strictly adhered to.
Most scenes are performed bareback, but a condom creeps in presaging the label's later safe-sex obsession. The promised investigative reporting and scandal content is very poorly handled, making this a loser among Dorcel classics of the era.
Almost random sex scenes are very loosely strung together by lovely location photography for non-sex connective footage, generally involving a newspaper employee sent out on assignment, not so much news gathering but rather to keep an eye on the boss's promiscuous wife. I would be interested in the identity of the striking locations (in France or perhaps in the Low Countries nearby) but Payet fails to make any of it relevant or more than a brief distraction from the old in & out.
Femme cast is physically impressive (after all, this is Dorcel who can hardly be faulted in that department) with Dora Venter the most familiar performer but Monica Moore and the mysteriously monikered "Princess Elisa" also diverting. Ubiquitous porn studs like Pascal St. James and latter-day Dorcel regular Horst Baron (here hiding behind a famous name "Horst P. Horst") do the servicing, but they pop up in scenes where they shouldn't be, if the threadbare plot line were strictly adhered to.
Most scenes are performed bareback, but a condom creeps in presaging the label's later safe-sex obsession. The promised investigative reporting and scandal content is very poorly handled, making this a loser among Dorcel classics of the era.