Fallo!

I thought this was an X rated movie when I picked it up. The erections are real enough, but if you're expecting anything like what you see in a regular * film, you'll be sorely disappointed. Nudity, yes, but actual sex, very very little, probably .001% of the film. The woman's hair gets in the way of viewing what is actually going on in one scene. In another, the steamy shower door obscured most of the view. I think my two favorites both involve the guy on the bed. Each has a boner, one is partially covered by a towel and the woman gets dressed to go out. In the other, it is protruding mightily from the opening in his boxers and she rolls off the bed to sit on the edge and answer the telephone! What is the point of this film? I don't know. (on the handsome Morrocan waiter guy's erection in the first vignette, he can be seen rolling on a condom! He appears to and is briefly shown to be having sex with the wife, probably is, but we the audience don't see anything conclusive. He might not be. Who knows with this crazy movie!) It is far too much for regular TV and not nearly enough for a porno. Too bad because some of the guys really had the equipment and muscular bodies to do a really good show.

Have you already seen FALLO? The women look great. Virginia, especially, is of an overtly plumper shape, slightly unusual even for Brass' world. Brass' humor is always decadent, coarse, mean, offensive, grotesque and violent and, therefore, also abstract. He might not be the greatest—yet he certainly is the most interesting and intriguing and naughty director. His stance is to take the lowest and surely meanest and most degrading view of most everything human; at this, he's far better than the artistic impostor Pasolini. This trend of * comes from the cinematographic respectability—Fellini (--e.g., the * of plump divas--), Visconti, Cavani (--Antonioni filmed prettier stuff than these, but in an entirely other climate--); Bertolucci comes from the same sex—saturated atmosphere. Brass varied his approach, and took a coarser and plainer way in his last movies (--when it's not over—sentimentality--). His * has long been a theme of my writing. His is some erotica that will survive. The soft—* exists for directors like him; he doesn't, of course, 'express himself', because he has basically nothing to 'express'. Instead, he ceaselessly draws his porno vignettes, with enviable gusto and instinct. Brass is our guide to sex—guided lust. Of interest in FALLO are exclusively the hefty sex scenes. Brass does several _plein air studies of the physiology of *—as in Raffaella Ponzo's scenes with her unlikable partner (this is an Italian specialty—sex in the countryside, orgasms in charming landscapes--); and several chamber studies—as in Frederica Palmer's funny bed scene, and office studies—see Federica Tommasi's scene. The battery of highly desirable babes counts Virginia Barrett, Raffaella Ponzo, Sara Cosmi, Federica Tommasi (--a porno star, go watch her double penetration in a porno short--), Silvia Rossi, Federica Palmer (--a nice _hottie--). The foxy Sara Cosmi's number reminds of the sheltered bourgeois effects used in LA CHIAVE; her naked ass in that discreet bluish light …. So FALLO is essential Brass; disbelieve the disappointed …. There are, in FALLO, several great scenes with Raffaella and Virginia—some feminine genitalia's vigorous handling, and the like, plus the delights of masochism and anal sex. The Nazi themes and German accents are there.