This movie was good. Silvia has one of the best bodies i've seen and boy is she hot. It gets kind of weird at the end with the typical bad porn cinematography, but for the whole the movie is good. I am of course referring to the sex portion as the plot section, again typical of pornography, sucks. Absolutely sucks. But that isn't why you watch porn. Watch this gem
2 Reviews
Beautifully shot Silvia Saint vehicle, but weak story
lor_6 February 2017
The 2-part "Dangerous Things", 3rd & 4th collaboration between Euro label Private with domestic Penthouse, is typically vintage Antonio Adamo pornography -slick, lush and erotic, but woefully empty in the narrative department. Besides Adamo, Private's house writer Barbara Brown gets both story idea and writing credit but she phoned it in this time.
That's a shame, because the ancient (began in 1965, with magazines) porn media giant specialized in a big-budget looking, globe-hopping form of entertainment, but many of its releases (the majority nowadays) are mindless sex, boring because there's so little in the way of story hook or interesting characters. Such is the case here, as Adamo and crew traveled to northern Brazil to shoot atmospheric locations and in the manner of Haskell Wexler's classic "Medium Cool" effective Carnaval footage integrating the actors with the "found" crowd footage. Elegant sets in the studio back in Budapest are used for most sex scenes and even cafe scenes set in Brazil.
Dialog is suppressed (reminiscent of recent Marc Dorcel features which have been influenced over the years by competitor Private) in favor of neutral narration purporting to be heroine Silvia Saint's character but not her voice. She's a writer of popular erotic novels, but sales are slipping due to her audience's fixation on the porn content rather than the stories she concocts. (That in a nutshell describes the sad state of narrative Adult Cinema a couple of decades after pair of features was shot).
She heads to Brazil to rejuvenate and come up with better material, but early on a mysterious character named Victor Vidal (well-played by Leslie Taylor in a NonSex role) shows up at one of Saint's book signings and leaves his card. He just as mysteriously shows up by coincidence in Brazil and seems like a puppet-master over most of both films' scenes.
Many scenes consist of Silvia's erotic nightmares, which prove quite useful to her as fodder for her writing once she's awakened, but trouble her as to their content and frequency. Director Adamo uses this format to stage elaborate and always visually arresting fantasy scenes, including unusual material like a subtle riff on Jean Cocteau's statues and backdrops made up of real-life people, as well as a recurring Satanic-style ritual of a girl on an altar as masked men deflower her (rather than sacrifice her).
First Part, which is the lengthier of the two, woefully fails to advance the story once it has been established, leaving us with an uninvolving cliffhanger ending -not the sort that makes one eager to see "what happens". All we get are eight concise sex scenes, in which Saint's pristine beauty is likely all that matters for the undiscriminating target audience. But Adamo could have delivered so much more, having gone to the trouble of location shooting, wonderful sets, immaculate styling of his actresses, etc. Such is the conundrum I face when watching all-sex or gonzo porn, in that the balance between technical niceties and narrative creativity has gone completely out of whack in recent decades, as critics and porn consumers have come to value ONLY the sex, and not the all-important context in which it unfolds.
That's a shame, because the ancient (began in 1965, with magazines) porn media giant specialized in a big-budget looking, globe-hopping form of entertainment, but many of its releases (the majority nowadays) are mindless sex, boring because there's so little in the way of story hook or interesting characters. Such is the case here, as Adamo and crew traveled to northern Brazil to shoot atmospheric locations and in the manner of Haskell Wexler's classic "Medium Cool" effective Carnaval footage integrating the actors with the "found" crowd footage. Elegant sets in the studio back in Budapest are used for most sex scenes and even cafe scenes set in Brazil.
Dialog is suppressed (reminiscent of recent Marc Dorcel features which have been influenced over the years by competitor Private) in favor of neutral narration purporting to be heroine Silvia Saint's character but not her voice. She's a writer of popular erotic novels, but sales are slipping due to her audience's fixation on the porn content rather than the stories she concocts. (That in a nutshell describes the sad state of narrative Adult Cinema a couple of decades after pair of features was shot).
She heads to Brazil to rejuvenate and come up with better material, but early on a mysterious character named Victor Vidal (well-played by Leslie Taylor in a NonSex role) shows up at one of Saint's book signings and leaves his card. He just as mysteriously shows up by coincidence in Brazil and seems like a puppet-master over most of both films' scenes.
Many scenes consist of Silvia's erotic nightmares, which prove quite useful to her as fodder for her writing once she's awakened, but trouble her as to their content and frequency. Director Adamo uses this format to stage elaborate and always visually arresting fantasy scenes, including unusual material like a subtle riff on Jean Cocteau's statues and backdrops made up of real-life people, as well as a recurring Satanic-style ritual of a girl on an altar as masked men deflower her (rather than sacrifice her).
First Part, which is the lengthier of the two, woefully fails to advance the story once it has been established, leaving us with an uninvolving cliffhanger ending -not the sort that makes one eager to see "what happens". All we get are eight concise sex scenes, in which Saint's pristine beauty is likely all that matters for the undiscriminating target audience. But Adamo could have delivered so much more, having gone to the trouble of location shooting, wonderful sets, immaculate styling of his actresses, etc. Such is the conundrum I face when watching all-sex or gonzo porn, in that the balance between technical niceties and narrative creativity has gone completely out of whack in recent decades, as critics and porn consumers have come to value ONLY the sex, and not the all-important context in which it unfolds.
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