FĂŒge eine Handlung in deiner Sprache hinzuIs the story of a Swedish journalist who, during a photo shoot on the monuments of Ancient Rome, is so impressed that she relives the rites, loves and orgies of Imperial Rome in her imaginat... Alles lesenIs the story of a Swedish journalist who, during a photo shoot on the monuments of Ancient Rome, is so impressed that she relives the rites, loves and orgies of Imperial Rome in her imagination, identifying herself in Messalina's guise.Is the story of a Swedish journalist who, during a photo shoot on the monuments of Ancient Rome, is so impressed that she relives the rites, loves and orgies of Imperial Rome in her imagination, identifying herself in Messalina's guise.
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This Italian porn film, directed by Luigi Soldati under the pseudonym Leslie Pollak, makes an interesting use of the documentary language that recalls the aesthetic of the old mondo movies.
We open with images of a plane flying over Rome, while a narrator tells us about the fascination caused by the beautiful Italian capital. The images alternate with others showing an orgy in Ancient Rome. Quite an unusual way of beginning a porn movie. We are then introduced to our protagonist, a Swedish reporter, played by the wonderful Marina Hedman, who has come to Rome to make a reportage on the city's ancient ruins. In her company is a tour guide played by Valerie Siddi (aka Valerie St. Cloud), a French actress who appeared in several XXX Italian films in the second half of the 80s.
Influenced by the magic atmosphere of the city, Marina imagines herself as Messalina, the most notorious depraved empress of the Roman Empire, what explains the orgy footage in the beginning. The full orgy is featured in the end. Much of the running time shows the reporter visiting Roman ruins, with a voice explaining historical facts about them. These segments may annoy those who are just interested in sex, but I found them very welcomed, as they helped to break the tedium that usually plagues porn productions. Also the beauty of the locations makes of these "filler" parts the higher point of the movie. Curiously, some of the touristic footage has a different aspect ratio (widescreen) and tone of color, as if they had been culled from a different print.
Marina Hedman is gorgeous and charismatic as usual and her lesbian scene with an unknown black performer during the final orgy is unusually passionate and intense. Except for Marina and Valerie Siddi, the rest of the girls are mostly unknown faces for me. The director himself has a cameo as the editor of the magazine for which Marina works. I suspect that a bearded guy present during the Roman orgy and during a party promoted by the magazine was played by porn director Arduino Sacco.
A final curiosity: during a car ride, Marina asks the driver if he has ever seen Fellini's "La Dolce Vita" and the driver comments that she bears a resemblance to Anita Ekberg.
We open with images of a plane flying over Rome, while a narrator tells us about the fascination caused by the beautiful Italian capital. The images alternate with others showing an orgy in Ancient Rome. Quite an unusual way of beginning a porn movie. We are then introduced to our protagonist, a Swedish reporter, played by the wonderful Marina Hedman, who has come to Rome to make a reportage on the city's ancient ruins. In her company is a tour guide played by Valerie Siddi (aka Valerie St. Cloud), a French actress who appeared in several XXX Italian films in the second half of the 80s.
Influenced by the magic atmosphere of the city, Marina imagines herself as Messalina, the most notorious depraved empress of the Roman Empire, what explains the orgy footage in the beginning. The full orgy is featured in the end. Much of the running time shows the reporter visiting Roman ruins, with a voice explaining historical facts about them. These segments may annoy those who are just interested in sex, but I found them very welcomed, as they helped to break the tedium that usually plagues porn productions. Also the beauty of the locations makes of these "filler" parts the higher point of the movie. Curiously, some of the touristic footage has a different aspect ratio (widescreen) and tone of color, as if they had been culled from a different print.
Marina Hedman is gorgeous and charismatic as usual and her lesbian scene with an unknown black performer during the final orgy is unusually passionate and intense. Except for Marina and Valerie Siddi, the rest of the girls are mostly unknown faces for me. The director himself has a cameo as the editor of the magazine for which Marina works. I suspect that a bearded guy present during the Roman orgy and during a party promoted by the magazine was played by porn director Arduino Sacco.
A final curiosity: during a car ride, Marina asks the driver if he has ever seen Fellini's "La Dolce Vita" and the driver comments that she bears a resemblance to Anita Ekberg.
Messalina oggi takes us on a journey to ancient Rome, where a Swedish journalist, played by the stunning Marina Hedman, finds herself immersed in the decadent world of Imperial Rome. Through her adventures, we are treated to a smorgasbord of sexual delights, with a healthy serving of kink and a side of romance.
The film wastes no time in diving into the erotic, as we witness Hedman's character exploring her surroundings and soon herself. In one of the film's standout scenes, Valerie St. Cloud joins Hedman for a steamy encounter, where Cloud gives an enthusiastic performance, delivering cunilingus and anilingus to Hedman with equal passion.
As the movie progresses, we are introduced to a cast of characters, including the dashing Roberto Malone, who adds a touch of charm and a lot of stamina to the proceedings. Malone and Hedman have sizzling chemistry, and one of the most memorable scenes involves an orgy where Malone delivers a golden shower to Hedman's mouth, spread-out vagina and body. It's a scene that encapsulates the film's unapologetic embrace of bodily fluids and pleasures.
While the plot is minimal, serving mainly as a vehicle for the sexual encounters, the production values are surprisingly decent for an adult film of this era. The costumes and sets, though likely low-budget, evoke the ancient world adequately, adding a touch of class to the proceedings.
However, the film is not without its drawbacks. Some of the acting is wooden, and the dialogue is often cringe-worthy. Additionally, the pacing feels off at times, with some scenes dragging on longer than necessary, while others feel rushed.
In conclusion, Messalina oggi delivers on its promise of explicit content and will undoubtedly satisfy those seeking a generous helping of sexual adventure. However, with its uneven pacing and lackluster performances, it falls short of becoming a classic.
Messalina oggi is an erotic time capsule, a steamy glimpse into the ancient world through a very modern lens. While it may not be a masterpiece, it certainly leaves a lasting impression.
The film wastes no time in diving into the erotic, as we witness Hedman's character exploring her surroundings and soon herself. In one of the film's standout scenes, Valerie St. Cloud joins Hedman for a steamy encounter, where Cloud gives an enthusiastic performance, delivering cunilingus and anilingus to Hedman with equal passion.
As the movie progresses, we are introduced to a cast of characters, including the dashing Roberto Malone, who adds a touch of charm and a lot of stamina to the proceedings. Malone and Hedman have sizzling chemistry, and one of the most memorable scenes involves an orgy where Malone delivers a golden shower to Hedman's mouth, spread-out vagina and body. It's a scene that encapsulates the film's unapologetic embrace of bodily fluids and pleasures.
While the plot is minimal, serving mainly as a vehicle for the sexual encounters, the production values are surprisingly decent for an adult film of this era. The costumes and sets, though likely low-budget, evoke the ancient world adequately, adding a touch of class to the proceedings.
However, the film is not without its drawbacks. Some of the acting is wooden, and the dialogue is often cringe-worthy. Additionally, the pacing feels off at times, with some scenes dragging on longer than necessary, while others feel rushed.
In conclusion, Messalina oggi delivers on its promise of explicit content and will undoubtedly satisfy those seeking a generous helping of sexual adventure. However, with its uneven pacing and lackluster performances, it falls short of becoming a classic.
Messalina oggi is an erotic time capsule, a steamy glimpse into the ancient world through a very modern lens. While it may not be a masterpiece, it certainly leaves a lasting impression.
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By what name was Messalina oggi (1987) officially released in Canada in English?
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