L'alcova

Joe D'Amato's 1985 film, "L'alcova," weaves a tale that combines the allure of eroticism with the complexities of human relationships against a backdrop of historical intrigue. Set in the aftermath of World War II, the narrative unfolds within the confines of a luxurious, yet eerie, mansion, where the lines between power, lust, and control blur seamlessly.

The story centers on Elio, a soldier returning from the war with an unexpected companion, a beautiful African woman named Zerbal. This unconventional addition to his household sparks a volatile dynamic with his wife, Alessandra, who is both fascinated and threatened by Zerbal's presence. The tension is palpable as these characters navigate their desires and ambitions within the opulent, but increasingly claustrophobic, walls of their home.

D'Amato's direction is characterized by his signature blend of explicit eroticism and dramatic tension. The film does not shy away from graphic content, which is portrayed with a raw, unapologetic lens. This explicitness, while integral to the story, often feels gratuitous and detracts from the potential for deeper emotional and psychological exploration. The erotic scenes, rather than enhancing the narrative, sometimes seem to exist for their own sake, serving more as a distraction than a complement to the storyline.

The performances are a mixed bag. Al Cliver, as Elio, brings a rugged charm to his role, convincingly portraying a man torn between his past experiences and his present desires. Lilli Carati, as Alessandra, delivers a performance that oscillates between vulnerability and steely resolve, capturing the essence of a woman grappling with her own identity and the shifting dynamics of her marriage. Laura Gemser's portrayal of Zerbal is both enigmatic and compelling, though her character is often reduced to a mere object of desire, which limits the scope of her role.

Visually, "L'alcova" is a feast for the eyes. The cinematography, with its rich color palette and meticulous attention to period detail, creates an atmosphere that is both lavish and suffocating. The mansion, almost a character in itself, exudes a sense of decadence and decay, mirroring the tumultuous relationships of its inhabitants. The use of lighting and shadow plays a significant role in accentuating the film's themes of secrecy and revelation.

The narrative, however, struggles to maintain coherence. The pacing is uneven, with moments of intense drama interspersed with languid, almost stagnant scenes. This inconsistency hampers the overall flow of the film, making it challenging to stay fully engaged. Moreover, the dialogue often feels stilted and overly theatrical, which detracts from the authenticity of the characters' interactions.

Ultimately, "L'alcova" is a film that tantalizes with its promise of erotic intrigue and psychological complexity but falls short of delivering a truly satisfying experience. It is a visual and sensory journey that is marred by narrative and character development flaws. The film's ambition to intertwine historical context with personal drama is commendable, yet it never fully realizes its potential.

An English soldier (Cliver) returns home from the Zulu war with the daughter of a tribal king (Gemser) as his slave (a gift that he was given for "saving" the kings life). The spoils of war, ya know? While he's been gone, his wife has been having an affair with the female housekeeper (Belle). Not at all pleased with being a slave, the Ebony princess notices the mistress of the house engaging in a quick bit of foreplay with the housekeeper and plots her revenge starting with the seduction of the mistress. Jealousy spreads like wildfire and before you know it, she has turned the household into a lustful frenzy of sex and hatred. I can't give away too much more or it would ruin the story, but there are plenty of little twists along the way. Speaking of twists, this film is actually far more twisted than it sounds. One of the more disturbing moments being a sequence about the filming of an inquisition-themed porno that turns into the sadistic rape of a lesbian / virgin by the filthy and none too bright gardener. Sporting tons of full-frontal nudity, simulated lesbian and straight sex and some hard-core (as seen in an old stag film), this has the sleazy goods to go along with the D.H. Lawrence-ish setting and atmosphere, and is definitely recommended for fans of such.

The Alcove pairs Joe D'Amato with Laura Gemser and sees both of these cult icons at their sordid and sleazy best! Joe D'Amato made a hell of a lot of sleaze films; and while I do consider myself a fan of his, it has to be said that a large proportion of his output is rather rubbish...but not so with this film. The Alcove is as good a porn flick as it is a character study, and that's what puts this film at the very top of the director's filmography - by not focusing on the sex, when we do get to see it - it means so much more. The plot line is actually really good, too. We focus on a country house where the house Mistress, Alessandra, is sharing a sordid affair with the secretary Wilma while her husband is away fighting Zulus. He returns from the war bearing gifts for the women; and he also brings home a slave girl named Zerbal, whom he was given for saving the life of her father. The slave soon starts to get used to life in the house and decides that she doesn't want to be the slave anymore. After noticing the two women having sex, Zerbal decides to worm her way into the Mistress' affections...

This film absolutely could not have been made today and the reason for that is the inherent racism running throughout it. Laura Gemser's character gets all manner of vicious insults thrown at her throughout; though it doesn't really make for uncomfortable viewing given Gemser's obvious beauty. Her role here is somewhat different from the strong Emanuelle character we're more used to seeing her as; although the role does become more like what we're used to as the film progresses. The film becomes an expose of sexual desires between five different people all pulling different ways and it makes for fascinating viewing; the fact that sixty percent of the main cast is made up of beautiful women doesn't do it any harm either! The jewel in the crown is Gemser, of course, but her co-stars Lilli Carati and Annie Belle are very easy on the eyes too! Being a D'Amato film you can expect plenty of sex and he doesn't disappoint. There's not quite as much quantity compared to some of his other opus', but this is more than made up for in quality as the sex scenes are very well filmed; particularly those between Lilli Carati and Laura Gemser. Overall, this really is an excellent film that I would class as a must see for anyone who enjoys sleazy Euro-porn. It's a rare one, but finding it is very much worth the effort!

Joe D'Amato laves his cannibal past and ventures into soft core porn. It is really more than an exhibition of full frontal - there is certainly enough of that. It actually has an interesting story about the fall of the landed gentry.

The Colonel (Al Cliver - Zombie, The Beyond) returns from war with a chief's daughter (Laura Gemser - Black Emmanuel) in tow. His wife (Lilli Carati - Miss Italy 1975) is at first dismissive of the woman and certainly racist in her comments.

Gemser is not happy with her position, and soon discovers that the wife and the Colonel's secretary (Annie Belle - The House on the Edge of the Park) have their own thing going. She plot to get the wife on her side using her considerable skills at lovemaking.

Meanwhile, the Colonel is discovering he is a failure as a writer and the banks are clamoring at the door. He decides to make porn films. Things do not go well for Belle, as she is paired with the gardener (Roberto Caruso). But, she gets her revenge in the end.

The cinematography was excellent.

Several of my fellow reviewers here, some of which I have known for years and usually always concur with, have referred to "The Alcove" as a beautiful and stylishly eroticist period-piece, AND as one of writer/director Joe D'Amato's best works. Alas, I can't say I agree this time. I found "The Alcove" dull and dumb, and with such an overload of lesbian sequences that it becomes monotonous quite fast.

Set in the mid-1930s, Al Cliver depicts a soldier/writer - and 'slash' swindler - who brings home a beautiful and submissive African Princess (= sex slave) and offers her to his wife Alexandra. The nymphomaniac Alexandra was already feasting her sexual lusts on her hubby's cute secretary Velma during his many trips away from home, and thus she certainly doesn't mind a fresh and sensual new bed partner! Velma is jealous and sees evil in Zerbal, but Alexandra gradually becomes obsessed with her. Velma is right, though, as Zerbal's sole mission is to get revenge for the abusive, racist, and disrespectful way she has been treated.

Okay, here's how I see it... Our pervy pal Joe D'Amato had the privilege of working with three of the most sensationally luscious women of the Italian exploitation industry: Laura Gemser, Lili Carati, and Annie Belle. He simply had to get maximum benefit out of that. Every smallest and most banal situation somehow turns into a lesbian orgy, and evidently there's always someone peeping up a skirt or through a keyhole. Towards the end, D'Amato even turns his cast into an amateur porno-movie gang, complete with nuns' outfits and savage rape by the drooling gardener. What's so stylish or erotic about that?