Carmen

Why did Aristide Massaccesi (1936-1999) decide to use his most famous pseudonym in the various porn videos he directed in the 1990s? The name Joe D'Amato was marked in the 70's and 80's by a series of erotic and horror films which were very financially successful and which, over time, became cult objects among fans of "exploitation" (such as Buio Omega, Antropophagus, Absurd aka Rosso Sangue, the "Black Emanuelle" series, Voglia di Guardare and many other films from that period). In the early 1980s, Massaccesi directed several cheap porn films, but using the pseudonym Alexandre Borsky. Why, then, did he use the name Joe D'Amato in countless irrelevant adult videos, such as this "Carmen" (1996)? Career contempt? I don't know.

Carmen - La Zoccola Spagnola is a horrible porn video. First of all, this video has nothing to do with the famous Carmen by Prosper Mérimée and Georges Bizet. By the way, neither story or plot this video has. Why did D'Amato waste time on productions without plot or narrative? In Carmen there is only a succession of sex scenes staged without enthusiasm and inspiration and which basically boil down to fellatio and vaginal penetration. In the entire video there is only a brief moment of double penetration, which makes this video a nightmare for all female sodomy lovers.

As was customary in Italian productions of that period, in Carmen there are no Italian actresses (the cast is formed by Hungarian and Slavic actresses, for the most part). Only Maria de Sanchez is Spanish and she is wasted here as she was very beautiful and talented. In short, Carmen is one of the worst porn videos of the 90s.

Adapting a tale as iconic and emotionally charged as Carmen presents a unique challenge, requiring a delicate balance between respecting the source's power and offering a distinct vision. This 1996 interpretation, guided by the sensibilities of Joe D'Amato and Justin Sterling, carves its own path, one that leans heavily into the story's inherent sensuality and fatalistic undertones. The film certainly doesn't shy away from the passionate, almost primal core of the narrative, attempting to capture the intoxicating allure of its titular character and the destructive obsession she inspires. There's an earnest effort to convey the heat, both literal and metaphorical, of the Spanish setting and the untamed spirit that defines the central conflict. Moments arise where the visual composition aims for a raw, evocative quality, seeking to immerse the viewer in a world ruled by immediate desire and simmering tension, anchored by a central performance that embodies the character's fiercely independent nature.

However, this ambition often bumps against noticeable production constraints and a directorial focus that favors provocative imagery, sometimes at the expense of deeper character exploration or narrative subtlety. While the story's framework of love, jealousy, and betrayal remains, its development can feel uneven. The pacing occasionally falters, lingering perhaps too long on certain encounters while rushing through potentially crucial dramatic beats. The emphasis on the physical aspects of the relationships, while central to this interpretation's identity, sometimes overshadows the psychological complexities driving the characters toward their tragic destinies. Supporting performances vary in their conviction, leading to moments where the intended dramatic weight doesn't quite land. It's a rendition that undeniably prioritizes a certain mood - one of intense, often perilous, physical connection - but struggles to weave this consistently into a fully realized and emotionally resonant cinematic experience. The result is a film that captures fragments of the story's fiery essence but doesn't always coalesce into a compelling whole, leaving an impression of raw potential somewhat hampered by its execution and specific artistic choices. It exists as a distinct, if flawed, take on a classic, likely appealing most to viewers specifically seeking this particular lens on the familiar tragedy.

Filmed back to back in Spain with the excellent "Flamenco Ecstasy", "Carmen" wastes the considerable talent and beauty of Maria De Sanchez in the title role. The two feature films were reissued in 2004 by Adam & Eve on a two-fer DVD (now a collector's item), and watching the two makes clear "Carmen"'s faults.

While director Joe D'Amato was fully committed to the other film, directing stylishly and creatively in the erotic department, "Carmen" is distant and aloof, with many scenes shot and shown merely in an extended master shot from a distant placement. One can infer that this was made quickly and haphazardly to amortize the cost of the project by yielding two features for the price (almost) of one.

A nominal story is recited in terrible exposition scenes featuring Olivier Sanchez, later to become a stalwart of Brit Porn for Harmony Films, playing a police captain who calls in Interpol agent Lt. Steve Gaumont (D'Amato regular Hakan Serbes) to handle the case of a currency smuggling/money laundering mob in Spain. Maria De Sanchez plays Carmen, working in the gang.

Imported from Chatsworth porn land in America, Steven St. Croix is slightly embarrassing as a mob guy involved in the exchange of dirty money for diamonds. This plot line is entirely peripheral to the action of the film, strictly extraneous XXX scenes.

Other than some brief scenery and a thrown-in bullfighting scene, both of which are much better used in "Flamenco Ecstasy", "Carmen" has little to offer beyond its listless, generic sex scenes. Mike Foster is billed near the end of the list, but has much of the sex action, hiding behind the pseudonym Mike De Vinci. The film and story have little to do with the famous "Carmen" other than the name of Maria's character.

Yet another movie with much of the same cast was shot at this time, titled "New Revelations" for Adam & Eve release, and Maria De Sanchez's character in that one is also named Carmen.