sorry for the mistakes
Bored middle class, ménage à trois and sex stories.
Nothing new under the sun of the Dominican Republic, nothing new for
Joe D'Amato who, among other things, is openly inspired by Scattini's
“La ragazza dalla pelle di luna”, of which this is a more
erotic and violent reinterpretation.
The role play is the same, but D'Amato puts in large doses of explicit
sex, including a porn frame taken from another of his films with Mark
Shannon and Lucia Ramirez and a surprise ending that flips vaguely
horror, what we could imagine.
"Black Orgasm" to get to this dignified but hasty ending, makes us pass
through a long, not very sparkling story that stands out only for the
presence of Nieves Navarro (as Susan Scott) who at forty-two looks like
a girl and Lucia Ramirez who inaugurates with D'Amato, a good albeit
brief partnership and which here is abundantly palpated everywhere and
The Dominican actress plays the object of desire, namely Haini, a local
girl who ends up in the hands of Helen (Nieves Navarro) and Paul
(Richard Harrison). The couple is in a big crisis, dissatisfied
sexually and psychologically, because Paul wants at all costs to have a
child that Helen is unable to give to him.
Paul is a writer who is in Santo Domingo to study local customs and
witnesses a strange ritual in which Haini eats the heart of his dying
father. Helen becomes friends with the girl to the point of wanting to
take her to the United States. Haini leaves (she is repudiated by
whipping by her mother, in the most bizarre scene of the film) and she
lets herself be “adopted” by the couple. The relationship
between the two women becomes morbid; Haini has experiences with
Helen's friends who in turn often cheat her husband. Her man's reaction
is not long in coming from her and apart from her raping her, he asks
his wife to send her back home. And when peace seems to arrive, also
pushed by Helen's possibility of having children, Haini, taken back to
Santo Domingo, strikes a revenge that subverts the history.
A nice ending, which comes too late and after we have been partially
bored during these ninety minutes. D'Amato behind the camera carries
out the homework, without particular flashes, in a story that does not
give us great emotions, like the actors, who are as beautiful, but
little in part.