sorry for the mistakes
Not even time to sit on the couch at home that Jessica Moore in the
video turns the heads, literally, of a group of mannequins with whom
she then performs erotic poses and actions. The mannequins, you know,
lack a dick otherwise....
But there isn't even time to open a beer that she has sex (for a fee)
in a warehouse filmed by a hidden camera for the pleasure of some guys
playing poker and watching.
Well...Joe D'Amato, it has to be said, starts very explicitly this 1988
film of his that should and would like to be the sequel to 'Eleven
Days, Eleven Nights', so much so as to have the same protagonist, i.e.
Luciana Ottaviani, aka, Jessica Moore (who would not liked some
of the film's footage, it is said) partly tracing the same character.
Returning to the viewing of the film, I was saying, it's 15' and
we still haven't seen a shred of the story, but all I can tell is that
Jessica Moore undresses frequently and, above all, completely.
Not that the rest of the film deviates much from this line, but something, in fact, they then told.
Sarah (Jessica Moore) is actually a writer who is finishing a book on
prostitution and in cahoots with her agent (Laura Gemser and allow me
that's a super quote) sets up a call girl agency to test the desires
and habits of males. To better manage this, a young computer nerd is
hired, with whom Sarah falls in love. However, he feels inadequate, not
up to the situation and also has a gay friend who is in love with him.
In between screwing around, however, as well as finishing her job,
Sarah manages to change the guy's mind and they live happily. Maybe
until the next book.
Mark Shannon, who appears in a brief scene in the role of a cowboy,
gives us the feeling of being in the company of old friends with whom
we can reminisce about good times, but we miss his other companion, Joe
D'Amato, who appears a little blunt here. The Roman director, sets up a
film that is nothing more than a long roundup of scenes of the
protagonist naked (and let's be clear, it is she who saves the film)
with erotic scenes that, apart from the amusing first moment, are not
up to the director's hand and lead 'Top Model' to be an erotic, let's
say, commercial. Behind the nudes, as mentioned, is this truly absurd
and sketchy love story.
The soundtrack, however, composed by the great Piero Montanari, which between synths and soft sounds, deserves the title 'Top'.