made with

sorry for the mistakes!


La signora della notte


The movie begins and there is Serena Grandi in a car that has sex saying "I like your d**k!". In the next scene, she gets up from the bed naked. This is what is a good start! Perhaps it is worth of Galliano Juso, who writes the story, produces, and knows what people expect from Serena Grandi who just one year ago entered in the erotic dreams of Italians thanks to Tinto Brass. In addition, could be worth also of De Angelis brothers who shoot the best songs right away. In any case, the film of Piero Schivazappa much more active as author or as a director in TV series has already after a few minutes all our attention.
Unfortunately, it's a trap, because our focus is on a movie that, in fact, has shown abundantly in the first 10's all that it can give. That is, the body of the beautiful Serena Grandi at the top of the shape.
Therefore, for the rest of the minute we look at Grandi who tries to escape the boredom of a married relationship by having sex with more or less respectable men. And well, see Serena Grandi naked is always a good memory of adolescence that even her vision in "La Grande Bellezza" cannot destroy, but the cause of her libido is very forced and little respectful.
She plays Simona aerobics teacher apparently happily married. In reality she is bored and a husband more interested in cars and work destroy her psychologically. One evening, however, she is raped but she likes it (and it is really a horrible thing) and this dramatic fact opens a world of transgression. Henceforth we see her being subject to perversions, touch by a rifle of a hunter who then makes a fellatio (both to the rifle and the hunter we think) and yield after a while to the very insistent avances of a director who takes her again, by force. In addition, she always likes it.
Here is a small twist, because her husband bounces her in flagrant and beat she under Tiberio Mitri's eyes in a ridiculous cameo. The two separated and he too lets himself go to the transgressions. It's not a turning point because everything goes on like before, until he takes her by force (again she suffers) and they find the passion again.
This film represents a miserable representation of the glittering eighties, where everyone should have money, success and be transgressive. Schivazappa is not a genius behind the camera and production tries to use the few and most common things best. In front of the camera, however, the only one who seems to know the environment is Serena Grandi. And that's all.