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Directed by: Tinto Brass

Stars: Serena Grandi, Andrea Occhipinti, Franco Interlenghi

Language: Italian | Subtitles: English

Country: Italy

Also known as: Miranda – Die Wirtin vom Po, Miranda, yön kuningatar

Description: With her husband still missing since WWII, the voluptuous innkeeper, Miranda, runs the business by herself, somewhere in a small late-1940s town outside Venice. Refusing to remarry, Miranda insists on waiting for her lost husband to return; however, hers is an idle promise because, in the meantime, she enjoys keeping an affair with the young transporter, Berto, under the watchful eye of Tony, her secret admirer. With an ample supply of lovers, Miranda consoles herself for her loss by searching for the perfect substitute, and without any inhibition, she will submit them–one for each season–to her erotic trials, over a period of one year. But, sooner or later, the search will end, and then, who will be the lucky one standing next to Miranda, the beautiful and juicy prize, at the church?

Few of Brass’s actresses look ideally, they often have quite objectionable features, so it was all the more his achievement to create and maintain on sets an atmosphere of authentic desire, lust and appeal ;because in Brass’ outings there’s not only realism, irony, satire, though that’s plenty of but there is also poetry and adulationhis actresses are feasted, celebrated as sex symbols. His is not the unashamed cheap porn, but pornography deftly turned into exploratory poetry.

If it’s porn nonetheless, it’s an inspired porn. Hence the jubilating vigor. Stefania, Serena, Deborah, Anna, his best actressesnone of them looks like an ideal model, etc.. And if it’s not the shape (as with Deborah, Serena and, to a certain degree, Stefania) ,it’s the age (as with Anna). And hence the really homely charm. Moreover, it’s a different approach, another kind of beauty (in time and space) than the one presently current in Hollywoodian popular culture. See Mme. Antonelli (not a Brass actress, but highly typical for the Italian appeal of the ’70s). It’s another notion of the feminine beauty. There is nothing ostentatious in this; they are simply real life women.

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