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"Il piacere" (1985), directed by Joe D'Amato, is a film that attempts to blend eroticism with a dramatic storyline. Unfortunately, it falls short on both fronts. The plot revolves around the life of a young man named Andrea Sperelli, who becomes entangled in a web of romantic relationships with several women.

The film's main issue lies in its pacing and lack of engaging narrative. While the concept of exploring one man's romantic escapades could have been intriguing, the execution fails to captivate the audience. The characters are underdeveloped, and their motivations remain unclear, making it difficult for viewers to invest emotionally in the story.

As an erotic drama, "Il piacere" also disappoints. The erotic scenes feel forced and lack the sensuality and passion that one would expect from a film of this genre. Instead, they come across as gratuitous and devoid of any real emotional connection between the characters.

Visually, the film is competent but unremarkable. The cinematography and production design are adequate, but they do not elevate the overall quality of the film. The performances by the cast members are serviceable, but they are ultimately let down by the weak script and direction.

In conclusion, "Il piacere" (1985) is a dull and uninspired erotic drama that fails to deliver on its premise. With a better-developed storyline, more engaging characters, and a stronger focus on emotional connections, the film could have been a more satisfying viewing experience. However, as it stands, it is a forgettable entry in the genre.

Il piacere emerges as a frustratingly uneven exploration of desire and moral decay that promises much but delivers disappointingly little. Set against the sun-drenched Italian countryside, the film attempts to weave a tale of sexual awakening and societal corruption, yet stumbles under the weight of its own pretensions and technical limitations.

The cinematography occasionally captures moments of genuine beauty - golden hour lighting filtering through venetian blinds, the contrast between opulent interiors and stark emotional landscapes. However, these fleeting visual pleasures cannot mask the film's fundamental weaknesses. The pacing drags considerably, with lengthy sequences that feel more indulgent than purposeful, testing even the most patient viewer's endurance.

Performances across the board feel strangely detached, as if the actors are sleepwalking through their roles rather than inhabiting them. The lead performances lack the magnetic chemistry essential for a film so dependent on sexual tension and emotional connection. Supporting players fare little better, delivering dialogue with a mechanical quality that strips away any sense of authenticity or passion.

D'Amato's direction shows glimpses of artistic ambition but ultimately lacks the finesse required to elevate the material beyond its base elements. The film's exploration of pleasure and pain feels surface-level, never digging deep enough into its characters' psychological landscapes to justify its more explicit moments. What should feel transgressive instead comes across as gratuitous, missing the mark on both artistic merit and commercial appeal.

The production values reflect the film's modest budget, with inconsistent sound design and occasionally jarring editing choices that pull viewers out of the narrative flow. While the Italian countryside provides a naturally beautiful backdrop, the film fails to capitalize on its scenic potential, often feeling confined and claustrophobic despite its expansive setting.

After the death of their mother, a brother and sister (Andrea Guzon) return from boarding school to their family home where they stay under the guardianship of their mother's long-time lover "Uncle Gerard" (Gabriele Tinti). While the brother marks this somber occasion by finally "becoming a man" courtesy of the sexy family maid (Lili Carati), his younger sister discovers "Uncle Gerard's" treasure-trove of audiotapes documenting his long affair with her mother. For some reason, she decides to follow the actions on these tapes to try to seduce the older man. And since he was kind of a kinky guy who got off on her mother having sex with A LOT of other men, she ends up giving a stranger a hand-job in a theater, teasing a horny stable-hand until he nearly rapes her, and finally even joining a brothel! Oh, and did I mention she is also still a virgin(which strangely is not a problem at this particular brothel).

Although this is movie is certainly kinky enough for a D'Amato movie, it's also one of those softcore costume period dramas that are much more the province of other Italian directors like Tinto Brass. D'Amato was much better at the more modern "swinging 70's" sex films like the "Black Emanuelle" series or his own patented hybrids of sex and horror like "Emanuelle and the Last Cannibals" or "Erotic Nights of the Living Dead". This film was from a strange period in his career during the mid to late 80's when he gave up horror and sleazy 70's flicks and seemed to be trying to imitate Brass and other directors of "classy" erotica (eventually he'd give this up too and dive completely into hardcore porn). As far as these movie go this is better than the godawful "Blue Angel" rip-off "Blue Angel Cafe" but not as good as his Tinto Brass remake "Midnight Gigolo".

Naturally, Andrea Guzon and Lili Carati disrobe with great frequency. D'Amato regular Laura Gemser also shows up in a small, and almost unrecognizable, part and has memorable (if completely gratuitous) sex scenes with Carati and Guzon. Another washed-up European sex star Dagmar Lassander is actually pretty good as the madame of the brothel (even if the whole brothel thing is pretty damn stupid to begin with).

So does the girl eventually lose her virginity to her "Uncle Gerard"? Well, this IS still a Joe D'Amato film, after all... . .

This was made in Joe D'Amato's medium-budget sortporn period. The story about the relationship between a widower and his stepdaughter seems to be original but many elements of this film have clearly been borrowed from Brass' The Key and there are also signs that D'Amato must have seen Once Upon a Time in America. It is one of the rare cases where D'Amato really put some effort into trying to make a good film (mostly he's a very lackluster director). As a result, Il Piacere is one of his best films, despite a rather anemic lead actress (Miss Guzon) and an infuriatingly annoying musical score that must have been written by someone with just a couple of hours of piano lessons.

Though many viewers may want to see this film for the presence of the lovely and more famous Lili Carati, Andrea Guzon made this movie memorable for me. She captured the characters beauty, passion, and provocative desirability throughout the movie. Though the theme of the movie could be hard for some to take, male viewers may certainly understand the inner-conflict the Gerard character had. Still hurting at the lost love of his late wife, her daughter comes into his life. The chemistry between the two is immediate, though he fights her subtle, and not-so-subtle :) advances. Will he cave into her considerable charms, or will he do the "right thing" and not allow himself to be seduced by his late wifes daughter? The movie had me "all in" to the end. Of the limited amount of Joe D'Amato films that I've seen, Il Piacere is easily my favorite. I give it a solid 9.