KKK - Storie violente dell'America di ieri

Director Mario Bianchi, who directed several of my all-time favorite Sarah Young movies, tackles a hot topic in KKK, a very Italian take on mixed combo action. Trust the Italians to come up with their own angle on a tried and true interracial theme.

Film starts promisingly with stock footage of an actual Klan march in the U.S. with violence between the marchers and protesters. But the story is not about the Klan but rather mingling of the races, no longer a controversial issue but still anathema to white-supremacist loonies.

So KKK is closer to the trashy Richard Burton/O.J. camp classic of the '70s than to BIRTH OF A NATION. Franco Roccaforte (credited as Teo) plays Teo, a black man introduced making love to the lovely blonde Guilia, a rousing scene up to the highest standard of 1990s Italian XXX. After his money shot on her behind, hooded Klan members grab them and merely shoo Teo away rather than killing him.

Leader of the Klan mob goes home and removes his hood and white sheet, revealing a clerical collar beneath (this being an Italian movie I assume he's a Catholic priest, though that's merely conjecture), played stoically by Christoph Clark with hair dyed white to make him look a bit older than his studly self.

The beautiful Laura Angel (Bianchi has a fine femme cast on display) is mean to Clark, but humps him anyway and like the first scene we are treated to anal sex, an automatic in European porn of this (and subsequent) era(s).

Teo is conferring with a militant pal played by Zenza Raggi (whose swarthy looks permit him to stand in for many different ethnicities). Cute Maria seduces them for some mixed combo troilism on the dining room table, leading to an impressive series of d.p.'s. I identified her as Maria Bellucci.

Meanwhile back at the clergyman's home, Giulia visits for guidance, and lecherous Clark guides her to his cock, after taking the young girl across his knee and spanking her. Trying to get her to confess her sins, Clark keeps turning heavenward to proclaim "Perdone Me!" as he humps the girl, a campy enough scene to recommend this movie for Midnight showings, which I would book opposite Frank Perry's classically bad MONSIGNOR with Christopher Reeve.

Film profitably turns really melodramatic for the final reel as Teo rapes Angel in her bed, while a Klansman watches through the window. Of course, this being porn, she loves it, and after more anal action and a copious money shot, cut to Teo being locked away in a dungeon by the Klan, chained up in his cell. Picture just ends at this point, presumably saving its plot development for a sequel.

Perhaps not as outright goofy as its soft-core ancestors, this Italian delving into gutter cinema proves there's still some life in the Boot, though the glory days of that nation's mastery of sleaze are as Gone with the Wind as its once domination of American art houses. If the question is: where are today's Fellinis, Antonionis, Viscontis, D'Amatos, and even Monteros (Bianchi's dad) coming from? - it sure ain't Italy.