Domino

This is not so much a review as it is a warning: when you see the video cover for this film, you may think "Brigitte Nielsen + Domino + black leather = dominatrix". Well, forget it. Despite a few soft-core scenes, "Domino" basically wants to be an "art" film, and it is - a plot less, pretentious, pseudo-philosophical one at that. Nielsen has a nice body, but some unflattering close-ups of her face reveal signs of early aging. She does have one steamy scene, about 70 minutes into the film, where she pleasures herself on her bed. Watching that scene (and fast-forwarding through the rest of the movie) is the only pleasure YOU can get out of this cinematic nightmare. 0.5 out of 4 stars.

My review was written in August 1989 after watching the movie on IVE video cassette.

Though pretty to look at, "Domino" is a Brigitte Nielsen vehicle that's hopelessly pretentious. Falling between art film and sex pic, Italo import has had a modest theatrical release but is likely to bewilder curious video fans.

With a murky script by Nielsen and frequent Roman Polanski collaborator Gerard Brach, filmmaker Ivana Massetti tries in vain for avant-garde effects and an almost sci-fi atmosphere: all the action is shot on abstracted sets at Cinecitta with even car-driving scenes reverting to process photography. Though the pithy, pretentious English dialog is delivered well by an unidentified cast, none of it makes sense.

Nielsen is Domino, a platinum-blonde beauty (given to wearing numerous dark wigs) who's working on a video documentary about Billie Holiday. We're treated to "You Don't Know What Love Is" and other terrific recordings by Lady Day, plus vintage footage of her, but Massetti's endless homage has little to do with the plot.

There is little action, but a lot of languorous scenes of masturbation) (R-rated in terms of explicitness), Neilsen operating her own video camera and soul-searching talk about sex. Lest this sound like the Italian version of "Sex, Lies and Videotape", note that Massetti has little interest in character interaction -she prefers monologs directed to human sounding boards.

Nielsen sees a silhouetted couple making love in the apartment across the street and a voyeur with a telescope. And she's plagued by obscene phone calls. She wanders around, talks to several beautiful black women and consorts with a sexy sound man. Pic's silliest stretch for philosophical import is her monolog about the meaning of a growing spot on her skin (not shown), diagnosed as dermatitis.

The viewer does get to see plenty of Nielsen's unblemished skin, presumably the film's drawing card. However, unlike a previous Italian effort "Bye Bye Baby", in which her acting was fine, Nielsen's bored line readings here are embarrassing. Rest of the cast is functional, with British thesp David Warbeck popping up as a blind neighbor.

Massetti's visual expertise is evident, with fascinating lighting by Tonino Nardi and some amazing (if occasionally trashy) costumes for Nielsn by Silvana Fusacchia.

Brigitte Nielsen seems to be day-dreaming throughout the whole film, now and then the film is rated 18+, and also she is playing with herself, it is a poor story and this film will not add any importance in the world of (maybe) cult.

All of the other reviews posted here notwithstanding, I found this movie to be uniquely charming.

This is soft-core erotica from a woman's viewpoint, with a lens on the feminine mystique. Guys, if you (like me) have ever gotten all worked up with that "get laid or bust" feeling; found someone to get your rocks off with; but then felt like "Is that all there is?" … this film is about what was missing sexually. It depicts arousal as much more than an eager boner. Time slows down. A river of warm, liquid feelings is flowing by. It looks like an art deco moon; it sounds like Billie Holliday's slow, unhurried voice, womanly and girlish at the same time; and it feels like a woman's hot, naked body writhing in a stretchy white lace body stocking. This is not a 30-second ad for Pepsi or Viagra; this is the journey of a warm-blooded soul experiencing urban life.

Yes, the plot may seem disjointed and meandering, like the way we dream.

One of the intriguing images in the movie is a jet-black male mannequin, in a fedora or a white bow tie, which Domino adopts as a partner. It makes me wonder: Is this what women really want in a man: someone who will just be there when they come home, waiting for them, ready to listen, with no drama or needs of their own and nowhere to go?

There's no hurry here — Wait until you get bored with the whiz-bang titty-poppers (which I also love dearly), and then give yourself an evening with this film. Watch it with your partner if you have one; compare impressions; and don't have anything planned after that.

Through her appearance as RED SONJA and her short marriage to Sylvester STALLONE, the Danish actress Brigitte NIELSEN achieved a high level of fame in the 1980s. This even led to a singing duet with the Austrian singer FALCO (Rock Me AMADEUS) and some films in the Roman CINECITTA.

In this film by Ivana MASSETTI, NIELSEN plays a successful video director who has many affairs but is still looking for true love. One day it seems to work...

Soft eroticism for art house cinema! You can tell that director Massetti wants to tell the story artistically through the eyes of a woman. That's why the pictures are very nice, but don't advance the story in terms of content. Tomas ARANA, Kim Rossi STUART, Stephane FERRARA, David WARBECK and Cyrus ELIAS are trying to get Brigitte NIELSEN's attention, which has probably long since faded from the audience's attention...