Le 120 giornate di Sodoma

Even tamer than his XXX biopic MARQUIS DE SADE, Joe D'Amato's riff on the Sade book that Pasolini made into his classic SALO is a wimp-out. Credit Jesus Franco with a far better slew of movies inspired by the Marquis's literature.

Titled ANAL PALACE for U.S. fans, story is set on the eve of the French Revolution, with Mark Davis unconvincingly impersonating Sade. (When I type that I can't get the songs "Smooth Operator" and "Sweetest Taboo" out of my head for some reason, either of which would have sounded great if pirated on the movie's soundtrack, but no such luck.) He's in a cell telling a beautiful young blonde named Martine all about sex & pleasure, while two louts heckle him. Film unfolds in flashbacks as Sade regales her with tales of debauchery from his past.

Anita Blond as Aline emerges as the true star of the film, acting as the mistress of ceremonies for the orgies depicted. I'm a big fan of hers and for neophytes the private joke is that she appears in hundreds of films & videos strictly with a black hairdo despite her porn moniker.

The crude English dubbing doesn't help the Sadean philosophizing on the soundtrack, and the sex emerges as mechanical and tedious. There is no sadomasochism or real bondage on display, the closest being having the guys being blindfolded with the arms tied behind their backs -not for punishment but rather to be passive as Aline and her women give them blow jobs.

Similarly, even though Sean Michaels guest stars as a slave named Ebony for some mixed combo action, the gimmick of having him or others stand blindfolded on an auction block goes nowhere -there's no humiliation involved, no nothing. I guess (per the stupid TOTALLY UNCUT documentary) Joe simply delighted in acting out for his cast certain sexual positions but never understood how to properly direct XXX movies. For him it was all filler.

Happy ending here consists of Sade informed the revolution's afoot, he humps Martine finally after nearly boring her to death, and a money shot in the face signals finis.

You have to count porn like this a failure when the audience is supposed to leave humming the costumes & fancy wigs. That's about all there is of interest here.

120 DAYS OF SODOM is another brain-dead porno outing from Joe D'Amato. Like many of his efforts from the 1990s, this one is a costume film purportedly re-telling some of the exploits of the notorious Marquis De Sade, who relates various tales of lust and orgies to a female prisoner in a bid to expand her horizons. This Italian film has been badly dubbed into English for international release.

When watching this film it soon becomes apparent of the dearth of imagination and creativity throughout. The old historical building that the film was shot in is the best thing about it, that and some of the costumes aren't bad. Sadly, this is a near-plot less affair made up of never-ending sex scenes, involving such famous performers as Sean Michaels and Kelly Trump. D'Amato's lack of creativity extends to said sex scenes, which are as boringly repetitive as you'd expect.

Joe D'Amato's 120 Days of Sodom is a lavish and explicit period piece that delivers on its promise of decadent debauchery. With a runtime of 98 minutes, this 1995 adult film pulls no punches in presenting its erotic and perverse vision.

The film immerses viewers in a world of uninhibited sexuality and extreme pleasure-seeking. The story, loosely inspired by the eponymous Marquis de Sade's novel, unfolds in a luxurious estate where a group of libertines indulge their darkest desires. The setting provides a backdrop for a series of intense and graphic sexual encounters that push the boundaries of conventional erotica.

The cast, including adult industry veterans Deborah Wells, Mark Davis, and Frank Gun, alongside the stunning Kelly Trump, deliver passionate and uninhibited performances. A particular standout scene involves Kelly Trump, who captivates in an outdoor orgy, her lithe body contorting in ecstasy as she's taken in a double penetration that leaves her breathless and begging for more. The raw energy and unapologetic nature of the scene exemplify the film's unbridled exploration of human sexuality.

D'Amato's direction showcases his expertise in the adult film genre. The cinematography is elegant and refined, utilizing the film medium to capture the era's opulence and the characters' hedonistic pursuits. The production design and costumes enhance the sensual atmosphere, creating a world where pleasure and pain intertwine.

While the film excels in its aesthetic and performances, the narrative structure feels disjointed at times. The film's pace stutters as it moves from one erotic encounter to the next, with minimal character development or overarching plot to provide a through-line.

In terms of the explicit content, 120 Days of Sodom leaves little to the imagination. The film features an array of sexual acts, including oral, anal, and group sex, with a focus on intense penetration and multiple partners. The sounds of pleasure and passion fill the audio, enhancing the visual stimulation.

Overall, 120 Days of Sodom is a film that caters to a specific audience seeking explicit and uncensored erotica. It delivers on its promise of sensual overload and pushes the boundaries of what is typically seen in adult entertainment. However, the lack of a cohesive narrative and the relentless focus on extreme sexual acts may limit its appeal to those seeking a more balanced blend of story and sex.