Giselle

My review was written in September 1982 after a Times Square screening.

"Giselle" is a Brazilian pornochanchada, one of those local market softcore sex frolics, which was produced back in the mid-1970s. Surprisingly, it has been imported for U. S. theatrical distribution amidst the bumper crop of more artistically-minded films from that nation. Its best chances are clearly in the cable-tv and homevideo areas.

Rendered neutral and silly by the English-dubbed job, "Giselle" is a brightly-lit series of vacation spot vignettes. Plot involves a young woman, Giselle (Alba Valeria), who comes home to Brazil after attending college in Europe. Writer-director Victor Di Mello, vet of dozens of these films, tries out as many sexual concatenations as he can think of, with sister-stepbrother and daughter-stepmother liaisons spotlighted. Co-producer Carlo Mossy is careful to cast himself as the family's horse handler, irresistible to women and a brawler to boot.

What differentiates this picture from the legion of European sexploiters that preceded it to American theatres is the almost militant "anything goes" proselytizing. Besides an emphasis upon lesbianism (Giselle is loved by two women whose rivalry is th epic's sole dramatic conflict) and homosexuality, film even endorses Giselle's father (Nildo Parente) in his child molestting with a servant's young boy. That this has little impact among the many shots of Giselle disrobing and simulating ecstatic pasion is probably a function of the dubbing and sloppy editing.

In the title role, Valeria s a perky and sexy performer. Prtettiest cast member is blonde Monique LaFond, most improbable in the role of Giselle's childhood babysitter who after being gang-raped went to Algeria and Cuba, coming back to Brazil as a Communist social worker. Typical of the picture's construction, she is assassinated when her presence gets in the way of the family's sex life.

Tech credits are okay, though musical score endlessly plays instrumental versions of Lennon-McCartney's "Let It Be", "Yesterday" and other material.

this is a movie that doesnt know what it wants to be. At first it seems like a porno, grainy, plotless, lots of sex. Except the sex scenes arent very long, or good. So it appears to be a drama, but the "plot" is boring, and pointless, so you'll need the ol' remote to ff'wd past it. Realisitically this is crappy, dull, must-miss movie.

OK, this may not be the weirdest movie ever, but it was probably the one that most shocked me. It's an erotic drama from Brazil, that starts with a long text about how the fall of every major civilization was preceded by moral decadence, and family disruption.

However, this is only an attempt to hide that this movie is just a porn like a hundred others, behind a social critic explanation. The film is not critical after all, and it would just please a couple of sex freaks.

It has everything: incest, male homosexualism, female homosexualism, child abuse, animal sex, drugs , bondage, sadism, rape, etc. Every minute of the film gives the viewer something nastier than the minute before, and it never ends.

If you're a sex freak, try to find it, you'll enjoy it. If you're not, get something else, anything else. I assure you it'll be better.

After a long period studying in Europe, Giselle (Alba Valeria) returns to Brazil and spends the days in the farm of her father Luccini (Nildo Parente). When her stepmother and aunt Haydée (Maria Lúcia Dahl) unexpectedly sees Giselle making love with the foreman Angelo (Carlo Mossy) in a waterfall, Haydée shuts Giselle up and they have sex. When Haydée's son Serginho (Ricardo Faria) arrives in the farm from Rio de Janeiro, he goes to the town to buy cigarettes and they have a fight in the bar with three strangers. When Serginho and Angelo return to the farm, they have sex and Giselle joins them in a three some. Along the days and the nights, Giselle, Angelo, Haydée, Serginho and the doctor Ana (Monique Lafond) has all sort of kinky sex while their family decays.

"Giselle" is a bold and polemic movie about the physical and moral decadency of a family with the most different combinations of kinky non-explicit sex. Along the dull story, the introduction shows a stallion having sex with a stud mare. Then there are conventional sex between man and woman; masculine and feminine homosexual relationships; threesome; orgy; pedophilia; rape; executions; vigilantism; unethical behavior, all of that along about 90 minute running time. Alba Valeria is very sexy and spontaneous undressing in every scene. In 1980, this movie was a sort of relief valve in times of military dictatorship in Brazil showing the disintegration of the institution family and my wife and I watched it in the movie-theater. In accordance with the information of Carlo Mossy in the DVD, more than 14-million viewers watched this film in the movie-theaters and it is the top box office of Brazilian movies ever. My vote is four.

Title (Brazil): "Giselle"

Horse sex, sex on waterfalls, lesbian sex in family, ménage à trois, gay sex, another ménage à trois... almost everybody have sex with everybody! The film begins (and ends) with an extremely conservative text in lettering, what was probably a way to be more easily accepted by still active censorship from military dictatorship. However, the free way sex is represented is not a moralist one. It is strongly representative of sexploitation, for sure, but in the non-violent scenes it seems sympathetic to that lust. Differently from other Pornochanchada (the sexploitation genre of Brazilian cinema in the 70's and 80's) irresponsible films, there is no romanticization of rape here, and those who do that are despicable cowards, the only proper way to see that. Also, there is an open and direct critique to torture and political repression in military dictatorship and affinity with left-wing concerns (possible due the gradual political openness that was advancing slowly in Brasil), although it hapenned together with a sort of compensation, that is advocating for peaceful measures and individual charity. Additionally, the lack of homophobia in the whole narrative (not only for lesbians but also for gay men) is quite impressive, considering the huge prejudice that characterized Brazilian cinema and society in those years. While these elements are to be praised, a hateful one is unforgivably indulged as a minor (and even funny!) feebleness, what would fortunately never be accepted nowadays (I refer to Luccini's plot twist). To resume, it has some acting problems, script is not sophisticated and there is a lot of exploitation (besides the dire narrative for Luccini's criminal behavior), but still the movie is better and deeper than anyone coud imagine by watching its very beginning. Well, I must add that director Victor di Mello had previously directed 'Essa gostosa brincadeira a dois', and would be associate producer of 'Crazy: um dia muito louco' in the following year, two of the best movies from the Pornochanchada genre ever (true cinema, beyond sexploitation). P. S.: Soundtrack includes San Francisco (Be Sure to Wear Flowers in Your Hair) and The Beatles' Let it be and Yesterday. I am sure composers authorized it (hahaha, that is a joke, obviously).