All Ladies Do It / Frivolous Lola

Every semi-professional review of erotica probably starts off with the same question:  what’s the difference between porn and art?  The internet age has essentially done away with foreplay; sex is merely the act of completion itself, minus the threat of any malware or suspicious browser activity.  But the work of Italian director Tinto Brass, for all its leering upskirt shots of derrieres and pubic hair, still communicates something that websites like Pornhub never will:  the art of seduction. 

All Ladies Do It (1992), a breezy sexual adventure, follows Diana (Claudia Koll) whose marriage is threatened by her fantasies of dalliances with other men, stories her husband believes are nothing more than exciting role play.  But her loose definition of adultery inspires plenty of promiscuous hook-ups, taking advantage of any (ahem) loophole that provides a quick thrill.

 

Flirting with some hardcore sequences (there is an abundance of fully erect fake penises and female genitalia on display), Brass makes it clear in the opening credits that he’s more interested in A than T.  All Ladies Do Itworships at the altar of the female body, particularly the back end, posing Claudia Koll like a fetishized anatomical mannequin.  But it’s hard to pass judgement on a man who so obviously loves the subject matter to this extent.  And, in much the same way the recent Poor Things celebrated the liberation of female sexuality, Brass’ film is simply a beautifully shot expression of consenting adults having fun.  To quote Bella Baxter, “Why don’t people do this all the time?”

Frivolous Lola (1998) stages yet another glorification of the posterior with the title character (played by Anna Ammirati) at odds with her fiancé over the subject of pre-marital sex.  Despite a rather scandalous upbringing, Lola’s virginity has been cooped up too long and may not even survive a short engagement.  While the townsfolk start talking, Lola uncovers family secrets that will either salvage or destroy her reputation.

 

Far less explicit in nature, Brass gives the film some old-country charm, even tossing in some classic pop hits set against his usual titillating camerawork.  There’s a generational aspect at play that makes the film less of an “erotic journey from Milan to Minsk” and more of a European period piece that thumbs its nose at convention.  There’s still plenty of inappropriate crotch sniffing and digs at the Catholic church, but Brass fans should be used to that by now.  

 

Available separately in 4K UltraHD + Blu-ray editions, erotica has found a new home at Cult Epics.  It’s almost unimaginable that titles like these, despite the production values and critical praise, would get releases like this.  But here we are, bragging about new 4K restorations from the original negatives, audio commentary tracks and slick packaging with lobby cards, slipcovers and collectible booklets.  If that doesn’t turn you on, I don’t know what will!