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.
"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.