Marta (Susana Groisman) is an unhappily married woman stuck with an uncaring husband Ricardo (Freddie Deacon). Her world is turned upside down when an unconscious escaped convict named Paul (Sergio Regules) washes up on the shore of her beachfront home. She secretly nurses him back to health in the basement and the two eventually fall in love. Complicating matters is the fact that her husband is also the warden of the prison where Paul has escaped. Things go from bad to worse when Ricardo’s sleazeball friend (Romolo Bondi) finds out about the lovebirds and blackmails Marta.
Groisman is quite beautiful and has a sort of budget version Isabel Sarli type quality to her. Voluptuous and sultry, she is quite fetching even while playing such a sad sack character. Likewise, Ted Leversuch’s direction sort of feels like he was going for a watered-down version of an Armando Bo melodrama. It’s all sort of hit-and-miss, but fortunately there’s just enough drama to keep you invested in the characters and just enough nudity to placate the exploitation crowd.
The nude scenes are all tastefully done and give the audience an equal measure of tease (there are lots of side boob shots in the early going) and please (Groisman’s bathtub scene is a real eye-opener). They also occur with enough frequency to keep you from losing interest whenever the pacing slows. It’s a shame that the final chase/escape scene goes on forever. It’s almost as if Leversuch thought he was making a “real” movie for a minute. Had he cut the finale in half, Sex and the Lonely Woman might’ve skated by with a *** rating. His sporadic artsy-fartsy touches aren’t really all that successful either (like the yellow-tinted love scene). Actually, the scratched-up, jumpy print gives it a fun Grindhouse quality, and makes it feel a little more down-and-dirty than it probably is. Because of that, it works better as a straight-up skin flick than a softcore drama with stylistic aspirations.
No comments:
Post a Comment