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Released: Jul 01st, 1999
Running Time: 79
Director: Joe D'Amato
Companies: Capital Films, ECA Films
Distribution Companies: Digital Sin, Sin City Entertainment
Cast: Rocco Siffredi, Antonella Del Lago, Oliver Sanchez, Kristina Varga, Philippe Dean, Roberto Malone, Bruno S, Missy (I), Ursula Moore, Richard Longin, Maria De Sanchez, Jade (I), Ramon (IV)
Critical Rating: Not Yet Rated
This is a very nice period piece that doesn\'t laugh at itself. Stock for serious fans of adult.
This film, set in the Old West, is one of legendary director Joe D'Amato's final gifts to the adult cinema world before passing away on Jan. 23, 1999.
The gist of the story is reminiscent of The Magnificent Seven and, in part, Unforgiven. A group of prostitutes convince hired gun Rocky (Rocco Siffredi) to avenge their honor after a group of Mexican bandits raid their town, plundering all of its precious pussy. Siffredi and his band of cocksm... uh, gunmen carry out the task, and are well rewarded along the way.
Spirited sexual romps in brothels, hay-filled barns, old Western towns, and even the wide-open desert create the proper mood. When Rocco drives his cock into some of the girls to music adapted from Amazing Grace, it's downright hilarious! The production values on this film are excellent across the board: Music, costumes and sets all add something to the film and take nothing away from it.
American audiences will get a kick out of listening to Rocco Siffredi's dialogue dubbed over with a voice resembling Sylvester Stallone's. But as for sex scenes, as Jenna Jameson would say, "Rocco rocks!" The real Italian Stallion dominates every minute of film he's in, whether it be mounting two girls' asses in the same scene or mounting a horse (for transportation, that is). Siffredi performs in several sex scenes, all of which sparkle with hot sex marked by a high degree of sensuality. A slight departure from Rocco's True Anal Stories.
If one regards Joe D'Amato's films as primarily storydriven, then he'll invariably be labeled a mediocre director (as he has been). On the other hand, if his works are seen for what they really are, primarily setting-driven, then he'd be seen as a genius (as he should be). Call it "Period Wall-to-Wall," but the essence of D'Amato's films isn't the script; it's capturing good sex on film with high production qualities, and making the viewer believe that the setting is authentic.
Hopefully, D'Amato's films will be more appreciated now that he is gone.