A.A.A. Massaggiatrice bella presenza offresi...
1972 film by Demofilo Fidani
From Wikipedia, the free encyclopedia
A.A.A. Massaggiatrice bella presenza offresi... (lit. 'A.A.A. Masseuse, Good-Looking, Offers Her Services...') is a 1972 Italian giallo film directed by Demofilo Fidani.
- Demofilo Fidani
- Mila Vitelli
| A.A.A. Massaggiatrice bella presenza offresi... | |
|---|---|
| |
| Directed by | Demofilo Fidani |
| Screenplay by |
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| Story by | Demofilo Fidani[1] |
| Starring | Paola Senatore |
| Cinematography | Aldo Giordani[2] |
| Edited by | Piera Bruni[2] |
| Music by | Coriolano Gori[2] |
Production company | Tarquinia Internazionale Cinematografica[1] |
Release date |
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| Country | Italy |
| Language | Italian |
Plot
Cristina is working as a call-girl. Her clients are mysteriously and brutally murdered one after another.
Cast
- Paola Senatore as Cristina Graziani
- Simonetta Vitelli (credited as Simone Blondell) as Paola[2]
Production
The Italian film historian and critic Roberto Curti described A.A.A. Massaggiatrice bella presenza offresi... as being part of a minor wave of low-budget giallo films in second run and third-run venues.[3]
The film"s script was written by director Demofilo Fidani and his wife Mila Vitelli.[4] Unlike most of Fidani's films (predominantly Westerns) in which he is credited under an English alias, the director is credited by his (real) Italian name.[5]
Genre
Release
A.A.A. Massaggiatrice bella presenza offresi... was released in 1972.[7][8] At the time of its release in France the same year, the film's version and its title (Caresses à domicile) were noted as "very daring",[9] the film being presented as a mere "erotic film" by La Revue du cinéma[10] or a "porn third-rate production" by Écran'[11]
Reception
From retrospective reviews, Roberto Curti described the film as containing elements of Demofilo Fidani's typical style, specifically Western-type revolvers and villains falling in slow motion in "unlikely acrobatic manners."[7] Antonio Bruschini, of the Italian genre magazine Nocturno, found the ending of the film and the culprit predictable but noted that A.A.A. Massaggiatrice reflected the Argentinean atmosphere of the period.[5]