Overview: From softcore master Joe D’Amato comes this solid entry into his erotic movie canon. In this steamy tale of desire and money a young woman named Sarah (Kristine Rose) has to act as an executor for the will of her ex-lover Lionel Durrington (James Jackson).

To ensure that the heir is honorable and worthy she must work her way through all them to decide who the fortune must go to. But as she meets and sleeps with each one, she uncovers dark family secrets.

Shot in classic 80’s soft focus and containing a pounding soundtrack, the movie contains some incredibly inventive set-ups. This is smooth erotica created for the more disconcerting fan of the genre.

Blu-ray Verdict: One of the many softcore dramas made by Joe D’Amato in New Orleans, Louisiana, this here is the official sequel to Undici Giorni, Undici Notti (1986), the big hit that narrated the sex escapades of Sarah Asproon, played by Jessica Moore, although the second adventure of the character was depicted in Top Model (1987), which was released in some countries as Eleven Days Eleven Nights 2. Thus, the film here reviewed is, actually, the third episode of the series. Confused, right? Well, this is the logic of Italian exploitation cinema so take it or leave it!

When this third episode was filmed (probably in December 1989), Jessica Moore had retired from acting, so a new actress was needed to replace her. The chosen was the equally beautiful Kristine Rose, a then playmate of whom there is no biographical information available on the web. A shame, because she was quite gorgeous.

In the plot is that a divorced Sarah Asproon goes to New Orleans to work as the executor of Lionel Durrington, a rich former deceased lover of her, with the task of establishing, in eleven days, who, among the four heirs, is worthy of receiving the fortune. Gradually, she discovers the dark secrets behind each member of the family, and goes to bed of some of them, in the process (did I mention this is softcore erotica?).

The end brings a big twist, but I am not here to reveal it, as I know most people hate spoilers (me included).

For those who are used to the high dosage of sex and sleaze explored by D’Amato in his late 70’s/early 80’s period, the erotic content here will seem too chaste, but we get some great views of the protagonist’s spectacular curves nonetheless. And not say that there isn’t anything nasty in the script, because one of the male characters got impotent after witnessing his girlfriend being raped by his own father!

Ok, the flashback sequence depicting this supposed disturbing event is very ridiculous, but it is interesting to note that the topic of a man traumatized by a past event involving a loved woman is a constant in the cinema of Joe D’Amato; so we can say that a touch of auteur is still present here.

Also, said character has hidden cameras installed in all parts of the house to satisfy his voyeuristic desire of watching the other members of the family having sex, which is most definitely yet another D’Amatian trademark. Unfortunately, Sarah has the brilliant idea of curing his impotence by using a method that is beyond absurd, to say the least, and thus that brings us to the second most ridiculous scene of the movie!

The overall acting is soap opera level, with the impotent guy deserving the prize of worst performance of all, being seconded by Ruth Collins, who tries, with laughable results, to play an alcoholic woman. Most of the cast is formed by anonymous people who, according to the worldwide net, most all only ever appeared in this title!

Technically, the film is beautifully photographed and competently edited, despite the presence of segments where nothing relevant is happening, like people walking on the streets for long minutes (hey, this is another trademark of the director, after all). The atmosphere is of a soap opera full of silly situations, but there is a charm that makes the final result entertaining. [F.F.]

Limited Edition Special Features:
INCLUDES SLIPCASE WITH ART BY SEAN LONGMORE
BOOKLET WITH NOTES FROM CALUM WADDELL AND RACHAEL NISBET
Brand New 4K remaster from the Original Negatives presented in Ultra High Definition (2160p) in 1.66:1 Aspect Ratio
Presented in Dolby Vision High Dynamic Range (HDR10 Compatible)
High Definition (1080p) Blu-ray in 1.66:1 Aspect Ratio also included
English 2.0 LPCM Stereo
Italian 2.0 LPCM Mono with newly translated English subtitles
Audio Commentary by Italian Cinema Experts Eugenio Ercolani and Nanni Cobretti
Filmirage: From Dawn Till Dusk - An Interview with Dubbing Director Mark Thompson Ashworth
Seven Notes, Eleven Nights - An Interview with Composer Piero Montanari
Eros in the Plastic Age - An Interview with Music Historian Pierpaolo De Sanctis
Italian Opening and Closing titles

Official Purchase Link