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Plot: twin brothers fall under the spell of a mysterious countess.

The Devil’s Wedding Night (released domestically as Il Plenilunio delle Vergini or Full Moon of the Virgins) was another cheapie bankrolled to capitalize on the gothic horror revival craze in the marquee year of 1973. Directed by spaghetti western specialist Luigi Batzella, with second unit direction from Aristide Massaccesi, The Devil’s Wedding Night is the logical continuation of everything (and frequently more) that kitschy fare as The Playgirls and the Vampire (1960), The Vampire and the Ballerina (1960), and The Monster Of the Opera (1964) only dared hint at. Batzella himself had starred in The Slaughter Of the Vampires (1962) and he seemed hellbent on making sure that The Devil’s Wedding Night was to the wicked and wild seventies what The Slaughter Of the Vampires (1962) and Emilio Vieyra's Blood Of the Virgins (1967) were to the sixties. As such this is a veritable phantasmagoria of gothic horror atmosphere, sweltering Mediterranean erotica, with a framing in ancient mythology.

In the 1970s Rosalba Neri was everywhere. She had been a regular in spaghetti western and peplum through out the sixties - and as tastes shifted Neri too felt she had to go with the times. Her first step into that new mindset came by starring in a trio of Jesús Franco productions with the likes of Luciana Paluzzi, Maria Rohm, and Christopher Lee, but more importantly her partaking in the subtextually rich offshore giallo Top Sensation (1969) with fellow starlet Edwige Fenech (who was in the process of reinventing herself after a stint in German sex comedy). Just two years prior Neri had starred in Lady Frankenstein (1971) and a number of gialli including, but not limited to, The Beast Kills In Cold Blood (1971), Amuck (1972), The French Sex Murders (1972), and Girl In Room 2A (1974). Neri and Mark Damon had worked together earlier on the spaghetti western The Mighty Anselmo and His Squire (1972) from director Bruno Corbucci.

The early-to-mid seventies saw the European gothic horror boom in full swing with France, Italy, and Spain contributing alongside the glamour years of the then-ailing Hammer. Around this time Jean Rollin released his most enduring work and Jesús Franco helmed Vampyros Lesbos (1971), arguably single-handedly kicking off the vampire craze in Europe. In a five-year blitz Girl Slaves of Morgana Le Fay (1971), The Wolfman Versus the Vampire Woman (1971), Necrophagus (1971), Daughters Of Darkness (1971), Count Dracula's Great Love (1973), The Dracula Saga (1973), Horror Rises From the Tomb (1973), The Loreleys Grasp (1973), Bell From Hell (1973), A Virgin Among the Living Dead (1973), and Vampyres (1974) were released. Seven Women For Satan (1976) was comparatively late, but not any less important. Even America got in on the craze with The Velvet Vampire (1971), decades later inspiring The Love Witch (2016).

Karl Schiller (Mark Damon), a 19th century scholar and archeologist, concludes after extensive research that the mythical Ring des Nibelungen lies hidden somewhere in the Carpathians. Feeling that the artefact belongs in the Karnstein Museum of Archeology, he sets out to finding the Ring at Castle Dracula, under the pretense of architectural inspection. Meanwhile his twin brother Franz (Mark Damon), a libertine and gambler, quoting the Edgar Allen Poe poem The Raven, encourages him not to undertake the long and arduous journey to Transylvania. When that doesn’t work Franz steals his brother's Egyptian amulet as he prepares, and takes off into the Carpathians. Before long both brothers have fallen for Countess Dolingen de Vries (Rosalba Neri, as Sara Bay) with Franz taking an interest in Tanya (Enza Sbordone, as Francesca Romana Davila), the innkeeper’s daughter.

De Vries’ majestic castle is inhabited not only by the Countess, but also her loyal servant Lara (Esmeralda Barros), a Mysterious Man (Gengher Gatti, as Alexander Getty), and the monstrous Vampire Monster (Xiro Papas, as Ciro Papas). While still pursuing Tanya, libertine Franz falls for the considerable charms of Countess de Vries, who every five decades, on the Night Of the Virgin Moon uses her Wagnerian magic ring to summon virgins to her castle. In Bathory fashion she bathes in their blood to retain her youth and immortality in a pact forged with the dark lord himself. De Vries seduces Franz and eventually turns him into a vampire. In a black mass wedding meant to “consecrate their union” Karl, who has followed his brother to the Carpathian moutains, must now face the horror of his malefic undead brother, the fang-bearing Countess, and her legion of evil servants.

The majority of The Devil’s Wedding Night was directed by Luigi Batzella, who was primarily known for his work in spaghetti westerns and the Django! franchise. Batzella would gain infamy for his nunsploitation vehicle Secret Confessions Of a Cloistered Convent (1972), that also featured Neri and Damon in lead parts, his batshit insane gothic horror throwback Nude For Satan (1974), and a pair of il sadiconazista offerings including, but not limited to, The Beast In Heat (1977). Principal photography took place at Piccolomini Castle in Balsorano in the south central region of Abruzzo in the province of L'Aquila, Italy. Second unit director Aristide Massaccesi (under his English nom de plume Joe D’Amato) shot the opening chase sequence, and Neri’s bloodbathing scene, the latter of which is bristlingly erotic thanks to Neri’s curvaceous figure and luscious writhing as she is doused by Esmeralda Barros. Several different versions exist, most notably a standard 90 minute version with small variations, and a definitive 130 minute cut. The screenplay, written by Ralph Zucker and Mark Damon (under the pseudonym Alan M. Harris), was based on the story “The Brides of Countess Dracula” by Ian Danby.

The strength of The Devil’s Wedding Night lies not merely in that it pushes the envelope in terms of eroticism and on-screen grue, it plainly is more atmospheric and involving than Javier Aguirre’s glacially paced, and rather stuffy Count Dracula's Great Love (1973), or Amando de Ossorio’s conservative Fangs Of the Living Dead (1969). The Devil’s Wedding Night positions itself closer to León Klimovsky’s The Dracula Saga (1973) as far as atmosphere and production design is concerned. Rosalba Neri exudes the same kind of nobility and timeless charm that Narciso Ibáñez Menta had in the Klimovsky movie, and that Paul Naschy and Julián Ugarte missed in theirs. On the whole The Devil’s Wedding Night is a lot more lively than the stuffier entries in the gothic horror genre from this period. The presence of Rosalba Neri and Enza Sbordone make the plot contrivances and Damon’s virtually indistinguishable double role slightly more tolerable.

Plot: high-class escort Sarah Asproon moonlights as a novelist researching a new book

Let it be known that Joe D’Amato can never be accused of not completely milking an idea while it was still profitable. A year after Eleven Days, Eleven Nights (1987) old Joe returned to New Orleans for Top Model (1988), a sequel of sorts to his earlier Nine 1/2 Weeks (1986) knockoff. Back again is ravishing Luciana Ottaviani and in what would be her swansong in the franchise she's given every chance to show off that impressive body of hers. With a screenplay from Rossella Drudi and Sheila Goldberg (as Gloria Miles) Top Model does have an unexpected romantic undercurrent. Which still doesn’t make it anything more than a bog-standard inexpensive soft erotic potboiler for late night cable. At least a Joe D’Amato soft erotic feature isn’t as heinous and painful as some of his infamous horror movies.

The success of a soft erotic movie is relative to the willingness of its star to shed clothes and cavort around naked. Ottaviani, to her everlasting credit, doesn’t shy away from either – even though she’s hardly what you'd call an actress. Ottaviani is exactly what Laura Gemser was in the 1970s. Gemser, three years away from announcing her retirement in 1991, will not be shedding any garments but she still looks rather dashing at 38. The cast is nothing but unknowns. James Sutterfield and Lin Gathright were in Killing Birds (1987), one of the many unofficial sequels to Lucio Fulci’s often imitated Zombie (1979). Gathright would resurface in the series American Horror Story (2014). Jason Saucier had guest roles in Dawson’s Creek (1999) and One Tree Hill (2004). Top Model was Laura Gemser’s first venture as a costume designer and unfortunately she never transcended beyond D’Amato and his ilk. There's something inherently ironic about Gemser, famous for getting out of her clothes for a living, making sure that other actors stay in theirs.

After having engaged in a brief but steamy affair with a dopey construction engineer the year before alleged novelist and present high-end escort Sarah Asproon (Luciana Ottaviani, as Jessica Moore) is working on a new book about high-class prostitution. To legitimize her efforts Asproon and her publisher Dorothy Tipton (Laura Gemser) set up a call-girl agency. Tipton adopts the alias Eva North while Asproon calls herself Gloria. To maximize efficiency and to keep track of customer information and appointments receptionist Sharon (Lin Gathright) and shy programmer Cliff Evans (James Sutterfield) are hired. One of Sarah’s clients Peter McLaris (Ale Dugas) threatens to expose Asproon to the police, which would ruin her career as a novelist. Despite the threats Sarah continues to work and finds herself falling in love with Evans, who initially remains reserved towards her advances. Jason (Jason Saucier), Cliff’s apparently homosexual friend, competes for Sarah’s affection after she properly rode him. Spurring Jason’s advances and foiling McLaris’ blackmailing Sarah and Cliff choose each other. Asproon bids her life of prostitution farewell and focuses on her new career as a novelist. The two move to another city to start anew.

The dreary, humid New Orleans locales ooze with all the depravity and sleaze you’d expect of a Joe D’Amato movie. The men that circle Asproon come from both ends of the spectrum. Cliff and James are regular guys confused why a sensual vixen like Sarah would take an active interest in them, let alone a sexual one. Peter the blackmailing toy factory owner is a sleazebag of the highest order that it makes you wonder why he wasn’t played by Gabrielle Tinti or David Hess. Asproon’s clients are the usual variety of reptilian abusers, including an exploitative photographer, a profusely sweating toned African-American that should have been Fred Williamson, and the client that books Sarah for himself and requests that her friend Eva North rides him like a bull. An entire subplot is dedicated to the sexual dynamic between Cliff and James, who are obviously attracted to each other, sensual Sarah cures both men of their confusion by mounting and riding them, seperately. In fact Sarah rides James to such an extent that he becomes straight. Cliff, feeling merely sexually inadequate in Sarah’s presence, is mounted creatively into self-confidence.

It’s hard to believe that Top Model was helmed by the director that gave the world Emanuelle and the Last Cannibals (1977), the gothic horror-slasher hybrid Buio Omega (1979), and the splatter classic Anthropophagus (1980). There's an inherent sweetness to the entire thing that you'd earlier find in Bitto Albertini's erotic potboilers. Luciana Ottaviani wasn’t much of an actress, and she was cast in movies mostly to take her clothes off, but she never deserved to dwell in the muck that she did. Ottaviani had a body similar to Serena Grandi, Donatella Damiani, and Debora Caprioglio, and it’s nothing short of puzzling that she never appeared in a Tinto Brass production. Ottaviani had junk in the trunk and Brass loves a baby that got back as much as Sir Mix-A-Lot. That she somehow never entered the sphere of Jess Franco is a miracle in itself. It stands to reason that luscious Luciana was tainted by her exploitation beginnings, and she would never ascend to the A-list erotica of, say, Bernardo Bertolucci. Not that she would be able to carry such a movie by herself, mind. Top Model is curiously low on dialogue for a reason and that the plot is moved forward by every other character that isn’t Sarah Asproon should clue anybody in exactly how much of an actress Ottaviani really was.

After Top Model Ottaviani moved on from the franchise and D’Amato continued with new lead Kristine Rose, who prior to acting appeared in Playboy (August 1991, February and April 1993 – never making it to the cover). Rose starred in a further third sequel confusingly titled Eleven Days, Eleven Nights 2 (1990). Like in much of his 1980s output Laura Gemser has only a supporting role, and unlike in The Alcove (1985) she refrains from shedding fabric. A year later Moore would be starring opposite of Pamela Prati, Loredana Romito, Laura Gemser, and Gabrielle Tinti in the erotic potboiler Reflections Of Light (1988). That one did give her a chance to act. After her tenure with D’Amato Rose made appearances in the actioner Total Exposure (1991), the Charles Band production Demonic Toys (1992) and the Zach Galligan-Corey Feldman comedy Roundtrip to Heaven (1992). Rose has filmography so depressing that she played second fiddle to latter-day Andy Sidaris regulars Julie Strain, and Teri Weigel. Not exactly something to be very proud of, or at all.

That Joe D’Amato’s voluminous softcore output is far more enjoyable (and often technically superior) to the many and maddeningly wild exploitation – and horror movies that made him famous was a foregone conclusion. What is also evident is that D’Amato’s direction is technically solid, workmanlike, and indifferently professional, even when Ottaviani is naked and in the frame. D'Amato doesn't exude any kind of the artistry, individuality, or thematic follow-through that made Tinto Brass such a revered household name. Luciana Ottaviani is given enough flattering angles whenever possible and D'Amato will let his camera glide across her curvaceous canvas every chance he gets, but isn’t nearly enough to make Top Model anything more than a bog-standard erotic potboiler marginally better than late night skinflicks headlined by the likes of Shannon Tweed, Julie Strain, Lisa Boyle, Sherilyn Fenn, or Tanya Roberts. Joe D'Amato was infamous for a reason, yet Top Model isn’t nearly as grime and sleazy as you’d expect. In fact it's stoically demure and unrepentantly utilitarian. Everything works and everything is where it should be, yet if this was meant to be Luciana's star-making vehicle, it missed the mark.

As part of his prolific 1980s period, a decade wherein D’Amato concentrated almost exclusively on soft- and hardcore pornography, Top Model is an unassuming and ultimately forgettable exercise in softcore tedium were it not for the illuminating and arousing presence of Luciana Ottaviani, the embodiment of curly 1980s sassiness. The score consists of pulsating electronic music from Piero Montanari, René de Versailles, and Jacob Wheeler. This should have been the Black Emanuelle series for the eighties. Ottaviani's premature departure deflated the franchise before it could begin, and that was very unfortunate indeed. Eleven Days, Eleven Nights never recovered from the exit of its original and biggest star, and the numerous in-name-only sequels only made that more obvious.