This video production is clearly a product of the Eighties, when adult movies found a new cheap outlet into people's homes. Every other person has a silly perm, there's an early cordless telephone and a lot of cheap wipes and assorted video effects. It starts off well enough, with an amusing opening title that moves up on screen (in big bold pink letters) as we see a car being lifted up on a hoist in a garage. Inside are Sophie (Karine Hornel) and her rich sugar daddy. She takes the opportunity to please the old man the French way. For a while the mechanic doesn't seem to do anything but stand underneath the car. Then at the climactic moment he opens a valve and some oil or goo spurts into a bucket. Director Michel Barny (aka Berny) must have patted himself on the back for that one. Unfortunately, as soon as the odd couple is back on the road, they swerve in order to avoid a rabbit and hit a tree. That's the end for Sophie.
Cut to Doris Sommer (aka Champs-Dete), a prudish student who's trying to avoid the advances of her boyfriend Robert. She is saved by the telephone bell and with a nice old fashioned wipe Doris is in an attorney's office who informs her she's inherited Sophie's mansion, furniture and all. After walking around the place and trying on some of Sophie's clothes, Doris finds Sophie's dirty diary and immediately settles down on her new bed to read it. Naturally the entire diary is filled to the brim with sex (cue flashbacks). First up is a threesome between Sophie, another woman who looks just like her and a man. Sophie is obviously an expert: she and the man have sex standing up! Doris has only just finished reading it when a pushy man with a combination perm-mullet arrives, starts calling her Sophie and proceeds to take his clothes off. Naturally naive Doris (or should that be Sophie Deux?) still doesn't quite understand what's going on, the poor sheep.
The next anecdote in Sophie's diary that strikes Doris' fancy features an actor playing Hamlet. Or at least practicing his lines. Sophie, as Ophelia is down on her knees again. It's true, the Bard's lines sound sublime in any language, no matter what the situation. The new Sophie is so impressed she calls up this Hamlet to receive the same soliloquy. only this time from behind while wearing a pink headband. See what I mean about the Eighties? The man goes all out with his Hamlet costume and she thinks to compliment it with an aerobic outfit. Still, it is refreshing to see a French film of this kind in which the woman is the decision taker. The entire story is shown from a female perspective as I suspect they were trying to make a film that appeals to the fairer sex as much as the other.
By now Doris has taken a liking to Sophie's profession and begins picking and choosing favorites from Sophie's little black book. As we segue into a montage of short sexual encounters, the wipes start to get a tad repetitive and somewhat annoying. During this sequence, the men remain faceless but the sex is definitely real. Cut back to the real Sophie pretending to be Marlene Dietrich being taken by Rudolph Valentino. In quick succession, the new Sophie is paid by an old man to make sure his son is straight. A Faux Arab gets a hand-job during diner (those French and their food/sex fetish). Then a mysterious trench-coated stranger arrives on her doorstep. If only cinematographers Nil Cerny & F. Marguerite had placed their camera more carefully, the 'revealing surprise' that follows might not have been spoiled earlier (one can clearly see the stranger is a woman).
While all of this is going on, our heroine is visited - but not solicited - by Christophe Clark, the son of the man who died in the car crash with Sophie. He too wants to get his hands on the diary. Naturally she refuses to acknowledge the existence of the book as she hasn't finished reading it. Notice that despite the substantial size of the mansion, people always seem to gain admission to the bedroom immediately. Also, the original Sophie has somebody wallpaper over her door. Luckily Doris knows where to find the knob. So, in between of all her call-girl activities, Doris has some actual dates with Christophe Clark - who doesn't even get to first base until the third date (how old fashioned). By that time, Doris has completely fallen for Christophe and as an after sex bonus, she presents him with the diary. He burns the part of it pertaining to his father in the bathtub. She decides to give up being a working girl and the two of them drive off into the sunset - only to stop at that fateful garage. Let's hope there are no stray bunnies on the road this time...
7 out of 10
Cut to Doris Sommer (aka Champs-Dete), a prudish student who's trying to avoid the advances of her boyfriend Robert. She is saved by the telephone bell and with a nice old fashioned wipe Doris is in an attorney's office who informs her she's inherited Sophie's mansion, furniture and all. After walking around the place and trying on some of Sophie's clothes, Doris finds Sophie's dirty diary and immediately settles down on her new bed to read it. Naturally the entire diary is filled to the brim with sex (cue flashbacks). First up is a threesome between Sophie, another woman who looks just like her and a man. Sophie is obviously an expert: she and the man have sex standing up! Doris has only just finished reading it when a pushy man with a combination perm-mullet arrives, starts calling her Sophie and proceeds to take his clothes off. Naturally naive Doris (or should that be Sophie Deux?) still doesn't quite understand what's going on, the poor sheep.
The next anecdote in Sophie's diary that strikes Doris' fancy features an actor playing Hamlet. Or at least practicing his lines. Sophie, as Ophelia is down on her knees again. It's true, the Bard's lines sound sublime in any language, no matter what the situation. The new Sophie is so impressed she calls up this Hamlet to receive the same soliloquy. only this time from behind while wearing a pink headband. See what I mean about the Eighties? The man goes all out with his Hamlet costume and she thinks to compliment it with an aerobic outfit. Still, it is refreshing to see a French film of this kind in which the woman is the decision taker. The entire story is shown from a female perspective as I suspect they were trying to make a film that appeals to the fairer sex as much as the other.
By now Doris has taken a liking to Sophie's profession and begins picking and choosing favorites from Sophie's little black book. As we segue into a montage of short sexual encounters, the wipes start to get a tad repetitive and somewhat annoying. During this sequence, the men remain faceless but the sex is definitely real. Cut back to the real Sophie pretending to be Marlene Dietrich being taken by Rudolph Valentino. In quick succession, the new Sophie is paid by an old man to make sure his son is straight. A Faux Arab gets a hand-job during diner (those French and their food/sex fetish). Then a mysterious trench-coated stranger arrives on her doorstep. If only cinematographers Nil Cerny & F. Marguerite had placed their camera more carefully, the 'revealing surprise' that follows might not have been spoiled earlier (one can clearly see the stranger is a woman).
While all of this is going on, our heroine is visited - but not solicited - by Christophe Clark, the son of the man who died in the car crash with Sophie. He too wants to get his hands on the diary. Naturally she refuses to acknowledge the existence of the book as she hasn't finished reading it. Notice that despite the substantial size of the mansion, people always seem to gain admission to the bedroom immediately. Also, the original Sophie has somebody wallpaper over her door. Luckily Doris knows where to find the knob. So, in between of all her call-girl activities, Doris has some actual dates with Christophe Clark - who doesn't even get to first base until the third date (how old fashioned). By that time, Doris has completely fallen for Christophe and as an after sex bonus, she presents him with the diary. He burns the part of it pertaining to his father in the bathtub. She decides to give up being a working girl and the two of them drive off into the sunset - only to stop at that fateful garage. Let's hope there are no stray bunnies on the road this time...
7 out of 10