Amateur-night gangster porn from the untalented Max Candy

I have learned the hard way to avoid (in future) the effusions of pornographer Max Candy, and his various pseudonym pals confusingly using Moire Candy and Louis Moire handles to crank out dreadful features for Private and Marc Dorcel. IMDb's abnormally high rating for this one is clearly misleading.

The talented Claudia Rossi, whose best work is for Harmony Films of London and talented fetish director Tanya Hyde, is the heroine and narrator, though she is poorly dubbed in English while the rest of the cast embarrassingly recites their pidgin Enlgish dialog personally. Max the producer cares not for clarity or performance quality, only focusing on generic sex and poorly staged action scenes.

The story of double crossing gangsters, with Claudia trying to take over Denis Marti's crime empire, is both stupid and banal; and save for one violent scene quite low on the action content. Picture runs 2 and a half hours due to lengthy sex scenes featuring quality Euro porn actresses, all seen to better advantage elsewhere. 

With an exaggerated aspect ratio approaching 3:1 and annoying editing gimmickry more suitable to music video land, "Mafia Girl" is a chore to watch. Interracial sex is thrown into the mix, with Euro stalwart Franco Roccaforte on the payroll, and American expatriate Dillion Day joins Dorcel regular Ian Scott in the big-dick department. A sign of Max's ineptitude is that by far the most iconic and popular player in the piece, Tarra White, is completely wasted in a small role not even given a character name.

Dorcel's "Making of" short subject completes the debacle, as we suffer through Max's facetious b.s. routine when in fact he would have been wiser to have remained anonymous given the low quality of his work.

French-language cinema, whether in France, Québec, or other Francophone regions, explores cultural identity, social change, and the tension between the individual and society. French cinema is not only celebrated for its intellectual experimentation and auteur traditions, but also its success in mainstream comedy, romance, and commercial entertainment. In Québec, films often focus on questions of language, belonging, and community within a distinct cultural landscape.

Jean-Pierre Léaud in The 400 Blows (1959)

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Mafia Girl

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