Before giving my impressions on this ultra rare film, it is necessary to correct an error I saw being said in some reviews on the web. Although the (later generated) opening credits end with a "Regia di Joe D'Amato", the film was really signed with the alias "Michael Wotruba", as attested by all the posters from the period. The same alias would be used for the following "Pugni, Pirate E Karatè", while the legendary "Joe D'Amato" pseudonym would be used for the first time in "Giubbe Rosse" (1974). Probably, whoever discovered a print of the film here reviewed, which spent years in a limbo, concluded that inserting the most famous aka of Aristide Massaccesi would attract more attention.

"Diario Di Una Vergine Romana" was shot in early 1973, more or less in the same period in which Massaccesi was photographing, and directing second unit, for "The Arena" (Steve Carver, 1973). It is not a coincidence that both productions have Lucretia Love in cast. Not approved by the censor commission, the film would be receive the "nulla osta" only in 1978, with the new title "Livia, Una Vergine Per L'Impero". Well, both titles are ridiculous, as the character played by Lucretia is not a virgin (at least, this is not mentioned in the script).

In the plot, Livia (Lucretia Love), a young and beautiful woman, loses her mother and younger brother due a natural disaster (provided by copious use of stock footage from an old peplum!). A mature lady called Licinia (Linda Sini), who also lost her family in the tragedy, invites Livia to go with her to Rome. There, our protagonist works as a prostitute, but will use all her charms to achieve a high social position in the Roman Empire.

Unfortunately, with a meagre running time of 75 minutes, and circa 20 of which filled with truncated stock footage, there is not enough time to develop the plot, and abrupt ellipsis are used to push the story forward. At the same time, the stolen footage last too long, causing a lot of tedium. All this is a shame, because Lucretia Love is a wonderful protagonist and it is lamentable that she never played a Roman empress in a more ambitious project.

Although he had already shot the masterpiece "La Morte Ha Sorriso All'Assassino", it is very clear that here, and in his subsequent directing job, D'Amato wasn't taking the job seriously. Even so, his great talent as a photographer can be appreciated in a couple of very well shot erotic scenes, graced with a poetic atmosphere, and some brief gore details elevate the level of fun.

If you are a fan of palatial intrigues set in the Rome Empire, "Diario Di Una Vergine Romana" will be mortally disappointing, but if you are a D'Amato completist or a fan of Lucretia Love (I am both), the film is worth it.

Italian cinema has deeply influenced world cinema through its socially conscious realism and modernist experimentation, but it also flourished in popular genres like peplum (sword & sandal), giallo thrillers, and broad comedies. Its narratives often weave together politics, contemporary social change, class consciousness, and family dynamics, balancing artistic ambition with entertainment that resonated widely.

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The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

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The history genre features recounting and analyzing past events, societies, cultures, and historical figures. This genre aims to provide insights into the development of civilizations, the causes and consequences of historical events, and the impact of individuals and ideas on the course of history.

The rise to power of a prostitute in ancient Rome.

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Diario di una vergine romana

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