Jesus Franco & Lina Romay – Confesiones Intimas de una Exhibicionista AKA Intimate Confessions Of An Exhibitionist (1983)
Candy tells the story of her life, her dissatisfaction with her male lovers, her desire for her girlfriend Katy and the route that led her into stripping. This is 80 minutes of flesh, bordering on the hardcore, sometimes on the gynaecological, and supposedly directed by Lina Romay (Candy Coster). Her husband Jess Franco was probably on hand somewhere. Romay in 1982 is not the trim young sexpot she was in the early 70s but she loves to get stuck in and there are still moments of genuine eroticism. It’s a shame a ridiculous blond-white wig often offsets her cute, slightly buck-toothed face. This was remade by Franco in 1986 as El Mirón y la Exhibicionista as a hardcore feature.
There is a measure of controversy surrounding the authorship of this late entry in the Spanish softcore series but the balance seems to be inclined in favour of Jess Franco being the true auteur of Confesiones íntimas de una exhibicionista. Whatever the case, the credits do contain another of Franco’s beloved spurious credits, attributing the script basis to the alleged memoirs of “Candy Coster”. The latter, of course, is one of the many pseudonyms of Lina Romay, here seen in the role of a nightclub sex performer initially seen in one of her acts, as she proceeds to present herself to the audience in voice-over, paving the way for the long flashback that is the film’s main body. Candy (for this is the character’s name) awakened sexually in her teens while watching her sister (Juana de la Morena aka Mrs. Antonio Mayans) in sexual rapture with her Argentinean lover (José Ferro, dubbed by Mayans), until one day (a common occurrence in such films) she crossed into the diegesis of the “movie” she was watching and joined in the fun. This was to be the beginning of several relationships: first, an unsuccessful one with a gay writer (Mayans), then a successful but tragic union with a liberal woman (Jasmina Bell) and hr husband (Tony Skios, dubbed by Franco).
One may view this in relation to Franco’s work or to Spanish softcore cinema in general. In any case, they both coincide in that, this being 1983 (the last year of Spanish soft-porn), the makers, both because of the playing out of the old form and the imminence of the new one, have pushed this one as far as possible in the direction of hardcore, both in the wealth of sexual encounters featured and the fact that Franco seems to be essaying the curious formula of “hard softcore” (almost there, but not quite). The “biographical” story line makes that one can dispense with a narrative as such and include as many sex scenes as possible. The results, at least, are preferable to Carlos Aured’s awful incursion in the same territory, El hombre del pito mágico and Lina Romay is in fine form, to the extent that even her voice sounds less grating than usual. On the other hand, Jasmina Bell, a better-looking woman than Romay, is, once again, remarkably poor, even if less egregiously so than in Aured’s Apocalipsis sexual. At least, they all look gracious when they bow at the end before the audience, the right way to stop a film that in principle, and by virtue of the format chosen, could have gone on forever.