Il solco di pesca -
Film synopsis: The title of this film comes from an expression of the English poet, Browning, who in a poem dedicated to his wife, Elizabeth Barret, complimented her backside describing the crevice between her buttocks as “the furrow of a peach”. Maurizio Liverani directed his second film at a time when a sort of contamination was taking place in Italian commercial cinema, a deeper contamination which bordered between the sexy and comical genre, a prodrome of the so-called “gine-comedy”, Infermiere, Liceali e Dottoresse which came out a few years later. Despite the choice of Gloria Guida as the leading female character, who at that time was an actress that was very much typified in that genre, Il solco di pesca denounces its desecrative and satirical nature in an explicit way with regards to the erotic film genre which it seems to support.
Not that the spectator is spared from the vision of Guida and her co-protagonist Martine Brochard's graces; there are abundant images of the anatomical part mentioned in the title. But the treatment of the subject is controlled and corresponds to an intellectual design which is otherwise absent in similar films. Liverani focuses on the concept of sin without which the pleasure of love and life is lost, and he attempts to restore to sex that mysterious dimension which is necessary in order not to border on boredom. More or less at the same time as Il solco di pesca, another rather important director, Massimo Pirri, had made an erotic film which was very different from the usual trend Calamo, where the protagonist was an ex-seminarian who had given up following his vocation.
This is precisely what the protagonist of Il solco di pesca Alberto Terracina does as he tries in vain to discover his sexual identity in the bed of a rich woman and then with the woman's maid, then at the end going back to the darkness of the cloister.
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