THE CINEHOUND FORUM: Dedicated to Bill Barounis (RIP) > The Euro Movies Room > JÓVENES AMIGUITAS BUSCAN PLACER

Description: More Spanish softcore by Iquino

Nzoog Wahlrfhehen - April 10, 2008 09:22 PM (GMT)
Jóvenes amiguitas buscan placer(1981)

Genre: Erotic comedy
Written, directed, produced, distributed and photographed by Ignacio F. Iquino.
Music and editing by Enrique Escobar.

Andrea Albani [Eulalia Espinet Borràs] - Julieta
Carla Dey [Carmen García Serrat] - Mónica
Vicki Palma - Rita
Sianna Gori - Sianna
Antonio Maroño - Pierre
Joaquín Gómez [Bujalance] - Mario
Esther Márquez - Pepa
Amparo Moreno - Manola
Jorge [or Jordi] Vila - Chummy
José Luis [or Josep Lluís] Fonoll - Doctor Morales
[Unidentified] - Pepa’s Sister
[Unidentified] - Luisa
[Unidentified] - Street Vendor

The great success of Iquino’s La caliente niña Julieta Hot girl Juliet) made itself felt in at least two other Spanish softcore features, both likewise starring the likeable and prolific Andrea Albani. One of the last entries in the cycle was an Alfonso Balcázar film simply named Julieta 1983), but bearing the subtitle Las lesbianas y la caliente niña Julieta (The lesbians and hot girl Juliet), which was cheekily used in advertisements and marquees as the title pure and simple. The previous year had seen the release of another Andrea Albani film made by Iquino itself called Jóvenes amiguitas buscan placer(Young girlfriends seek pleasure), whose intentions to profit from the notoriety of the director’s earlier Albani sex comedy were openly declared in one of its taglines: “Lost your mind over Hot Girl Juliet? Well, these young girlfriends will make you lose your sanity”. Jóvenes amiguitas, in fact, amounts to a remake of, or variation on, La caliente niña Julieta , with much the same cast recalled to play the same characters (down to identical names) within a similar story structure. There are two interesting differences, however: first, this time Albani gets top billing (in the earlier film she had been second-billed to the hitherto better known Eva Lyberten); and second, it is more generically coherent. If Iquino’s Julieta had its origins in an unused screwball comedy script, this second version was directly conceived as a sexploitation movie, meaning that this time the catalyst force behind the story’s motions is sexual desire and not mink coats.
The deliberate carry-over from Julieta means, unfortunately, that we have to endure the insufferable antics of Jordi Vila as the camp homosexual Chummy (the same character, in a later Iquino film, Esas chicas tan pu… was played by the much better Conrado Tortosa “Pipper”), but the remaining cast reappearances are quite welcome. As another link with the film’s prototype, we have further passing references to the government’s energy-saving campaign, the earlier film’s casual comment on Khomeini is replaced by a fleeting remark on the Palmarian Catholic Church (an anti-Vatican splinter group with its own Pope and Holy See outside Seville), and as if playing with the audience’s knowledge of the previous film, Iquino has Andrea Albani and Vicki Palma engage in some enigmatic talk about a box of chocolates…
In this separate but dependent narrative, Pierre, Julieta’s stuffed-shirt husband, is once again played by a dapper, moustached and bespectacled Toni Maroño (who, by accident or design, slightly resembles the director himself) but has now become an MP who arrives in his home town, the fictitious Alfájaro, in the company of his wife Julieta (Andrea Albani, of course) and her best friend Rita (Vicki Palma, returning to the role). Pierre’s one ostensible purpose is to spend a quiet weekend at his country estate in the company of his best friend, the town’s mayor Mario (again, Joaquín Gómez) and the latter’s wife Mónica (shapely brunette Carla Dey, substituting for the blond and slim Eva Lybterten). The two men, in fact, are intent on partner-swapping, but things become complicated as the women show more interest in each other and furthermore, both the maid Sianna (Sianna Gori) and the large cook Manola (Amparo Moreno, before her success as a stage actress) prove interested in joining in the convoluted fun.
SPOILERS FOLLOW. The plot is simplicity itself, but at the same time, the changes of partnership in these hackneyed vaudeville trappings become so bunched and frequent as to almost make it difficult after a while to remember who was initially attached to whom. With all the women finally sticking irretrievably with each other, both sexually and morally, Pierre and Mario decide to invite Doctor Morales (Josep Lluís Fonoll), his wife Pepa (Esther Márquez), Pepa’s sister and the doctor’s female assistant to a costume party the two friends are throwing that night in the hope of greater womanising success. Unknown to them, however, the three new women eventually join the lesbian groupings of Rita, Julieta et al. Later, when the party does take place, the masks and identical costumes worn by the women create an embarrassing situation for the men, who confusedly start chasing every girl present, as the now-identical women move in slow motion around the garden at night, in their gauzy white gowns and ghostly attire. Finally, in a rather un-PC moment, big Manola, intent on joining the orgiastic goings-on, jumps from a height on Mario, Pierre and the doctor. Some time later, the three men – all in bandages and plaster castes– discover that all the women have left together in Pierre’s limousine. As the temporarily disabled men frantically try to give chase to the car, the women laughingly wave them goodbye, as inaccessible to this trio of males as to the actual males watching the film. SPOILERS END.

Almost entirely set in a chalet and its garden, this is (at least in the version I’ve seen) less audacious in its sex scenes than La caliente niña Julieta , but still participates in the early 80s trend to go further in detail than previous Spanish films of the type. Most vivid (and, for the film’s purposes, obviously most successful) in this respect is an early encounter between Andrea Albani and Vicki Palma. Scenes involving different sexes are less effective, but this seems to be in keeping with the strange gender segregation found in Iquino’s output at this stage. Even if Pierre and Mario do not get to turn to each other here (which they actually did in La caliente niña Julieta ), it is insinuated in the dialogue that the effeminate Chummy is blackmailing them over some business they once engaged in while drunk. In this comedic embodiment of the ideas in Pasquale Festa Campanile’s Autostop rosso sangue, one may note the significant tendency among all and sundry to express only some mild irritation over the discovery of a partner’s infidelity.
Iquino handles the fluffy proceedings confidently, particularly in the ghostly climax with the costumed girls, although on the whole, I would have preferred him not to re-use that awful musical theme from his own Emmanuelle y Carol. The three female leads (in what, apart from the grating Jordi Vila, is a rather personable cast) are very casual and convincing in their roles, while Joaquín Gómez does his reliable “silly” act.
The tall, black-haired, small-eyed Vicki Palma conveys a strong, imposing personality but she made few films (in one of these she played the Countess of Gamiani, co-starring with Albani) and I know nothing of her later life. I already have commented elsewhere on Andrea Albani’s sad fate. Rumour has it that Carla Dey is now a social worker. As with Palma, I am uninformed about the whereabouts of Sianna Gori, a former showgirl of Equatoguinean origin. Amparo Moreno, who must blush at the mere mention of her early films, is now a noted character actress who has achieved success on the Barcelona stage in productions of SHIRLEY VALENTINE and Stephen King’s MISERY. The men, both leads and supports, are all still active as working performers or as dubbers.
Jóvenes amiguitas buscan placer only attracted half of the patronage of La caliente niña Julieta but this was probably more than enough to turn in a nice differential for Iquino. Between La caliente niña Julieta and Jóvenes amiguitas, Iquino appears to have made La desnuda chica del relax
, which placed his usual actors in grimmer crime film situations, and the two films starring Concha Valero seem to have been produced later, followed by Esas chicas tan pu…,the director’s farewell to the softcore film and a run-through of his previous themes and situations. All in all, if we add these films to the Raquel Evans trilogy, he made 9 softcore films, as well as a few others one may tentatively place within the genre. The last six, from La caliente niña Julieta , were all cranked out in 1980-1982. The girlish but strong-jawed Andrea Albani, for her part, managed to squeeze nine films (usually in lead or co-lead roles) into 1983 alone. Outside Spain, she may be familiar to some for the Swiss-Spanish co-production MAD FOXES, where she played the hero’s girlfriend.

robertmonell - April 11, 2008 08:55 PM (GMT)
You are a better man than I, Nzoog, being able to watch these and manage to write something interesting about them! :D

Nzoog Wahlrfhehen - April 12, 2008 11:17 AM (GMT)
Thanks! I wonder if the same strength could extend to travelogues. :D

robertmonell - April 12, 2008 12:34 PM (GMT)
BTW, do you have a picture of Raquel Evans? Thanks.

Nzoog Wahlrfhehen - April 12, 2008 08:42 PM (GMT)
I presume you'll want DVD rather than VHS caps. Just give me some days.

robertmonell - April 12, 2008 08:51 PM (GMT)
Many thanks for that! Yes, a DVD shot would be good.

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