Mario Salieri Productions
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Cunnilingus Hardcore Lesbian Group Teen Mature Older-younger Fingering Shaved pussy Trimmed pussy Missionary Cowgirl Reverse Cowgirl Doggystyle Cumshot
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Films were shot simultaneously and distributed from October 2017. The writer Alberto, supported by his wife Elsa, is writing a novel centered on a common woman from Ciociaria, Cesira, during World War II. The story begins in Rome in 1943, where Cesira is having her teenage daughter Rosetta visit a doctor who, traumatized by the recent Allied bombing of the city, has shut down in total silence. The woman decides to take refuge in the native country of Sant”Eufemia together with her daughter to escape the air raids and the atrocities of the war.
La Ciociara 1 – Fuga da Roma (Escape From Rome)
Cast:
Steve Holmes, Rebecca Volpetti, Tiffany Doll, Roberta Gemma, Violette Pure, Bruno SX, Eva Berger, Melody Mae, Rodolphe Antrim, Fabrice Triple X, Miklos B. Szekely, Patrick Boyle, Costy Saddy, Filippo Locantore, Marcello Borsa
Mario Salieri Productions
Tags:
Cunnilingus Hardcore Lesbian Group Teen Mature Older-younger Fingering Shaved pussy Trimmed pussy Missionary Cowgirl Reverse Cowgirl Doggystyle Cumshot
Description:
Films were shot simultaneously and distributed from October 2017. The writer Alberto, supported by his wife Elsa, is writing a novel centered on a common woman from Ciociaria, Cesira, during World War II. The story begins in Rome in 1943, where Cesira is having her teenage daughter Rosetta visit a doctor who, traumatized by the recent Allied bombing of the city, has shut down in total silence. The woman decides to take refuge in the native country of Sant”Eufemia together with her daughter to escape the air raids and the atrocities of the war.
La Ciociara 1 – Fuga da Roma (Escape From Rome)
Cast:
Steve Holmes, Rebecca Volpetti, Tiffany Doll, Roberta Gemma, Violette Pure, Bruno SX, Eva Berger, Melody Mae, Rodolphe Antrim, Fabrice Triple X, Miklos B. Szekely, Patrick Boyle, Costy Saddy, Filippo Locantore, Marcello Borsa
La Ciociara Part 3: Return to Sant’Eufemia
Cast:
Rebecca Volpetti, Roberta Gemma, Mario Salieri, Bruno SX, Nico Blade, Pablo Ferrari, Filippo Locantore, Istvan Milosevic, Costy Saddy, Daniel Brown
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Add to favoritesStarring: Rebecca Volpetti, Roberta Gemma, Mario Salieri, Bruno SX, Costy Saddy, Pablo Ferrari, Filippo Locantore, Nico Blade, Istvan Milosevic, Daniel Brown
Categories: 18+ Teens, Blowjobs, Couples, Cumshots, European, Face Fucking, Feature, Historical / Period Piece, International, Italy, Mature, Military, Naturally Busty
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Starring: Steve Holmes, Rebecca Volpetti, Roberta Gemma, Istvan Milosevic, Dario Zavoli, Filippo Locantore, Costy Saddy, Patrick Boyle
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Add to favoritesStarring: Steve Holmes, Rebecca Volpetti, Tiffany Doll, Bruno Sx, Violette Pure, Roberta Gemma, Eva Berger, Fabrice Triple X, Rodolphe Antrim, Melody Mae
Categories: 18+ Teens, Blowjobs, Cumshots, Facials, Feature, Lingerie, Naturally Busty, Threesomes
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Add to favoritesFamilie Matuschek 1 (1998)
Scene 1. Gerold
Scene 2. Elke Maranoff
Scene 3. Nadine Perrier, Thomas Fritz
Scene 4. Elke Maranoff, Nadine Perrier, Gerold
Scene 5. Bea Dumas, Liza Adorata, Nadine Perrier, Dominique Dime, Tom Cruiso
Scene 6. Claudia Smeralda, Jean Pallett
Scene 7. Heike Rochus
Scene 8. Heike Rochus, Jean Pallett, Lee Valentine
Scene 9. Anja Rochus, Rene Bar
Scene 10. Elke Maranoff, Gerold
In scene 5 Nadine Perrier is only watching and masturbating.
Scene 8 and 9 are intercut.
Anja Rochus Anal Facial
Bea Dumas Pee
Claudia Smeralda Facial
Dominique Dime
Elke Maranoff GS
Gerold Pee
Heike Rochus Anal Facial DP
Jean Pallett
Lee Valentine
Liza Adorata Anal Fisting
Nadine Perrier Anal Facial
Rene Bar
Thomas Fritz
Tom Cruiso GS
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Familie Matuschek 2 (1998)
Scene 1. Gerold
Scene 2. Elke Maranoff, Gerold
Scene 3. Nadine Perrier, Unknown Male 367717-A
Scene 4. Anja Rochus, Lee Valentine
Scene 5. Tanja Carnac, Andy Tjerborg
Scene 6. Diana, Horst Baron
Scene 7. Anja Rochus, Elke Maranoff, Gerold
Scene 8. Tina Dorada
Scene 9. Tina Dorada, Gerold
Scene 10. Anja Rochus, Tina Dorada
Scene 11. Elke Maranoff, Lee Valentine
Scene 12. Elke Maranoff, Gerold
Scene 13. Elke Maranoff, Lena Hernandez, Gerold, Jean, Unknown Male 367717-B
Andy Tjerborg
Anja Rochus Anal Fisting
Diana Anal
Elke Maranoff
Gerold
Horst Baron
Jean
Lee Valentine
Lena Hernandez Fisting
Nadine Perrier Facial
Tanja Carnac Anal
Tina Dorada
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Familie Matuschek 3 (1998)
Scene 1. Anja Rochus, Nadine Perrier, Lee Valentine
Scene 2. Nadine Perrier, Tina Dorada, Alex Hero, guy, Jasper Gude, Peter Jensen
Scene 3. Anja Rochus, guy
Scene 4. Lena Hernandez, Jean Pallett
Scene 5. Suzette Dale, Lee Valentine, Silvio Oczan
Scene 6. Suzette Dale, Silvio Oczan, Wolf Martin
Scene 7. Nicole, Lee Valentine
Alex Hero
Anja Rochus Anal
Jasper Gude
Jean Pallett
Lee Valentine
Lena Hernandez Anal Facial Fisting
Nadine Perrier Facial
Nicole
Peter Jensen
Silvio Oczan Pee GS
Suzette Dale Anal Facial GS
Tina Dorada Anal Facial DP
Udo Valentin NonSex
Wolf Martin Pee
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Familie Matuschek 4 (1999)
Scene 1. Carina Perreira, Armin Cyliax
Scene 2. Giselle Adamiche, Udo Valentin
Scene 3. Diana, Tanja Riviera, Horst Baron
Scene 4. Anja Rochus, Nadine Perrier
Scene 5. Unknown Female 245203-B, Jean Pallett, Wolf Martin
Scene 6. Nadine Perrier, Rene Bar
Scene 7. Paola Reve, Wolf Martin
Anja Rochus LezOnly
Armin Cyliax
Carina Perreira Facial
Diana Anal Facial Pee GS
Giselle Adamiche Facial
Horst Baron Pee
Jean Pallett
Nadine Perrier BJOnly
Paola Reve Facial GS
Rene Bar
Tanja Riviera Facial Pee GS
Udo Valentin
Unknown Female 245203-B Anal Facial
Wolf Martin Pee
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A general note on loops, they are generally uncatagorized, some of essentially the same material was used by other “studios” or clipped into movies. Also, credits were vastly inconsistant. Add to that a language barrier with the Euro loops
A young looking Sweedish girl, who was 20 and 21 when she filmed her loops, I believe all in Denmark. Known for playing school girls. To be really clear, she was over 18 in all her loops. She looked younger than she was and dressed that way
Tove Jensen (born April 23, 1958 in Sweden ), popularly called Tiny Tove is a Swedish porn actor who was active between 1979 and 1981. After the loss of her father, she was apparently introduced to the porn business by her mother.
After a few short years in the industry, Tove suddenly quit when realising that this was not going to be a “lifelong career”.
Quitting Denmark (where most of the shoots were made), her friends took her to sea, at her request, and she has never been seen in the adult industry since. She also vowed to pursue her privacy which continues to be respected to this day.
Master Film 1802 – Film Oorgy.avi
Danish Hardcore Film No.545 – Educating Tina.mov
Diplomat Film No.1027 – Teach My Sister.avi
Teenage Sex Film No.716 – Young Thai Tourist.avi
Tiny Tove loop – Math Assistance.avi
Master Film 1794 – Little Sexy Eva.mp4
Teenage Sex Film No.712 – Young Flesh.avi
Danish Hardcore Film No.602 – Young Flesh.avi
ColorClimax Film 1381 – Service.avi
Color Climax – Teenage Bestsellers 252.avi
Color Climax – Teenage Bestsellers 260.avi
Color Climax – Teenage Bestsellers 255.avi
Color Climax Film No.1348 – Teenage Tricks.avi
Color Climax Programme 305.avi
Add to favoritesRoberta Gemma, Anina Silk, Vickie Brown
FACCETTA NERA – 2019 – Faccetta Nera is the title of a song written by Renato Micheli and composed by Mario Ruccione in April 1935. This song was certainly inspired by the fascist propaganda that prepared the Italians to face the Ethiopian war. The movie has no political label or orientation and uses the title of the song only to highlight the historical period in which the story unfolds. The story takes place in Naples in 1935 and tells of the generational contrast between a powerful gerarca (Massimiliano Storace) and a young militant of the fascist party (Josc Admiral) who live in the same building. Taking advantage of the departure of the gerarca for Abyssinia, the young fascist tries in every way to attract the attentions of his wife (Roberta Gemma) unknowingly involving also the elderly mother-in-law. When everything seems over, a twist will reverse the events of the story.
The Historical Context:
It’s September 11, 1935, we are less than a month from the start of the Ethiopian campaign. In the intentions of the fascist regime, this colonial expedition must be the maximum expression of the strength and efficiency of the Kingdom of Italy. Failure is not contemplated, far from it: this war will have to mark the definitive consecration of the regime in the much sought after ‘place in the sun’ on the international scene, strengthening its image and prestige through a military campaign conducted with enormous deployment of means for a inexorable victory.
In this context, the propaganda system also assumes fundamental importance, through a series of measures aimed at enhancing the imminent expedition, or, to put it better, at the need for a salvific Italian intervention towards the Abyssinian population, oppressed by a state of slavery. . Here then is the flourishing of various ‘canzonette’ in which the graceful and catchy melody is combined with programmatic texts of strong impact: we remember in particular a 78 rpm which includes the two ‘preparatory hymns’ for the war of Ethiopia, or ‘Faccetta nera’ and ‘I salute you, I am going to Abyssinia’. As mentioned, these are “choral” songs in which the candidates for the expedition declare their virile enthusiasm in front of a real “call of destiny”.
According to the propaganda plan of the Italian Army, in 1935 alarming news spread about the slavery conditions with which the Empire of Ethiopia kept the Abyssinian population subject. A firm, decisive and definitive intervention by the Italian forces is urgently needed to put an end to this slavery, so as to celebrate the colonialist vocation of an Italy ready to expand the borders of its Kingdom significantly. These are the ‘historical’ premises that saw the birth of a song like ‘Faccetta nera’, in which the Roman poet Renato Micheli addressed his words directly to a hypothetical young slave (the ‘beautiful Abyssinian’, in fact) urging her to wait for the triumphant coming and civilizer of the ‘black shirts’.
This is the historical context in which Mario Salieri sets the story of his new film. We have a powerful and affirmed hierarch (Massimiliano Storace) who is preparing for the Abyssinian expedition: we see him haughty, motivated and dismissive of the danger as a regime wants, to face the legitimate insecurities and fears of his beautiful wife (Roberta Gemma), worried about the mission to which her husband is called.
But you know, in fascist families there is no time for tears: during the absence of her husband, the role of the woman will be the eminently domestic role of ‘angel of the hearth’. Roberta will have to look after the elderly mother of the man, who is bedridden and in need of care.
As per script in the Salierian stories, the disturbing element manifests itself in the landing of the house, and has the features of a young fascist militant (Josc Admiral), handsome and domineering, who lacks respect for the hierarch with his daring behavior. The boy is punctually ‘cazziato’ for not having greeted the superior ‘Roman’, however thanks to his comment in voice over we learn that he does not care about the violent reproach: yes, because as soon as the hierarch leaves for Ethiopia he will take care of the wife of this domineering ‘big shot’, trying to earn her sexual favors.
As the young man in the black shirt explains, it has been some time since he has set his eyes on the woman, provoking her also through the ‘attentions’ directed in plain sight to the aunt of one of his comrades (Vickie Brown). In short, it is a matter of time, and the beautiful Roberta will give up. Will it really go like this? To find out, just enjoy the film,
This new Salieri is added, as we have seen, to the historical setting works so dear to the director, a story re-enacted with the scruple of the enthusiast attentive to the ‘customary’ aspects of the eras from time to time treated. Music, for example: it had been like this in the ‘Neapolitan carousel’, here we are once again catapulted in the middle of the twenty years thanks to the recovery of the song that gives the title to the film and the revival of the popular success ‘Ma le gamba’, dated 1938 and used by Mario as a sound commentary to the moments of… ‘solitary intimacy’ of the young fascist when he consults some audacious period magazines.
These important details help the spectator to enter the context of an event that also foresees the celebration of the Juno Roberta Gemma, as always unmissable in the hard scene dedicated to her. In the writer’s opinion, Roberta is the perfect embodiment of the ‘mogliamante’, to bother the title of a film with Laura Antonelli: a prosperous woman whose physicality, properly exhibited and enhanced by Mario’s filming, embodies a generous and homemade sexuality ‘without losing a sex appeal always and in any case highly sensual. Looking at Roberta Gemma in all her production with Salieri, the words Marcello Mastroianni addressed to ‘Anitona’ Ekberg in Fellini’s’ Dolce Vita ‘come to mind:’ You are the first woman on the first day of Creation. You are the mother, the sister, the lover, the friend, the angel, the devil, the earth, the house … Ah, that’s what you are: the house! ‘
This means that the roles created by the Neapolitan director for Roberta give her an ‘all-knowing’ femininity, both in the part played and in the more specifically sexual part.
In historical films, Mario’s shooting style for hard scenes tends to enrich the frame with furnishing details that make the surrounding environment ‘live’: to frame the sexual performance we have for example the lingering the eye of the director on old bedside tables, chairs or paintings, which, while remaining ‘at the edges’ of the screen, act as ‘subliminal’ elements that need only be absent-minded to receive that additional temporal information.
Having said that, remember that Salieri has always accustomed his audience to a multiple reading of his films, and ‘Faccetta nera’ is no exception: the title is a propaganda hymn that introduces us to the ‘historical plot’ of the story, but with the progress of the events is clear that the motif is also a mockery tool of the young fascist towards the hierarch: as soon as the latter leaves singing to conquer Abyssinia, the boy will proceed to conquer his wife … all thanks to the same song, which sends one to war, the other to have sex. Magic of Maestro Salieri. As always.
Remember that the film has no political label or orientation and uses the title of the song only to highlight the historical period in which the story unfolds.
Sex acts & positions: kissing, handjob, blowjob, kneeling doggy, cowgirl, reverse cowgirl, standing doggy, spoon, cum on ass, cum on legs, pussy fingering, 69, handjob to completion, cum on tits, missionary
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Only one other version of this golden age classic on the site and this torrent is a quality upgrade as re-mastered by Wildside. These guys do as good or better than Vinegar Syndrome with their remastering. This is great picture quality.
Sexysadie upped the only other version on the site almost four years ago and did a great job with the description so…I stole it of course (thanks sexysadie)!
Georgina Spelvin plays Justine Jones, a lonely, depressed spinster who decides that suicide is the only way out of her routinely dull existence. While lying in the bathtub, Justine slits her wrists, dying quietly as the water fills with her blood.
Because she has lived a “pure” life, Miss Jones finds herself in limbo. There she meets Mr. Abaca (John Clemens), an angel, of sorts, who informs her that she does not qualify for entrance to Heaven because she has killed herself. Angry that this one indiscretion has left her with only the options of limbo or Hell, she begs Mr. Abaca to let her “earn” her place in Hell by being allowed to return to earth and become the embodiment of lust. After an intense session of pain and pleasure with a menacing man who goes only by the title of “The Teacher” (Harry Reems), Justine has a few bizarre and sexually deviant encounters, the last of which is a graphic threesome.
However, just as she is enjoying her new life of lust, the brief time Justine was given to fulfill herself runs out and she is faced with the eternity of Hell. At first, Miss Jones is horrified at the pain she will be rough to endure, but Abaca is quick to dispel the common human myth of Hell and promises Justine that she will be “quite comfortable…”
Justine, now a raging sex addict, then finds herself confined to a small room with an impotent, sexually uninterested man who is more interested in catching flies than her. She desperately begs the man for sex, but he simply asks her to be quiet while he listens to the buzzing of his imaginary insects.
Trapped in her own private hell, Miss Jones is left screaming in agony for all eternity, thirsting for a climax she will never achieve by her own means.
Sexual action includes pussy licking, blowjobs and straight sex in multiple positions including missionary, cowgirl, and doggy style. Also has a lesbian scene threesomes both MFF and FFM, anal and DP.
The Devil in Miss Jones (1973) is a pornographic film, written, directed and produced by Gerard Damiano and starring Georgina Spelvin. It is widely regarded as a classic adult film, released during the Golden Age of Porn. Damiano made the film after his 1972 success with Deep Throat. Along with Deep Throat and Behind the Green Door, the film is associated with the brief period known as porno chic or the Golden Age of Porn. It went on to spawn numerous remakes and sequels.
The movie was given an X rating by the MPAA and premiered at the 57th Street Playhouse in New York City. In many theaters it was shown after Deep Throat as part of a double bill. The Devil In Miss Jones broke the box office record for a pornographic film. It was more commercially successful than both Deep Throat and Behind the Green Door, and successfully competed against mainstream films. It earned $15 million in gross rental at the U.S. box office, making it the tenth most successful film of 1973, just behind Paper Moon with Ryan O’Neal and Live and Let Die with Roger Moore
As with the other films of the Porno chic era, it was reviewed by the film critics of mainstream newspapers. The film’s review in Variety said that, “With The Devil in Miss Jones, the hard-core porno feature approaches an art form, one that critics may have a tough time ignoring in the future”, and compared its plot to Jean-Paul Sartre’s play No Exit. The review went on to say, “Damiano has expertly fashioned a bizarre melodrama”, and described the opening scene as, “a sequence so effective it would stand out in any legit theatrical feature.” It finished by stating, “Booking a film of this technical quality into a standard sex house is tantamount to throwing it on the trash heap of most current hard-core fare.”
According to Peter Michelson there is, “a relatively small corpus of [pornographic] films – e.g., Deep Throat, Devil in Miss Jones, Behind the Green Door – that have a minimal but still sufficient artistic interest to distinguish themselves from the rest of the genre”.
Other critics have described it as, along with Deep Throat, one of the “two best erotic motion pictures ever made”. William Friedkin has called it a “great film”, partly because it was one of the few porn films with a proper storyline. It was one of the first films to be inducted into the XRCO Hall of Fame.
Sexy Sadie’s Two Bits:
The Devil in Miss Jones was one of the first high production value films of the Golden Age Porn when it was produced in 1973. It included a full range of sexual activity including oral sex, (blow jobs and cunnilingus) both hetero and lesbian, full frontal nudity, sex showing full penetration in missionary, reverse cowgirl, spooning and doggy positions, enemas, three ways including double penetration as well as money shots.
This film is being uploaded as part of the Golden Age of Porn Collage.
Georgina Spelvin, Harry Reems, Marc Stevens, Levi Richards, Judith Hamilton, Sue Flaken
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Add to favoritesJesie St. James is the next in a long line of teachers to take on a troubled class of high schoolers in a small town with a beautiful suburban exterior that hides an underbelly of dysfunctional relationships, sexual deviancy and profound rebellion. Knowing that the last two teachers in her position were accosted, Ms. Martin implements her strong personality in a bold attempt to bring order to the town. Despite her noble efforts, Ms. Martin finds herself in a twisted web of sin, seduction and sex. VISTA VALLEY P.T.A. stars one of the greatest ensemble casts ever compiled. Directed by the legendary Anthony Spinelli, shot on film and digitally-remastered, this is a true masterpiece that remains a hallmark of its day.
Sexual action includes pussy licking, blowjobs and straight sex in multiple positions including missionary, cowgirl, and doggy style also includes some incest (father/daughter) and some threesome action.
Actors:
Desiree West [MastOnly]
Dorothy Lemay (as Dorothy Lemax) [Facial]
Jesie St. James (as Jessie St. James) [Facial]
Juliet Anderson (as Juliett Anderson) [Facial]
Kay Parker (as Kay Taylor)
Sharon Kane (as Shirley Wood) [Facial]
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