Overview: Northern Italy, the Po Valley, in the raw years after World War II. The countryside is slowly shaking off the dust of the conflict, and along a quiet road stands a modest inn run by Miranda (Serena Grandi, The Great Beauty), a warm, full-blooded young woman with a laugh that fills the room and an appetite for life that the war never managed to dampen.

She keeps the place going while she waits for her husband, a soldier who left for the front and has not come home. Word of him has gone silent. Miranda tells herself she is still waiting, yet as the seasons turn she begins to wonder whether she is holding a place for a man who may already be gone for good.

The inn is busy, and Miranda is very much its heart. Three very different men circle her, each hoping to win more than a room for the night. There is Berto, the devoted farmhand who has loved her quietly for years and asks for nothing but a chance. There is a well-off, older suitor who can offer her comfort, security and a way out of the daily grind.

And there is a charming American, easy and worldly, who brings the promise of somewhere far beyond these fields. Miranda is in no hurry to choose. With open curiosity and a healthy love of pleasure in her own body, she tastes what each of them has to offer, weighing tenderness against wealth against adventure, before deciding whether any single one of them is worth keeping. Loosely drawn from Carlo Goldoni’s classic comedy La Locandiera, Miranda is director Tinto Brass (Caligula, Salon Kitty) at his most sunlit and sensual. He trades cruelty and politics for warmth, laughter and desire, painting a portrait of a woman who refuses to shrink herself to fit anyone else’s idea of a good wife.

Ripe, earthy and unashamedly erotic, it is a comedy of the senses in which pleasure is not a sin to be punished but simply part of being fully, gloriously alive, and Miranda holds every card right up to the last.

Blu-ray Verdict: After twenty odd years of trying to make difficult, compelling and erotic films, of seeing his work cut to shreds by clumsier, less artistic hands, of working on huge sets with vast unweildy international casts and of the insufferable dictation of linear narrative and intelligible dialogue enough was enough.

From now on it would be back to basics, back to his first love. From now on all of his films would be about women with fat asses! Like Walerian Boroczyk or Russ Meyer (albeit a Russ Meyer who is a foot shorter and facing the wrong way) Brass’ chief concern is the capture of the female form, as often as possible and from surprisingly intrusive angles.

To this end he has established a series of erotic props, his own sexual shorthand. There will always be an oval mirror over any bed, there will invariably be a camp dancing sequence during which the heroine will feel compelled to flash her baggy French knickers. There will be a dream sequence, usually on a beach and usually as a tribute to Fellini, and every time a character goes to the cinema it will be to see another Tinto Brass film.

And finally, and perhaps most importantly for Tinto, any woman, no matter what the circumstances and apropos of nothing must be allowed to urinate as and when she pleases, preferably backlit and preferably in public. This is the plot of Miranda. Not in essence, this is not a thumbnail sketch or a five-word pitch. THIS IS ALL THAT HAPPENS! Miranda (Serena Grandi) the landlady of an Italian taverna has to choose between three men: a rich pensioner, an aggressive GI or the lowly waiter who carries a torch for her. Guess which one she goes for!

Special Features:
Tinto Brass Reveals All -interview with the director
Theatrical trailer
New and improved English subtitles and SDH
Collector’s reversible sleeve

Official Trailer

Official Purchase Link

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