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Private Gold 67: Millionaire

Studio: Private
Category:  Couples , Feature film , Foreign
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baskkk2003's ratings for Private Gold 67: Millionaire:
Overall Rating 4 stars
Private Gold 67: Millionaire overall rating 4 stars
Female Looks Private Gold 67: Millionaire Female looks rating 4.5 stars
Male Looks Private Gold 67: Millionaire Male looks rating 4 stars
Sex Private Gold 67: Millionaire Sex rating 4 stars
 
Plot/Acting Private Gold 67: Millionaire Plot/Acting rating 4 stars
Extras Private Gold 67: Millionaire DVD Extras rating 5 stars
Audio/Video Quality Private Gold 67: Millionaire A/V Quality rating 4 stars
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Reviewed by baskkk2003  on  5/10/2006
'Millionaire'

'Millionaire' is one of Private's big-budget blockbusters. Directed by Alessandro del Mar, it's a 'Private Gold' movie shot in numerous locations around the world and presented in two parts. This is a review of Part 1.

Alessandro del Mar is best known for his fun-in-the-sun line of Private Tropical movies, and 'Millionaire' builds on this: it includes exterior scenes filmed in the Seychelles, the Cayman Islands and Santo Domingo. Fans of del Mar will welcome these scenes as typical of the feel-good Tropical line. But this film is bigger than Tropical; it goes beyond it. 'Millionaire' is a thriller with an epic quest narrative, expensive interior sets, a costume-drama prelude set in Berlin at the end of the Second World War, and a cast which includes some of Private's biggest names. Hungarian model Claudia Ferrari and Czech stud George Uhl acquit themselves well in the lead roles, backed up by a strong supporting cast. Claudia and George are both good actors as well as hot sex performers, and they prove equal to the demands of carrying dramatic scenes in a feature-style porno.

Private's publicity machine was in full swing for this movie, and 'Millionaire' does have a real sense of occasion about it. Private Tropical aside, the style of 'Millionaire' seems to reach back to a time before the Antonio Adamo blockbusters, recalling the heyday of Pierre Woodman's landmark 'Private Gold' productions. Alessandro del Mar is no Pierre Woodman, but he's done a good job here: 'Millionaire' is entertaining and horny, and the film does succeed in recapturing some of Private's mid-90s spirit which many of we fans had loved so dearly and feared we'd seen the last of. I'd recommend 'Millionaire'...


The Opening Sequences

The credits drift slowly across the screen, set against black-and-white images of war-time activity as taken from the film's opening scene (which we are about to see). The soundtrack mixes a sinister musical score with the noise of gunfire and samples of Hitler ranting at Nazi rallies. It's odd to see the stage names of favourite porn babes getting their star credits against this dark and nightmarish montage - but it's exciting too, as it signals to the viewer that we're in for a truly cinematic experience...

Berlin, 1945... The credits sequence concludes with an atmospheric shot of the moon and the wisps of dark cloud which pass before it. This dissolves into a night-time view of a grandiose villa, guarded by a detachment of German soldiers. A tracking shot directs our gaze over the scene, and we see that the detachment of troops is equipped with armoured vehicles and a motorbike with side car. The military costumes and the vintage of the vehicles are all accurate: this is a triumph of war-movie mise-en-scene which announces 'Millionaire' as a big-budget spectacular.

Inside the villa a drunken SS General, Von Ribbertraunf, seems oblivious to the imminent collapse of Berlin, ignoring a young officer's warning that American troops are almost upon them. Von Ribbertraunf arrogantly dismisses the officer, who gives up and departs in an elegant staff car. The General idles away his time by bullying two Jewish captives dressed in striped prisoners' uniforms. He requires some musical entertainment, ordering the male prisoner to turn the handle of a gramophone and the female prisoner to hitch up her skirt and dance for him. He boasts that he has in his hand instructions on how to find the four pieces of a map which will lead him to the hidden treasure of the Third Reich. It is clear that Von Ribbertraunf's belief in his own invincibility is linked to his expectation that he is soon to become a very rich man, but he gets his comeuppance when American soldiers finally burst into the room. Rather than surrender, the bragging General waves his pistol at the Americans and they promptly shoot him. The Jewish prisoner who had been playing the gramophone sees his chance and kneels down to take the secret instructions from the hand of the dead Von Ribbertraunf. At this point the movie switches from black-and-white to colour and we jump forward in time to 2004 and a shot of Claudia Ferrari as a tourist in Rome, wearing tight white trousers, boots and sun shades. This is our first look at Claudia, whose character, Helen Morris, is the heroine of the movie.

Alessandro del Mar allows himself time to set up the story before introducing any pornographic elements, and the 1945 prelude establishes the premise of the film effectively - it's going to be a treasure hunt! The Berlin sequence is well put together as a costume drama, and it's thrilling in its own right. My only question would be whether it was really necessary to include images of the humiliation of Jewish prisoners by a Nazi bully, even though that imagery is only mild. It seems to me that a film-maker is only justified in including such content if they are then prepared to address their movie to the issue of the Holocaust in a sustained and responsible way; but 'Millionaire' isn't Spielberg's 'Schindler's List' or Polanski's 'The Pianist', it's a porno, so why 'go there' at all? I appreciate that the taking of the secret instructions by a Jewish prisoner is instrumental to the plot, and I accept that Von Ribbertraunf's humiliation of the Jewish woman for his own entertainment establishes the boorishness of his character and how deserving he is of his fate; but nevertheless this particular aspect of the film's prelude seems to me to be in rather dubious taste.

In the 2004 sequence Claudia Ferrari strolls into an antiques shop and asks the elderly, infirm owner, an Hasidic Jew, for permission to take a look around to find a souvenir of her visit to Rome. While she is browsing in the attic, two Nazi gangsters enter the shop and immediately insist that the chair-bound shopkeeper tells them the whereabouts of Von Ribbertraunf's secret instructions. Is this Jewish shopkeeper the same man we saw seize the instructions in 1945? He at first denies any knowledge about this, and the lead gangster ruthlessly shoots him in each of his legs. The wounded man finally tells his assailants that the piece of paper they are seeking is in an old book which he keeps by his side. The lead gangster finds the document and clutches it greedily. These Nazis have got what they came for, but the first one thinks he's heard a noise so he begins to search the attic. He almost discovers Claudia, who has hidden behind some old luggage cases; but his comrade signals to him that it's time to leave the shop, and Claudia is saved.

Claudia rushes to the shopkeeper's side, offering to call the police and an ambulance, but the old man stubbornly refuses any help. He is clearly dying, and he asks Claudia to take a piece of paper from his pocket. He explains that this document contains instructions about where to find the four pieces of "the real map". It seems that the document he pointed the gangsters towards was a phoney! The dying man puts the value of the Third Reich treasure at one hundred billion dollars and his last request is that when Claudia locates it she should donate half of the money to a foundation for victims of the last war. Claudia promises to honour this request and she leaves the shop to embark on her mission...

The sequence in the antiques shop is another accomplished piece of drama. Del Mar gives a cameo as the lead gangster and he turns in a chilling performance. The beautiful Claudia Ferrari speaks English expressively and her Hungarian accent adds extra charm to her delivery of her lines. She looks suitably startled in her reaction shots when the gangster fires his gun, and she achieves a convincing portrayal of distress and concern in her scene with the dying shopkeeper. Purely in terms of acting ability, she is surely one of the most talented girls ever to star in a Private movie.


Scene 1

Alessandro del Mar suddenly transports us from the doom-laden mood of the European story to the sunny paradise of the Seychelles. George Uhl, who plays Claudia's ex-husband, is enjoying a holiday aboard a luxury yacht with his girlfriend Lucy Lee. He's busy fingering Lucy under her bikini bottom, and the feel-good atmosphere is completed by jaunty music on the soundtrack and some views of lush green vegetation on the coast. This is the first point in the movie where fans of Private Tropical will feel right at home. Before George and Lucy really get it on, Alessandro del Mar returns us briefly to the troubled Claudia, who is now at home in Budapest. Claudia has become the epitome of a film noir heroine: she is stylishly dressed in black and she smokes heavily while the words of the gangster and the murdered shopkeeper echo endlessly in her mind. Alessandro del Mar is to be congratulated on the atmospheric way in which he's arranged the lighting for these gloomy moments with Claudia: the classical furnishings of Claudia's home form a shadowy context while Claudia herself is well lit, walking nervously to and fro in the foreground. But the contrast between worlds is emphasised again as we find ourselves back on the deck of the yacht, where Lucy Lee is in the process of giving George a blowjob. We have re-joined a world of bright blue skies, an azure sea and sun-soaked sex.

Watching the sex in this Seychelles scene is an experience comparable to leafing through a photoset in a Private magazine. Each shot is beautifully composed but it's not long before we're turning the page to look at the next picture in the series, moving at a healthy pace through the gamut of positions from blowjob to vaginal to anal to cumshot. I favour the relatively rapid rhythm of editing which Alessandro del Mar is pursuing here because it keeps the mind boggling and eradicates any possibility of boredom. Lucy Lee is a divine young brunette and I've been sorry to read reports that she has recently retired from the porn business. Highlights of this scene include a profile of Lucy's beautiful features as she licks the length of George's cock, a low-angle shot of her butt as she continues to give head, and the provocative way she thrusts and wriggles her lower body while on top of George for her anal. George gasps with pleasure as he cums into Lucy's mouth and we relish the sight of his jism on her tongue and lips. The part where George shoots his wad and Lucy savours the cum is all framed within a single, pleasing mid-shot. My only regret is that Alessandro del Mar doesn't treat us to any of the post-cumshot close-ups that a Romagnoli or an Adamo would have gone for. He doesn't choose, either, to give us a Woodmanesque conclusion with Lucy flashing her eyes at the camera and staring at us right through to the fade. Touches like these would have topped off the scene nicely and without them it feels to me like something special is missing.

After sex George enjoys a spot of fishing with Lucy at his side. He is disturbed by a call to his cell phone from Claudia who asks him to fly home from holiday immediately. She explains that she's witnessed a murder in Rome and that she urgently needs his help in a matter which she can't discuss over the phone. George reluctantly decides that he's going to have to cut short his vacation, drop off Lucy at the hotel and make the long trip back to Budapest to find out why Claudia is so desperate to see him. Lucy is understandably disappointed. The most entertaining aspect of this post-sex sequence is how dire Lucy Lee's acting is. She only has a couple of lines but her delivery is very wooden and one suspects that actually she speaks very little English. I'm not complaining, though: the effect is that she seems all the more endearing, God bless her! It's a sort of paradox, really: I love it when a Private star like Claudia Ferrari acts her heart out, but at the same time I love it when another Private star like Lucy Lee seems unable to act to save her life... I guess I just love Private stars per se!


Scene 2

Back in Budapest George is far from impressed by Claudia's proposal that they go on a treasure hunt. He's concerned about the dangers involved, but Claudia reminds him that "It's vun hundred million dollars - it's a lot of money!" (Hmmm, it sounds as if the value of the Third Reich treasure has depreciated rapidly: I'd swear that the dying shopkeeper put it at one hundred billion dollars!) George emphasises how perilous it would be to attempt to acquire the four pieces of the map: one piece is concealed in the SS General's old uniform, which is now owned by the General's Nazi son - or is it his grandson? - Hans Von Ribber (played by Horst Baron); the second piece has been bought in an auction by Pablo Balcazan, a Columbian arms dealer (played by Max Cortes); piece number three is hidden in a brothel owned by the Russian mafia, and the last piece is inside a car belonging to an Italian collector of vintage vehicles. George exclaims that it would be crazy to take on such a dangerous assortment of individuals and organisations - besides which, he and Claudia lack money enough to finance the quest. Claudia suggests that for financial backing George should approach his wealthy brother (played by Philippe Dean). George finally agrees but he is very reluctant, especially since he considers his brother to be "an azzhole"! There's a lovely moment of comedy after George's character (whose name is Robert) has made clear his disapproval of the whole idea of the quest. He outlines the risks and exclaims sarcastically, "It's a piece of cake!" but Claudia furrows her cute brow and retorts with deadpan decisiveness and excellent comic timing: "Robert... Shut up... This is your airplane ticket... And go!" She's already bought George a flight to The Dominican Republic, so he can go and strike a deal with his brother!

Philippe Dean is a cigar-puffing tycoon lounging in the grounds of his luxury villa with a pair of pretty girls to hand - the Ukrainian stars Alexa May and Alica (aka Alissa). George asks his brother for financial support but Philippe will only agree to fund the quest in return for a 50% share of the treasure. George regards Philippe as a shark and he is too disgusted with him to accept his invitation to have some fun with the girls. However, George consults Claudia by phone and he agrees to accept Philippe's terms before leaving. Philippe is now alone by the pool with the two girls, and he smugly suggests that they have a little 'party' to celebrate the deal, which should be worth a cool $50 000 000 to him! This sun-kissed world of laconic ostentation, self-indulgence and wheeler-dealing takes me right back to the mid-90s heyday of Private movies, putting me in mind of classics such as Woodman's 'The Gigolo'. It's this kind of scenario that Private does best!

Philippe, Alexa and Alicia get it together on a sun bed. It's double the fun for Philippe: Alexa kisses him on the mouth while Alicia slurps away at his cock, with her long, ash-blonde hair cascading over his tummy. Alexa reaches down to wank Philippe's prick into Alicia's mouth, and as she does so her strong, slender arm wobbles in the sunlight. The girls switch ends so that now it's Alexa who's sucking off Philippe while Alicia clambers astride his head and buries his face in her succulent young ass. Each girl takes it in turn to straddle Philippe in the reverse cowgirl position, fucking him while her friend provides manual support. Alicia gets it in the butt at the same time as Alexa sucks her nipple, then Alexa rides Philippe in the cowgirl position and treats us to a rear view of her round, humping bottom. There's more anal for Alicia before Philippe spurts all over Alexa's tongue and tits. Both girls enjoy a post-cumshot lick-and-suck before the fade-out. For fans of either girl this is a must-see scene, and I'd particularly recommend it to anyone who likes to get off to the incredibly horny 'Alexa pout'.


Scene 3

Claudia meets with Eva Duem (played by Delfinn Delage), a contact who can provide her with access to Hans Von Ribber. Claudia pays Delfinn to secure two invitations to a party to be held at Hans's home the following day. At the party Claudia and George will have their chance to locate the General's old uniform and steal the first piece of the map. But Delfinn, too, must pay a price. Hans tells her that before he will allow her friends to attend the party, she must agree to be fucked both by him and by his brother, another sleazy Nazi called Hermann (Kevin Long).

French actress Delfinn is sexily attired for her bedroom scene with Hans and Hermann. Her blonde hair is slick and pinned back and she wears a black, sleeveless dress with an open front and a large buckle at the waist. The dress is very short and underneath it she wears a sexy pair of burgundy knickers. Her flesh-coloured stockings and studded boots show off her handsome legs to good effect, and it isn't long before she's bending down to suck enthusiastically on Hermann's cock while having her proffered ass and pussy handled and licked by Hans. Delfinn is soon turning her pretty face between the two rock-hard cocks, sucking and lapping at each one, and the guys are simultaneously fingering her exposed orifices. To me, the 27 year-old Delfinn bears more than a little resemblance to Madonna, and if that isn't enough to sell this scene, suffice it to say that she gets a good shafting and a generous DP in two different positions. Delfinn's skin is nicely sun-tanned all over, so when Hans cums over her face and neck, and when Hermann shoots his wad over her pussy and her shaven pubes, the creamy colour of their thick drops of spunk shows up resplendently against her awesome brown flesh.

In his Director's Commentary, Alessandro del Mar explains that the original script for this sex scene put Delfinn together with only one man, Hans. But the actress said she could give a better performance if fucking with two men, so the character of Hermann was added to accommodate her! Atta girl, Delfinn!


Scene 4

The party which Hans Von Ribber hosts at his stately home is an elegant gathering for a wealthy elite of Nazi cronies. Hans is therefore curious about Delfinn's friends, Claudia and George, neither of whom he has met before. He is immediately attracted to Claudia, and who can blame him? She looks ravishing! Her voluptuous breasts are almost bursting out of her evening dress, and just below her cleavage she's pinned a fetching red flower. George leaves his ex-wife alone with their host to give her an opportunity to establish the whereabouts of the General's old uniform. Claudia is quite up front with Hans that she wishes to see the uniform, and he explains to her that he keeps it in his bedroom. When he is sure that she has no scruples about accompanying him there, they leave the reception together and go to take a look at the coveted item. Once in the bedroom Hans can contain himself no longer. He starts to fondle and caress Claudia. She, for her part, rubs her butt in his groin in a highly sensual fashion - but then she changes her mind and thinks better of it! Now that she knows where the uniform is, she can afford to withdraw. Her excuse is that George will be waiting for her downstairs. For the time being Hans is left sexually frustrated, and he fails to notice Claudia filch the bedroom key from his pocket. This is a very erotic sequence and I think that what Alessandro del Mar is trying to do is tease the audience. Any red-blooded viewer will have had a hard-on for Claudia Ferrari since her first appearance in the antiques shop. Now, for a moment, it looks as if her passionate exchange with Hans in his bedroom is about to develop into her first full-blown sex scene of the movie - at long last! But no: our expectations are thwarted, and we must wait a little longer!

Claudia returns to the party and meets up with George. They sneak upstairs together and unlock Hans's room so that George can nip inside and search the uniform for the first piece of the map. Claudia goes downstairs again and rejoins the unsuspecting Hans, finding an opportunity to slip the key back into his pocket. He introduces her to one of his guests, Helga Von Ritterbusch (played by Lenny Power). Hans explains that Helga is the granddaughter of another wartime General, who met his end at Stalingrad. Lenny Power is a Czech actress, but she is well cast as a German fraulein. She's a tall girl, her blonde hair is tied back in a bun, and she has high cheek bones and an athletic figure - just right for a character who is supposed to match an Aryan ideal of physical beauty. As a sinister touch, Alessandro del Mar has placed a portrait of Heinrich Himmler in the background to the party. This is prominent during Helga's conversation with Hans and Claudia. Hans complains that Helga, unlike Claudia, has never yet agreed to join him in his bedroom to admire the old uniform. Helga delights him by deciding that on this occasion she will allow him to escort her to his room, and that Hermann can join them too! It appears that Lenny is like Delfinn in holding the view that "two guys are better than one", so Hans and Hermann whisk her away for a threesome! Claudia makes a secret phone call to George to warn him that Hans in on his way back to the bedroom. George stops his frantic search of the uniform and manages to hide in an en-suite room in the nick of time. Although it's not made clear at this point, we later learn that George has succeeded in finding that crucial first piece of the map! For the time being he can do nothing except remain concealed and listen to Lenny, Hans and Hermann having sex in the bedroom. All these hide-and-seek shenanigans have elements of farce about them: it's an amusing situation rather than nail-biting, but very much part of the fun!

As Lenny Power goes to work on Hans and Hermann, stroking and sucking their cocks, the rhythmic synth music on the soundtrack includes muffled samples of Hitler ranting - just as we heard in the music for the credits sequence of the film. Alessandro del Mar seems interested, here, in the erotic aspects of Nazi fetishism, but again it is questionable whether this is really in good taste. There's no doubting the erotic impact of Lenny's performance, however. Lithe and leggy, she writhes through a series of sexual contortions. Her shapely figure is set off nicely by her black stockings and suspenders and by the flimsy remnants of her evening dress. She's fucked hard by both men and her passion increases when she gets her DP. She flashes a look of fierce intensity to the guy on top, Hermann, who's busy spearing her pussy; then she bites his thumb and waves her head around in wild abandon as he grasps the back of her neck with his other hand. In the background we see the General's grey tunic suspended on its hanger, with the Iron Cross glinting just behind Lenny's head. Underneath her is Hans, plugging her butt. His tight round bollocks sway around like they're ready to explode. "Ficht mich!" screams Lenny. For the finale the guys cum either side of her. Hermann showers her pussy and shaven pubes and Hans unloads over her breast and tongue. After the party, once George has left his hiding place, he complains to Claudia that "Those bastards have been fucking all night long!"


Scene 5

Claudia receives a call from Gloria, the secretary of George's tycoon brother. Gloria explains that if Claudia wishes to meet Pablo Balcazan, the arms dealer who owns the second piece of the map, she must first go to Malaga and be "nice" to his brother Ramon (Phil Holiday). Claudia agrees to this. As Alessandro del Mar explains in his Director's Commentary, the woman who plays Gloria is Lucy, his own real-life girlfriend and the film's make-up artist. Gloria's role in fixing up meetings between the different characters is key to advancing the plot. Without further ado the movie jumps forward to Claudia's first sex scene, which she shares with Ramon and a blonde girlfriend of his, played by Sarah Blue.

Sarah Blue was given this stage name by Alessandro del Mar when she made her first film with him, 'Caribbean Vacation'. 'Sarah' was the name of the boat on which she was working, and since she has blue eyes the director felt that this particular stage name would be fitting. It's the one she's used ever since. Both she and Claudia bring a great deal of energy to their scene with Ramon. They play up their sexual moans and groans, and they emote their way through an exciting range of facial expressions. Claudia has long black hair, so this provides a nice contrast with Sarah; and she has a body which just doesn't stop: she's ample and curvy, and fulsome but firm! How horny it is to see pink quim against brown flesh on the sun-tanned body of a gorgeous woman like Claudia! Sarah pleasures Claudia and Claudia pleasures Sarah, but Ramon is at the centre of the action. He gets to plunge his throbbing stalk deep inside the cunt and ass of each one of these luscious babes, in a variety of positions. There's a terrific shot of Ramon taking Sarah in the ass in the spoon position. She's lying on her right-hand side and has cocked her left leg over so that the camera can get a generous view of her haunches, the prick sliding in and out of her tight hole, and her expressions of delight as she licks and curls her lips. For the finale Sarah holds her legs up in the air and Claudia jerks off Ramon all over the underside of the blonde girl's bottom. Claudia catches a share of the spunk on her face and as the scene fades out she is licking up the sticky mess around Sarah's cunt.


Scene 6

By Scene 6 there is a real sense that Claudia and George are getting somewhere with their quest. The threads of the plot are now interlacing quite nicely. Claudia phones George to explain that the following day they will be flying to Moscow to meet a contact who works at the brothel where the third piece of the map is hidden. Their conversation is interrupted by another call from Gloria, who informs Claudia that Pablo Balcazan has agreed to see her the following Monday. This meeting will give Claudia her opportunity to acquire the second piece of the map. Claudia is looking very pleased with herself during these phone conversations, but our eyes are drawn to her enormous left breast which is popping out of her white dressing gown. It's interesting that for well over a decade the narrative business placed between sex scenes in porno features has leaned heavily on cell-phone conversations. As an easy way of relaying information and setting up encounters, the mobile phone call has become a well-established convention of porno story-telling in the modern age. (Apparently, though, this scene had to be shot many times over because Claudia had repeated difficulty pronouncing the word "call"!)

Pablo Balcazan's first scene of the movie is aboard a yacht off the island of Martinique. He explains to Gloria that he wouldn't usually do business with a woman but that he is prepared to make an exception in Claudia's case. Spanish actor Max Cortes does a great job as Pablo. The character comes across much like Tony Montana, the kingpin of cocaine as played by Al Pacino in Brian de Palma's 'Scarface'. Sporting a lurid tropical shirt, puffing on a chunky cigar, surrounded by lackeys and with a pretty girl on each arm, Pablo is full of himself and he looks every bit the powerful, dangerous criminal. Max Cortes even manages to pull off a convincing Columbian accent. And although he doesn't resemble Al Pacino in terms of personal physique, one of the girls on his arm, Elen Nevaril, does look a little like the young Michelle Pfeiffer, who played Tony Montana's love interest in 'Scarface'.

Gloria departs for the airport, having fulfilled her role as intermediary. Pablo is now alone on his yacht with the two girls, Elen Nevaril and Jessica May, who are both Czech. The scene which unfolds is once again sure to delight all fans of the Private Tropical series. The colour design is beautiful: Jessica's dark blue summer frock shows up nicely against the natural colours of the sea and the sky - it contrasts, too, with the red and the white of Elen's dress - but the girls strip down as they get hot and horny, and there is soon plenty of naked flesh on show. Jessica is a delicious performer, a premiere-league Private star with a 'Private Life Of...' title to her name. She sucks and slurps on Pablo's cock like she was born to it, and she dribbles saliva over his bell-end with unhurried ease. The scene moves along rhythmically, and Alessandro del Mar treats us to a pleasing assortment of angled midshots, close-ups and low-angle views. Again, the sequencing of the positions is so neat that it's like flicking through the pages of a magazine photoset. Jessica straddles Pablo for a reverse cowgirl. Pablo humps Elen in the spoon position. Elen gets it in the ass from behind. Pablo unloads all over Elen's tits. Jessica gathers up some of the cum on her fingers and licks it off. The cumshot is a nice sloppy one, with drops of jism trailing down the contours of Elen's pert young breasts.

In his commentary Alessandro del Mar explains some of the obstacles faced by the cast and crew when shooting this scene. The first delay was caused by a small fishing boat which sailed up close to the yacht and interrupted filming. Next, Jessica got sick and had to take some pills to make her feel better. (To tell the truth, she looks a little pale in some of the shots!) Then the weather changed: it got overcast and everyone had to wait for an hour for the sky to clear before they could carry on. Full credit to all involved that the scene as finished for the movie is so seamless and horny!


Scene 7

We next see George and Claudia outdoors in the countryside. The location is supposed to be Poldosk in Russia but actually this scene was shot near the border of Slovakia with the Ukraine. The couple are waiting to meet a contact, Francesco, who works at the brothel where the next piece of the map is concealed. George and Claudia know that the document is hidden somewhere in an antique bed in "the Chinese room", but the brothel is owned by the Russian mafia and access is difficult. They need Francesco's help to set them up with an appointment. It's freezing cold and once more George is having his doubts, thinking it crazy that they should be waiting "in the middle of nowhere" for a shady rendezvous with a dubious character. Francesco turns up and states his conditions for helping. He will arrange for the couple to visit the brothel the next day but in return he expects (i) payment of a large sum of cash and (ii) some time with Claudia beforehand. The couple agree. Francesco warns that the Russian mafia can be very cruel and that he wants no trouble with them.

Francesco is a cool, businesslike operator, but there's definitely a sleazy side to his character. With the exception of the Jewish shopkeeper and George, the reluctant hero, none of the male characters in this film are particularly likeable. This is a consequence of the story's setting in a sordid underworld of wheeler-dealing, where every guy is out for a fast buck or a fast fuck. The part of Francesco is played with no frills by Italian stud Francesco Malcom. Malcom has gaunt features and he always appears rather 'wasted' in an appealing, fashionable sort of way: he looks as if he's been completely drained by all those beautiful Private babes he gets to shag!

The scene where Claudia makes good on her part of the deal was shot in a castle in Paris. She is wearing tight grey trousers and high heels and, as ever, she looks terrific. Francesco has an enormous cock but Claudia is just the girl to handle it. She gives him a sexy blowjob and he shoots lashings of cum all over her tongue and chin. This hot sequence lasts only for a couple of minutes but apparently it took two to three hours to film. Del Mar explains why in his commentary. The shoot took place on a day when the press, photographers and TV crews were given access to the set, so the actors were continually being called upon for interviews and photos.

Francesco delivers on his side of the bargain, setting up George and Claudia for an interview with the Boss of the Russian mafia in a dark baroque office at "the Russian house". Our intrepid heroes are posing as a normal couple in search of new sexual experiences. The Boss asks George if he understands correctly what they are seeking: "You want to have two girls in your room, and your charming wife, she wants to have three men in another room?" Claudia beams at this suggestion, treating the Boss and George to an expansive smile which is all gleaming white teeth. It's a smile redolent of mischievous intent. George confirms that this is what they want, but he adds that he would like to use the special "Chinese room" with the antique bed that he's heard about. The Boss points out that this is a very popular room but he agrees that George can have it. No wonder it's popular: it turns out to be the room where Stacy Silver and Simony Diamond work! The Boss is gracious enough with the couple but he seems sinister and sleazily decadent. He has a face lined with experience, he sports a goatee beard and his greying hair is pulled back in a pony tail. The sleeves of his leather jacket are rolled up his forearms, exposing an abundance of gold on his wrist (- think 1980s and Don Johnson in 'Miami Vice'!)

This scene in the Boss's office was shot in Budapest and the Boss is played by Joe Walach. Walach isn't, in fact, an actor but a Russian photographer who had been on the set with his wife a couple of days before the shoot. Del Mar had thought that Walach looked perfect for the part and had offered it to him then. It's good to know that despite all the careful planning that must have gone into this production the director was still capable of this fly kind of spontaneity.


Scenes 8 and 9

Stacy Silver and Simony Diamond play two prostitutes lying next to each other on the antique bed in "the Chinese room". They are enjoying some shop talk. "Do you remember the man from yesterday with the big dick?" purrs Stacy, demonstrating the length of the dick in question with her hands. Simony does remember, and both girls giggle! These nymphomaniac whores are dressed up identically in red lingerie and black knee-length boots. A few red cushions are scattered around on the bed, alongside some leopard-skin pillows. George makes his entrance - he's the girls' next customer - and we see that even he is wearing red pants! Of course, this 'red light' colour design befits a scene in a brothel, although Alessandro del Mar opts for plain lighting rather than any chintzy lighting effects. Plain lighting gives this scene a classical look. In that regard it is different, for example, from the final scene of the 'Tatiana' trilogy, Pierre Woodman's bordello masterpiece, where Tania Russof and David Perry are completely drenched in lurid colour as they fuck on an antique bed! George asks the two prostitutes where they come from and they tell him they're from Moscow. (In reality Stacy Silver is a Czech girl and Simony Diamond is Hungarian.) George notices a security camera attached to the ceiling and he expresses concerns about this. Surely this is an invasion of their privacy? But the girls assure him that the tapes are wiped clean every day. Hmmm... but George seems satisfied and he starts to get intimate with the girls.

Meanwhile Claudia is in another room in the brothel, surrounded by three dark-suited studs who have been employed to pleasure her (Sebastian Barrio, Titof and Rodolfo Antrim). Claudia reclines on a couch and parts her stockinged thighs so that these fresh young guys can run their hands up and down her body and work her up into a sexual lather. Her black evening dress has a silver diamond logo below the cleavage, a logo which reminds us that she is basically on a treasure hunt.

Del Mar cuts back to George, who is busy fingering Simony and licking her out. George withdraws his finger from Simony's cunt, pops it into her mouth and then into Stacy's mouth. Stacy plays with herself while George continues his oral stimulation of Simony. Both girls suck on George's cock and then Simony is the first to get fucked. She rests the booted calf of her right leg on George's shoulder and stretches out her left leg along the bed. George thrusts his cock in and out of Simony's cunt and Stacy leans forward to get close to the action. After each withdrawal Stacy is waiting, pouting, ready to give the cock a quick suck before George shoves it back in where it came from. Stacy turns her attention to Simony and kisses her while George continues to plug away. She teases Simony's nipple with her pierced tongue and then gives another of her sexy little pouts. Next it's Stacy's turn for a fuck... George takes her in the doggy position while she licks Simony's pussy. Stacy's humping bottom is a pleasure to behold! Simony straddles George in the cowgirl position for a butt fuck, and when his cock slips out of her asshole Stacy is on stand-by to give him a brisk handjob before he reinserts it. How George can hold back from having an orgasm is beyond me - fucking two of the most delicious babes in the business - but he's not through yet... In his commentary Alessandro del Mar mentions that the bed featured in this sex scene is a genuine antique which is very fragile and is normally only used for exhibitions. It actually collapsed a couple of times during the shoot, and filming was held up while the necessary repairs were made!

Claudia has now switched to full-on slut mode. A big stiff cock is waving around either side of her face - and before long a third cock is being stuffed in her quim! Next we see her lying on her back for a double penetration. Cock #3 nudges against her nose and she gives it a sexy lick between gasps. She soon turns over for another double penetration, and this time she is in a better position for sucking on the remaining prick and giving it a jerk. We get a lovely view of her ass, then over she goes again, face up. As one guy carries on giving her anal, she rests her head in the lap of another guy - his cock within range of her mouth - and she leans across to give the third guy a handjob. Like George before her, she suddenly notices a security camera installed in the ceiling of her room, and she pauses awhile to ask the third guy about this camera. He mutters something about a security man called Boris. It's fun watching Claudia Ferrari break into a little piece of coquettish acting at this stage. Her hand leaves the guy's cock for a moment to point up at the security camera. She waves at it saucily and then she beckons to it with her finger, as if inviting whoever is manning it - Boris? - to zoom in for a close-up. While she's performing her expressions of mock surprise and acting out all these flirtatious little come-ons, the guy whose lap her head is resting in continues to rub his cock just centimetres away from her face. "Ciao!" she calls to the security camera, then she's straight back to business with her three guys. "Come on, fuck me!" she implores. It's erotic moments like these, moments of teasing, which distinguish the performance of a true porn star and give this movie its stylish twist.

George is still having the time of his life. Stacy Silver has straddled him in the reverse cowgirl position and he is busy shafting her ass. Simony is helping things along by massaging Stacy's clit and tits. We're soon back in Claudia's room, however, where there's a comic pay-off to the earlier business with the security camera. Claudia's original three guys are now all slumped back on the sofa, jerking off next to each other, while Claudia is in the foreground fellating Boris the security man (Tony Carrera)! Boris seems to have turned up from nowhere for a piece of the action! Claudia carries on working his cock but she simultaneously reaches for her cell phone to call up George.

In "the Chinese room" Stacy has to climb off George so that he can pick up his phone, and as she dismounts she gives an unconvincing little groan of disappointment which reminds us of Lucy Lee's earlier dismay at having her holiday with George interrupted by a call from Claudia. Del Mar cuts back to a close up of Claudia wanking Boris's cock and panting with lust while speaking to George on the phone: "Hi, Robert! I go home in about ten minutes. Okay?" This shot of Claudia with a cock in one hand and a phone in the other is very playful and I can't help suspecting that it's a deliberate visual reference to a moment in Woodman's classic 'The Gigolo'. I'm thinking of the end of Scene 3 when Russian star Joy Kiss makes a sexy pantomime of answering the phone to Philippe Soine while holding Jean-Pierre Armand's spent member in her other hand. In his 'Millionaire' commentary Alessandro del Mar says that it's very funny to show a girl speaking into a phone while giving a handjob at the same time. But what is the narrative purpose of Claudia's call to George? Del Mar suggests that it's a signal from Claudia that she has managed to lure the security man away from his cameras and that George now has a chance to search undetected for the hidden piece of the map.

George puts his phone away and apologises to Stacy and Simony. He says that he's going to have to go soon, but before he leaves he wants to "come on your azz, okay?" He asks the girls to kneel down next to each other on the bed with their asses sticking up in the air and their faces down in the bed clothes. Having positioned the girls in this way George can search the bed for the concealed piece of the map without them realising what he's up to. The girls think he is jerking off over their asses but really he is running his hands over the headboard and bed posts in search of the document!

Back in the other room all four guys are furiously wanking off their cocks around Claudia's head. The two guys at the front reach a climax simultaneously and splatter cum all over Claudia's magnificent tits. Some of the jism catches her left cheek as well. The third guy discharges from behind, over her shoulder, and he drops his deposit down to her tits. Claudia turns her mouth towards him in time to catch one creamy dollop on her tongue. Guy #4 needs a little longer, but it's worth the short wait. His violent eruption leaves a thick trail on the side of Claudia's face - but the main wad goes further afield and lands on one of the other guy's cocks! You can see this happen just inside the frame! This is definitely a messy finish and Claudia relishes the attention. Not only is she a good actress but she's also an A1 cum slut! I, for one, think that some adult industry awards are in order!

George finally locates the piece of the map in a bed post, maintaining the ruse that all the while he's been jerking off over Stacy's and Simony's hot asses! But having made the crucial discovery he can now afford to reward himself. He shoots copious loads of spunk over the waiting Stacy's buttocks, and some of his jism gets inside her bum crack. The only disappointment is that none of the cum catches Simony's generous ass, even though she's kneeling right next to Stacy. Both girls reach back and smear the jism with their fingers, and then we get the fade out.

Alessandro del Mar is to be commended for the amusing way in which he's cut together these two scenes, one with George and one with Claudia. It's not unusual to see two sex scenes inter-cut - Christoph Clarke used to do it - but this particular technique is hardly a Private standard. What distinguishes Alessandro del Mar here is the expert way he's crafted the film, using the technique of inter-cutting not only for the purposes of visual variety and rhythm but also to tell an interesting story and give us some laughs along the way.

Claudia and George are now at home, reviewing their progress so far. They have gained possession of two pieces of the treasure map, but there are two more pieces to get. Their next opportunity will come the following week when they fly to Columbia and meet Pablo Balcazan. In the mean time they can enjoy a couple of days' rest. In a touching moment Claudia tells George he can stay over if he wants to, but George replies that he isn't ready for that. He says that he's had a stressful few days and that, for now, he'd rather be alone.

The final scene of the movie is a cliffhanger which sets us up for the sequel. The Boss of the Russian mafia is interrogating Francesco about the couple he introduced to the brothel. The Boss has been looking at the security tapes and he knows that George stole something from "the Chinese room", but he doesn't know what. Francesco insists that the couple were simply after sex but the Boss doesn't believe it. He instructs Francesco to attach himself to George and Claudia like a limpet and to find out what he can. For his cover story he can pretend that he's lost his job. The Boss threatens Francesco, warning him that if he refuses to cooperate then some harm might befall his girlfriend, who also works at the brothel.

To be continued in ‘The Millionaire’ Part 2...!




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