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Reviews and pictures of actress Rossana Ghessa naked in "Femmine in fuga", "Momentos de Prazer e Agonia", "Mulheres Liberadas", and 2 more titles.
Born: 1943 Country: Brazil
Born in Italy, Rossana's entire career was spent in the Brazilian exploitation genre. She was an influential figure in its early years, playing 'scarlet woman' types mostly.
Rossana Ghessa (born 24 January 1943) is an Italian actress, from Sardinia, and a naturalized Brazilian. She appeared in 43 films between 1966 and 1996. snippet from Wikipedia
Paraíba, Vida e Morte de um Bandido (Victor Lima, Brazil, 1966) (as Angelina aged 23)
007 1/2 no Carnaval (Victor Lima, Brazil, 1966) (aged 23)
Carnaval Barra Limpa (J.B. Tanko, Brazil, 1967) (aged 24)
Juego peligroso (Mexico, 1967) (aged 24)
Bebel, Garota Propaganda (Maurice Capovila, Brazil, 1968) (as Bebel aged 25)
Enfim Sós... Com o Outro (Wilson Silva, Brazil, 1968) (as Anabela aged 25)
Quelé do Pajeú (Anselmo Duarte, Brazil, 1969) (as Maria do Carmo aged 26)
Memórias de um Gigolô (Alberto Pieralisi, Brazil, 1970) (as Guadalupe aged 27)
OSS 117 prend des vacances (Pierre Kalfon, France, 1970) (as Anna aged 27)
# O Palácio dos Anjos (Walter Hugo Khouri, Brazil, 1970) (featuring Rossana Ghessa as Mariazinha aged 27)
with Geneviève Grad, Luc Merenda, Adriana Prieto, Norma Bengell, Elza Besti, Zózimo Bulbul, Pierre Celler, Elza De Castro, Joana Fomm and Pedro Paulo Hatheyer
This characteristic piece from the uniquely sensual world of Walter Hugo Khouri tells the age-old story of three women who want to turn their shared home into a high-class brothel. As you will see from the first scene in this compilation, some are keener on the idea than others. Geneviève Grad (in red) is clearly the ringleader, while Adriana Prieto (in white) will take some tempting. Meanwhile Rossana, quite the baby of the family, must have her knickers pulled down and her bottom spanked. My goodness, it seems you only have to shut three women in a room together for half a minute before they start acting like a cage of monkeys at the zoo.
Plans for the brothel are well advanced by the second scene, and with strange men in the house it doesn't pay for Rossana to be a sleepy head. 'Yes, I'd like to bed that one too please. Who is she, your sister?' I paraphrase, but the attitude is typical of Khouri films. Rossana is clearly on a slippery slope, and by the third scene blindfolds and video cameras are involved.
Ana Terra (Durval Garcia, Brazil, 1971) (as Ana Terra aged 28)
Lua-de-Mel e Amendoim (Brazil, 1971) (as Marcinha aged 28)
Edy Sexy, o Agente Positivo (Fábio Sabag, Brazil, 1971) (as Tentação aged 28)
Um Marido Sem... É Como um Jardim Sem Flores (Alberto Pieralisi, Brazil, 1972) (as Adriana Cerlini aged 29)
Obsessão (Jece Valadão, Brazil, 1973) (aged 30)
O Filho do Chefão (Victor Lima, Brazil, 1974) (aged 31)
Pureza Proibida (Alfredo Sternheim, Brazil, 1974) (as Sister Lúcia aged 31)
Noiva da Noite - o Desejo de 7 Homens (Lenita Perroy, Brazil, 1974) (as Lúcia aged 31)
As Secretárias... Que Fazem de Tudo (Alberto Pieralisi, Brazil, 1975) (as Wanda aged 32)
Amantes, Amanhã Se Houver Sol (Ody Fraga, Brazil, 1975) (as Sabrina aged 32)
Quando as Mulheres Querem Provas (Cláudio MacDowell, Brazil, 1975) (as Marta aged 32)
Lucíola, o Anjo Pecador (Alfredo Sternheim, Brazil, 1975) (as Lucíola aged 32)
O Vampiro de Copacabana (Xavier de Oliveira, Brazil, 1976) (as Carmem aged 33)
Tem Alguém na Minha Cama (Brazil, 1976) (as Irene aged 33)
Snuff, Vítimas do Prazer (Cláudio Cunha, Brazil, 1977) (as Lia de Souza aged 34)
O Pequeno Polegar Contra o Dragão Vermelho (Victor Lima, Brazil, 1977) (aged 34)
Como Matar Uma Sogra (Luiz de Miranda Corrêa, Brazil, 1978) (aged 35)
Violência E Sedução (Mozael Silveira, Brazil, 1979) (aged 36)
As Borboletas Também Amam (J.B. Tanko, Brazil, 1979) (aged 36)
A Pantera Nua (Luiz de Miranda Corrêa, Brazil, 1979) (as Norma aged 36)
# O Inseto do Amor (Fauzi Mansur, Brazil, 1980) (featuring Rossana Ghessa aged 37)
A lively pornochanchada that puts little demand on Rossana's acting skills. 'Just be yourself' I bet the director said. And so she is. Pants down in twenty seconds, sprawling naked on the bed inside half a minute. If you discount the plot elements with which she is intercut that is. That little cage contains the aphrodisiac insect of the title by the way, so it better not escape, nor bite someone (on the neck for instance).
O Bordel - Noites Proibidas (Oswaldo de Oliveira, Brazil, 1980) (as Margot aged 37)
A Virgem e o Bem-Dotado (Edward Freund, Brazil, 1980) (as Malu aged 37)
O Convite ao Prazer (Walter Hugo Khouri, Brazil, 1980) (as Anita's friend aged 37)
As Intimidades de Duas Mulheres (Mozael Silveira, Brazil, 1981) (as Vera aged 38)
Me Deixa de Quatro (Fauzi Mansur, Brazil, 1981) (as Lucy aged 38)
# Mulheres Liberadas (Adnor Pitanga, Brazil, 1982) (featuring Rossana Ghessa aged 39)
with Fátima Leite, Helena Andrea, Arlindo Barreto, Ivan de Almeida, Rinaldo Gines, Ana Maria Kreisler, Arthur Roveder and Anthony Steffen
This somewhat sordid and obscure Brazilian compilation could be regarded as Rossana's mid-life crisis. Her surprisingly revealing segment, titled The Telephone, even includes pornographic inserts, though if she were to swear she knew nothing about them I'd believe her.
Clip number one has Rossanna as a well-to-do housewife and sometime author. One afternoon at home she takes off her bathrobe and dances naked to the tunes of a wind-up gramophone. Why? The aforementioned mid-life crisis, over-heated romantic telephone conversations, and the few sherries I definitely saw her have with her lunch are all factors. Her body looks great for a woman about to hit forty though, and it's a beautiful, leisurely and entirely inoffensive little vignette. But then the doorbell rings. Uh-oh, what if it's the postman? Or her husband?! Drama!
In the second clip Rossana's overactive imagination comes up with a pleasing if unoriginal little fantasy. She is alone on some sort of makeshift skiff dressed in only a damp and clingy white number when a ruggedly handsome young fellow clambers aboard. The imagery evokes ideas of shipwreck, rescue, toe-sucking, and more. The action gets quite graphic before Rossana's mind drifts back to reality.
Fantasias Sexuais (Juan Bajon, Brazil, 1982) (as (A Mulher Abelha) aged 39)
Estranhas Relações (Milton Alencar, Brazil, 1983) (aged 40)
# Momentos de Prazer e Agonia (Adnor Pitanga, Brazil, 1983) (featuring Rossana Ghessa as Marília aged 40)
with Fátima Leite, Anthony Steffen, Fernando Amaral, Helena Andrea, Leila Correia, Marlene Figueiró, Rinaldo Gines, Ismênia Kreis and Marcos Wainberg
Rossana was so determined to carry on taking her clothes off past forty she actually co-produced this one. And I'm very glad she did because it's a classic, very much in the 'sex slasher' vein the Italian giallo genre had degenerated into a few years earlier (cf. Giallo a Venezia), but with the emphasis on a simple and delicious carnality enriched by the tropical jungle setting. Yes, a few people die horribly along the way (I was reminded of the dramatic maxim of Chekhov's gun when I saw the log-splitting machine), but there's a languorous innocence to the sensuality, and the female flesh is sometimes exposed just a little more explicitly than is the norm.
Rossana is a teacher in a small Brazilian logging settlement deep in the rainforest. She is also by the way a lesbian. One morning a pretty young pupil (in her well-pressed school uniform, the style brief to suit the climate I couldn't help noticing) arrives for a heart-to-heart with the older woman. You see, the path to school passes a waterfall where two lesbians are camping and swimming in the nude, and the girl, after putting down her textbooks and reclining stark naked on a rock to masturbate, is feeling conflicted. Is she a lesbian too? She knows her teacher's best friend is a lesbian, so she seemed the right person to ask...
So it's another one of those films where the female homosexuality rate approaches one hundred percent. Am I complaining? Far from it, just pointing out the unusual demographic that's all. Rossana invites Rosé (I don't know the actress's name which is why I'm filing her under Rossana for the time being) round to her house where the first thing that catches her eye is the bathroom. 'What a lovely bathroom! May I try out the shower?' - anyone thinking the proud householder will say no because it's a bit of a liberty after all, think again.
She's a lovely young girl, naturally and radiantly pretty, if maybe not classically beautiful. Her expression might be a touch goofy, and her nose might be a little big, but then so are her ... well she's very curvaceous let's say. It's not long before the pair are on first-name terms. Rossana can hardly tear her eyes away, pride in her pupil's mastery of the ablutions facilities written all over her face. 'Try this frock on for now', she says afterwards, 'and maybe later on you can choose something from my pants drawer'.
The second clip stars Rossana herself. A shower is not just a way of making new friends, it's a way of catching up with old ones as well, as is amply demonstrated when Renata (Fátima Leite) the aforementioned lesbian acquaintance comes to visit. 'What've you got in that bottle there?' - 'It's called lotion. You rub it into your skin. Do you want me to show you?'. Not a lot of thought can have gone into this scene, but never mind.
The third clip is something for the dads, who may have been feeling left out until now. Rossana is not exclusively lesbian, she has an on-off lover of the opposite sex as well. This very romantic tryst takes place at midnight, intercut with some pretty rum voodoo-style goings on in the jungle.
# Femmine in fuga (Michele Massimo Tarantini, Italy, 1985) (featuring Rossana Ghessa aged 42)
Senior wardress Rossana invites new prisoner Suzane Carvalho to her office for a sherry; yes, even in gritty Brazilian WiP-flicks there's room for the finer social niceties. For a fleeting moment the younger woman must have wondered if she did the right thing accepting the invitation when the black-uniformed sadist comes at her wielding a thirty-inch truncheon. Uh-oh!
But she needn't have worried, our Rossana is all tenderness at heart and this classic scene is surprisingly sensual and romantic. It makes all the worse the aching emptiness the prisoner feels inside when she has to return to the cells...
Cio dos Amantes (Custódio Gomes, Brazil, 1988) (aged 45)
Adágio ao Sol (Xavier de Oliveira, Brazil, 1996) (as Angélica aged 53)
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