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Reviews and pictures of actress Zélia Diniz naked in "Tensão e Desejo", "Pornô!", "Palácio de Vênus", and 1 more title.
With her distinctively carved features and aura of confidence Zélia seemed a cut above the typical pornochanchada starlet. She certainly had an aversion to the lower points of the genre.
Zélia's stills gallery
Mr. Skin has a page for Zélia - click here for more of her pics & clips!
Amadas e Violentadas (Jean Garret, Brazil, 1975)
Torturadas Pelo Sexo (Tony Vieira, Brazil, 1976)
Como Consolar Viúvas (José Mojica Marins, Brazil, 1976) (as Bebê)
Dezenove Mulheres e Um Homem (David Cardoso, Brazil, 1977)
Garimpeiras do Sexo (José Vedovato, Brazil, 1977)
Nice-looking Brazilian romantic comedy. Well-to-do suburban housewife Zelia has invited her friend (Ana Maria Kreisler) round, to talk about their love lives no doubt. They're carrying on a conversation started on a visit to the zoo. A mischievous part of me wants to say what happens next is role play inspired by what they saw when a crocodile got loose in the hippopotamus enclosure.
The two women peel off their clothes casually, squealing a little as they slide gently into the cool water of the pool, too absorbed in gossip to care who might be watching from the shade of the verdant foliage. And watching someone certainly is. He sizes up the odds. This could be a quick route to a life-changing court case, but he actually knows Zelia (might even be her husband in fact) and should be able to talk her into dropping the charges. Ana pulls her 'startled mermaid' act - and very fetchingly too - while her so-called friend points at her and laughs. Practical jokes are all very well, but the way this couple carries on afterwards is just rotten bad manners I think.
Liberdade Sexual (Wilson Rodrigues, Brazil, 1979)
Por Um Corpo de Mulher (Hércules Breseghelo, Brazil, 1979)
O Caso Cláudia (Miguel Borges, Brazil, 1979)
A Virgem Camuflada (Célio Gonçalves, Brazil, 1979)
# Palácio de Vênus (Ody Fraga, Brazil, 1980) ✭ ✭ ✭ ✭ ✭
A brief appearance for Zélia as one of the complement of tarts at a high-class Brazilian brothel. She is at her most sullen and least cooperative, servicing this particular client only under duress. Alas he turns out to be an 'odd' one, only concerned that the girl gets her lipstick right, even if it means applying the stuff himself. What the significance of that is I can't imagine.
O Inseto do Amor (Fauzi Mansur, Brazil, 1980)
Tara das Cocotas na Ilha do Pecado (Antonio Bonacin Thome, Brazil, 1980)
Como Faturar a Mulher do Próximo (José Miziara, Brazil, 1981)
# Pornô! (David Cardoso, Brazil, 1981) (featuring Zélia Diniz as Diana) ✭ ✭ ✭ ✭ ✭
This is from the third and final part of an excellent (though misnamed) pornochanchada anthology, directed by John Doo. I'm not sure of the relationship between the two leads. Probably Zelia is the mistress of the house while Marcos is just the handyman who has somehow fallen into her clutches. Feel free to think of them as brother and sister (or at least cousins) for extra scandal appeal.
The wealthy and glamorous Zelia has recently become blind (excellent news!), though curiously she is not exactly helpless. Marcos uses 'psychotic logic' to come to the conclusion that she can see throughout the house via a network of mirrors. So the plot is quite intriguing if a little pretentious.
In the first clip it's Zelia's bath night. Why a blind woman needs so much assistance is beyond me - getting dressed I can understand, but surely undressing is easy?! Notice how our man keeps a bar of soap in his hand right to the end. For him it is vital to hold on to the pretence lest he lose his grip on reality itself (possibly).
The second clip is a little 'controversial' in that it involves an animal (of sorts). Marcos plays what is technically known as a 'rotten trick' on Zelia, only for it to backfire. Feeling used, underappreciated and downright put-upon he captures a grasshopper in a jar and has it stimulate the blind beauty's erogenous zones in place of himself, only for her to prefer the arthropod to the human being, leaving our man's position in the house looking a mite tenuous and thus with a bad ending in sight.
It's interesting to note a coincidence in visual motifs between this episode and Dario Argento's later Phenomena (1985); the enigmatic insect, the wide mirrors draped in sheets, even the women's faces lacerated with sheets of plate glass (though I expect this bit was nicked from Argento rather than the other way around).
Duas Estranhas Mulheres (Jair Correia, Brazil, 1981) (as i (Eva) )
A Insaciável - Tormentos da Carne (Waldir Kopesky, Brazil, 1981)
As Meninas de Madame Laura (Ciro Carpentieri Filho, Brazil, 1981)
As we have seen with Sandra Graffi's clips from this comic Brazilian melodrama, schoolmistress Zelia has developed a 'pash' for her junior which is to end in tragedy. So where does it all go wrong?
This evening Zelia has got Sandra through the door with drink in hand, and has spent the regulation full half-minute (time it if you don't believe me) simpering and pawing at the girl on the sofa. So what's her next step? Maybe invite her to a swimming party, and press her for a definite date? Or disrobe on the hearthrug and surprise her with a total lack of underwear? Silly question really, but it's nice to see it's not just us blokes who commit these fiascoes.
I don't know what Zelia had to cry about anyway. Sandra was even nice enough to offer her cheek before she walked out. And surely anything that doesn't end in a court appearance has got to be a 'win'?!
Want more? Mr. Skin has a page for Zélia - click here for more of her pics & clips!
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