Males include -
- Manu Pluton plays a sex-show performer
- Dominique Aveline, uncredited, plays Dominique
- Charlie Schreiner, uncredited, plays Charlie Robin
- Guy Bonnafoux, uncredited, non-sex, appears in the audience of the sex show
The film revolves around a man - called Vladi - who works as the make-up man at the Love Theatre, which provides us with onstage acts performed by Marinette Duval (Erika Cool), a brunette called Antoinette Binoche, a black performer (Manu Pluton), Charlie Robin (Charlie Schreiner) and Dominique (Dominique Aveline). Another blonde girl (her bracelets and ring are not Erika Cool's) is also seen blowing Charlie and confirms the use of extra footage used for close-ups. Vladi is obsessed with press articles from the scandal press (French scandal magazine Detective) with which he covers his bedroom wall and gets quite excited by. He also lives with painted dummies which he treats like real women.
His sister Armel phones him to give him information on a girl called Anna who works as a florist. She also tells him that he must tell Anna that he is a psychiatrist.
Vladi meets Anna (a bit of incoherence in the editing here!) and asks her to act out one of his fantasies. She calls somebody chosen at random and tells him she's in love with him. The girl obviously seems to like it as she totally departs from her shy attitude to a very excited one. Then Vladi takes her to his place and they make love among the dummies which he justifies by 'his being a psychiatrist partly contaminated by his patients'. The girl also notices her photo cut out from a magazine pinned on the wall, which turns her on. But she calls him a sick man and departs angrily after his jerking off by himself.
Cut to another stage show which ends as a parody of a well-known French TV programme showing theatrical plays: players bow to the audience and introduce themselves.
Cut to a scene between Vladi and Emmanuelle Parèze with fleeting appearances of a brunette moving gracefully. End.
A strange film about a character who could be a very good starting point to a real film. Obviously the director didn't have enough subject material and added stage acts to fill space. Many very brief shots appear here and there between scenes, which suggest other scenes, unused or lost. The whole film looks like two different movies mixed up without too much logic. No way to understand what Emmanuelle Parèze is in here for - except the joy of watching her practise like the expert she is! Who is the gracefully-moving brunette and what is her relation to the rest of the film? So many more questions ... OK let's take it for what it's worth and regret that the director didn't pay real tribute to Erika Cool's exceptional curves and left the little brunette performer too much in the shade ...