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Joe D'Amato

March 28, 2023

Aristide Massaccesi (15 December 1936 – 23 January 1999), known professionally as Joe D'Amato, was an Italian film director, producer, cinematographer, and screenwriter who worked in many genres (westerns, decamerotici, peplum, war films, swashbuckler, comedy, fantasy, postapocalyptic film, and erotic thriller) but is best known for his horror, erotic and adult films.[1][2][3][4]

Joe D'Amato
Born
Aristide Massaccesi

(1936-12-15)15 December 1936
Rome, Italy
Died23 January 1999(1999-01-23) (aged 62)
Monterotondo, Metropolitan City of Rome, Italy
Other namesSee below
Occupation(s)Film director, film producer, cinematographer, screenwriter, actor
Years active1961–1999
Height1.73 m (5 ft 8 in)

D'Amato worked in the 1950s as electric and set photographer, in the 1960s as camera operator, and from 1969 onwards as cinematographer. Starting in 1972, he directed and co-directed around 200 films under numerous pseudonyms, regularly acting as cinematographer as well.[citation needed] Starting in the early 1980s, D'Amato produced many of his own and other directors' genre films through the companies he founded or co-founded, the best known being Filmirage. From 1979 to 1982 and from 1993 to 1999, D'Amato also produced and directed about 120 adult films.

Among his best known erotic films are his five entries into the Black Emanuelle series of films starring Laura Gemser (1976–1978)[5] and his horror/pornography crossover films Erotic Nights of the Living Dead and Porno Holocaust (both shot in Santo Domingo in 1979).[6] In the horror genre, he is above all remembered for his films Beyond the Darkness (1979) and Antropophagus (1980), which have gained cult status, as well as Absurd (1981).[7][8]

Biography

Early life and work (1936–1969)

Joe D'Amato was born on 15 December 1936 in Rome, Italy.[1] His father was Renato Massaccesi, who after an incident on a ship had been declared a war invalid and had started to work at the Istituto Luce in Rome first as electrician, fixing power generators left by the United States army at Cinecittà, and then as chief photographic technician.[9][10][11] In 1950, at the age of 14, D'Amato joined his father at work together with his brothers Carlo and Fernando (called Nando).[9][11] Being the most enterprising of the three sons, D'Amato took on the task of delivering the movie cameras his father sold.[9] D'Amato also assisted in the dubbing of Italian film productions[11] and designed title and end credits with Eugenio Bava, cutting the letters out by hand.[12] In 1952, D'Amato worked as a still photographer on the set of The Golden Coach,[11] later as electric.[13] In the 1960s, D'Amato eventually moved on to work as a camera operator on numerous films including Mario Bava's Hercules in the Haunted World.[11][12]

First work as cinematographer and director (1969–1975)

In 1969, Piero Livi's Pelle di bandito and Silvio Amadio's No Man's Island (Italian: L'Isola delle Svedesi) were D'Amato's first films as cinematographer.[12][11] In the next few years, D'Amato continued to work as cinematographer on Italian productions such as Umberto Lenzi's A Quiet Place to Kill, Massimo Dallamano's What Have You Done to Solange?[11] and some of Demofilo Fidani's low-budget Spaghetti Westerns.[14]

D'Amato took on the role of director for the first time in 1972. He started out with a number of small western films (Go Away! Trinity Has Arrived in Eldorado and A Bounty Killer in Trinity) and decamerotici (More Sexy Canterbury Tales and Novelle licenziose di vergini vogliose) which he partly directed, partly co-directed[15] before going on to direct the gothic horror film Death Smiles on a Murderer (1973) and the war film Heroes in Hell (1974), both starring Klaus Kinski.[16] D'Amato briefly relinquished directing and reverted to cinematography in films such as Luigi Batzella's The Devil's Wedding Night,[17] Steve Carver's The Arena[18] and five films directed by Alberto De Martino: Crime Boss, The Killer Is on the Phone, Counselor at Crime, The Antichrist, and – two years later – Strange Shadows in an Empty Room.[17] When D'Amato was in Canada shooting a sleigh ride sequence for Lucio Fulci's Challenge to White Fang, the film's producer Ermanno Donati asked him to stay and direct the adventure film Red Coats for him,[19][20] in which D'Amato used the pseudonym "Joe D'Amato" for the first time.[21] It turned a good profit, and D'Amato later considered it his best film in this period.[22]

First films with Laura Gemser and the Black Emanuelle series (1975–1977)

D'Amato's next film Emanuelle's Revenge (1975), which he co-directed with Bruno Mattei (who remains uncredited because D'Amato was a "rising name"),[23] was one of several films at the time whose titles alluded to the successful French erotic film Emmanuelle (1974).[24] In retrospect, it was a kind of turning point in D'Amato's career, being his first pornographic film – though still softcore.[23]

In his next film, the commedia sexy Voto di castità (1976, scripted by George Eastman), D'Amato met Laura Gemser, who would star in many of his films and in the 1980s and early 1990s would also regularly work as costume designer for his productions. In this first film, she only played the small part of a French maid, but it was during the shoot that D'Amato got the idea to use her as star in his next film.[25]

Eva nera was the exotic erotic drama which D'Amato directed starring Gemser as topless snake dancer alongside Jack Palance and Gabriele Tinti – her future husband.[26] The film was produced by Harry Alan Towers and Lucio Fulcisano and shot both on location in Hong Kong and at the Elios Studios near Rome.[26][27]

Gemser, who had previously starred in Bitto Albertini's Black Emanuelle (1975), went on to shoot the following five films of the Black Emanuelle series under D'Amato's direction.[28] (Albertini, on the other hand, had to find a new actress for his own Black Emanuelle 2 (1976) – a sequel only in name.)[28] Although the main character's name in the Black Emanuelle series alluded to the original French Emmanuelle, it was spelled slightly differently in order to avoid a plagiarism lawsuit.[29] Also, the character itself is different: Black Emanuelle is an international reporter and photographer who travels to exotic locations.[24] D'Amato added some violence and horror to the series such as the fake snuff film footage in Emanuelle in America,[30] a gang rape scene in Emanuelle Around the World (1977),[31] and gore scenes in the cannibal film Emanuelle and the Last Cannibals.[32][17] As D'Amato later remembered, this "was a very good period in my life. Movie business was very good. We travelled round the world, finding new and fascinating locations for our movies."[33]

The Caribbean phase (1978–1979)

Of the 12 films D'Amato directed in 1978 and 1979, 9 were shot in the Dominican Republic. In a 1982 interview, he said that once the trip was paid for, the costs were low and the setting suggestive ("the Caribbean... all for free"; Italian: "i Caraibi... tutto gratis").[34]

The first time D'Amato went to Santo Domingo was in May 1978 for the erotic horror film Papaya, Love Goddess of the Cannibals.[35] He returned there in September to shoot the mercenaries-at-war film Tough to Kill.[36][37][34]

In mid-October 1978, back in Italy, D'Amato started shooting the nunsploitation film Images in a Convent,[38][39] and in early 1979, which was to become a particularly productive year,[40] he directed the violent erotic thriller Il porno shop della settima strada (The Pleasure Shop on Seventh Avenue[41]) on location in New York,[42] both films produced by Franco Gaudenzi's company Kristal Film.[37] From late June to early July 1979, D'Amato went to South Tyrol to shoot and direct the horror film Buio Omega starring Kieran Canter and Cinzia Monreale, a remake of Mino Guerrini's The Third Eye[43][40][44] produced by Dario Rossetti and Ermanno Donati with music by Goblin.[45]

Immediately afterwards, D'Amato went back to Santo Domingo[46] to film Paradiso blu, an Italian counterpart to The Blue Lagoon starring Anna Bergman and Lucia Ramirez,[34] and the voodoo-themed Orgasmo nero (Sex and Black Magic) starring Ramirez, Susan Scott and Richard Harrison, before directing two films combining hardcore pornography and horror – Porno Holocaust and Le notti erotiche dei morti viventi (Erotic Nights of the Living Dead) – as well as three adult thrillers: Hard Sensation, Porno Esotic Love and Sesso Nero.[47][48][29][49] For Porno Esotic Love, D'Amato reused material from Eva nera (1976), especially those scenes D'Amato had shot with Laura Gemser in Hong Kong.[50] (Eva nera had done very poorly at the Italian box office and therefore was still relatively unknown.)[50]

First work as producer (1979–1982)

The voodoo-themed Sesso nero, written by George Eastman, was the last film D'Amato shot in the Caribbean, at the end of 1979, and the first film D'Amato produced on his own, through his newly founded company, P.C.M. (Produzioni Cinematografiche Massaccesi). Of the Caribbean group of films it received the earliest theatrical release – the films only being released gradually throughout 1980 and 1981.[51]

After his return from the Caribbean, D'Amato also co-founded Filmirage and used the companies to produce and direct the gore film Antropophagus (1980, produced through P.C.M. and Filmirage) and its follow-up, the slasher film Absurd (1981, co-produced by Filmirage and Metaxa), both of which starred George Eastman and later became cult films for fans of extreme cinema.[52][53][54][37]

D'Amato also founded and co-founded two further production companies "Cinema 80" and "M.A.D." (an acronym for [Aristide] Massaccesi, Alessandroni, and [Donatella] Donati) on 15 January 1980 and 9 January 1981, respectively. For M.A.D., Alessandroni, an engineer, provided the funding, while his son acted as producer on set. Donatella Donati, the daughter of Ermanno Donati, became D'Amato's assistant and constant collaborator, usually acting as production secretary and assistant director.[37][9]

The two companies were the main vehicles for D'Amato's film production of this period. From 1980 until 1982, D'Amato produced 14 hardcore pornographic films through both companies (Cinema 80: 9 films, M.A.D.: 5), 10 of which he directed and lensed himself, while 3 of the films (Blue erotic climax, Labbra vogliose and Le porno investigatrici) were directed by Claudio Bernabei.[37] Officially, Bernabei was both executive manager and director, his pseudonym Alexander (or Alexandre) Borsky being used for almost all directorial credits although the films were for the most part directed by D'Amato personally, who was only given credit in the non-committal phrase "a Joe D'Amato film" (Italian: un film di Joe D'Amato) used for marketing purposes.[37][55] The reason for this lay in avoiding one of two criminal charges per film since the state only charged the executive manager of the company and the director; them being the same person, only one charge was brought forth.[55] One notable exception was Porno video (1981; sometimes: Pornovideo), which was directed entirely by Giuliana Gamba (under the pseudonym Therese Dunn);[56] it was the first film D'Amato produced for another director – a practice he would start expanding six years later in his Filmirage period.[57] Il succo del sesso (1982; a punning title which can mean both "The Essence of Sex" and "The Juice of Sex") was the only film of this period that was directed but not produced by D'Amato, being a "Promo Film" production of Giovanni Perrucci's.[58]

The average Cinema 80 or M.A.D. film cost 55 million lire, was shot in 10 days, edited over a period of two months, and had a generic title such as Super climax, Super hard love or Voglia di sesso (literally: Lust for Sex).[59] A group of three films produced through Cinema 80 stands out. In 1981, building on Tinto Brass's Caligula (1979), D'Amato produced, shot and directed Caligula... The Untold Story in both a hardcore and a softcore version, starring David Brandon, Laura Gemser and Gabriele Tinti. It recounted the final days of the Roman Emperor Caligula and was followed by two purely hardcore pornographic films – Una vergine per l'impero romano and Messalina orgasmo imperiale – in which D'Amato reused sets and costumes from the first film, albeit on a significantly lower budget.[60] The three films were signed by D'Amato as director under different pseudonyms and released separately in December 1982, May 1983 and July 1983. They have been called his "porno-peplum trilogy".[61]

Messalina orgasmo imperiale (shot in 1982) also happened to be the last film of this period.[62] Another hardcore film that D'Amato originally intended to shoot himself for producer Riccardo Billy in co-production with a Chinese company, Love in Hong Kong (1983, starring Mark Shannon and Marianne Aubert), ended up being entirely delegated to his assistant Bernabei for lack of time, who directed the film on location in Hong Kong.[63] It survives only in a truncated softcore version.[64]

The Filmirage years (1982–1993)

In 1980, D'Amato had taken over a company from producer Ermanno Donati. D'Amato had renamed the company to "Filmirage" and used it to produce his own and, from 1987 onwards, also other directors' films for the international market.[65]

In 1982, D'Amato used Filmirage to produce, shoot and direct the first film of the Ator series: Ator l'invincibile (Ator, the Fighting Eagle) starring Miles O'Keeffe and Sabrina Siani, which was directly inspired by Conan the Barbarian. It was followed by Ator 2 - L'invincibile Orion (English titles: The Blade Master and Cave Dwellers) the following year, in which O'Keefe was flanked by Lisa Foster.[66]

In 1983 and 1984, D'Amato produced and shot the post-apocalyptic action films Endgame (1983) starring Al Cliver, George Eastman, Laura Gemser and Gordon Mitchell, which D'Amato directed alone, and 2020 Texas Gladiators (1984) starring Al Cliver and Sabrina Siani, which D'Amato co-directed with George Eastman. The films follow the success of Mad Max (1979) and Mad Max 2 (1981).[67]

In 1984 and early 1985, D'Amato briefly reactivated his company M.A.D. to produce 10 hardcore pornographic films, all of which were directed by Luca Damiano and starred Marina Hedman. D'Amato is reported to have collaborated on some of these himself as well, although it remains speculative in which function and on which ones.[37] Later in 1985 D'Amato left hardcore pornography behind and for a period of eight years exclusively shot softcore and horror films.[68] According to an interview D'Amato gave in 1990, hardcore, as opposed to softcore, had only been profitable the first four years in the late 1970s and early 1980s while the novelty and controversy lasted.[12]

D'Amato began this hardcore-free period by directing four softcore dramas set during fascism in Italy and starring Lilli Carati and Laura Gemser: L'alcova (The Alcove), Il piacere (The Pleasure), Lussuria (A Lustful Mind), and Voglia di guardare (Midnight Gigolo). The four films recall the style and themes of Tinto Brass's La chiave (The Key) while their plots and characters are not interconnected in any way.[69]

Together with Harry Alan Towers, D'Amato co-produced Warrior Queen (working title: Pompeii), shot in 1985 at the Elios Studios near Rome to cash in on the success of the miniseries The Last Days of Pompeii (1984).[70] It was a sword-and-sandal film starring Sybil Danning, Donald Pleasence and David Brandon and was directed by Chuck Vincent.[71] In an interview, Larry Revene, Vincent's usual cinematographer, remembered that he worked on the sync sound for this film instead, because "Aristide shot it. He wasn't only a director/producer, he was also a cameraman."[70] In the United States, the film had a brief theatrical run in a cut R rated version before being released in a longer version on video.[71]

There followed a phase in which D'Amato directed softcore films predominantly in the United States, often takes on popular American films.[67] First, he went to New Orleans to produce and shoot two films starring Jessica Moore as the novelist Sarah Asproon: 11 Days, 11 Nights (1987) and Top Model (1988).[72] 11 Days, 11 Nights was inspired by Adrian Lyne's film 9½ Weeks but reversed the roles with the woman being the dissolute character;[73] it was a commercial success.[74] In 1989, D'Amato's main actress was Valentine Demy with whom he produced and directed Afternoon and Dirty Love, the latter reminiscent of another of Adrian Lyne's films, Flashdance.[75] After these, D'Amato produced and directed two erotic dramas with Tara Buckman: Blue Angel Cafe and High Finance Woman.[76]

Beyond producing his own softcore films, D'Amato also used Filmirage to produce other directors' films:[57] Michele Soavi's debut Stage Fright (which was also the debut of D'Amato's son Daniele Massaccesi as assistant cameraman), Deran Serafian's Interzone, Umberto Lenzi's Ghosthouse (La casa 3) and Hitcher In The Dark, Fabrizio Laurenti's Witchery (La casa 4) and The Crawlers (Troll 3), George Eastman's Metamorphosis, Claudio Fragasso's Troll 2 and Beyond Darkness (La casa 5), Franco Molé's The Room of Words, and Lucio Fulci's Door to Silence.[67][77][9] D'Amato not only produced, but also partially directed the horror film Killing Birds and but for the first scene directed the sharksploitation drama Deep Blood.[78]

At the beginning of the 1990s, D'Amato revisited his Ator series with a concluding entry entitled Quest for the Mighty Sword,[79] featuring the Son of Ator.[80] Then, he revived the character of Sarah Asproon in 11 Days, 11 Nights 2, this time played by Kristine Rose and again set in New Orleans.[81] With Rose as protagonist, D'Amato also directed Passion's Flower, a remake of The Postman Always Rings Twice, before shooting two softcore films starring Carmen di Pietro in 1991, both with a more violent angle than the preceding ones: Devil in the Flesh follows a group of mercenaries who encounter some nurses at an isolated hospital, and Dangerous Obsession tells of a woman who turns the tables on her assailant.[82][83] After these, D'Amato directed Frankenstein 2000 (1992), his last horror film, which combined a modern take on the traditional Frankenstein story with elements of the rape and revenge film.[84]

In 1993, inspired by the success of the Chinese erotic comedy Sex and Zen (1991), D'Amato then went to the Philippines to shoot a number of Asian themed softcore films, for which he often used Chinese pseudonyms.[85] Among them are such diverse films as Chinese Kamasutra, China and Sex and I racconti della camera rossa (translation: The Tales of the Red Chamber; named after China's classical novel Dream of the Red Chamber), the latter two structurally and thematically reminiscent of Italian decamerotici.[85][86]

Later work and death (1993–1999)

Later in 1993, D'Amato went back to predominantly producing and directing hardcore pornography. [87] In order to return to adult filmmaking more easily, D'Amato initially teamed up with Luca Damiano, with whom he shot roughly 20 films before continuing on his own.[88] Although video had become the standard for adult films, D'Amato continued to shoot on 35mm film for a few years before finally transitioning to video for his last productions in 1997 and 1998[89] – a development which he saw critically: When shooting on video, there was little difference between the individual films in terms of profit, which helped minimise production risk, but the overall profit and hence the quality of the individual productions that were shot on video were lower compared to productions shot on film.[90] The crew on an early 35mm shoot such as Juliet & Romeo had been much larger, including lighting staff, camera assistants, make-up artists, and set decorators; dubbing was done in post-production.[91]

Among D'Amato's best known films from this late hardcore period are his collaborations with Rocco Siffredi (Tarzan X – Shame of Jane, Marco Polo, Marquis de Sade, Torero) and Kelly Trump (Messalina, Kamasutra, Lolita), his pornographic versions of Shakespearean drama (Juliet & Romeo, Anthony and Cleopatra, Othello 2000), westerns (Outlaws, Calamity Jane), swashbucklers (Raiders), the Bible (Sodom & Gamorra), Greco-Roman mythology (Olympus, Amor & Psyche, Ulysses, Hercules – A Sex Adventure), Roman emperors (Nero – Orgy of Fire, Caligula – The Deviant Emperor) and other famous people (Robin Hood, Goya, Amadeus Mozart, Thief of Love – Giacomo Casanova, Rudy – Valentino's story, Scarface).[92] Two recurring actresses in his films from 1996 to 1999 were Selen (Raw & Naked, Queen of the Elephants, Sahara, and Selen the Girl from Treasure Island) and Éva Henger, with whom he shot the time travel films Experiences and Experiences 2, a trilogy on the capital sins, Phantom (using footage from the silent film The Phantom of the Opera), and Showgirl.[93] Whereas D'Amato's adult films were very rarely without a plot entirely, D'Amato stated in a 1997 interview that one had used to include more plot whereas now the only thing they wanted was porn – and very hard one at that: "double, triple, quadruple penetrations, anal ...".[90]

In between shooting adult films from 1994 to 1999, D'Amato also made four attempts at returning to genre films. In 1995, he directed the erotic drama Provocation set in the Italian countryside of the 1930s starring Erika Savastani,[94] and in 1997 the erotic comedy Top Girl set in and around an American TV station[94] and the erotic thriller The Hyena starring Cinzia Roccaforte, which received a limited theatrical release in Italy.[95][96] In 1998, D'Amato directed the swashbuckler I predatori delle Antille (aka Sexy Pirates[97]), starring Anita Rinaldi.[98]

On 23 January 1999, Joe D'Amato died of a heart attack in Monterotondo, a comune in the Metropolitan City of Rome Capital.[99][13] According to Luigi Cozzi, his death happened unexpectedly while he was busy preparing a new film.[100] His last film was the adult film Showgirl (1999), a take on Paul Verhoeven's Showgirls (1995).[98][101][102]

Names under which D'Amato is credited

Birthname

Throughout his career, D'Amato used his birthname Aristide Massaccesi only once for a directorial credit, namely for Death Smiles on a Murderer (1973).[22] However, it was regularly used for other credits. For his first work as camera operator, it was the only name he was credited with, and as cinematographer, writer of stories and scriptwriter, he credited himself or was credited with it regularly until the early 1980s.[103]

Pseudonyms

The first pseudonyms used by Aristide Massaccesi were his actor's credits in the Spaghetti Westerns Straniero... fatti il segno della croce! (1968) and Dead Men Don't Make Shadows (1970), for which he used puns on his birthname: Ariston Massachusetts and Arizona Massachusset, respectively.[104][105]

His best known pseudonym is the anglicized Joe D'Amato, which he first adopted as director of Giubbe Rosse (1975).[11] In 1991, D'Amato stated he had discovered the name in some calendar and chosen to use it because it sounded promising: In its mixture of American and Italian, it was similar to those of Brian de Palma and Martin Scorsese.[12] Joe D'Amato became the name Massaccesi was most associated with, even more than his birth name.[11] D'Amato used this main pseudonym of his exclusively for credits as producer and director and not for credits as cinematographer or writer.[citation needed]

The pseudonym Federiko Slonisko, sometimes also spelled Federico Slonisco or any mixture of these two spellings (including the short form Fred and several other mis- or variant spellings), was regularly used for D'Amato's work as cinematographer starting in 1982.[106]

The pseudonyms Federico Slonisco Jr. and Dan Slonisko (including variant spellings) are also sometimes considered to belong to D'Amato.[107][108] However, D'Amato's son Daniele, a camera operator and cinematographer, started his career working for his father.[109][110]

The pseudonym Michael Wotruba was used as D'Amato's directorial credit on:

This pseudonym is also to be found as directorial credit for Death Smiles on a Murderer (1973) in the entry at Public Cinematographic Register, but was later changed to D'Amato's birthname for the release.[115]

David Hills was used by D'Amato as directorial pseudonym on the following films:

David Hills was also used as directorial credit on an early announcement of Deep Blood (1989), but was exchanged by the allonym Raf Donato for the official release.[120] As producer, D'Amato used this pseudonym on Troll 2[121] and Interzone.[122]

For the last two films of D'Amato's "porno-peplum trilogy", Una vergine per l'impero and Messalina orgasmo imperiale (both released 1983), D'Amato used Dirk Frey as cinematographer and Robert Hall and O.J. Clarke as director, respectively.[61][123][62]

The directorial credit of Il succo del sesso (1983), which D'Amato directed, reads Gilbert Damiano - an allusion to Gerard Damiano.[124][125]

The pseudonym Peter Newton was used for D'Amato's credit as cinematographer on Paradiso blu (1980)[126] and his directorial credit on Absurd (1981).[116] For the latter, he also used Richard Haller for his credits as cinematographer and co-producer.[127] Kevin Mancuso was used for the directorial credit on 2020 Texas Gladiators (1982); D'Amato co-directed the film with George Eastman so it can be considered a pseudonym for both Eastman and D'Amato.[117] D'Amato used the name Dario Donati as director and editor on Convent of Sinners (1986)[128] and as director on Delizia (1986).[128]

The female pseudonym Joan Russell was used for D'Amato's directorial credit on Una tenera storia (1992).[129][130] It was also used not for D'Amato, but for Donatella Donati and Antonio Tentori as story and screenwriting credit in Frankenstein 2000 (1992), which D'Amato produced and directed.[130]

For his oriental films of 1993, D'Amato used a number of new pseudo-oriental pseudonyms. For I racconti della camera rossa he used Robert Yip as director, Lim Seng Yee as scenarist and Boy Tan Bien as cinematographer.[89] For Chinese kamasutra he signed with the pseudonyms Chang Lee Sun (director), Fu Shen (scenarist) and Hsu Hsien (cinematographer).[131] And for Il labirinto dei sensi, he signed his scenario with Leslie Wong while using Joe D'Amato and Federico Slonsiko for the directorial and cinematographic credits respectively.[132]

Allonyms

An allonym is distinguished from a pseudonym in that it is the given name or pseudonym of a different person from the one who should be credited.

Romano Gastaldi, the pseudonym of Romano Scandariato, was used for the directorial credit on More Sexy Canterbury Tales (1972), which D'Amato directed while Scandariato was his assistant director,[133] and for Fra' Tazio da Velletri (1973), which D'Amato left after a disagreement soon after the beginning of the shoot; Scandariato, his assistant, finished the film and was credited.[134]

Oskar Faradine, the pseudonym of Oscar Santaniello, was used for the directorial credit on A Bounty Killer in Trinity. The film was reportedly directed by D'Amato and Santaniello was the film's producer.[135] Lupi, however, in his monograph on D'Amato argues on qualitative grounds for Santaniello as actual director.[135]

Anna Bergman's name was also used for the directorial credit on Paradiso blu (1980). Bergman was the main actress, but D'Amato directed the film. Her name was used for the directorial credit because, according to Luigi Cozzi, the producer did not want it to be seen as an erotic film (for which D'Amato was already known at the time).[136]

Alexandre Borsky, sometimes spelled Alexander or Borski, was the pseudonym of Claudio Bernabei. Bernabei stated in an interview that he created it with Walerian Borowczyk's name in mind.[37] The Borsky pseudonym was used as directorial credit for 14 of the 15 films produced by D'Amato's companies M.A.D. and Cinema 80 from 1980 to 1982. Of these 14 films, Bernabei directed 3, D'Amato 11.[37] In 1993 and 1994, D'Amato briefly reactivated this name as directorial credit for a small number of adult films starring Luana Borgia which he directed while transitioning from softcore to hardcore again. According to an interview he gave in 1995, it was to camouflage his return.[137]

Lucky Faar (or Farr) Delly, sometimes wrongly listed as a pseudonym of Joe D'Amato,[138] was in reality the pseudonym of Luciano Fardelli, who acted as administrator of D'Amato's production company M.A.D. in 1984 and 1985.[139] It was used as directorial credit for 10 films directed by Franco Lo Cascio; it is unclear in which of these films D'Amato acted as co-director.[37]

Raf Donato, a variant of Raffaele Donato's name, was used for the directorial credit on Deep Blood (1989). According to D'Amato, Donato had planned to direct the film, but only directed the first scene. D'Amato directed the rest of the film.[140]

Personality

According to the actresses who worked with him, D'Amato was sociable, humorous with a sense of irony, amiable, and supportive; to some he appeared like a father.[141] Both Laura Gemser, with whom he worked together for a long time, and Monica Zanchi pointed out his adventurous and playful approach to filmmaking.[142][143]

Gemser also remembered that D'Amato rarely got angry, and that when it happened he usually took it with irony; when deeply angered, however, he would shout and curse and become insufferable.[142] She also recalled that, much like herself, D'Amato fell asleep easily and anywhere, even in the breaks between rehearsals.[142] Donatella Donati, his regular assistant since the mid-1970s, recalled this penchant as his biggest flaw; in Cannes, she once found him asleep on the office floor.[143]

Legacy

Screenings

In 1995, Joe D'Amato was a special guest at the London film festival "Eurofest" which took place at the Everyman Cinema, Hampstead, where he gave an onstage interview to Mark Ashworth inbetween screenings of Stage Fright, Emanuelle and the Last Cannibals, and Frankenstein 2000 – the latter a world premiere, followed by a signing session.[144][145] Parts of the interview can be found on the Severin DVD release of Emanuelle in Bangkok.[146]

Posthumously, on 14 April 2006, the Cinémathèque Française in Paris screened a D'Amato double feature from newly acquired theatrical prints under the title Le sang et la chair (translation: The Blood and the Flesh), consisting of Antropophagus and Le sexe noir (both 1980).[147]

The Joe D'Amato Horror Festival, under the art direction of Paolo Ruffini, was held for the first time in Pietrasanta in April 2007.[148] It took place a second time in October and November 2014 in Livorno, moderated by Antonio Tentori.[149] Among the guests was D'Amato's son Daniele Massaccesi, who said that it had been above all the passion for cinema – to never stop making films at any costs – that D'Amato had wanted to pass on to the younger generation of filmmakers.[150]

The "Hofbauer Kongress", which takes place at least once every year since 2010 at the Komm Kino in Nuremberg, Germany, has repeatedly screened D'Amato's films mostly from 35 mm prints, with the 15th and 16th edition of the festival being especially devoted to the filmmaker.[151][152]

On 1–3 February 2019, honoring the 20th anniversary of D'Amato's death, the Filmarchiv Austria held a "Tribute to Joe D'Amato" at the Metro Kinokulturhaus in Vienna in which 10 films he directed were shown from original 35 mm prints.[153][154]

Film tributes and dedications

In 1999, Andreas Schnaas shot a remake of, and homage to, D'Amato's Antropophagus entitled Anthropophagous 2000.[155]

The Italian film Hyde's Secret Nightmare (2011, directed by Domiziano Cristopharo) is dedicated to D'Amato.[156]

Filmography

Year Title Worked as Notes Ref(s)
Director Producer Writer Cinematographer Other
1951 È l'amor che mi rovina Yes Still photographer [157]
L'inafferrabile 12 Yes Still photographer [157]
1952 The Golden Coach Yes Still photographer [158][157]
1953 Madonna delle rose[159] Yes Technician [158]
1961 Hercules in the Haunted World[160] Yes Assistant cameraman [158][157]
Gold of Rome[161] Yes Assistant cameraman [158][162][163]
1962 Il mare[164] Yes Assistant cameraman [162]
1963 Contempt Yes Assistant cameraman [162]
Canzoni in bikini[165] Yes Cameraman.[158] Cinematographer: Franco Villa[166] [162]
1964 Due mattacchioni al Moulin Rouge[167] Yes Cameraman. Cinematographer: Franco Villa[168] [158][162]
Il mito (La violenza e l'amore)[169] Yes Cameraman. Cinematographer: Franco Villa[170] [158][162]
Secret of the Sphinx[171] Yes Cameraman. Cinematographer: Franco Villa[172] [158][162]
1965 Soldati e caporali[173] Yes Cameraman. Cinematographer: Franco Villa[174] [158][162]
1966 Viaggio di nozze all'italiana[175] (translation: Honeymoon Voyage) Yes Cameraman. Cinematographer: Emilio Foriscot[176] [158][162]
Lo scippo[177] Yes Cameraman. Cinematographer: Franco Villa[178] [162]
For One Thousand Dollars Per Day[179] Yes Cameraman. Cinematographer: Mario Pacheco[180] [158][162]
Trap for Seven Spies[181] Yes Cameraman. Cinematographer: José F. Aguayo[182] [162]
È mezzanotte... butta giù il cadavere (translation: At Midnight, Throw Down the Corpse) Yes Cameraman. Cinematographer: Franco Villa[citation needed] [158][162]
Thompson 1880 Yes Cameraman. Cinematographer: Franco Villa[183] [158][162]
The Taming of the Shrew Yes Assistant Cameraman [162]
Maigret a Pigalle Yes Cameraman. Cinematographer: Giuseppe Ruzzolini[184] [158][162]
Cinque della vendetta Yes Cameraman. Cinematographer: Víctor Monreal[185] [158][162]
Due once di piombo (Il mio nome è Pecos) Yes Cameraman. Cinematographer: Franco Villa[183] [158][162]
Master Stroke Yes Cameraman. Cinematographer: Francisco Sánchez[186] [162]
1967 Red Blood, Yellow Gold Yes Cameraman. Cinematographer: Francisco Marin[187] [158][162]
Psychopath Yes Cameraman. Cinematographer: Franco Villa[188] [162]
Pecos Cleans Up Yes Cameraman. Cinematographer: Franco Villa[183] [162]
Your Turn to Die Yes Cameraman. Cinematographers: Franco Villa, Stelvio Massi[189] [162]
Straniero ... fatti il segno della croce! Yes Cameraman, assistant director, actor. Cinematographer: Franco Villa[183] [162][190]
Rose rosse per il führer Yes Cameraman. Cinematographer: Franco Villa[191] [162]
I'll Sell My Skin Dearly Yes Cameraman. Cinematographer: Stelvio Massi[192] [162]
Vietnam, guerra senza fronte Yes Yes Second unit cameraman[157] [193][162]
1968 Shoot Twice Yes Cameraman. Cinematographer: Francisco Marin[194] [162]
Seven Times Seven Yes Cameraman. Cinematography: Franco Villa[195] [162]
A Woman on Fire Yes Cameraman. Cinematographer: Franco Villa[196] [162]
Bury Them Deep Yes Cameraman. Cinematographer: Franco Villa[183] [162]
1969 Una storia d'amore Yes Cameraman. Cinematographer: Guglielmo Mancori[197] [162]
Orgasmo Yes Cameraman. Cinematographer: Guglielmo Mancori[198] [162]
Passa Sartana ... è l'ombra della tua morte Yes Cameraman. Cinematographer: Franco Villa[183] [162]
A Noose for Django Yes Cameraman. Cinematographer: Franco Villa[199] [183]
Pelle di bandito Yes Director: Piero Livi [162][200]
No Man's Island (L'isola delle svedesi, Twisted Girls) Yes Director: Silvio Amadio [201][162][202]
1970 Disperatamente l'estate scorsa Yes Director: Silvio Amadio [162][203]
Inginocchiati straniero... I cadaveri non fanno ombra! Yes Director: Demofilo Fidani [162][204]
Arrivano Django e Sartana... è la fine Yes Director: Demofilo Fidani [162][205]
1971 A Barrel Full of Dollars Yes Director: Demofilo Fidani [162][206]
A Fistful of Death Yes Director: Demofilo Fidani [162][207]
Vendetta at Dawn Yes Camera operator. Cinematographer: Guglielmo Mancori [208][209]
Armiamoci e partite! Yes Director: Nando Cicero [162][210]
1972 Ben and Charlie Yes Director: Michele Lupo [211][212][213]
What Have You Done to Solange? Yes Director: Massimo Dallamano [214][215]
La gatta in calore Yes Director: Nello Rossati [162][216]
Crime Boss Yes Director: Alberto De Martino [217][218]
All'ultimo minuto (TV series, episodes Il rapido delle 13,30 and Dramma in alto mare) Yes Director: Ruggero Deodato [219]
Le notti peccaminose di Pietro l'Aretino Yes Director: Manlio Scarpelli [220][221]
The Killer Is on the Phone Yes Director: Alberto De Martino [162][222]
Go Away! Trinity Has Arrived in Eldorado ?a Yes [223]
Bounty hunter in Trinity Yesf Yes Yes [224][225]
More Sexy Canterbury Tales Yesg Yes Yes [226]
1973 Fra' Tazio da Velletri Yesh Directed a third of the film. [227][228]
The Devil's Wedding Night Yes Yes Only directed some scenes. Director: Luigi Batzella [229][230][231]
Novelle licenziose di vergini vogliose Yes Yes Yes Yes Editor [232][233]
Counselor at Crime Yes Director: Alberto De Martino [234][235]
Mean Frank and Crazy Tony Yes Cinematography with Aldo Tonti. Director: Michele Lupo [236]
Death Smiles on a Murderer Yes Yes Yes Yes Camera operator, story author [237]
Pugni, pirati e karaté Yes Yes Yes [238][239]
1974 Brigitte, Laura, Ursula, Monica, Raquel, Liz, Maria, Florinda, Barbara, Claudia e Sofia, le chiamo tutte... anima mia Yes Director: Mauro O. Ivaldi [220][240]
Heroes in Hell Yes Yes Yes [241][242][114]
The Arena Yes Yes 2nd unit director. Director: Steve Carver [243][244][245]
Diary of a Roman Virgin Yes Yes Yes [246]
Professore venga accompagnato dai suoi genitori Yes Director: Mino Guerrini [220][247]
Il colonnello Buttiglione diventa generale Yes Director: Mino Guerrini [220][248]
The Antichrist Yes Director: Alberto De Martino [249][250]
Challenge to White Fang Yes Director: Lucio Fulci [251][252][253]
1975 Cormack of the Mounties (aka Red Coats) Yes Yes Yes [254][255]
Cassiodoro il più duro del Pretorio Yes Director: Oreste Coltellacci [256][257]
Scandal in the Family Yes Director: Bruno Gaburro [220][258]
Buttiglione diventa capo del servizio segreto Yes Director: Mino Guerrini [220][259]
Emanuelle's Revenge Yes Yes Yes Yes [260][23][261]
1976 Strange Shadows in an Empty Room Yes Director: Alberto De Martino [262][263]
Voto di castità Yes Yes [264]
Black Cobra Woman Yes Yes Yes [265][266][267]
Emanuelle in Bangkok Yes Yes [268]
Emanuelle in America Yes Yes [269][270]
1977 Emanuelle Around the World Yes Yes [271][272]
Emanuelle and the Last Cannibals Yes Yes Yes [273][270]
Il ginecologo della mutua Yes Yes Yes Story [274]
Mondo erotico Yesi [275]
1978 Emanuelle and the White Slave Trade Yes Yes Yes [276][277]
The Pleasure Shop on 7th Avenue Yes Yes [278]
Sexy Night Report n. 2 Yes Yes [279][275]
Follie di notte Yes Yes Yes [280]
Papaya, Love Goddess of the Cannibals Yes Yes [281][282]
Tough to Kill Yes Yes [283][284]
1979 Images in a Convent Yes Yes [285][286]
Beyond the Darkness (Buio Omega) Yes Yes [287][288]
1980 Sesso nero Yes Yes [289][290][51]
Erotic Nights of the Living Dead Yes [291][292]
Porno esotic love Yes Yes [293]
Antropophagus Yes Yes ?j [294][295]
Blue erotic climax Yes Yes Yes Director: Claudio Bernabei [296]
Porno Holocaust Yes Yes [297][139]
Super climax Yes Yes Yes Yes [298]
Hard sensation Yes Yes [299]
1981 Paradiso blu Yes Yes [300]
Orgasmo nero Yes Yes Yes [301]
Labbra bagnate Yes Yes Yes [302]
Le ereditiere super porno Yes Yes Yes [303]
Porno video Yes Yes Director: Giuliana Gamba [56]
Bocca golosa Yes Yes Yes [304]
La voglia Yes Yes Yes [305]
Labbra vogliose Yes Yes Yes Director: Claudio Bernabei [306]
Sesso acerbo Yes Yes Yes [307]
Voglia di sesso Yes Yes Yes [308]
Le porno investigatrici Yes Director: Claudio Bernabei [309]
Caldo profumo di vergine Yes Yes Yes [304]
L'ogre de barbarie Yes Director: Pierre Matteuzzi [220][310]
Absurd Yes Yes Co-produced with Eduard Sarlui [311]
1982 Stretta e bagnata Yes Yes Yes [312]
Il succo del sesso Yes [124]
Super hard love Yes Yes Yes [313]
Il mondo perverso di Beatrice Yes Yes Yes [314]
Ator, the Fighting Eagle Yes Yes Yes [315]
Ator 2 - L'invincibile Orion (aka Blade Master) Yes Yes Yes Yes [316]
Caligula... The Untold Story Yes Yes Yes [317][318][319]
1983 Una vergine per l'impero romano Yes Yes Yes [139]
Messalina orgasmo imperiale Yes Yes Yes Yes Actor [315][139]
2020 Texas Gladiators Yes Yes Yes Co-directed with George Eastman [320][321]
Endgame Yes Yes Yes Yes Yes Editor [322][323]
Cuando calienta el sol... vamos alla playa Yes Yes Director: Mino Guerrini [220][324]
1984 Jojami k Yes [139][325]
Nido d'amore k Yes [139][326]
Wendee / Wendee, la chiave del piacere k Yes ?l [139][327]
La chiave del piacere k Yes ?l [139][328]
Swoosie k Yes [139][329]
Pin Pon k Yes [139][330]
Fashion love k Yes [139][331]
Sesso allo specchio k Yes [139][332]
1985 Le due bocche ... di Marina k Yes [139][333]
Le due ... grandi labbra / La voglia di Marina k Yes [139][334]
The Alcove Yes Yes Yes [335]

[336]

The Pleasure Yes Yes Yes [337]
A Lustful Mind Yes Yes Yes Yes Editor [338]
1986 Midnight Gigolo Yes Yes Yes Yes Yes Editor [339]
Convent of Sinners Yes Yes Yes Yes Editor [340][341]
Delizia Yes Yes Yes Yes Editor [342]
1987 Warrior Queen Yes Yes[70] Associate producer [343]
Stage Fright Yes Director: Michele Soavi [344][345]
Interzone Yes Director: Deran Sarafian [101]
Killing Birds Yes Yes Yes Co-directed with Claudio Lattanzi [346]
Eleven Days, Eleven Nights Yes Yes Yes [347][348]
1988 Top Model Yes Yes [347][349]
Ghosthouse (aka La Casa 3) Yes Director: Umberto Lenzi [350][351][352]
Witchery (aka La Casa 4) Yes Director: Fabrizio Laurenti [353]
1989 Dirty Love Yes Yes Yes [354]
Blue Angel Cafe Yes Yes Yes [355][356]
Hitcher In The Dark Yes Director: Umberto Lenzi [357][358]
Metamorphosis (aka DNA Formula Lethal) Yes Director: George Eastman [359]
1990 Quest for the Mighty Sword Yes Yes Yes Yes The 4th "Ator" film (aka The Hobgoblin) [316]
Body Moves / Hot Steps (Passi caldi) Yes Director: Gerry Lively [360][361]
Deep Blood Yes Yes Yes [362][363]
La Casa 5: Beyond Darkness Yes Director: Claudio Fragasso [364]
Troll 2 bc Yes Director: Claudio Fragasso [347][365]
Contamination .7 (aka Troll 3) Yescd Yes Yes Main director: Fabrizio Laurenti [347][366][101]
1991 Eleven Days, Eleven Nights 2 Yes Yes Yes Yes [347][367]
La stanza delle parole Yes Director: Franco Molè [101]
Door to Silence Yes Director: Lucio Fulci [368][366]
Dark Tale / Favola crudele Yes Director: Roberto Leoni [101]
Frankenstein 2000 Yes Yes [369][370]
A Woman's Secret Yes Yes Yes [119]
1992 Lezioni di sesso. 1.: Il vizio infinito. 2.: Donne di piacere. 3.: Così fan tutti. 4.: Dio mio como sono caduta in basso. Yes [119]
Sul filo del rasoio / Instinct Yes Yes [129]
Una tenera storia Yes Yes [129]
1993 Chinese Kamasutra Yes Yes Yes [371]
I racconti della camera rossa Yes Yes [372]
The Labyrinth of Love Yes Yes Yes [373]
The House of Pleasure Yes Yes [374]
China and Sex Yes Yes [132]
L'Atelier di Rosa Yes [89]
Roxana – Fra le gambe di Luana Yes [89]
Francesca – Goduria anale Yes [89]
Incontri anale nell'autosalone Yes [89]
Tre porcone sul biliardo Yes [89]
1994 Le avventure erotiche di Aladino Yes Co-directed with Luca Damiano[375] [375]
L'alcova dei piaceri proibiti Yes Co-directed with Luca Damiano[375] [375]
Amleto – Per amore di Ophelia Yes Co-directed with Luca Damiano[375] [375]
Le mille e una notte Yes Co-directed with Luca Damiano[375] [375]
Il barone von Masoch Yes Co-directed with Luca Damiano[376] [376]
Il colpo dell'an(n)o Yes [376]
Il marchese De Sade Yes Co-directed with Luca Damiano[376] [376]
Decamerone X Yes Co-directed with Luca Damiano[376] [376]
Decamerone X 2 Yes Co-directed with Luca Damiano[376] [376]
Fantasmi al castello Yes Co-directed with Luca Damiano[376] [376]
Ladri e gentiluomini – Donne, gioielli e culi belli Yes Co-directed with Luca Damiano[376] [376]
La sexy caccia al tesoro Yes Co-directed with Luca Damiano[376] [376]
Marco Polo la storia mai raccontata Yes[377] Yes Yes Co-directed with Luca Damiano[374] [378]
Spiando Simona Yes Co-directed with Luca Damiano[376] [376]
Il marito guardone – Sesso spiato Yes Co-directed with Luca Damiano[376] [376]
Tarzan X Yes Yes Yes Yes [347][379]
Tarzan 2 – il ritorno del figlio della jungla Yes [376]
Anal Paprika Yes [376]
1995 Fuga di mezzanotte aka Fuga all'alba Yes [376]
Homo Erectus Yes [376]
Le intoccabili Yes [376]
Adolescenza Yes [376]
Amadeus Mozart Yes [376]
Giulietta e Romeo Yes [376]
Le bambole del Führer Yes [376]
Le 120 giornate di Sodoma Yes [376]
Malizia italiana Yes [376]
Il monaco Yes [376]
Passione travolgente a Venezia Yes Co-directed with Cameron Grant[376] [376]
Penitenziario femminile Yes [376]
Le perversioni di Scarface Yes [376]
Robin Hood – La leggenda sexy Yes [376]
Saloon Kiss Yes [376]
Il siciliano (Don Salvatore) Yes [376]
Provocation (Vizio e provocazione) Yes [376]
Sogni di una ragazza di campagna Yes [376]
Black Cops...in Budapest Yes [376]
Wild East Yes [376]
Carmen Yes [376]
Scandalo al sole Yes Co-directed with Luca Damiano[376] [376]
1996 Antonio e Cleopatra Yes [376]
Danno anale Yes [376]
Flamenco extasy Yes [376]
Kamasutra Yes [376]
Istinto fatale Yes [376]
Messalina Yes [376]
Proposta anale indecente Yes [376]
Rudy / Valentino's Story Yes [376]
Scambio di coppie Yes [376]
Il danno Yes [376]
Torero Yes [376]
Lulù Yes Co-directed with Luca Damiano[376] [376]
Gipsy Seduction Yes Co-directed with Luca Damiano[376] [376]
Aphrodite Yes [376]
Caligula / Caligola follia del potere Yes [376]
Nerone Yes [376]
Lolita – Adolescenza perversa Yes [376]
Selvaggia Yes [376]
Lo stallone italiano Yes [376]
Lo stallone italiano 2 Yes [376]
Rocco last fight Yes [376]
Othello Yes [376]
Striptease – Ragazze Facili Yes [376]
Il diario proibito delle due principesse Yes [376]
Tutte le donne del presidente Yes [376]
Donna Flor e i suoi tre mariti Yes [376]
1997 Top Girl e Yes Yes [349]
The Hyena Yes Yes [380]
Police Department Yes [101]
Police Department 2 Yes [101]
Hercules / Le fatiche erotiche di Ercole Yes [101]
Amore e psiche Yes [101]
Olympus Yes [101]
Sodoma e Gomorra Yes [101]
Ulysses Yes [101]
Experiences 1 Yes [101]
Experiences 2 Yes [101]
La regina degli elefanti Yes [101]
Il vizio del peccato Yes [101]
Peccati di gola Yes [101]
Capriccio anale Yes [101]
I magnifici sette Yes [101]
Calamity Jane Yes [101]
Calamity Jane 2 Yes [101]
Lussuria Yes [101]
Praga amore mio Yes [101]
Il laureato Yes [101]
La figlia del padrino Yes [101]
Desiderio eterno Yes [101]
Sahara Yes [101]
Ercole e Sansone nella terra delle Amazzoni Yes aka Samson in the Amazon's Land[381] [101]
La venexiana Yes [101]
Dolce seduzione Yes [101]
1998 Anita e la maschera di ferro Yes [101]
Selen nell'isola del tesoro Yes [101]
Harem 2000 Yes [101]
Off limits Yes [101]
Blow – Up Yes [101]
Elixir Yes [101]
Goya – La maya desnuda Yes [101]
Raiders / I predatori della verginità perduta Yes [101]
Thief of Love / Ladro d'amore - Giacomo Casanova Yes [101][382]
Il fantasma Yes [101]
Sexy Pirates Yes [383][101]
1999 Showgirl Yes [101]
Sono positivo Yes Cameo appearance as "the director of porn films" [384]

Notes

  • ^ a Both D'Amato and Diego Spataro, who used the alias "Dick Spitfire", stated that D'Amato directed this film.[22][385]
  • ^ b The credited director of Troll 2 was Claudio Fragasso under the pseudonym "Drake Floyd".[365]
  • ^ c In his book on Italian horror directors, Louis Paul makes the unsourced statement that D'Amato "ended up finishing [Troll 2 and Troll 3] as director in an attempt to save the productions that even he deemed poorly filmed and unreleasable".[366] Regarding Troll 3, Lupi also states that D'Amato directed a part of it.[386] For Troll 2, Paul seems to be the only source for D'Amato's directorial involvement.[citation needed]
  • ^ d The film's main director was Fabrizio Laurenti under the pseudonym "Martin Newlin".[387]
  • ^ e The directorial credit of Top Girl varies. In Italian prints, it is credited to "Andrea Massai"; abroad, the credits read "Joe D'Amato".[349]
  • ^ f The credits of Bounty Killer in Trinity list Oscar Santaniello as director under his pseudonym "Oskar Faradine". According to D'Amato himself, he directed the film, but let production manager Santaniello take the credit.[22] Bruckner lists Santaniello as producer and D'Amato as director,[225] and Curti, too, states that the film was "directed by Massaccesi but signed by Santaniello – one of several unsigned directing jobs Massaccesi took on before his official first feature".[237] Lupi, however, considers the movie to be of inferior quality and hence believes that Santaniello was truly the director whereas D'Amato, in his eyes, was only involved as cinematographer and writer.[135]
  • ^ g More Sexy Canterbury Tales was directed by D'Amato, but the directorial credit went to assistant director Romano Scandariato under his pseudonym "Romano Gastaldi"; the English film credits "Ralph Zucker" as the director.[388]
  • ^ h According to an interview given to the Italian magazine Nocturno by Romano Scandariato, who took the directorial credit under his pseudonym "Romano Gastaldi", D'Amato directed about one third of Fra' Tazio da Velletri before leaving production due to differences with the producers; Scandariato then finished directing the remaining two thirds.[227]
  • ^ i As director of Mondo Erotico, only Bruno Mattei was credited; the pseudonym "Jimmy Matheus" was used. D'Amato directed the scenes with Laura Gemser that tie the vignettes together; he remained uncredited.[275]
  • ^ j Both Enrico Biribicchi, who got the credit, and D'Amato claimed that they had acted as cinematographers on set.[65]
  • ^ k These 10 films, the so-called "Lucky Faar Delly" series (shot from April 1984 to February 1985), were all produced by D'Amato through his M.A.D. production company, were all directed by Luca Damiano, and all starred Marina Hedman.[139] D'Amato occasionally contributed to the series as co-director, although the extent to which he did remains unclear.[139] In Sesso allo specchio, film critic R. D'Amato observes the use of hand-held camera, which is otherwise not present in the Faar Delly series, as sign of D'Amato's possible involvement.[389]
  • ^ l Smith lists La chiave del piacere as an alternate title to Wendee, la chiave del piacere and states that "according to some sources Massaccesi is the screenwriter".[390]

References

  1. ^ a b Lentz III 2000, p. 57.
  2. ^ Lentz III 2000, p. 58.
  3. ^ Normanton, Peter (2005). The Mammoth Book of Slasher Movies. McFarland. p. 39. ISBN 9781780330419. Retrieved 23 October 2017.
  4. ^ Riazzoli, Mirko (2017). A Chronology of the Cinema Volume 1 From the pioneers to 1960. Youcanprint. p. 345. ISBN 9788892685482.
  5. ^ The Mammoth Book of Best New Horror 11, edited by Stephen Jones. Carroll & Graf. 2000. p. 558.
  6. ^ Mendik, Xavier (2004). Black Sex, Bad Sex: Monstrous Ethnicity in the Black Emanuelle Films; in: Alternative Europe: Eurotrash and Exploitation Cinema Since 1945. Wallflower Press. p. 147. ISBN 9781903364932. Retrieved 23 October 2017.
  7. ^ Lupi 2004, pp. 21–22.
  8. ^ Hutchings, Peter (2009). The A to Z of Horror Cinema. Scarecrow Press. p. 216. ISBN 9780810870505. Retrieved 28 February 2019.
  9. ^ a b c d e Foschini 2019.
  10. ^ Renato Massaccesi
  11. ^ a b c d e f g h i Paul 2005, p. 181.
  12. ^ a b c d e Estein & Schweer 1991.
  13. ^ a b Poppi 2002, p. 275.
  14. ^ Lupi 2004, p. 31-32.
  15. ^ Lupi 2004, p. 33-38.
  16. ^ Lupi 2004, p. 38-42.
  17. ^ a b c Paul 2005, p. 184.
  18. ^ Lupi 2004, p. 38-39.
  19. ^ Smith 1995, p. 7.
  20. ^ Paul 2005, p. 182.
  21. ^ Lupi 2004, p. 42-43.
  22. ^ a b c d Palmerini & Mistretta 1996, p. 77.
  23. ^ a b c Giusti 1999, p. 253.
  24. ^ a b Paul 2005, p. 184-185.
  25. ^ Lupi 2004, p. 52-53.
  26. ^ a b Lupi 2004, p. 53-54.
  27. ^ Mann, Dave (2014). Harry Alan Towers: The Transnational Career of a Cinematic Contrarian. McFarland. p. 100. ISBN 9781476615233. Retrieved 13 March 2019.
  28. ^ a b Lupi 2004, p. 54.
  29. ^ a b Lupi 2004, p. 23.
  30. ^ Lupi 2004, p. 56.
  31. ^ Lupi 2004, p. 59-60.
  32. ^ Lupi 2004, p. 58-59.
  33. ^ Smith 1995, p. 7-8.
  34. ^ a b c Ghezzi & Grmek Germani 1982, p. 353.
  35. ^ Lupi 2004, p. 69-71.
  36. ^ Lupi 2004, p. 72-74.
  37. ^ a b c d e f g h i j Grattarola & Napoli 2014, p. 107.
  38. ^ Lupi 2004, p. 76-78.
  39. ^ Grattarola & Napoli 2014, p. 334.
  40. ^ a b Lupi 2004, p. 72.
  41. ^ "The Pleasure Shop on 7th Avenue (1979)". Rotten Tomatoes.
  42. ^ Lupi 2004, p. 74-76.
  43. ^ Paul 2005, p. 189.
  44. ^ Lupi 2004, p. 91.
  45. ^ Curti 2017, p. 201.
  46. ^ Gomarasca & Pulice 2009, p. 29.
  47. ^ Lupi 2004, p. 82-84.
  48. ^ Paul 2005, p. 190.
  49. ^ Grattarola & Napoli 2014, pp. 381–382.
  50. ^ a b Ghezzi & Grmek Germani 1982, p. 357.
  51. ^ a b Grattarola & Napoli 2014, p. 406.
  52. ^ Paul 2005, p. 191.
  53. ^ Lupi 2004, p. 101-107.
  54. ^ Lupi 2004, p. 122-126.
  55. ^ a b Ghezzi & Grmek Germani 1982, p. 350.
  56. ^ a b Grattarola & Napoli 2014, p. 388.
  57. ^ a b Gomarasca & Pulice 2009, p. 48.
  58. ^ Grattarola & Napoli 2014, pp. 415–417.
  59. ^ Ghezzi & Grmek Germani 1982, p. 360.
  60. ^ Grattarola & Napoli 2014, pp. 108–109.
  61. ^ a b Grattarola & Napoli 2014, p. 106.
  62. ^ a b Grattarola & Napoli 2014, p. 351.
  63. ^ Grattarola & Napoli 2014, pp. 345–346.
  64. ^ Grattarola & Napoli 2014, p. 346.
  65. ^ a b Gomarasca & Pulice 2009, p. 36.
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  370. ^ Giusti 1999, p. 652.
  371. ^ Giusti 1999, p. 141.
  372. ^ Giusti 1999, p. 628.
  373. ^ Giusti 1999, p. 392.
  374. ^ a b Palmerini & Mistretta 1996, p. 106.
  375. ^ a b c d e f g h Lupi 2004, p. 234.
  376. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg bh bi bj bk bl bm bn bo bp bq br bs bt bu Lupi 2004, p. 235.
  377. ^ Siffredi 2006, p. 122.
  378. ^ Giusti 1999, p. 439.
  379. ^ Giusti 1999, p. 770.
  380. ^ Giusti 1999, p. 378.
  381. ^ Actors and Film Crew
  382. ^ Tentori, Antonio (1999). Joe D'Amato: l'immagine del piacere (in Italian). Castelvecchi. p. 122. ISBN 978-88-8210-148-0.
  383. ^ Buchanan, Jason. . AllMovie. Archived from the original on 26 December 2013. Retrieved 22 August 2017.
  384. ^ Lancia, Enrico (1991). Dizionario del cinema italiano: i film (in Italian). Gremese Editore. p. 217. ISBN 9788884401373. Retrieved 17 March 2019.
  385. ^ Giusti 1999, p. 678.
  386. ^ Lupi 2004, p. 168.
  387. ^ Giusti 1999, p. 169.
  388. ^ Giusti 1999, pp. 716–717.
  389. ^ Grattarola & Napoli 2014, p. 405: citing Vanni, Buttasi; D'Agostino, Patrizia, eds. (2000). Dizionario del cinema hard. Attori, Attrici, Registi e Film. Gremese. pp. 377–379.
  390. ^ Smith 1995, p. 28.

Bibliography

  • Bruckner, Ulrich P. (2002). Für ein paar Leichen mehr: Der Italo-Western von seinen Anfängen bis heute (in German). Schwarzkopf & Schwarzkopf. ISBN 3-89602-416-7.
  • Curti, Roberto (2013). Italian Crime Filmography, 1968-1980. McFarland. ISBN 978-0786469765.
  • Curti, Roberto (2017). Italian Gothic Horror Films, 1970-1979. McFarland. ISBN 978-1476629605.
  • Estein, Axel; Schweer, Thomas (June 1991). "Joe D'Amato im Gespräch". Splatting Image (in German). 7. Interview
  • Foschini, Francesco (26 January 2019). "Daniele Massaccesi racconta Joe D'Amato". SentieriSelvaggi (in Italian). Retrieved 16 March 2019.
  • Ghezzi, Enrico; Grmek Germani, Sergio, eds. (August–September 1982). "Intervista con Joe D'Amato". Filmcritica (in Italian) (326–327): 350–375.
  • Giusti, Marco (1999). dizionario dei film italiani STRACULT [sic]. Cles: Sterling & Kupfer. ISBN 88-200-2919-7.
  • Gomarasca, Manlio; Pulice, Davide (2009). "Joe D'Amato. Guida al cinema estremo e dell'orrore". Nocturno. 78 (January) (Dossier).
  • Grattarola, Franco; Napoli, Andrea (2014). Luce Rossa. La nascita e le prime fasi del cinema pornografico in Italia. Roma: Iacobelli Editore. ISBN 9788862522137.
  • Howarth, Troy (2015). So Deadly, So Perverse. Vol. 1. Midnight Marquee Press. ISBN 978-1936168507.
  • Kinnard, Roy; Crnkovich, Tony (2017). Italian Sword and Sandal Films, 1908–1990. McFarland. ISBN 978-1476662916.
  • Lentz III, Harris M. (2000). Obituaries in the Performing Arts, 1999: Film, Television, Radio, Theatre, Dance, Music, Cartoons and Pop Culture. McFarland. ISBN 0786452048.
  • Lupi, Gordiano (2004). Erotismo, orrore e pornografia secondo Joe D'Amato. Mondo Ignoto. ISBN 88-89084-49-9.
  • Palmerini, Luca M.; Mistretta, Gaetano (1996). Spaghetti Nightmares: Italian Fantasy-horrors as Seen Through the Eyes of Their Protagonists. Fantasma Books. ISBN 9780963498274.
  • Paul, Louis (2005). Italian Horror Film Directors. McFarland. ISBN 978-0-7864-8749-3.
  • Poppi, Roberto (2002). I registi: dal 1930 ai giorni nostri (in Italian). Gremese Editore. pp. 275–276. ISBN 9788884401717. Retrieved 16 March 2019.
  • Shipka, Danny (2011). Perverse Titillation: The Exploitation Cinema of Italy, Spain and France, 1960–1980. McFarland. ISBN 978-0-7864-4888-3.
  • Siffredi, Rocco (2006). Io, Rocco. L'autobiografia di Rocco Siffredi. Mondadori. ISBN 8804559950.
  • Smith, Simon (1995). aka: Joe D'Amato. The Man and his Movies. Festival Promotions.
  • Tentori, Antonio (2014). Voglia di guardare. L'eros nel cinema di Joe D'Amato. Bloodbuster. ISBN 978-88-908986-1-7.

External links

 
Wikimedia Commons has media related to Joe D'Amato.
  • Joe D'Amato at IMDb
  • List of adult films directed by D'Amato on IAFD

March 28, 2023
amato, aristide, massaccesi, december, 1936, january, 1999, known, professionally, italian, film, director, producer, cinematographer, screenwriter, worked, many, genres, westerns, decamerotici, peplum, films, swashbuckler, comedy, fantasy, postapocalyptic, fi. Aristide Massaccesi 15 December 1936 23 January 1999 known professionally as Joe D Amato was an Italian film director producer cinematographer and screenwriter who worked in many genres westerns decamerotici peplum war films swashbuckler comedy fantasy postapocalyptic film and erotic thriller but is best known for his horror erotic and adult films 1 2 3 4 Joe D AmatoD Amato at the 1996 Cannes Film FestivalBornAristide Massaccesi 1936 12 15 15 December 1936Rome ItalyDied23 January 1999 1999 01 23 aged 62 Monterotondo Metropolitan City of Rome ItalyOther namesSee belowOccupation s Film director film producer cinematographer screenwriter actorYears active1961 1999Height1 73 m 5 ft 8 in D Amato worked in the 1950s as electric and set photographer in the 1960s as camera operator and from 1969 onwards as cinematographer Starting in 1972 he directed and co directed around 200 films under numerous pseudonyms regularly acting as cinematographer as well citation needed Starting in the early 1980s D Amato produced many of his own and other directors genre films through the companies he founded or co founded the best known being Filmirage From 1979 to 1982 and from 1993 to 1999 D Amato also produced and directed about 120 adult films Among his best known erotic films are his five entries into the Black Emanuelle series of films starring Laura Gemser 1976 1978 5 and his horror pornography crossover films Erotic Nights of the Living Dead and Porno Holocaust both shot in Santo Domingo in 1979 6 In the horror genre he is above all remembered for his films Beyond the Darkness 1979 and Antropophagus 1980 which have gained cult status as well as Absurd 1981 7 8 Contents 1 Biography 1 1 Early life and work 1936 1969 1 2 First work as cinematographer and director 1969 1975 1 3 First films with Laura Gemser and the Black Emanuelle series 1975 1977 1 4 The Caribbean phase 1978 1979 1 5 First work as producer 1979 1982 1 6 The Filmirage years 1982 1993 1 7 Later work and death 1993 1999 2 Names under which D Amato is credited 2 1 Birthname 2 2 Pseudonyms 2 3 Allonyms 3 Personality 4 Legacy 4 1 Screenings 4 2 Film tributes and dedications 5 Filmography 6 Notes 7 References 7 1 Bibliography 8 External linksBiography EditEarly life and work 1936 1969 Edit Joe D Amato was born on 15 December 1936 in Rome Italy 1 His father was Renato Massaccesi who after an incident on a ship had been declared a war invalid and had started to work at the Istituto Luce in Rome first as electrician fixing power generators left by the United States army at Cinecitta and then as chief photographic technician 9 10 11 In 1950 at the age of 14 D Amato joined his father at work together with his brothers Carlo and Fernando called Nando 9 11 Being the most enterprising of the three sons D Amato took on the task of delivering the movie cameras his father sold 9 D Amato also assisted in the dubbing of Italian film productions 11 and designed title and end credits with Eugenio Bava cutting the letters out by hand 12 In 1952 D Amato worked as a still photographer on the set of The Golden Coach 11 later as electric 13 In the 1960s D Amato eventually moved on to work as a camera operator on numerous films including Mario Bava s Hercules in the Haunted World 11 12 First work as cinematographer and director 1969 1975 Edit In 1969 Piero Livi s Pelle di bandito and Silvio Amadio s No Man s Island Italian L Isola delle Svedesi were D Amato s first films as cinematographer 12 11 In the next few years D Amato continued to work as cinematographer on Italian productions such as Umberto Lenzi s A Quiet Place to Kill Massimo Dallamano s What Have You Done to Solange 11 and some of Demofilo Fidani s low budget Spaghetti Westerns 14 D Amato took on the role of director for the first time in 1972 He started out with a number of small western films Go Away Trinity Has Arrived in Eldorado and A Bounty Killer in Trinity and decamerotici More Sexy Canterbury Tales and Novelle licenziose di vergini vogliose which he partly directed partly co directed 15 before going on to direct the gothic horror film Death Smiles on a Murderer 1973 and the war film Heroes in Hell 1974 both starring Klaus Kinski 16 D Amato briefly relinquished directing and reverted to cinematography in films such as Luigi Batzella s The Devil s Wedding Night 17 Steve Carver s The Arena 18 and five films directed by Alberto De Martino Crime Boss The Killer Is on the Phone Counselor at Crime The Antichrist and two years later Strange Shadows in an Empty Room 17 When D Amato was in Canada shooting a sleigh ride sequence for Lucio Fulci s Challenge to White Fang the film s producer Ermanno Donati asked him to stay and direct the adventure film Red Coats for him 19 20 in which D Amato used the pseudonym Joe D Amato for the first time 21 It turned a good profit and D Amato later considered it his best film in this period 22 First films with Laura Gemser and the Black Emanuelle series 1975 1977 Edit D Amato s next film Emanuelle s Revenge 1975 which he co directed with Bruno Mattei who remains uncredited because D Amato was a rising name 23 was one of several films at the time whose titles alluded to the successful French erotic film Emmanuelle 1974 24 In retrospect it was a kind of turning point in D Amato s career being his first pornographic film though still softcore 23 In his next film the commedia sexy Voto di castita 1976 scripted by George Eastman D Amato met Laura Gemser who would star in many of his films and in the 1980s and early 1990s would also regularly work as costume designer for his productions In this first film she only played the small part of a French maid but it was during the shoot that D Amato got the idea to use her as star in his next film 25 Eva nera was the exotic erotic drama which D Amato directed starring Gemser as topless snake dancer alongside Jack Palance and Gabriele Tinti her future husband 26 The film was produced by Harry Alan Towers and Lucio Fulcisano and shot both on location in Hong Kong and at the Elios Studios near Rome 26 27 Gemser who had previously starred in Bitto Albertini s Black Emanuelle 1975 went on to shoot the following five films of the Black Emanuelle series under D Amato s direction 28 Albertini on the other hand had to find a new actress for his own Black Emanuelle 2 1976 a sequel only in name 28 Although the main character s name in the Black Emanuelle series alluded to the original French Emmanuelle it was spelled slightly differently in order to avoid a plagiarism lawsuit 29 Also the character itself is different Black Emanuelle is an international reporter and photographer who travels to exotic locations 24 D Amato added some violence and horror to the series such as the fake snuff film footage in Emanuelle in America 30 a gang rape scene in Emanuelle Around the World 1977 31 and gore scenes in the cannibal film Emanuelle and the Last Cannibals 32 17 As D Amato later remembered this was a very good period in my life Movie business was very good We travelled round the world finding new and fascinating locations for our movies 33 The Caribbean phase 1978 1979 Edit Of the 12 films D Amato directed in 1978 and 1979 9 were shot in the Dominican Republic In a 1982 interview he said that once the trip was paid for the costs were low and the setting suggestive the Caribbean all for free Italian i Caraibi tutto gratis 34 The first time D Amato went to Santo Domingo was in May 1978 for the erotic horror film Papaya Love Goddess of the Cannibals 35 He returned there in September to shoot the mercenaries at war film Tough to Kill 36 37 34 In mid October 1978 back in Italy D Amato started shooting the nunsploitation film Images in a Convent 38 39 and in early 1979 which was to become a particularly productive year 40 he directed the violent erotic thriller Il porno shop della settima strada The Pleasure Shop on Seventh Avenue 41 on location in New York 42 both films produced by Franco Gaudenzi s company Kristal Film 37 From late June to early July 1979 D Amato went to South Tyrol to shoot and direct the horror film Buio Omega starring Kieran Canter and Cinzia Monreale a remake of Mino Guerrini s The Third Eye 43 40 44 produced by Dario Rossetti and Ermanno Donati with music by Goblin 45 Immediately afterwards D Amato went back to Santo Domingo 46 to film Paradiso blu an Italian counterpart to The Blue Lagoon starring Anna Bergman and Lucia Ramirez 34 and the voodoo themed Orgasmo nero Sex and Black Magic starring Ramirez Susan Scott and Richard Harrison before directing two films combining hardcore pornography and horror Porno Holocaust and Le notti erotiche dei morti viventi Erotic Nights of the Living Dead as well as three adult thrillers Hard Sensation Porno Esotic Love and Sesso Nero 47 48 29 49 For Porno Esotic Love D Amato reused material from Eva nera 1976 especially those scenes D Amato had shot with Laura Gemser in Hong Kong 50 Eva nera had done very poorly at the Italian box office and therefore was still relatively unknown 50 First work as producer 1979 1982 Edit The voodoo themed Sesso nero written by George Eastman was the last film D Amato shot in the Caribbean at the end of 1979 and the first film D Amato produced on his own through his newly founded company P C M Produzioni Cinematografiche Massaccesi Of the Caribbean group of films it received the earliest theatrical release the films only being released gradually throughout 1980 and 1981 51 After his return from the Caribbean D Amato also co founded Filmirage and used the companies to produce and direct the gore film Antropophagus 1980 produced through P C M and Filmirage and its follow up the slasher film Absurd 1981 co produced by Filmirage and Metaxa both of which starred George Eastman and later became cult films for fans of extreme cinema 52 53 54 37 D Amato also founded and co founded two further production companies Cinema 80 and M A D an acronym for Aristide Massaccesi Alessandroni and Donatella Donati on 15 January 1980 and 9 January 1981 respectively For M A D Alessandroni an engineer provided the funding while his son acted as producer on set Donatella Donati the daughter of Ermanno Donati became D Amato s assistant and constant collaborator usually acting as production secretary and assistant director 37 9 The two companies were the main vehicles for D Amato s film production of this period From 1980 until 1982 D Amato produced 14 hardcore pornographic films through both companies Cinema 80 9 films M A D 5 10 of which he directed and lensed himself while 3 of the films Blue erotic climax Labbra vogliose and Le porno investigatrici were directed by Claudio Bernabei 37 Officially Bernabei was both executive manager and director his pseudonym Alexander or Alexandre Borsky being used for almost all directorial credits although the films were for the most part directed by D Amato personally who was only given credit in the non committal phrase a Joe D Amato film Italian un film di Joe D Amato used for marketing purposes 37 55 The reason for this lay in avoiding one of two criminal charges per film since the state only charged the executive manager of the company and the director them being the same person only one charge was brought forth 55 One notable exception was Porno video 1981 sometimes Pornovideo which was directed entirely by Giuliana Gamba under the pseudonym Therese Dunn 56 it was the first film D Amato produced for another director a practice he would start expanding six years later in his Filmirage period 57 Il succo del sesso 1982 a punning title which can mean both The Essence of Sex and The Juice of Sex was the only film of this period that was directed but not produced by D Amato being a Promo Film production of Giovanni Perrucci s 58 The average Cinema 80 or M A D film cost 55 million lire was shot in 10 days edited over a period of two months and had a generic title such as Super climax Super hard love or Voglia di sesso literally Lust for Sex 59 A group of three films produced through Cinema 80 stands out In 1981 building on Tinto Brass s Caligula 1979 D Amato produced shot and directed Caligula The Untold Story in both a hardcore and a softcore version starring David Brandon Laura Gemser and Gabriele Tinti It recounted the final days of the Roman Emperor Caligula and was followed by two purely hardcore pornographic films Una vergine per l impero romano and Messalina orgasmo imperiale in which D Amato reused sets and costumes from the first film albeit on a significantly lower budget 60 The three films were signed by D Amato as director under different pseudonyms and released separately in December 1982 May 1983 and July 1983 They have been called his porno peplum trilogy 61 Messalina orgasmo imperiale shot in 1982 also happened to be the last film of this period 62 Another hardcore film that D Amato originally intended to shoot himself for producer Riccardo Billy in co production with a Chinese company Love in Hong Kong 1983 starring Mark Shannon and Marianne Aubert ended up being entirely delegated to his assistant Bernabei for lack of time who directed the film on location in Hong Kong 63 It survives only in a truncated softcore version 64 The Filmirage years 1982 1993 Edit In 1980 D Amato had taken over a company from producer Ermanno Donati D Amato had renamed the company to Filmirage and used it to produce his own and from 1987 onwards also other directors films for the international market 65 In 1982 D Amato used Filmirage to produce shoot and direct the first film of the Ator series Ator l invincibile Ator the Fighting Eagle starring Miles O Keeffe and Sabrina Siani which was directly inspired by Conan the Barbarian It was followed by Ator 2 L invincibile Orion English titles The Blade Master and Cave Dwellers the following year in which O Keefe was flanked by Lisa Foster 66 In 1983 and 1984 D Amato produced and shot the post apocalyptic action films Endgame 1983 starring Al Cliver George Eastman Laura Gemser and Gordon Mitchell which D Amato directed alone and 2020 Texas Gladiators 1984 starring Al Cliver and Sabrina Siani which D Amato co directed with George Eastman The films follow the success of Mad Max 1979 and Mad Max 2 1981 67 In 1984 and early 1985 D Amato briefly reactivated his company M A D to produce 10 hardcore pornographic films all of which were directed by Luca Damiano and starred Marina Hedman D Amato is reported to have collaborated on some of these himself as well although it remains speculative in which function and on which ones 37 Later in 1985 D Amato left hardcore pornography behind and for a period of eight years exclusively shot softcore and horror films 68 According to an interview D Amato gave in 1990 hardcore as opposed to softcore had only been profitable the first four years in the late 1970s and early 1980s while the novelty and controversy lasted 12 D Amato began this hardcore free period by directing four softcore dramas set during fascism in Italy and starring Lilli Carati and Laura Gemser L alcova The Alcove Il piacere The Pleasure Lussuria A Lustful Mind and Voglia di guardare Midnight Gigolo The four films recall the style and themes of Tinto Brass s La chiave The Key while their plots and characters are not interconnected in any way 69 Together with Harry Alan Towers D Amato co produced Warrior Queen working title Pompeii shot in 1985 at the Elios Studios near Rome to cash in on the success of the miniseries The Last Days of Pompeii 1984 70 It was a sword and sandal film starring Sybil Danning Donald Pleasence and David Brandon and was directed by Chuck Vincent 71 In an interview Larry Revene Vincent s usual cinematographer remembered that he worked on the sync sound for this film instead because Aristide shot it He wasn t only a director producer he was also a cameraman 70 In the United States the film had a brief theatrical run in a cut R rated version before being released in a longer version on video 71 There followed a phase in which D Amato directed softcore films predominantly in the United States often takes on popular American films 67 First he went to New Orleans to produce and shoot two films starring Jessica Moore as the novelist Sarah Asproon 11 Days 11 Nights 1987 and Top Model 1988 72 11 Days 11 Nights was inspired by Adrian Lyne s film 9 Weeks but reversed the roles with the woman being the dissolute character 73 it was a commercial success 74 In 1989 D Amato s main actress was Valentine Demy with whom he produced and directed Afternoon and Dirty Love the latter reminiscent of another of Adrian Lyne s films Flashdance 75 After these D Amato produced and directed two erotic dramas with Tara Buckman Blue Angel Cafe and High Finance Woman 76 Beyond producing his own softcore films D Amato also used Filmirage to produce other directors films 57 Michele Soavi s debut Stage Fright which was also the debut of D Amato s son Daniele Massaccesi as assistant cameraman Deran Serafian s Interzone Umberto Lenzi s Ghosthouse La casa 3 and Hitcher In The Dark Fabrizio Laurenti s Witchery La casa 4 and The Crawlers Troll 3 George Eastman s Metamorphosis Claudio Fragasso s Troll 2 and Beyond Darkness La casa 5 Franco Mole s The Room of Words and Lucio Fulci s Door to Silence 67 77 9 D Amato not only produced but also partially directed the horror film Killing Birds and but for the first scene directed the sharksploitation drama Deep Blood 78 At the beginning of the 1990s D Amato revisited his Ator series with a concluding entry entitled Quest for the Mighty Sword 79 featuring the Son of Ator 80 Then he revived the character of Sarah Asproon in 11 Days 11 Nights 2 this time played by Kristine Rose and again set in New Orleans 81 With Rose as protagonist D Amato also directed Passion s Flower a remake of The Postman Always Rings Twice before shooting two softcore films starring Carmen di Pietro in 1991 both with a more violent angle than the preceding ones Devil in the Flesh follows a group of mercenaries who encounter some nurses at an isolated hospital and Dangerous Obsession tells of a woman who turns the tables on her assailant 82 83 After these D Amato directed Frankenstein 2000 1992 his last horror film which combined a modern take on the traditional Frankenstein story with elements of the rape and revenge film 84 In 1993 inspired by the success of the Chinese erotic comedy Sex and Zen 1991 D Amato then went to the Philippines to shoot a number of Asian themed softcore films for which he often used Chinese pseudonyms 85 Among them are such diverse films as Chinese Kamasutra China and Sex and I racconti della camera rossa translation The Tales of the Red Chamber named after China s classical novel Dream of the Red Chamber the latter two structurally and thematically reminiscent of Italian decamerotici 85 86 Later work and death 1993 1999 Edit Later in 1993 D Amato went back to predominantly producing and directing hardcore pornography 87 In order to return to adult filmmaking more easily D Amato initially teamed up with Luca Damiano with whom he shot roughly 20 films before continuing on his own 88 Although video had become the standard for adult films D Amato continued to shoot on 35mm film for a few years before finally transitioning to video for his last productions in 1997 and 1998 89 a development which he saw critically When shooting on video there was little difference between the individual films in terms of profit which helped minimise production risk but the overall profit and hence the quality of the individual productions that were shot on video were lower compared to productions shot on film 90 The crew on an early 35mm shoot such as Juliet amp Romeo had been much larger including lighting staff camera assistants make up artists and set decorators dubbing was done in post production 91 Among D Amato s best known films from this late hardcore period are his collaborations with Rocco Siffredi Tarzan X Shame of Jane Marco Polo Marquis de Sade Torero and Kelly Trump Messalina Kamasutra Lolita his pornographic versions of Shakespearean drama Juliet amp Romeo Anthony and Cleopatra Othello 2000 westerns Outlaws Calamity Jane swashbucklers Raiders the Bible Sodom amp Gamorra Greco Roman mythology Olympus Amor amp Psyche Ulysses Hercules A Sex Adventure Roman emperors Nero Orgy of Fire Caligula The Deviant Emperor and other famous people Robin Hood Goya Amadeus Mozart Thief of Love Giacomo Casanova Rudy Valentino s story Scarface 92 Two recurring actresses in his films from 1996 to 1999 were Selen Raw amp Naked Queen of the Elephants Sahara and Selen the Girl from Treasure Island and Eva Henger with whom he shot the time travel films Experiences and Experiences 2 a trilogy on the capital sins Phantom using footage from the silent film The Phantom of the Opera and Showgirl 93 Whereas D Amato s adult films were very rarely without a plot entirely D Amato stated in a 1997 interview that one had used to include more plot whereas now the only thing they wanted was porn and very hard one at that double triple quadruple penetrations anal 90 In between shooting adult films from 1994 to 1999 D Amato also made four attempts at returning to genre films In 1995 he directed the erotic drama Provocation set in the Italian countryside of the 1930s starring Erika Savastani 94 and in 1997 the erotic comedy Top Girl set in and around an American TV station 94 and the erotic thriller The Hyena starring Cinzia Roccaforte which received a limited theatrical release in Italy 95 96 In 1998 D Amato directed the swashbuckler I predatori delle Antille aka Sexy Pirates 97 starring Anita Rinaldi 98 On 23 January 1999 Joe D Amato died of a heart attack in Monterotondo a comune in the Metropolitan City of Rome Capital 99 13 According to Luigi Cozzi his death happened unexpectedly while he was busy preparing a new film 100 His last film was the adult film Showgirl 1999 a take on Paul Verhoeven s Showgirls 1995 98 101 102 Names under which D Amato is credited EditBirthname Edit Throughout his career D Amato used his birthname Aristide Massaccesi only once for a directorial credit namely for Death Smiles on a Murderer 1973 22 However it was regularly used for other credits For his first work as camera operator it was the only name he was credited with and as cinematographer writer of stories and scriptwriter he credited himself or was credited with it regularly until the early 1980s 103 Pseudonyms Edit The first pseudonyms used by Aristide Massaccesi were his actor s credits in the Spaghetti Westerns Straniero fatti il segno della croce 1968 and Dead Men Don t Make Shadows 1970 for which he used puns on his birthname Ariston Massachusetts and Arizona Massachusset respectively 104 105 His best known pseudonym is the anglicized Joe D Amato which he first adopted as director of Giubbe Rosse 1975 11 In 1991 D Amato stated he had discovered the name in some calendar and chosen to use it because it sounded promising In its mixture of American and Italian it was similar to those of Brian de Palma and Martin Scorsese 12 Joe D Amato became the name Massaccesi was most associated with even more than his birth name 11 D Amato used this main pseudonym of his exclusively for credits as producer and director and not for credits as cinematographer or writer citation needed The pseudonym Federiko Slonisko sometimes also spelled Federico Slonisco or any mixture of these two spellings including the short form Fred and several other mis or variant spellings was regularly used for D Amato s work as cinematographer starting in 1982 106 The pseudonyms Federico Slonisco Jr and Dan Slonisko including variant spellings are also sometimes considered to belong to D Amato 107 108 However D Amato s son Daniele a camera operator and cinematographer started his career working for his father 109 110 The pseudonym Michael Wotruba was used as D Amato s directorial credit on Novelle licenziose di vergini vogliose 1973 also screenplay 111 Pugni pirati e karate 1973 112 Diario di una vergine romana 1973 113 Heroes in Hell 1974 also screenplay 113 114 The Arena 1974 Italian version director international version second unit director 111 This pseudonym is also to be found as directorial credit for Death Smiles on a Murderer 1973 in the entry at Public Cinematographic Register but was later changed to D Amato s birthname for the release 115 David Hills was used by D Amato as directorial pseudonym on the following films Caligula The Untold Story 1981 also screenplay 116 Ator the Fighting Eagle 1982 116 Ator 2 L invincibile Orion 1983 117 Quest for the Mighty Sword 1990 118 Frankenstein 2000 1991 119 I predatori delle Antille 1998 citation needed David Hills was also used as directorial credit on an early announcement of Deep Blood 1989 but was exchanged by the allonym Raf Donato for the official release 120 As producer D Amato used this pseudonym on Troll 2 121 and Interzone 122 For the last two films of D Amato s porno peplum trilogy Una vergine per l impero and Messalina orgasmo imperiale both released 1983 D Amato used Dirk Frey as cinematographer and Robert Hall and O J Clarke as director respectively 61 123 62 The directorial credit of Il succo del sesso 1983 which D Amato directed reads Gilbert Damiano an allusion to Gerard Damiano 124 125 The pseudonym Peter Newtonwas used for D Amato s credit as cinematographer on Paradiso blu 1980 126 and his directorial credit on Absurd 1981 116 For the latter he also used Richard Haller for his credits as cinematographer and co producer 127 Kevin Mancusowas used for the directorial credit on 2020 Texas Gladiators 1982 D Amato co directed the film with George Eastman so it can be considered a pseudonym for both Eastman and D Amato 117 D Amato used the name Dario Donatias director and editor on Convent of Sinners 1986 128 and as director on Delizia 1986 128 The female pseudonym Joan Russell was used for D Amato s directorial credit on Una tenera storia 1992 129 130 It was also used not for D Amato but for Donatella Donati and Antonio Tentori as story and screenwriting credit in Frankenstein 2000 1992 which D Amato produced and directed 130 For his oriental films of 1993 D Amato used a number of new pseudo oriental pseudonyms For I racconti della camera rossa he used Robert Yip as director Lim Seng Yee as scenarist and Boy Tan Bien as cinematographer 89 For Chinese kamasutra he signed with the pseudonyms Chang Lee Sun director Fu Shen scenarist and Hsu Hsien cinematographer 131 And for Il labirinto dei sensi he signed his scenario with Leslie Wong while using Joe D Amato and Federico Slonsiko for the directorial and cinematographic credits respectively 132 Allonyms Edit An allonym is distinguished from a pseudonym in that it is the given name or pseudonym of a different person from the one who should be credited Romano Gastaldi the pseudonym of Romano Scandariato was used for the directorial credit on More Sexy Canterbury Tales 1972 which D Amato directed while Scandariato was his assistant director 133 and for Fra Tazio da Velletri 1973 which D Amato left after a disagreement soon after the beginning of the shoot Scandariato his assistant finished the film and was credited 134 Oskar Faradine the pseudonym of Oscar Santaniello was used for the directorial credit on A Bounty Killer in Trinity The film was reportedly directed by D Amato and Santaniello was the film s producer 135 Lupi however in his monograph on D Amato argues on qualitative grounds for Santaniello as actual director 135 Anna Bergman s name was also used for the directorial credit on Paradiso blu 1980 Bergman was the main actress but D Amato directed the film Her name was used for the directorial credit because according to Luigi Cozzi the producer did not want it to be seen as an erotic film for which D Amato was already known at the time 136 Alexandre Borsky sometimes spelled Alexander or Borski was the pseudonym of Claudio Bernabei Bernabei stated in an interview that he created it with Walerian Borowczyk s name in mind 37 The Borsky pseudonym was used as directorial credit for 14 of the 15 films produced by D Amato s companies M A D and Cinema 80 from 1980 to 1982 Of these 14 films Bernabei directed 3 D Amato 11 37 In 1993 and 1994 D Amato briefly reactivated this name as directorial credit for a small number of adult films starring Luana Borgia which he directed while transitioning from softcore to hardcore again According to an interview he gave in 1995 it was to camouflage his return 137 Lucky Faar or Farr Delly sometimes wrongly listed as a pseudonym of Joe D Amato 138 was in reality the pseudonym of Luciano Fardelli who acted as administrator of D Amato s production company M A D in 1984 and 1985 139 It was used as directorial credit for 10 films directed by Franco Lo Cascio it is unclear in which of these films D Amato acted as co director 37 Raf Donato a variant of Raffaele Donato s name was used for the directorial credit on Deep Blood 1989 According to D Amato Donato had planned to direct the film but only directed the first scene D Amato directed the rest of the film 140 Personality EditAccording to the actresses who worked with him D Amato was sociable humorous with a sense of irony amiable and supportive to some he appeared like a father 141 Both Laura Gemser with whom he worked together for a long time and Monica Zanchi pointed out his adventurous and playful approach to filmmaking 142 143 Gemser also remembered that D Amato rarely got angry and that when it happened he usually took it with irony when deeply angered however he would shout and curse and become insufferable 142 She also recalled that much like herself D Amato fell asleep easily and anywhere even in the breaks between rehearsals 142 Donatella Donati his regular assistant since the mid 1970s recalled this penchant as his biggest flaw in Cannes she once found him asleep on the office floor 143 Legacy EditScreenings Edit In 1995 Joe D Amato was a special guest at the London film festival Eurofest which took place at the Everyman Cinema Hampstead where he gave an onstage interview to Mark Ashworth inbetween screenings of Stage Fright Emanuelle and the Last Cannibals and Frankenstein 2000 the latter a world premiere followed by a signing session 144 145 Parts of the interview can be found on the Severin DVD release of Emanuelle in Bangkok 146 Posthumously on 14 April 2006 the Cinematheque Francaise in Paris screened a D Amato double feature from newly acquired theatrical prints under the title Le sang et la chair translation The Blood and the Flesh consisting of Antropophagus and Le sexe noir both 1980 147 The Joe D Amato Horror Festival under the art direction of Paolo Ruffini was held for the first time in Pietrasanta in April 2007 148 It took place a second time in October and November 2014 in Livorno moderated by Antonio Tentori 149 Among the guests was D Amato s son Daniele Massaccesi who said that it had been above all the passion for cinema to never stop making films at any costs that D Amato had wanted to pass on to the younger generation of filmmakers 150 The Hofbauer Kongress which takes place at least once every year since 2010 at the Komm Kino in Nuremberg Germany has repeatedly screened D Amato s films mostly from 35 mm prints with the 15th and 16th edition of the festival being especially devoted to the filmmaker 151 152 On 1 3 February 2019 honoring the 20th anniversary of D Amato s death the Filmarchiv Austria held a Tribute to Joe D Amato at the Metro Kinokulturhaus in Vienna in which 10 films he directed were shown from original 35 mm prints 153 154 Film tributes and dedications Edit In 1999 Andreas Schnaas shot a remake of and homage to D Amato s Antropophagus entitled Anthropophagous 2000 155 The Italian film Hyde s Secret Nightmare 2011 directed by Domiziano Cristopharo is dedicated to D Amato 156 Filmography EditYear Title Worked as Notes Ref s Director Producer Writer Cinematographer Other1951 E l amor che mi rovina Yes Still photographer 157 L inafferrabile 12 Yes Still photographer 157 1952 The Golden Coach Yes Still photographer 158 157 1953 Madonna delle rose 159 Yes Technician 158 1961 Hercules in the Haunted World 160 Yes Assistant cameraman 158 157 Gold of Rome 161 Yes Assistant cameraman 158 162 163 1962 Il mare 164 Yes Assistant cameraman 162 1963 Contempt Yes Assistant cameraman 162 Canzoni in bikini 165 Yes Cameraman 158 Cinematographer Franco Villa 166 162 1964 Due mattacchioni al Moulin Rouge 167 Yes Cameraman Cinematographer Franco Villa 168 158 162 Il mito La violenza e l amore 169 Yes Cameraman Cinematographer Franco Villa 170 158 162 Secret of the Sphinx 171 Yes Cameraman Cinematographer Franco Villa 172 158 162 1965 Soldati e caporali 173 Yes Cameraman Cinematographer Franco Villa 174 158 162 1966 Viaggio di nozze all italiana 175 translation Honeymoon Voyage Yes Cameraman Cinematographer Emilio Foriscot 176 158 162 Lo scippo 177 Yes Cameraman Cinematographer Franco Villa 178 162 For One Thousand Dollars Per Day 179 Yes Cameraman Cinematographer Mario Pacheco 180 158 162 Trap for Seven Spies 181 Yes Cameraman Cinematographer Jose F Aguayo 182 162 E mezzanotte butta giu il cadavere translation At Midnight Throw Down the Corpse Yes Cameraman Cinematographer Franco Villa citation needed 158 162 Thompson 1880 Yes Cameraman Cinematographer Franco Villa 183 158 162 The Taming of the Shrew Yes Assistant Cameraman 162 Maigret a Pigalle Yes Cameraman Cinematographer Giuseppe Ruzzolini 184 158 162 Cinque della vendetta Yes Cameraman Cinematographer Victor Monreal 185 158 162 Due once di piombo Il mio nome e Pecos Yes Cameraman Cinematographer Franco Villa 183 158 162 Master Stroke Yes Cameraman Cinematographer Francisco Sanchez 186 162 1967 Red Blood Yellow Gold Yes Cameraman Cinematographer Francisco Marin 187 158 162 Psychopath Yes Cameraman Cinematographer Franco Villa 188 162 Pecos Cleans Up Yes Cameraman Cinematographer Franco Villa 183 162 Your Turn to Die Yes Cameraman Cinematographers Franco Villa Stelvio Massi 189 162 Straniero fatti il segno della croce Yes Cameraman assistant director actor Cinematographer Franco Villa 183 162 190 Rose rosse per il fuhrer Yes Cameraman Cinematographer Franco Villa 191 162 I ll Sell My Skin Dearly Yes Cameraman Cinematographer Stelvio Massi 192 162 Vietnam guerra senza fronte Yes Yes Second unit cameraman 157 193 162 1968 Shoot Twice Yes Cameraman Cinematographer Francisco Marin 194 162 Seven Times Seven Yes Cameraman Cinematography Franco Villa 195 162 A Woman on Fire Yes Cameraman Cinematographer Franco Villa 196 162 Bury Them Deep Yes Cameraman Cinematographer Franco Villa 183 162 1969 Una storia d amore Yes Cameraman Cinematographer Guglielmo Mancori 197 162 Orgasmo Yes Cameraman Cinematographer Guglielmo Mancori 198 162 Passa Sartana e l ombra della tua morte Yes Cameraman Cinematographer Franco Villa 183 162 A Noose for Django Yes Cameraman Cinematographer Franco Villa 199 183 Pelle di bandito Yes Director Piero Livi 162 200 No Man s Island L isola delle svedesi Twisted Girls Yes Director Silvio Amadio 201 162 202 1970 Disperatamente l estate scorsa Yes Director Silvio Amadio 162 203 Inginocchiati straniero I cadaveri non fanno ombra Yes Director Demofilo Fidani 162 204 Arrivano Django e Sartana e la fine Yes Director Demofilo Fidani 162 205 1971 A Barrel Full of Dollars Yes Director Demofilo Fidani 162 206 A Fistful of Death Yes Director Demofilo Fidani 162 207 Vendetta at Dawn Yes Camera operator Cinematographer Guglielmo Mancori 208 209 Armiamoci e partite Yes Director Nando Cicero 162 210 1972 Ben and Charlie Yes Director Michele Lupo 211 212 213 What Have You Done to Solange Yes Director Massimo Dallamano 214 215 La gatta in calore Yes Director Nello Rossati 162 216 Crime Boss Yes Director Alberto De Martino 217 218 All ultimo minuto TV series episodes Il rapido delle 13 30 and Dramma in alto mare Yes Director Ruggero Deodato 219 Le notti peccaminose di Pietro l Aretino Yes Director Manlio Scarpelli 220 221 The Killer Is on the Phone Yes Director Alberto De Martino 162 222 Go Away Trinity Has Arrived in Eldorado a Yes 223 Bounty hunter in Trinity Yesf Yes Yes 224 225 More Sexy Canterbury Tales Yesg Yes Yes 226 1973 Fra Tazio da Velletri Yesh Directed a third of the film 227 228 The Devil s Wedding Night Yes Yes Only directed some scenes Director Luigi Batzella 229 230 231 Novelle licenziose di vergini vogliose Yes Yes Yes Yes Editor 232 233 Counselor at Crime Yes Director Alberto De Martino 234 235 Mean Frank and Crazy Tony Yes Cinematography with Aldo Tonti Director Michele Lupo 236 Death Smiles on a Murderer Yes Yes Yes Yes Camera operator story author 237 Pugni pirati e karate Yes Yes Yes 238 239 1974 Brigitte Laura Ursula Monica Raquel Liz Maria Florinda Barbara Claudia e Sofia le chiamo tutte anima mia Yes Director Mauro O Ivaldi 220 240 Heroes in Hell Yes Yes Yes 241 242 114 The Arena Yes Yes 2nd unit director Director Steve Carver 243 244 245 Diary of a Roman Virgin Yes Yes Yes 246 Professore venga accompagnato dai suoi genitori Yes Director Mino Guerrini 220 247 Il colonnello Buttiglione diventa generale Yes Director Mino Guerrini 220 248 The Antichrist Yes Director Alberto De Martino 249 250 Challenge to White Fang Yes Director Lucio Fulci 251 252 253 1975 Cormack of the Mounties aka Red Coats Yes Yes Yes 254 255 Cassiodoro il piu duro del Pretorio Yes Director Oreste Coltellacci 256 257 Scandal in the Family Yes Director Bruno Gaburro 220 258 Buttiglione diventa capo del servizio segreto Yes Director Mino Guerrini 220 259 Emanuelle s Revenge Yes Yes Yes Yes 260 23 261 1976 Strange Shadows in an Empty Room Yes Director Alberto De Martino 262 263 Voto di castita Yes Yes 264 Black Cobra Woman Yes Yes Yes 265 266 267 Emanuelle in Bangkok Yes Yes 268 Emanuelle in America Yes Yes 269 270 1977 Emanuelle Around the World Yes Yes 271 272 Emanuelle and the Last Cannibals Yes Yes Yes 273 270 Il ginecologo della mutua Yes Yes Yes Story 274 Mondo erotico Yesi 275 1978 Emanuelle and the White Slave Trade Yes Yes Yes 276 277 The Pleasure Shop on 7th Avenue Yes Yes 278 Sexy Night Report n 2 Yes Yes 279 275 Follie di notte Yes Yes Yes 280 Papaya Love Goddess of the Cannibals Yes Yes 281 282 Tough to Kill Yes Yes 283 284 1979 Images in a Convent Yes Yes 285 286 Beyond the Darkness Buio Omega Yes Yes 287 288 1980 Sesso nero Yes Yes 289 290 51 Erotic Nights of the Living Dead Yes 291 292 Porno esotic love Yes Yes 293 Antropophagus Yes Yes j 294 295 Blue erotic climax Yes Yes Yes Director Claudio Bernabei 296 Porno Holocaust Yes Yes 297 139 Super climax Yes Yes Yes Yes 298 Hard sensation Yes Yes 299 1981 Paradiso blu Yes Yes 300 Orgasmo nero Yes Yes Yes 301 Labbra bagnate Yes Yes Yes 302 Le ereditiere super porno Yes Yes Yes 303 Porno video Yes Yes Director Giuliana Gamba 56 Bocca golosa Yes Yes Yes 304 La voglia Yes Yes Yes 305 Labbra vogliose Yes Yes Yes Director Claudio Bernabei 306 Sesso acerbo Yes Yes Yes 307 Voglia di sesso Yes Yes Yes 308 Le porno investigatrici Yes Director Claudio Bernabei 309 Caldo profumo di vergine Yes Yes Yes 304 L ogre de barbarie Yes Director Pierre Matteuzzi 220 310 Absurd Yes Yes Co produced with Eduard Sarlui 311 1982 Stretta e bagnata Yes Yes Yes 312 Il succo del sesso Yes 124 Super hard love Yes Yes Yes 313 Il mondo perverso di Beatrice Yes Yes Yes 314 Ator the Fighting Eagle Yes Yes Yes 315 Ator 2 L invincibile Orion aka Blade Master Yes Yes Yes Yes 316 Caligula The Untold Story Yes Yes Yes 317 318 319 1983 Una vergine per l impero romano Yes Yes Yes 139 Messalina orgasmo imperiale Yes Yes Yes Yes Actor 315 139 2020 Texas Gladiators Yes Yes Yes Co directed with George Eastman 320 321 Endgame Yes Yes Yes Yes Yes Editor 322 323 Cuando calienta el sol vamos alla playa Yes Yes Director Mino Guerrini 220 324 1984 Jojami k Yes 139 325 Nido d amore k Yes 139 326 Wendee Wendee la chiave del piacere k Yes l 139 327 La chiave del piacere k Yes l 139 328 Swoosie k Yes 139 329 Pin Pon k Yes 139 330 Fashion love k Yes 139 331 Sesso allo specchio k Yes 139 332 1985 Le due bocche di Marina k Yes 139 333 Le due grandi labbra La voglia di Marina k Yes 139 334 The Alcove Yes Yes Yes 335 336 The Pleasure Yes Yes Yes 337 A Lustful Mind Yes Yes Yes Yes Editor 338 1986 Midnight Gigolo Yes Yes Yes Yes Yes Editor 339 Convent of Sinners Yes Yes Yes Yes Editor 340 341 Delizia Yes Yes Yes Yes Editor 342 1987 Warrior Queen Yes Yes 70 Associate producer 343 Stage Fright Yes Director Michele Soavi 344 345 Interzone Yes Director Deran Sarafian 101 Killing Birds Yes Yes Yes Co directed with Claudio Lattanzi 346 Eleven Days Eleven Nights Yes Yes Yes 347 348 1988 Top Model Yes Yes 347 349 Ghosthouse aka La Casa 3 Yes Director Umberto Lenzi 350 351 352 Witchery aka La Casa 4 Yes Director Fabrizio Laurenti 353 1989 Dirty Love Yes Yes Yes 354 Blue Angel Cafe Yes Yes Yes 355 356 Hitcher In The Dark Yes Director Umberto Lenzi 357 358 Metamorphosis aka DNA Formula Lethal Yes Director George Eastman 359 1990 Quest for the Mighty Sword Yes Yes Yes Yes The 4th Ator film aka The Hobgoblin 316 Body Moves Hot Steps Passi caldi Yes Director Gerry Lively 360 361 Deep Blood Yes Yes Yes 362 363 La Casa 5 Beyond Darkness Yes Director Claudio Fragasso 364 Troll 2 bc Yes Director Claudio Fragasso 347 365 Contamination 7 aka Troll 3 Yescd Yes Yes Main director Fabrizio Laurenti 347 366 101 1991 Eleven Days Eleven Nights 2 Yes Yes Yes Yes 347 367 La stanza delle parole Yes Director Franco Mole 101 Door to Silence Yes Director Lucio Fulci 368 366 Dark Tale Favola crudele Yes Director Roberto Leoni 101 Frankenstein 2000 Yes Yes 369 370 A Woman s Secret Yes Yes Yes 119 1992 Lezioni di sesso 1 Il vizio infinito 2 Donne di piacere 3 Cosi fan tutti 4 Dio mio como sono caduta in basso Yes 119 Sul filo del rasoio Instinct Yes Yes 129 Una tenera storia Yes Yes 129 1993 Chinese Kamasutra Yes Yes Yes 371 I racconti della camera rossa Yes Yes 372 The Labyrinth of Love Yes Yes Yes 373 The House of Pleasure Yes Yes 374 China and Sex Yes Yes 132 L Atelier di Rosa Yes 89 Roxana Fra le gambe di Luana Yes 89 Francesca Goduria anale Yes 89 Incontri anale nell autosalone Yes 89 Tre porcone sul biliardo Yes 89 1994 Le avventure erotiche di Aladino Yes Co directed with Luca Damiano 375 375 L alcova dei piaceri proibiti Yes Co directed with Luca Damiano 375 375 Amleto Per amore di Ophelia Yes Co directed with Luca Damiano 375 375 Le mille e una notte Yes Co directed with Luca Damiano 375 375 Il barone von Masoch Yes Co directed with Luca Damiano 376 376 Il colpo dell an n o Yes 376 Il marchese De Sade Yes Co directed with Luca Damiano 376 376 Decamerone X Yes Co directed with Luca Damiano 376 376 Decamerone X 2 Yes Co directed with Luca Damiano 376 376 Fantasmi al castello Yes Co directed with Luca Damiano 376 376 Ladri e gentiluomini Donne gioielli e culi belli Yes Co directed with Luca Damiano 376 376 La sexy caccia al tesoro Yes Co directed with Luca Damiano 376 376 Marco Polo la storia mai raccontata Yes 377 Yes Yes Co directed with Luca Damiano 374 378 Spiando Simona Yes Co directed with Luca Damiano 376 376 Il marito guardone Sesso spiato Yes Co directed with Luca Damiano 376 376 Tarzan X Yes Yes Yes Yes 347 379 Tarzan 2 il ritorno del figlio della jungla Yes 376 Anal Paprika Yes 376 1995 Fuga di mezzanotte aka Fuga all alba Yes 376 Homo Erectus Yes 376 Le intoccabili Yes 376 Adolescenza Yes 376 Amadeus Mozart Yes 376 Giulietta e Romeo Yes 376 Le bambole del Fuhrer Yes 376 Le 120 giornate di Sodoma Yes 376 Malizia italiana Yes 376 Il monaco Yes 376 Passione travolgente a Venezia Yes Co directed with Cameron Grant 376 376 Penitenziario femminile Yes 376 Le perversioni di Scarface Yes 376 Robin Hood La leggenda sexy Yes 376 Saloon Kiss Yes 376 Il siciliano Don Salvatore Yes 376 Provocation Vizio e provocazione Yes 376 Sogni di una ragazza di campagna Yes 376 Black Cops in Budapest Yes 376 Wild East Yes 376 Carmen Yes 376 Scandalo al sole Yes Co directed with Luca Damiano 376 376 1996 Antonio e Cleopatra Yes 376 Danno anale Yes 376 Flamenco extasy Yes 376 Kamasutra Yes 376 Istinto fatale Yes 376 Messalina Yes 376 Proposta anale indecente Yes 376 Rudy Valentino s Story Yes 376 Scambio di coppie Yes 376 Il danno Yes 376 Torero Yes 376 Lulu Yes Co directed with Luca Damiano 376 376 Gipsy Seduction Yes Co directed with Luca Damiano 376 376 Aphrodite Yes 376 Caligula Caligola follia del potere Yes 376 Nerone Yes 376 Lolita Adolescenza perversa Yes 376 Selvaggia Yes 376 Lo stallone italiano Yes 376 Lo stallone italiano 2 Yes 376 Rocco last fight Yes 376 Othello Yes 376 Striptease Ragazze Facili Yes 376 Il diario proibito delle due principesse Yes 376 Tutte le donne del presidente Yes 376 Donna Flor e i suoi tre mariti Yes 376 1997 Top Girl e Yes Yes 349 The Hyena Yes Yes 380 Police Department Yes 101 Police Department 2 Yes 101 Hercules Le fatiche erotiche di Ercole Yes 101 Amore e psiche Yes 101 Olympus Yes 101 Sodoma e Gomorra Yes 101 Ulysses Yes 101 Experiences 1 Yes 101 Experiences 2 Yes 101 La regina degli elefanti Yes 101 Il vizio del peccato Yes 101 Peccati di gola Yes 101 Capriccio anale Yes 101 I magnifici sette Yes 101 Calamity Jane Yes 101 Calamity Jane 2 Yes 101 Lussuria Yes 101 Praga amore mio Yes 101 Il laureato Yes 101 La figlia del padrino Yes 101 Desiderio eterno Yes 101 Sahara Yes 101 Ercole e Sansone nella terra delle Amazzoni Yes aka Samson in the Amazon s Land 381 101 La venexiana Yes 101 Dolce seduzione Yes 101 1998 Anita e la maschera di ferro Yes 101 Selen nell isola del tesoro Yes 101 Harem 2000 Yes 101 Off limits Yes 101 Blow Up Yes 101 Elixir Yes 101 Goya La maya desnuda Yes 101 Raiders I predatori della verginita perduta Yes 101 Thief of Love Ladro d amore Giacomo Casanova Yes 101 382 Il fantasma Yes 101 Sexy Pirates Yes 383 101 1999 Showgirl Yes 101 Sono positivo Yes Cameo appearance as the director of porn films 384 Notes Edit a Both D Amato and Diego Spataro who used the alias Dick Spitfire stated that D Amato directed this film 22 385 b The credited director of Troll 2 was Claudio Fragasso under the pseudonym Drake Floyd 365 c In his book on Italian horror directors Louis Paul makes the unsourced statement that D Amato ended up finishing Troll 2 and Troll 3 as director in an attempt to save the productions that even he deemed poorly filmed and unreleasable 366 Regarding Troll 3 Lupi also states that D Amato directed a part of it 386 For Troll 2 Paul seems to be the only source for D Amato s directorial involvement citation needed d The film s main director was Fabrizio Laurenti under the pseudonym Martin Newlin 387 e The directorial credit of Top Girl varies In Italian prints it is credited to Andrea Massai abroad the credits read Joe D Amato 349 f The credits of Bounty Killer in Trinity list Oscar Santaniello as director under his pseudonym Oskar Faradine According to D Amato himself he directed the film but let production manager Santaniello take the credit 22 Bruckner lists Santaniello as producer and D Amato as director 225 and Curti too states that the film was directed by Massaccesi but signed by Santaniello one of several unsigned directing jobs Massaccesi took on before his official first feature 237 Lupi however considers the movie to be of inferior quality and hence believes that Santaniello was truly the director whereas D Amato in his eyes was only involved as cinematographer and writer 135 g More Sexy Canterbury Tales was directed by D Amato but the directorial credit went to assistant director Romano Scandariato under his pseudonym Romano Gastaldi the English film credits Ralph Zucker as the director 388 h According to an interview given to the Italian magazine Nocturno by Romano Scandariato who took the directorial credit under his pseudonym Romano Gastaldi D Amato directed about one third of Fra Tazio da Velletri before leaving production due to differences with the producers Scandariato then finished directing the remaining two thirds 227 i As director of Mondo Erotico only Bruno Mattei was credited the pseudonym Jimmy Matheus was used D Amato directed the scenes with Laura Gemser that tie the vignettes together he remained uncredited 275 j Both Enrico Biribicchi who got the credit and D Amato claimed that they had acted as cinematographers on set 65 k These 10 films the so called Lucky Faar Delly series shot from April 1984 to February 1985 were all produced by D Amato through his M A D production company were all directed by Luca Damiano and all starred Marina Hedman 139 D Amato occasionally contributed to the series as co director although the extent to which he did remains unclear 139 In Sesso allo specchio film critic R D Amato observes the use of hand held camera which is otherwise not present in the Faar Delly series as sign of D Amato s possible involvement 389 l Smith lists La chiave del piacere as an alternate title to Wendee la chiave del piacere and states that according to some sources Massaccesi is the screenwriter 390 References Edit a b Lentz III 2000 p 57 Lentz III 2000 p 58 Normanton Peter 2005 The Mammoth Book of Slasher Movies McFarland p 39 ISBN 9781780330419 Retrieved 23 October 2017 Riazzoli Mirko 2017 A Chronology of the Cinema Volume 1 From the pioneers to 1960 Youcanprint p 345 ISBN 9788892685482 The Mammoth Book of Best New Horror 11 edited by Stephen Jones Carroll amp Graf 2000 p 558 Mendik Xavier 2004 Black Sex Bad Sex Monstrous Ethnicity in the Black Emanuelle Films in Alternative Europe Eurotrash and Exploitation Cinema Since 1945 Wallflower Press p 147 ISBN 9781903364932 Retrieved 23 October 2017 Lupi 2004 pp 21 22 Hutchings Peter 2009 The A to Z of Horror Cinema Scarecrow Press p 216 ISBN 9780810870505 Retrieved 28 February 2019 a b c d e Foschini 2019 Renato Massaccesi a b c d e f g h i Paul 2005 p 181 a b c d e Estein amp Schweer 1991 a b Poppi 2002 p 275 Lupi 2004 p 31 32 Lupi 2004 p 33 38 Lupi 2004 p 38 42 a b c Paul 2005 p 184 Lupi 2004 p 38 39 Smith 1995 p 7 Paul 2005 p 182 Lupi 2004 p 42 43 a b c d Palmerini amp Mistretta 1996 p 77 a b c Giusti 1999 p 253 a b Paul 2005 p 184 185 Lupi 2004 p 52 53 a b Lupi 2004 p 53 54 Mann Dave 2014 Harry Alan Towers The Transnational Career of a Cinematic Contrarian McFarland p 100 ISBN 9781476615233 Retrieved 13 March 2019 a b Lupi 2004 p 54 a b Lupi 2004 p 23 Lupi 2004 p 56 Lupi 2004 p 59 60 Lupi 2004 p 58 59 Smith 1995 p 7 8 a b c Ghezzi amp Grmek Germani 1982 p 353 Lupi 2004 p 69 71 Lupi 2004 p 72 74 a b c d e f g h i j Grattarola amp Napoli 2014 p 107 Lupi 2004 p 76 78 Grattarola amp Napoli 2014 p 334 a b Lupi 2004 p 72 The Pleasure Shop on 7th Avenue 1979 Rotten Tomatoes Lupi 2004 p 74 76 Paul 2005 p 189 Lupi 2004 p 91 Curti 2017 p 201 Gomarasca amp Pulice 2009 p 29 Lupi 2004 p 82 84 Paul 2005 p 190 Grattarola amp Napoli 2014 pp 381 382 a b Ghezzi amp Grmek Germani 1982 p 357 a b Grattarola amp Napoli 2014 p 406 Paul 2005 p 191 Lupi 2004 p 101 107 Lupi 2004 p 122 126 a b Ghezzi amp Grmek Germani 1982 p 350 a b Grattarola amp Napoli 2014 p 388 a b Gomarasca amp Pulice 2009 p 48 Grattarola amp Napoli 2014 pp 415 417 Ghezzi amp Grmek Germani 1982 p 360 Grattarola amp Napoli 2014 pp 108 109 a b Grattarola amp Napoli 2014 p 106 a b Grattarola amp Napoli 2014 p 351 Grattarola amp Napoli 2014 pp 345 346 Grattarola amp Napoli 2014 p 346 a b Gomarasca amp Pulice 2009 p 36 Paul 2005 p 193 a b c Paul 2005 p 194 Lupi 2004 p 155 187 Lupi 2004 p 157 163 a b c Freitag Paul Cashiers du Cinemart Issue 17 American Ticklers The Early R Rated Films of Chuck Vincent Cashiers du Cinemart Magazine Retrieved 13 March 2019 a b Smith Gary Allen 2015 Epic Films Casts Credits and Commentary on More Than 350 Historical Spectacle Movies 2d ed McFarland p 278 ISBN 9781476604183 Retrieved 13 March 2019 Lupi 2004 p 169 170 Tentori 2014 p 77 Lupi 2004 p 169 Lupi 2004 p 170 172 Lupi 2004 p 172 Lupi 2004 p 168 169 Lupi 2004 p 167 168 Lupi 2004 p 137 Michael Weldon 1996 The Psychotronic Video Guide To Film St Martin s Press pp 449 ISBN 978 0 312 13149 4 Lupi 2004 p 172 174 Lupi 2004 p 181 Lupi 2004 p 181 183 Lupi 2004 p 183 186 a b Lupi 2004 p 193 196 Bedetti Simone Mazzoni Massimo 1996 La Hollywood d oriente il cinema di Hong Kong dalle origini a John Woo in Italian PuntoZero p 132 ISBN 9788886945011 Retrieved 13 February 2019 Lupi 2004 p 191 Lupi 2004 p 192 a b c d e f g Lupi 2004 p 193 a b Giorgi A Gomarasca M March 1997 Duel in Italian p 27 ISBN 9788876150166 Retrieved 17 March 2019 Alain Godet director Joe D Amato as himself 2015 Happy Porno Das Ende der Scham video stream On the set of Juliet amp Romeo 1995 SRF DOK Event occurs at 29 00 Retrieved 6 March 2019 a href Template Cite AV media html title Template Cite AV media cite AV media a CS1 maint location link Lupi 2004 p 199 200 Tentori 2014 pp 111 114 a b Tentori 2014 p 62 Lupi 2004 p 203 Tentori 2014 pp 57 58 Noyes Mike May 18 2011 Sexy Pirates DVD Review Inside Pulse Retrieved 10 March 2019 a b Lupi 2004 p 204 Lentz III 2000 p 56 Lupi 2004 p 16 a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap Lupi 2004 p 236 Tentori 2014 p 236 Smith 1995 pp 14 23 Straniero fatti il segno della croce The Spaghetti Western Database Retrieved 11 October 2018 Giusti 1999 p 354 Smith 1995 pp 26 33 Le XVIIIe siecle aujourd hui presences lectures et reecritures Ed le Manuscrit p 126 ISBN 978 2 304 03418 9 Retrieved 8 October 2018 Joe D Amato IMDb IMDb Retrieved 8 October 2018 Lupi 2004 p 186 Daniele Massaccesi BFI Retrieved 8 October 2018 a b Smith 1995 p 15 Fists Pirates and Karate 1973 FilmAffinity Retrieved 8 October 2018 a b Smith 1995 p 14 a b David Christian 2018 Kinski Die Biographie in German Aufbau Digital p 410 ISBN 9783841216755 Retrieved 11 March 2019 Curti 2017 p 93 a b c Smith 1995 p 26 a b Smith 1995 p 27 Smith 1995 p 31 a b c Smith 1995 p 33 Gomarasca amp Pulice 2009 p 46 Davies Clive 6 March 2015 Spinegrinder The Movies Most Critics Won t Write about Clive Davies Google Books ISBN 9781909394063 Retrieved 8 October 2018 Weldon Michael 1996 The Psychotronic Video Guide Titan Books p 291 ISBN 9781852867706 Retrieved 8 October 2018 Grattarola amp Napoli 2014 p 427 a b Grattarola amp Napoli 2014 p 415 Curti Roberto Rocco Alessio Di 2015 Visioni proibite I film vietati dalla censura italiana dal 1969 a oggi in Italian Lindau p 485 ISBN 978 88 6708 380 0 Smith 1995 p 23 Gomarasca amp Pulice 2009 p 40 a b Smith 1995 p 29 a b c Smith 1995 p 34 a b Lupi 2004 p 183 Lupi 2004 p 194 a b Lupi 2004 p 195 Lupi 2004 p 33 Lupi 2004 p 34 a b c Lupi 2004 p 31 Lupi 2004 p 8 Smith 1995 p 20 Paul 2005 p 198 a b c d e f g h i j k l m n o p Grattarola amp Napoli 2014 p 109 Palmerini amp Mistretta 1996 p 79 Lupi 2004 pp 223 227 a b c Lupi 2004 p 223 a b Lupi 2004 p 227 Schneider Steven Jay Williams Tony 2005 Horror International Wayne State University Press p 31 ISBN 9780814331019 Retrieved 1 March 2019 Barley Trevor Brown Paul J 1995 Eurofest 95 The Programme Festival Promotions pp 3 4 Reel News www billybop be Retrieved 1 March 2019 Viva la Cinemateca Dossier Film EcranLarge com in French 16 March 2006 Che paura Al via a Pietrasanta il Joe D Amato Horror Festival cinque giorni di orrore Affaritaliani it Retrieved 9 October 2018 Joe d Amato Horror Festival HorrorMagazine Joe D Amato Horror Festival Un bicchiere di vino rosso con Daniele Massaccesi YouTube YouTube Archived from the original on 2021 12 21 Retrieved 9 October 2018 Ein Bericht vom 17 Hofbauer Kongress in drei Teilen 1 3 filmgazette filmgazette de 16 Hofbauer Kongress POINT OF VIEW artechock www artechock de TRIBUTE TO JOE D AMATO Filmarchiv Austria in German Retrieved 2 February 2019 Wild Weeked Tribute to Joe D Amato PDF Retrieved 6 February 2019 Davies Clive 2015 Spinegrinder The Movies Most Critics Won t Write about SCB Distributors ISBN 9781909394063 Retrieved 6 February 2019 Hyde s Secret Nightmare Mondo Digital Retrieved 9 October 2018 a b c d e Lupi 2004 p 231 a b c d e f g h i j k l m n o p q Smith 1995 p 13 scheda www archiviodelcinemaitaliano it Retrieved 17 March 2019 scheda www archiviodelcinemaitaliano it Retrieved 17 March 2019 scheda www archiviodelcinemaitaliano it Retrieved 17 March 2019 a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar Palmerini amp Mistretta 1996 p 80 Vento Giovanni 1961 L oro di Roma di Carlo Lizzani a cura di Giovanni Vento in Italian Cappelli p 205 Retrieved 16 March 2019 scheda www archiviodelcinemaitaliano it Retrieved 17 March 2019 scheda www archiviodelcinemaitaliano it Retrieved 17 March 2019 III Harris M Lentz 2016 Obituaries in the Performing Arts 2009 Film Television Radio Theatre Dance Music Cartoons and Pop Culture McFarland p 543 ISBN 9780786456451 Retrieved 1 March 2019 scheda www 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Retrieved 22 August 2017 Lancia Enrico 1991 Dizionario del cinema italiano i film in Italian Gremese Editore p 217 ISBN 9788884401373 Retrieved 17 March 2019 Giusti 1999 p 678 Lupi 2004 p 168 Giusti 1999 p 169 Giusti 1999 pp 716 717 Grattarola amp Napoli 2014 p 405 citing Vanni Buttasi D Agostino Patrizia eds 2000 Dizionario del cinema hard Attori Attrici Registi e Film Gremese pp 377 379 Smith 1995 p 28 Bibliography Edit Bruckner Ulrich P 2002 Fur ein paar Leichen mehr Der Italo Western von seinen Anfangen bis heute in German Schwarzkopf amp Schwarzkopf ISBN 3 89602 416 7 Curti Roberto 2013 Italian Crime Filmography 1968 1980 McFarland ISBN 978 0786469765 Curti Roberto 2017 Italian Gothic Horror Films 1970 1979 McFarland ISBN 978 1476629605 Estein Axel Schweer Thomas June 1991 Joe D Amato im Gesprach Splatting Image in German 7 Interview Foschini Francesco 26 January 2019 Daniele Massaccesi racconta Joe D Amato SentieriSelvaggi in Italian Retrieved 16 March 2019 Ghezzi Enrico Grmek Germani Sergio eds August September 1982 Intervista con Joe D Amato Filmcritica in Italian 326 327 350 375 Giusti Marco 1999 dizionario dei film italiani STRACULT sic Cles Sterling amp Kupfer ISBN 88 200 2919 7 Gomarasca Manlio Pulice Davide 2009 Joe D Amato Guida al cinema estremo e dell orrore Nocturno 78 January Dossier Grattarola Franco Napoli Andrea 2014 Luce Rossa La nascita e le prime fasi del cinema pornografico in Italia Roma Iacobelli Editore ISBN 9788862522137 Howarth Troy 2015 So Deadly So Perverse Vol 1 Midnight Marquee Press ISBN 978 1936168507 Kinnard Roy Crnkovich Tony 2017 Italian Sword and Sandal Films 1908 1990 McFarland ISBN 978 1476662916 Lentz III Harris M 2000 Obituaries in the Performing Arts 1999 Film Television Radio Theatre Dance Music Cartoons and Pop Culture McFarland ISBN 0786452048 Lupi Gordiano 2004 Erotismo orrore e pornografia secondo Joe D Amato Mondo Ignoto ISBN 88 89084 49 9 Palmerini Luca M Mistretta Gaetano 1996 Spaghetti Nightmares Italian Fantasy horrors as Seen Through the Eyes of Their Protagonists Fantasma Books ISBN 9780963498274 Paul Louis 2005 Italian Horror Film Directors McFarland ISBN 978 0 7864 8749 3 Poppi Roberto 2002 I registi dal 1930 ai giorni nostri in Italian Gremese Editore pp 275 276 ISBN 9788884401717 Retrieved 16 March 2019 Shipka Danny 2011 Perverse Titillation The Exploitation Cinema of Italy Spain and France 1960 1980 McFarland ISBN 978 0 7864 4888 3 Siffredi Rocco 2006 Io Rocco L autobiografia di Rocco Siffredi Mondadori ISBN 8804559950 Smith Simon 1995 aka Joe D Amato The Man and his Movies Festival Promotions Tentori Antonio 2014 Voglia di guardare L eros nel cinema di Joe D Amato Bloodbuster ISBN 978 88 908986 1 7 External links Edit Wikimedia Commons has media related to Joe D Amato Joe D Amato at IMDb List of adult films directed by D Amato on IAFD Retrieved from https en wikipedia org w index php title Joe D 27Amato amp oldid 1133909397, wikipedia, wiki, book, books, library,

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