Tag Archives: Rocco Siffredi

Are You a Real Vampire?

by Rich Moreland, February 2013

This is the fifth episode of Voracious. It’s titled “I Want to See the Sun” for good reason. The encounter between Amira and Vlad is most intense and I am told it captivated the crew as it was filmed. Brooklyn Lee’s performance takes the viewer beyond the premise that this is a pornographic movie. Her emotional conflict and expression of her desires in the face of Vlad’s carefully orchestrated wrath is a filming coup that rarely occurs in the studios of the Other Hollywood.

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Through his contacts with Father Zoltan, Manuel Batiste arranges to go to Berlin to meet up with Amira. Before leaving, he gives instructions to his secretary Karen to look after things. He adds that he will need her help with research.

Karen (former adult actress Tricia Deveraux) replies, “Vampires?”

“No, folklore,” Manuel says. Does he really believe in vampires?

Arriving in Berlin, Manuel arranges to meet Father Zoltan in front of Charlottenburg Castle. The structure is built in the Baroque style, a tribute to the Catholic Church. Like many European landmarks of the 16th and 17th centuries, the castle has a vast stone courtyard that extends to the street. What better place to meet a connection to the vampire clan than a monument to a religious age in European history.

Father Zoltan is to the point. Manuel’s interest in Amira sparks a curiosity for him and he wants an explanation.

“I have my reasons,” Manuel replies.

Zoltan is humorless. “Tomorrow, 10 p. m. at the Golden Angel, she’ll be there.”

“Good,” Manuel says, “I’ll see you then.”

Manuel's conversation with the Priest is Finished

Manuel’s Conversation with the Priest is Finished

As Manuel departs, Adriana watches a distance away.

Adriana has Plans

Adriana has Plans

“He shows up, I see,” she says to the priest.

“He’s going to be very useful,” Zoltan’s voice is firm.

“I agree.” Her wicked smile portends things to come.


The Victory Column and the Posture Collar

From his hotel room window, Manuel stares at the Victory Column, a Berlin landmark and a central image in the film.

The column was constructed in mid-nineteenth century during the struggle for German unification. The century was also the age of vampire lore. Later the column was symbolic of the Nazi rise to power in the 1930s, a time when demonic forces possessed an entire nation. Ironically, from a psychological perspective it has a Jewish connection; the column is a Freudian phallic symbol. When seen from a distance the angel atop the column is a visual metaphor of power. Angels come in various forms and can be good or bad. They are born out of imagination, desire, sexuality, and fear. Are vampires among the ranks?

The Angel

The Angel

John Stagliano swirls these ideas into this chapter of the saga. The viewer is reminded of the column motif and its greater power over the story.

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The scene shifts to a warehouse. The interior is in disarray as one might find unkempt storage spaces. A steel structure that resembles a very broad ladder is positioned in front of two coffins, those of Dracu and Vald.

The Vampires Await the Darkness

The Vampires Await the Darkness

Hanging upside down on the ladder is a nude Amira. She is the column in a reverse world. Her hands are folded over her breasts. She is bat-like guarding the vampires. Dracu arises out of his coffin, reborn of the darkness. He approaches the ladder and arouses Amira’s body with his steel tipped fingernails. Her eyes pop open sharply.

Amira wears a posture collar, a popular accoutrement in the BDSM community. The collar is long and confining and has the purpose of keeping a sexual submissive’s neck straight and restricted. In Amira’s case, it is a symbol of control, preventing her from looking elsewhere to break the spell of the darkness.

The scene, which begins in black and white, now shifts to color.

Amira’s body visually lengthens, staying with the column imagery. Her arms dangle straight down; she grasps the lowest bar as if to stretch out.

Getting Amira Ready for Vlad

Getting Amira Ready for Vlad

She pulls herself up with a deep bend like a vampire emerging from a coffin and stands in front of the steel structure. She is awaiting Vlad. When he abandons his coffin and faces her, Amira’s eyes speak of recognized inferiority.


“So she’s the American girl,” Vlad utters.

Amira stares straight ahead, unflinching, in the best of submissive postures. Dracu backs away. Vlad has work to do and it entails breaking down Amria.Episode5_024

For BDSM aficionados this scene is a must. John Stagliano commented to me how moved he was with Brooklyn Lee’s performance. Rocco Siffredi shows his skills as a porn veteran and Brooklyn’s acting is over the top.

The sex is totally oral and filled with body fluid as is Stagliano’s preference. But it’s the drama that entices. Vlad is emotionally beating down Amira and in a tension filled moment she screams, “I want to see the sun!”


Now the truth comes out. She is fighting back tears.

At this point the images of the film come together. In a mighty struggle, Vlad is forcing his will on Amira. Her throat fills with fluid, almost drowning her (the water image). She repeatedly rises out of the water to be reborn, only to be attacked once again by Vlad’s “column.”

Suddenly Amira, head arched back over the rail of the ladder, spews out all the fluid in her mouth. An explosive sound is heard. The angel erupts from the victory column that is now Amira’s body. She screams again, “I want to see the sun!” in the same metaphoric way the golden angel gleams in the sunrise over Berlin, the once capital of evil and destruction.



Vlad slaps her violently, as if in a desperate attempt to discipline her and drive the angel back into the night. His anger surges forth.

“Please!” she begs and screams.

“You’re not a real vampire!” he growls.

“I don’t know!” she cries in confusion. “I don’t know!”

Vald’s fury mounts. His hands grip her throat to squeeze the life out of her; he is taunting her.

“Please don’t kill me!” Amira pleads.

“If you decide to become human again, I will kill you!” he shouts. Vengeance is mind saith the Vlad.

What is this? Is Amira in some kind of vampire purgatory? She has choices? Does Vlad kill the undead to discipline the clan or simply for sport?

Vlad Forces the Angel Back into Hiding

Vlad Forces the Angel Back into Hiding

Vlad rams his fingers into Amira’s mouth. Her eyes stare up at him in desperation and fear. Her face becomes immobile, freezing in its tracks her longing to be reborn in daylight.




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Don’t Bite Without Permission

By Rich Moreland

Much of  Evil Angel’s Voracious is an in-house project. The male leads in order of appearance are Manuel Ferrara, Steve Holmes, Omar Galanti, and Rocco Siffredi. Each actor also directs for the studio.

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“But you are not alive,” Adriana reminds Amira.

Surrounded by a watery motif—the pool outside the house and the Pacific Ocean in the distance—Adriana and Amira talk. Water is the source of life and rebirth, something worth remembering as this saga continues.

Dusk is setting in.

Amira has violated the code, it seems, because the clan must approve any human she wants to bite. Adriana suspects Amira has doubts about the demonic promise of eternal youth.

“You like him because he is human,” Adriana says with a hint of understanding before hurling an admonishment at Amira.

“You need to learn to control yourself.”

Even vampires, like the monks of the Middle Ages, must exist by regulation and self-restraint.

“We leave tomorrow.” Adriana’s tone demonstrates waning patience with Amira’s transgression. Their impending return to the Old World where vampires are legend will present challenges unforeseen by either woman.

The Hunt

Episode2_003This episode, “Now You Are a Blood Slave,” is about the hunt. In black and white grainy footage, Adriana and Amira emerge from the river that runs through the city of Budapest.

The story quickly shifts to a park in this heart of mythical Vampireland. Hookers apparently frequent this scenic little spot and one girl cautiously reminds a passing pair of nubile blondes that it is not a safe place.

Vampires Prey and Play in the Park

Vampires Prey and Play in the Park

The power imbalance between the undead and the living is revealed in speed and metal during this episode. Adriana and Amira arrive in a car and proceed to stalk unaware victims who will supply blood to hungry vampires. Immediately, Dracu, played by Italian star Omar Galanti, appears on a motorcycle with a female passenger who has a nasty bite of her own. They are part of the clan and it’s time to recruit new members, fresh blood, if you will.

Father Zoltan, a role suited to Transylvanian native and porn veteran Steve Holmes, waits within the darkness. He appears to be a savior with his oddly colored red crucifix. But there are doubts as one of the hookers who would not heed the advice offered earlier comes into his presence. Father Zoltan uses his cross to ward off the girl’s pursuer, the female vampire brought by Dracu. To show her appreciation, the hooker, portrayed by European sensation Zorah White, orally satisfies Zoltan before realizing she is the victim of a hoax. Episode2_009In a comment on religion and sexual repression, Stagliano’s camera captures the small silver crucifix that dangles from the priest’s neck as it floats above his erection and the girl’s mouth.

European pornography, especially in early French stag films, occasionally takes a shot at religion. American prudery generally finds such behavior offensive but when in Rome, as they say, . . . permission is given to be a Roman.

Dracu’s passenger, the Vampire Mistress (the lovely Sandra Romain), corners the poor girl and gets the sustenance she needs with a well-placed bite.


Among the Motorcycles                                 

Dracu and Adriana have a fresh human captive to initiate into the clan, the willowy Hungarian Bibi Noel .

The Lovely Bibi

The Lovely Bibi

But before ritual begins, Adriana slips the word to Dracu that Amira is not what she should be.

“She tried to bite without permission,” Adriana whispers to him, “I think she has doubts about being a vampire.”

Is vampirism a choice and can a girl check out of the clan whenever she wants?

For the second time, a disciplined Amira is cut out of the opportunity to bring in a blood slave. Dracu exiles her to the house and she watches briefly from afar. Director John Stagliano now sets the tone for the rest of the series. Everything is not all dripping red roses in Vampireland.

The sex in this episode is truly fetish oriented with toe and feet sucking, face slapping and lots of anal and sloppy oral. The action between Adriana and Dracu is intense. Pay particular attention to the blood slave transformation of Bibi Noel. She may start off slow, but the pace is perfect at the end right before the feast.

Ah, the feast.  The viewer should know that it’s truly a heartfelt tribute to the great work of Bela Lagosi and Christopher Lee who, had they performed in a different age, would have delighted in this scene.

Adriana and Dracu feast on Bibi

Adriana and Dracu feast on Bibi

Incidentally, the prolific exchange of saliva in these episodes is a reminder that existence, even a vampire’s, is water oriented, though perhaps among the undead it coagulates a touch more.

The predominant image that prepares the meaning of the sex is Dracu’s motorcycle leap arcing across the screen at sunset. The suggestion is a passage between two worlds, the living and the undead. In fact, a similar bridge is formed during the extended physical encounter that is part of the blood slave ritual. It takes place among scores of motorcycles. Adriana, back arched beautifully—a reminder of the satyr statue in the first episode—positions herself so she can fellate Dracu from underneath. Once again she is seeing a reverse world in which the undead are the living. During the action she is orally serviced by Bibi’s blood slave. The shot forms a stairway effect, rising from left to right, that leads the blood slave to her Master, Dracu.

Adriana’s acrobatics introduce another, more sinister, image. Didn’t they break witches on the wheel in 17th century Europe? Adriana hints later that she has been around for five hundred years. Perhaps her position is a tortured part of her past.

As the episode closes questions arise. How strong are the bonds in the clan? Did the chastised Amira go through a similar initiation?  If so, why does she seem so independent minded? Will a power struggle later emerge? And, most important, who’s running this show?

Maybe a few hints will come around in Episode Three.

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