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The only thing missing from Aggie’s life… was Aggie. In the middle of nowhere lives middle aged Aggie, with her wheelchair bound companion Richard. As snow falls outside, Aggie tries desperately to remember the circumstances under which they met. As she plays through in her mind a series of possible scenarios, only to dismiss each as a false past, she inadvertently begins to reveal an increasingly dark portrait of her true self, leading to the unexpected and shocking reality of her relationship with Richard. (Vinegar Syndrome)
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With Memories Within Miss Aggie, Gerard Damiano leaves the shadow of his ground-breaking but extremely sloppy Deep Throat far behind. After his brilliant theological treatise on pleasure, The Devil in Miss Jones, he joined forces with ambitious screenwriter Ron Wertheim, whose creative focus in the field of pornography is somewhat bizarrely split between cheerful espionage parodies and densely psychological art films with elements of horror. Alongside the masterpiece Through the Looking Glass, Memories Within Miss Aggie belongs to the latter category. From the opening credits, the film intoxicates viewers with its unsettling atmosphere of loneliness and devastation, enhanced by the setting of snow-covered rural solitude, which is unusual for a porn flick. The title character, the frail, middle-aged Aggie attempts – in front of the viewers, her husband and herself – to remember how she actually met her husband. -- SPOILER ALERT -- What at first appears to be a sweetly concealed romance turns out to be a fantasy in three very different versions, each of which delves more deeply into repressed sexuality and lust, always played out against the background of some classic cliché associated with sexual roles. Similarly as in The Devil in Miss Jones, Damiano shoots the sex sequences with absolute focus on the women and their pleasure, gradually pushing the men aside until the desired object becomes a mere screen on which lust is projected. However, each version of the protagonist’s memories thus loses intimacy and becomes more impersonal. In her anxious obsession with whether or not she was a decent girl, Miss Aggie, who is aptly portrayed by a different actress in each version, reveals not only her libido, but also the fear that comes with not knowing whether or not she will fulfil expectations, or if she will repel her partner with her hidden desires. The final denouement, though expected, then brings forth the inevitable confirmation of the pathology of repressed desires and, despite its horrific nature, shows Miss Aggie as a tragic figure tormented by conflicting forces. It is hard to say how the audience, attracted to porn cinemas by posters abounding with superlatives uttered by critics, reacted to Memories Within Miss Aggie at the time, when instead of the desired raunchy spectacle, they got a dense psychodrama. This porn film with an unreliable narrator remains a unique eccentricity within its genre to this day.
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