The third and last film in Miguel Madrid’s intermittent, unprolific filmography was a modish softcore capitalising on the popularity of Azucena Hernández, a former Miss Catalonia who had scored a considerable success the previous year in Zacarías urbiola’s Las eróticas vacciones de Stella – the dependence on the earlier film, in fact, is such that not only is Hernández’s character named “Stela” but the opening titles actually read “starring Azucena Hernández as Stela”, as if the filmmakers purported to market this as a sequel. The film’s true inspiration, however, seems to lie elsewhere, inasmuch as one accepts Carlos Aguilar’s dictum of Bacanal en directo as “a kind of reactionary version of La orgía”, in reference to Francesc Bellmunt’s film (also known by its Catalan name L’Orgía), which was a liberal comedy of mores centring on the quasi- feature-length event of an orgy among young people (many of them played by future mainstream stars). Madrid’s film, on the other hand, belongs in the trend in which the genre in Spain would have its cake and eat it by both showing and condemning promiscuous sex.
