If she’d been born in America, Italian actress Erika Blanc might have snagged half the roles that went to superstar Ann-Margret. Look at a typical view of Erika. Full falls of red-tinged brunette hair cascade like Alpine streams upon the snowy peaks of her proud chest. Sultry, heavy-lidded eyes look out from above widely spaced, high, round cheekbones. The mouth is sensual and commanding--commanding your attention, commanding arousal. Erika’s sexuality-exuding posture is a promise that she made good on in more than a dozen European flicks, from spaghetti westerns to occult thrillers to comedies and dramas. The unifying thread? Blanc’s willingness to work without a stitch of clothing. Amore e morte nel giardino degli dei (1972) is blessed with a bathtub full of flush-fleshed redhead. La Mano lunga del padrino (1972) goes to heaven with a way up-close linger upon Erika’s rubbing, rubbery ass cheeks. L’Amantide (1976), or The Lover, will fill viewers with an undying affection for Erika Blanc.