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Since her husband pronounced her frigid on her wedding night, Antonia DeAngelis has been an invalid. When he disappears, she believes him dead: she leaves her bed and takes over his ... See full summary »
Madame Juliette ("Signora sono le 8") /
Celestina ("Due cuori e una baracca") /
Enrico's Wife ("Non è mai troppo tardi") /
Grazia ("Viaggio di nozze") /
Tamara ("Torna piccina mia") /
The Nun ("Lavoratore italiano all'estero") /
Donna Mimma Maccò ("La vendetta") /
One of the innumerable portmanteau films produced in Italy since the 1950s; many had been helmed by multiple directors and featured the most popular film stars of the time. Some other examples, however, were made by one director as a vehicle for a particular star's versatility (for instance, Nino Manfredi in Lina Wertmuller's LET'S TALK ABOUT MEN ). This one, in fact, follows the latter trend and featured Giancarlo Giannini and Laura Antonelli in all (but one, in her case) nine segments. However, with the 70s, a lot of vulgarity had seeped into Italian comedy and, with a title like that, the film under review here certainly falls into this category - despite the respectable fare with which both Risi and Giannini were typically associated!
Anyway, quality varies a lot from one episode to the other: perhaps the best were Nos. 2 (concerning an overcrowded poor family, with the stars bursting into spontaneous insults every now and again), 3 (in which Giannini, married to the luscious Antonelli, actually prefers to offer sexual favors to old ladies!), 4 (Giannini is a playboy who's unstoppable in a mobile environment - trains, boats - but actually impotent in bed...so his wife proposes to use the elevator of their hotel, with tragic results!) and 8 (the longest segment and the one in which Antonelli doesn't appear, where a man goes to meet his brother - whom he hasn't seen in years - and falls for a transvestite hooker played by Alberto Lionello, with a surprising denouement). The other episodes aren't too bad, either (one, where Antonelli plays a nun[!], is spoken in gibberish and seems to have been inspired by A CLOCKWORK ORANGE ) - but the repetition and, eventually, the film's considerable length becomes tiresome. Still, Armando Trovajoli's score (including its suggestive title track) is notable.
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