8 comic sketches set in Italy, with 4 of the most famous European sex symbols of the 70's playing 2 roles each: in the 1st sketch, Kristel lures an unsuspecting man into her room, but what is her real purpose? In the 2nd, Vitti agrees to pose as the mother of a kid going to take his school report; in the 3rd, Andress is the widow of a politician, and a photographer ends up taking more shots of her than his job requires; in the 4th, Antonelli has a rather drastic way of dealing with her husband's jealousy; in the 5th, Kristel also has a drastic way of dealing with her husband's dullness; in the 6th, Vitti is a thief who steals a necklace, then has it stolen from her and tries to get it back; in the 7th, Andress flashes her underwear in the middle of the street and causes traffic accidents, then she gets paid by the owners of auto-repair shops for the all the smashed cars she brings them! And in the 8th, a timid orchestra conductor finds the courage to flirt with Antonelli on the street; to his surprise she responds and agrees to meet him later, but their promised lovemaking keeps getting interrupted by her various business activities.
None of the sketches here will receive any awards for comic brilliance, some of them (most notably the 2nd and 3rd) seem completely pointless and some (most notably the 4th and the 7th) are too short to amount to anything more than a single joke. As others have said, the best (and funniest) sketch is clearly the last one, which really does have a sense of comic absurdity, and Laura Antonelli is so incredibly DESIRABLE that it makes sense for this man to give up his daily routine and just follow her around when she asks him to. All the women look great (Vitti is sexy even as a completely covered-up nun!), but there is a big disappointment in the 3rd sketch: Ursula Andress does a lot of provocative posing for the photographer, yet director Luigi Zampa refuses to move his camera closer to her, filming the whole sequence from a long distance. Boo! (**1/2)
None of the sketches here will receive any awards for comic brilliance, some of them (most notably the 2nd and 3rd) seem completely pointless and some (most notably the 4th and the 7th) are too short to amount to anything more than a single joke. As others have said, the best (and funniest) sketch is clearly the last one, which really does have a sense of comic absurdity, and Laura Antonelli is so incredibly DESIRABLE that it makes sense for this man to give up his daily routine and just follow her around when she asks him to. All the women look great (Vitti is sexy even as a completely covered-up nun!), but there is a big disappointment in the 3rd sketch: Ursula Andress does a lot of provocative posing for the photographer, yet director Luigi Zampa refuses to move his camera closer to her, filming the whole sequence from a long distance. Boo! (**1/2)