Monella

The scoring, of course, reflects my own personal taste but I do feel that the film almost completely successful in what it sets out to achieve. It's a mischievous, amusing, jolly sexy romp that doesn't miss out on taking a few sideswipes at Italian society (affectionately of course!). If there were a poll to find the ten best female bum shots in cinema, I am pretty certain this film would occupy all ten slots, and half of them probably just in the swirling, joyful, abandoned opening cycling sequence. Lola grins and squeaks with delight as she races along bum in the air to the astonishment, amusement and enjoyment of all. The older man (father?) with Lola scenes, made one a little uncomfortable and similarly the peeping tom and the lost virginity but these seemed to fit within the whole and probably say as much about Catholicism in Italy than Mr Brass in particular. A super sunny sexy delight!

Typical soft-core Brass film has a plot as flimsy as the clothing worn by the leading lady but then plots are inconsequential in films like these. Although her acting is limited to giggles and pouts, Ammirati is an attractive and alluring presence as a vixen in heat whose boyfriend won't do the deed until they're married, causing her to throw herself at every man she meets. The central plot device is to create situations for Ammirati to remove her skivvies (to use them as emergency bandage for her bleeding beau, because they itch, just because...). Grandi, the well-endowed star of one of Brass's earlier films, plays Ammirati's mother, who also has a tendency to drop her knickers.

Monella is wonderful erotic comedy about a couple getting married. The story takes place in northern Italy in the 1950´s. Lola and Masetto is about to get married. Masetto wants to keep Lola as a virgin until they are married. But Lola is impatient to remain in chastity until the wedding night. She wants to be sure that Masetto is a good lover, before she commits herself into marriage. She does everything to trick Masetto into breaking the moral tradition. Anna Ammirati is doing a wonderful interpretation of Lolas character. It´s easy to fall for her charm. The film is also aesthetical with the beautiful environment, the heat between the characters, and the camera light on Anna Ammiratis irresistible body.

Cute but not too exciting. I haven't seen any other Tinto films, but based on this one I probably wouldn't go out of my way to see any others. It was mildly interesting to watch but in the end rather unsatisfying. Just nothing to sink your teeth into as a film. The plot was weak and at times confusing and Lola just came across as a spoiled little girl (probably intentional). But there was nothing to make me understand why her "boyfriend" was even interested in her, other than her good looks. The camera work was interesting and creative and there are lots of great shots of Lola in various states of undress which is probably the only reason I kept watching it - hey, I'm a guy, what can I say? But, to be honest, its mostly like watching a TV sitcom - light entertainment to pass the time.

This was only my 3rd Brass after CALIGULA (1979) - which I watched in London - and DEADLY SWEET (1967; his best film by far, so far) - viewed during the Italian B-movie retrospective at the 2004 Venice Film Festival.

Well, frivolous is right as nothing much happens during the course of the film; at least, though, it's lighthearted - unlike, say, Bigas Luna's BAMBOLA (1996; see review above) - even if in a vulgar way and, given the explicit nature of its copious nudity, occasionally erotic. Still, the leading performance by non-professional (and perennially giggly) Anna Ammirati - whom Brass reportedly discovered, literally, by way of a car accident! - is annoyingly one-dimensional. Like BAMBOLA, the leading lady's mother is played by a well-known actress (i.e. known more for her physical attributes than her acting talent), Serena Grandi - who had earlier starred in Brass' MIRANDA (1985). A surprising cast member is Patrick Mower as Grandi's suave but lewd lover (who naturally has his eyes on her daughter too); I was only familiar with him from two good British horror flicks - THE DEVIL RIDES OUT (1968) and CRY OF THE BANSHEE (1970) - and I wonder how he came to be involved with smut such as this (and, moreover, in Italy)!

One of the most notable (but not necessarily noteworthy) elements in the film is the soft-focus cinematography; it's practically shot like that all the way through, which rather kills its intended effectiveness! Brass himself appears as a bandleader at the beginning and end of the movie, the latter during the interminable wedding scene (which rather reminded me of the similar conclusion to Federico Fellini's AMARCORD [1973], also a film with the emphasis on sex and vulgarity but undeniably superior!).