Mio Dio, come sono caduta in basso!

Even if there is no sex. Isn't it? Well, that's pretty much what happens in the film. Until Eugenia, the character played by the unique beauty that was Laura Antonelli, meets Silvano, the character played by Michele Placido. What a beauty of a woman this Laura Antonelli is, I consider her the most beautiful woman in the world, more beautiful than all the beautiful actresses, like other Italians I have been in love with more or less, Virna Lisi, Monica Vitti, Sylva Koscina, Silvana Mangano, Anonella Lualdi, Rossana Podestà, Sophia Loren, Monica Bellucci, Claudia Cardinale, Gina Lollobrigida, Ornella Muti, Stefania Sandrelli. The film is worth seeing just for her. A little for Michele Placido and Jean Rochefort too. Alberto Lionello's acting is too exaggerated. The talented director Luigi Comencini also delighted me with other films such as: "The Scopone Game Original title: Lo scopone scientifico (1972) and "Misunderstood" Original title: Incompreso (Vita col figlio) (1966). The 10 stars are less for the film than for Laura Antonaz, known as Antonelli.

Luigi Comencini made a couple of mildly entertaining films: La boheme with Barbara Hendricks and L'ingorgo. Mostly the tone is bitter-sweet, the colour scheme soft, somewhat washed out and the dramatic level is low. So it is here, with Laura Antonelli (her body could revive a dead man, I sometimes think) and Alberto Lionello playing this silly charade of brother and sister. Michele Placido has some fun playing the chauffeur--and how long does it take him to get her out of her clothes so they can have sex? The plot twists and turns would take too long to recount, and I don't want to use spoilers anyway. The scenes with Karin Schubert and the ladies who obsess over D'Annunzio are really tiresome and should have been deleted.

Brilliant cast and unpredictable comedy - Seductive story line - Antonelli is at her best! - Michele Placido steals the show. An amazing story line that tells the secrets of two generations aristocratic and very eccentric family. The comedy is hysterical and very unamerican. Deals with human nature and the various sexual taboos that most american films would never dare touch. A young naive woman who has been raised by nuns in an orphanage realizes, on her wedding night, that she has married her long lost brother. Rather than create a huge scandal and lose the family inheritance they decide to keep the secret to themselves. The way the end being brother and sister is told through a wonderful flashback sequence. They cover up their secret by publicly taking a religious vow of chastity as a married couple. The young wife however although prude and conservative becomes very frustrated. Michele Placido plays the Chauffer that attempts to seduce her. A definite must see.

I have seen that movie more than 10 times and most certainly will see it again. It is funny,witty, and elegant. That movie is about a young Italian woman (the beginning of XX century) who was bred without any knowledge of sex life. She is full of stereotypes about how a lady should behave and she is about to be a wife. Hwever, it is not so simple for her (of course). Speaking about genre, Mio Dio, Come Sono Cadutto in Basso is a parody of saccharine sentimental movies about 'real ladies', who know nothing about men, marriage, sex and so on. The actors are brilliant, especially the heroine. The lines are witty. I do not agree with the word 'mediocre' about it. I assess it as excellent and most definitely recommend that movie as a very good comedy, especially if you like to laugh at stereotypical ladies of the beginning of XX century.

After the über-success of 1973's "Malizia", Laura Antonelli was a top star in Italy and considered as the new Sophia Loren. Yet her following movies – "Sessomatto", "Peccato Veniale", "Simona" – were average at best. Then came the 1974 "Mio Dio come sono caduta in basso", a definite highlight of her career in comedy and a small step towards the world of the auteur cinema. In fact, this works so well that she would resume similar roles in "L'innocente" and "Mogliamante".

Set between the early 1900s and 1920, we follow the life of the Sicilian noblewoman Eugenia. Raised in a convent, all of a sudden a marriage to the nutty Lord Raymondo is arranged. The wedding night turns into a disaster: Not just that Eugenia has no idea about sex beyond some mysterious temptation of the flesh, Raymondo receives an information saying that he and Eugenia are actually brothers and sisters! To prevent any damage for the house, Raymondo decides to keep it a secret. So they both play husband and wife. But already on the honeymoon trip to Paris, the beautiful girl is flirted at and gets seduced constantly, and soon, tormented and miserable, the temptation of the flesh becomes unbearable…

Let's face it: The general premise with the brother and the sister is hard to swallow. Even though the writers were well aware of that and explain it in detail: what a huge coincidence. But once it's taken for granted, this becomes an ingenious and unique vehicle for hilarious comedy. Eugenia, a complete newcomer to anything beyond God and the Bible, suddenly confronted with sensuality, intimacy, desire. She knows she wants it, she needs it, but she doesn't even understand it, she is not capable of it. She doesn't know why she should undress on the wedding night, she'll immediately faint when one says a certain word, she'll scream in horror when she sees a nude man for the first time (and will faint again, of course). While deeply caught in her churchy morale, she'll constantly cry "no!", "never!", "have mercy!", but at the same time you see her trembling lips, her thirsty eyes, her body pumping, actually saying "YES!!!". But the only man she feels the right to be with is her husband and that's her brother, so it's out of the question.

This may sound like Eugenia is hard to bear, but that is definitely not the case. It is actually an incredibly bitter, crushing situation, and any viewer with a heart must immediately fall for this so beautiful, yet so sad girl. And in spite of all that tragedy, the script manages to keep a high pace and is funny throughout. The situations are awkward, for instance, you'll see the longest, un-sexiest and funniest striptease scenes ever (including three times full frontal Laura nudity). She wants to commit suicide, but doesn't know how. She desperately seeks the help of her church, but the priests don't see her problem. Finally she'll subject to sexual adventures, enjoying it while it lasts, but being disgusted afterwards. In general, all the scenes with Eugenia and her driver are a true delight, especially when they enter the hayrick. Laura Antonelli is fantastic, just perfect for the part. In my opinion she always excels when being innocent, romantic, somewhat sad and mistreated, and not in her more flashy, alluring, sexy roles. The face of an angel, the body of a sinner. And she is very talented for well-written comedy.

And of course, Alberto Lionello as Raymondo is a great counterpart for Laura. A total buffoon, easy to influence, easy to distract, easy to inspire – a pain in the ass but funny as hell. He is also the script's entrance to provide snappy satire about Italian nationalism, imperialism and social conventions of the time. Everybody is obsessed with the works of Gabriele d'Annunzio, the (involuntary) forerunner of Italian fascism. These elements grow stronger in the last third of the movie, pushing the comedy more and more in the background. And at the same time, the subtle, underlying sad mood for our Eugenia grows stronger. This all culminates in the breakout of the World War.

Overall "Mio Dio come sono caduta in basso" tells a unique, tragicomic story with strong social criticism, along with hilarious comedy and an endlessly lovable main character. It is highly recommended for Laura Antonelli fans, but also for anybody looking for a great period dramedy with clear overweight of the comedy.