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Sandra (Carol Alt) has a rousing fight with her Italian husband, Paolo, and kicks him out of the house. They divorce. She seeks solace in the arms of a fellow doctor named Marcello while Paolo becomes involved with an accomplished pool player named Lisa (Brigitte Nielsen). Yet, time and again, even on vacation, Sandra and Paolo find they are still attracted to one another. The fighting continues, however. What's a couple to do?

This is one mixed-up movie. The plot is an indescribable slapdash concoction where Sandra and Paolo fight and make-up till the cows come home.

Of course, Alt and Nielsen are lovely to look at and the male leads are equally attractive. But, alas, the movie can hardly succeed on looks alone. Or can it? For those individuals who make a habit of searching for unknown romance films or for those who merely like to see beautiful people on the screen, this one is for you!

My review was written in July 1989 after watching the film on Prism video cassette.

Carol Alt makes a good impression toplining in "Bye Bye Baby", the first of her series of recent Italian films to be released theatrically in the U. S. Unfortunately, the romantic comedy is too corny to score a breakthrough.

Alt plays a Milanese doctor married to rich guy Luca Barbareschi, their marriage seemingly breaking up with a fight during the opening credits (as Marilyn Monroe sings "Bye Bye Baby" from "Gentlemen Prefer Blondes" on the tv).

After dallying romantically with friend of the family Alba Parietti, Barbareschi takes up with sexy billiards player Brigitte Nielsen, while Alt becomes involved with fellow doctor Jason Connery. Pic skips along at several-year intervals charting the couple's reconciliations and breakups, usually accompanied by rainstorms. Chief gimmick involves Barbareschi' hokey attempts, during a vacation at Club Med in Mauritius, to fix up Connery with Nielsen so that he can ride off into the sunset with his estranged wife.

Excellent handling of English dialog by the entire principal cast makes this way above par for an Italian production aiming at mid-Atlantic audiences. Unfortunately, that dialog is frequently pretentious or old-fashioned, missing the wit of its Hollywood forebears.

Cast can't be faulted, with Alt a glamorous and feisty heroine, matched by Barbareschi's shaggy dog appeal. Nielsen is far more natural in her acting and delivery than in her U. S. films, though she doesn't come across convincingly at the dramatic climax (when she finds out Barbareschi has been two-timing her). Connery, son of Diane Cilento and Sean Connery, adds to the idealized look aimed for by filmmaker Enrico Oldoini.

Lensing by Giuseppe Ruzzolini is quite pretty, with okay songs warbled by Phyllis Rhodes and Nielsen on the soundtrack.