Monella - A Travessa

The older Brass become, the easier its films. It seems, as if it has the dark sides of the life completely beside, which it so urgently produced still with CALIGULA and SALON KITTY. Since SNACKBAR BUDAPEST he praises himself besides, completely on a connection of sexuality and brutality was to do without. MONELLA used up itself and leaves completely the summer-resorts comedy anyhow us curious view sharing at the life-merry plots, which the girl leads around its prudent engaged one. As in MIRANDA Brass catches here the Italian land life affectionately and looks again and again for original and bizarre perspectives, in order to regard its heroine in flagrant. Its occasional mix between 70's Softporno and contemporary hard core's what rends the Brass style fantastic, and it is amazing that its films beside the tide of purely porn productions can maintain ground still. But Brass goes around the production from eroticism, not around flesh banality. In addition he thinks out the most amazing situations. If the master should throw the towel, will somewhat be missing: Nobody can produce so loosely and at the same time as sensual as he can... And MONELLA is reliably one of the most beautiful examples to appreciate this style.

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.

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!

I was drawn to this film by the movie poster. I expected a comedy but did not find much to laugh about. Anna Ammirati is Lola, a young woman who is seen at the opening riding a bicycle while bent over and flashing her panties at the mostly appreciative bystanders. She is engaged to be married within a few days and wishes to lose her virginity before the wedding. Her partner refuses to engage in premarital coitus, leading to a few scenes of attempts by Lola to seduce the man. Anna is frequently nude and has an undeniable allure, but the film is just not funny. The sex scenes are surprisingly graphic for a supposedly mainstream movie. The acting is not at a high level and the only saving grace is an excellent soundtrack.

This was the first film I've ever seen by Brass, and honestly, it was quite disappointing. Instead of feeling empathy for the protagonist, I found myself growing increasingly frustrated with her erratic behavior and constant need for male attention. If the roles had been reversed-if she were a man and the baker a woman-the plot would likely spark serious debate over its problematic implications.

And the dishonesty-Lola says so many lies! It felt excessive and boring, with what seemed like an hour and a half of screen time focused almost entirely on Lola's rear. While he is technically the lead, the film fixates on her in a way that adds little to the narrative. If you're considering watching it, know that it's essentially two hours of shallow, soft-core storytelling. Personally, I regret the time I spent on it and would suggest investing those two hours into something more meaningful.