Der Mann mit dem goldenen Pinsel

In this German/Italian co production about hippies and art, the only drug in sight is paint. Archibaldo Spadeafora (Willi Colombini), infamous artistic anarchist, has never sold a painting in his life. His overweight pal Eros (Rainer Basedow), who has hippie tendencies, but is actually quite money-minded, has got other ideas. No wonder Archibaldo never gets any work done, he's usually got a bunch of half naked hippies partying in his loft. Not least of whom is the always in a state of semi-undress Edwige Fenech, usually found in his bed. Her character is called Gioia in Italy, Hong-Kong in Germany. There is also a landlady (Ellen Umlauf) complaining about 14 months overdue rent. Luckilly the hipsters can help artistic Archibaldo out by pressing their painted body against canvasses.

Eros brings a middle aged art critic (Luigi Bonos) into all of this, who sees nothing in the imitation Pollock art, but does pay the self proclaimed genius Archibaldo to get rid of his blonde floozy Luisa (Marcella Michelangeli). She promptly joins the Spadeafora Movement. Edwige gets a little bit jealous, but not much, as she's too busy trying to impress a slapstick prone Oliver Hardy lookalike from production company Santa Luisa (who only takes photographs with a bulky early version of the Polaroid camera). You never know what to expect in this trip anyway: Suddenly the instant hippie party is interrupted by a Doctor Zhivago spoof or Grit Freyberg singing "Komm nur in Meine Arme".

They finally get a sponsor to show Archibaldo's art at a gallery, where he pulls a memorable publicity stunt and makes sure to sell the newspapers himself the very next day. This sets Archibaldo and Eros' cunning plan to success in motion and soon his studio-a-go-go is being visited by all sorts of weird and artistic types, all trying to make some sort of statement (most of them too strange to put into words here). Even Isabella the landlady likes to visit them now. They celebrate their growing wealth by throwing a body-paint party, and end up inventing paint-ball as an art form during a very messy finale (where's the custard pies when you need them?)

8 out of 10

Light comedy set in the distant Hippie times.

A painter who fails to sell his paintings discovers that playing the gigolo makes more money and in this way an art exhibition with very explicit contents is financed.

This sex comedy is probably now most interesting for it featuring an early prominent role for the delectable cult actress Edwige Fenech. And for the benefit of film academics, it should be pointed out that she does spend a fair amount of screen time in a state of undress. The other main angle that this one has is that it is set in the counterculture, with hippies around every corner. The story - such as it is - has a struggling artist winding up being the focus of an art exhibition, after some clueless social elites mindlessly purchase one of his throwaway efforts, thinking it is high art.

This one doesn't quite qualify as an example of commedia sexy all'italiana, as despite being co-financed by Italians, it seems to be primarily a West German production. All that being said, it does display some of the usual facets of these films, with its abundant semi-nudity and low-brow humour. Its not that great as a film per se, with unfunny humour throughout, but it is worth a watch at least if you are partial to a dive into counterculture waters and enjoy a bit of Edwige (who doesn't?).

Not the best movie but a really interesting look at the counterculture of the late 60s/early 70s. This is a playful look at the sexual and absurd themes of the burgeoning artistic movements of the time, making fun of the state of mindlessness the hippie protest had devolved into, the rise and commodification of primitivism and spirituality in what was once a truly genuine movement. Of course this film isn't intellectual, and doesn't really touch on those subjects but knowing the cultural context, this can be a window with which to look into this era of time.