Avoir vingt ans

Hippie-exploitation movies aren't my cup of tea, but I honestly thought this was worth an exception based on the names involved. Fernando Di Leo is the writer/director of some of the most brutally violent and uncompromising Poliziotesschi movies, Ray Lovelock starred in many classics in that same sub-genre, and Gloria Guida and Lilli Carati, well... they're both just incredibly hot. Alas, though, even in this film all the annoying trademarks of hippie flicks are inevitable. I'm referring to a senseless plot, passive lead characters, unbelievable dumb weirdos in the supportive cast, copious amounts of pointless dancing footage, and a lot of hinting at sex-sequences that never come.

Beautiful brunette Tina and her even more beautiful blond friend Lia are - to put it in their own words - young, hot, and very angry with the world. They travel to Rome, where they join a sort of commune and get in all sorts of trouble. That's pretty much the only synopsis I can give. There's one very enjoyable sequence, namely when the brunette goes out to sell encyclopedias (yes, really!) and drives a university professor insane by making him believe she gets aroused from hearing the word "culture". Everything else is beyond pathetic, like a roommate dressed up as a meditating Pierrot (Leopoldo Mastelloni), and another lunatic who's dressed like "Where's Waldo?" (Vincenzo Crocciti).

"To Be Twenty" is somewhat notorious for featuring an extremely sick and misogynistic climax that totally doesn't fit the overall tone of the film. True, it's very sick, but it doesn't make the film any better or more interesting whatsoever. I also don't understand what Di Leo meant to say with this climax. Does he feel the girls get what they deserve? Is the moral of the story that women are the weaker sex? Or maybe simply that it's too dangerous for women to be traveling alone? All three options are loathsome, in fact.

In Fernando Di Leo's 1978 crime drama "Avere vent'anni" (English: "To Be Twenty"), the director takes viewers on a gritty and unflinching exploration of Italy's criminal underworld. Set against the backdrop of Rome's seedy underbelly, the film follows the intertwining stories of two young women, Gloria (Gloria Guida) and Liliana (Lili Carati), as they navigate the treacherous world of prostitution, drugs, and exploitation.

Di Leo's directorial approach is both raw and unapologetic, pulling no punches in its portrayal of the harsh realities faced by the film's protagonists. The gritty cinematography and naturalistic acting style lend an air of authenticity to the proceedings, immersing the audience in the sordid world depicted on screen.

Gloria Guida's performance as the naive and vulnerable Gloria is a standout, capturing the character's descent into a life of desperation and exploitation with heartbreaking realism. Lili Carati, on the other hand, brings a sense of world-weariness to her portrayal of Liliana, a seasoned sex worker who has become hardened by the brutal realities of her profession.

While the film's subject matter is undoubtedly challenging and at times uncomfortable, Di Leo handles it with a deft touch, avoiding sensationalism and instead offering a nuanced and empathetic portrayal of the characters' struggles. The director's unflinching lens exposes the harsh truths of a society that often turns a blind eye to the exploitation of its most vulnerable members.

However, "Avere vent'anni" is not without its flaws. The pacing can feel uneven at times, and some of the narrative threads feel underdeveloped or left dangling. Additionally, the film's relentless bleakness can be a bit overwhelming, leaving little room for moments of levity or respite.

Despite its shortcomings, "Avere vent'anni" remains a powerful and thought-provoking exploration of the darker corners of Italian society. Di Leo's masterful direction, combined with the standout performances of Gloria Guida and Lili Carati, make this a film that lingers in the mind long after the credits roll.

In his 1978 film "Avere vent'anni" (To Be Twenty), director Fernando Di Leo attempts to capture the essence of youth, rebellion, and the complexities of growing up during a tumultuous era in Italy. Starring Gloria Guida and Lili Carati as two young women embarking on a journey of self-discovery, the film offers an intriguing blend of drama, comedy, and social commentary. However, despite its promising premise and some noteworthy performances, the movie ultimately falls short of delivering a truly memorable experience.

The film follows Lia (Gloria Guida) and Tina (Lili Carati) as they escape their restrictive lives in search of freedom and adventure. Their journey takes them from the countryside to the bustling city, where they encounter a variety of characters and situations that challenge their beliefs and force them to confront their own naivety. As they navigate their way through this new world, they must also grapple with issues such as sexuality, politics, and the ever-present threat of violence.

One of the film's strongest aspects is its depiction of the social and political climate of 1970s Italy. Di Leo does an excellent job of capturing the tension and unrest that permeated the country during this time, as well as the sense of disillusionment felt by many young people. The film's exploration of these themes adds a layer of depth and relevance that elevates it above a simple coming-of-age tale.

Another highlight of "Avere vent'anni" is the chemistry between Gloria Guida and Lili Carati. Their performances as Lia and Tina are both engaging and believable, effectively conveying the sense of excitement, confusion, and trepidation that comes with being on the cusp of adulthood. The bond between their characters is palpable, and their friendship serves as the emotional core of the film.

However, despite these strengths, "Avere vent'anni" suffers from a number of flaws that prevent it from reaching its full potential. One of the most glaring issues is the film's uneven tone, which oscillates between serious drama and slapstick comedy without ever finding a satisfying balance. This inconsistency can be jarring at times, and it often undermines the emotional impact of certain scenes.

Additionally, the movie's pacing can be sluggish, with some sequences feeling overly drawn out and others rushing through important plot points. This unevenness makes it difficult to fully invest in the story or the characters, and it contributes to a sense of disjointedness that permeates the film.

In conclusion, "Avere vent'anni" is a film with both commendable qualities and significant flaws. While its exploration of 1970s Italian society and the performances of Gloria Guida and Lili Carati are certainly noteworthy, the movie's uneven tone and pacing issues ultimately detract from its overall impact. Despite these shortcomings, however, the film remains an intriguing, if flawed, examination of youth, rebellion, and the search for identity during a tumultuous period in history.

I had seen this before but in the much altered English language version without the the awful denouement of this original cut. Some consider the difficult and explicitly violent end rather inappropriate and not in keeping with the rest of the film. But, Fernando Di Leo was a fine director who also wrote much of the films he made, including this one and most of his films had a strong political stance. His, Caliber 9 is a great crime thriller example and this is a very decent sexploitation one. The lovely Gloria Guida is a bit led astray by the character played by Lilli Carati, as the cheat, steal and generally behave obnoxiously in the name of freedom. I don't know how realistic the commune presented here was in Italy but it doesn't seem like any other I've seen depicted. Even Valerie Solanas' S.C.U.M manifesto gets quoted here in the name of feminism and it is about at this stage (when a film maker is introduced) that we begin to realise what a gigantic swipe the writer/director is taking at the counter culture and its opponents. Nobody comes out of this well and the brilliantly directed ending will haunt for some time.

There are two reasons to love this flick, well three reasons. Gloria Guida and Lili Carati, plus the big dude who's 'spose to be a spiritual adviser, who's commune is really a front for prostitution and crime. Very much a Steven Seagal lookalike, he provides most of the humour, through his lies and cool front, we almost think the film will take a dangerous turn. You really can't take this disjointed movie seriously even though it's spose to be. Gloria Guida is bloody sexy, and Lil Carati pack some nice goodies. They really love sex, and I love watching them have it. At the start, both are hitching a ride, where they soon wind up at the commune, where we're witness to some quite weird going ons. Carati really has nice, you know, and seems to be the better actress out of the two. Though we're not watching this adult flick (also known as To Be Twenty) for acting ability. An old geezer pharmacist, who needs the girls to show him he's a man again, is the best performer. The girls scarcely get by on stealing stuff, like sandwiches, while also using their beauty. Guida is offered a big proposal by a lesbian talk show host or something, after the commune is raided. If wanting to be serious, this movie has surely misfired on that factor. The more vivacious Carati, and friend, don't mind making out in front of a kneeling Buddhist like figure, face painted like a clown, wearing a forlorn expression that suggests a bad fate, awaits them. The beating track at the film's opening is mesmerizing. A bird watching pic is the purpose, this film mostly serves, thanks to our honeys, Guida, mainly.