Avere Vent'anni: To Be Twenty

Bad girls don't go to heaven.

Although Gloria Guida is widely recognized as a comedy sexploitation actress, there was this one time where she worked in a shocking sexploitation film with one of the crudest finales you could ever imagine. Oddly enough, fans & critics worldwide agree Avere Vent'anni (Being Twenty) is the best film of her extended filmography. Why is this odd? you may ask. Well, because this movie is the only one that is not a campy sex comedy (don't worry, there's plenty of sex & nudity in it) 

Co-starred by Lilli Carati, Avere Vent'anni AKA Being Twenty, AKA To Be Twenty is a 1978 Italian sexploitation film written and directed by Fernando Di Leo, and it tells the story of Lia (Gloria Guida) and Tina (Lilli  Carati) two beautiful girls who meet and realize that they have a lot in common. They are both young, beautiful and pissed off, so they decide to hitchhike their way to Rome to find Nazariota's commune, a place to stay for free and have all the sex they want... or so they think. Things don't go as they have planned though, and soon they become involved in prostitution, the police, an aggressive gang an one of the most unexpected and shocking finales celluloid can deliver. Being Twenty premiered in Italy in 1978, in West Germany in 1979, in Hong Kong in 1981 and it was shown at the Reggio Calabria Film Festival in 2006 in Italy. In addition it was released in DVD for the first time in 2005 as a part of the Il Cinema Secreto Italiano collection. Unfortunately, it was a Region 2 (PAL) release that is, as you can probably guess, currently out of print. The film was also released in VHS during the early 80's and most of the copies that made it outside of Europe ended up in a few selected cult rental stores. 

We don't need men to make a living, do we?

This cream tastes like jizz, You'll like it.

This movie is available in two versions. The English-language version is a badly-dubbed, waste-of-time sex comedy (not unlike a lot of the films co-lead Gloria Guida was starring in at the time). The Italian version is similarly light-hearted for much of its running time, but it does make some serious commentary on police corruption, the confused politics and ultimate hollowness of the 70's era counterculture, and the reactionary nature of male-dominated rural Italy. The ending is unforgettably brutal, inspired no doubt by films like "Last House on the Left" or "Late Night Trains". Like those films it was quite controversial, and really for the same ironic reason--because you really come to like the two lead characters and care what happens to them. This is no mean feat as Gloria Guida had no real acting talent beyond looking (really) good naked and the other lead, porno-starlet-to-be Lili Carati, was, if anything, even less talented.

Fernando Di Leo is a director that gets a lot of criticism; and most of it is unfair in my opinion as he's directed a lot of the best Italian crime movies of the seventies, as well as some other curious gems. To Be Twenty is something of a departure from his crime films and doesn't really fit into any of the main genre headings that were popular in seventies Italy; although at a stretch it could be described as a cross between a sex comedy and an exploitation flick. The film is slightly misguided and that is its main problem as on the one hand it's light and breezy, and on the other hand it actually tries to make some points...with mixed results. The plot focuses on two young girls who are both young, hot and angry that meet on a beach. They set off to hitch a lift together and so begins an odyssey as the pair try to create an existence for themselves in a world overridden with sex, perverts and drugs. They manage to find a place to stay but not everything goes to plan and before long, the girls find themselves living a nightmare.

Let's eat our pussies out.

Fucking you felt really good but I miss the taste of cum in my mouth.

Yeah, but tell me what is Avere Vent'anni about!!

 

Although the movies isn't near being a masterpice of the genre, the viewer ends up feeling sympathy for the two leads. Tina (Carati) who is the feisty and rebellious one and Lia (Guida) who is more sensible and innocent. The two ladies want to have fun and enjoy life so are looking for liberation and after stealing some food from a local supermarket, the set to find a commune for shelter. Whilst they are there all the men apart from the owner appear to be stoned and not capable of doing much especially when the owner says to the girls they can stay there rent free "if they sleep with the men". The only other woman at the commune is finding it a struggle to look after three babies.

Tina and Lia decide they don't want to have to sell themselves in order to stay at the commune and instead decide to sell encyclopedias  for the owner (yes, that was a thing in the 70's I presume) in order to continue staying there. They encounter a few strange people with Lia having another young woman who is lesbian makes advances towards her.

We suck your dick dry if you buy us an encyclopaedia.

Hippies: as portrayed by the Film Industry.

Things change at the commune when a film crew arrive and want to do a documentary on the people living there, only Tina and Lia talk to them and then we get to find out more about their backgrounds which were not pleasant as they grew up. Then they get mixed up within police corruption and the commune is searched for drugs from an apparent tip off which results in the girls being deported...

On a side note, Lilli Carati became a full time Italian porn star in the late 80s, sharing on screen, or should I say on bed time with none other than Rocco Siffredi himself. Unfortunately, she died in 2014 due to a brain tumor. Before she became an actress she was named "Miss Elegance" in 1974, thus starting a modeling career in Milan. Her acting career started in 1976 with La professoressa di scienze naturali The same year Gloria Guida became "Miss Teenage Italy" and starred her first two films La Ragazzina & La Minorenne.

Did you think you could get away with murder, you bitches?

Unexpectedly shocking finale.

Back to the movie, I can say the overall tone of the movie is one of the best things about it as the director excellently captures the hippy-style care free atmosphere through the two young girls. The film stars Gloria Guida and Lilli Carati; both of whom serve the movie well in the looks department, especially when their clothes come off, but don't exactly set the film on fire with great acting. However, luckily this is a film that doesn't need great acting to succeed. The plot flows well and the two girls provide likable characters that make the film fun to watch. It's not exactly plot heavy and the film basically follows the girls on their unplanned journey right up until we come to the tragic ending. The ending is actually rather strange as it doesn't fit the tone of the movie and actually looks more like something straight out of a roughie film. However, it is rather powerful and won't be forgotten in a hurry; and the reason for that is mostly down to the way we are made to like the characters throughout the film. Overall, this film probably won't be for everyone's taste; but if you like this sort of stuff, you could do worse. 

Gloria Guida in the nude.

Lilli Carati.

 Here's the censored made for TV edition of the film with the English dubbing:

And here's the theatrical version of the film in the original Italian language:

 

La Minorenne: The Under age Girl

Virginity is yester news

After an exhilarating and fulfilling research on Leonora Fani's filmography it's time to move on into other cult exploitation films from the 70's. To celebrate 8 years and 700K visits we decided to make a few changes in our blog. First, we changed our SPAM-Alternative name for something way more in tune with what we do. You see, the original name was nothing but a joke (it was my IRC chat's alternate nickname circa 2000-2003). SPAM stood for nothing until, I thought it had to mean something related to movies, so there you have it, the Stuff, Pubes & Movies Alternative dyslexic acronym was born. However, the term "Spam" is not one internet users dig a lot (for obvious reasons), many people would mark our posts in other social networks (Facebook, twitter, Instagram) as legit spam so we couldn't reach many audiences and got blocked constantly in several places. In addition, some people thought our website was about anti spam software thus, misunderstanding "spam-alternative" as the go to app to fight god awful bloody disgusting spammy messages and clickbait crap found everywhere these days. Despite all the confusion our name could cause, we still enjoyed quite a lot of visits and gain some followers too, so from today on, you're on the same cult film blog with a far more fitting name, enter Sleazy Pictures Muggy Archive, and don't forget to update your bookmarks!

Today's film in review is Silvio Amadio's La Minorenne AKA The Underage Girl a 1974 Italian sexploitation comedy that marks the debut of voluptuous blonde starlet Gloria Guida. At the same time this film was produced, she also starred in another Italian sexploitation comedy internationally known as Monika but originally titled La Ragazzina.

Gorgeous Gloria Guida.

Rosemary Dexter, Pakistani beauty.

Anyways, La Minorenne tells the story of young and virgin Valeria Sanna (Gloria Guida) a private Catholic boarding school student coming of age a tad earlier than expected. For strange reasons Valeria is constantly daydreaming she's losing her virginity in the most awkward ways. The movie opens with her first fantasy: walking home and being chased by a biker gang that eventually ends up raping her (nothing graphic here). Then, she wakes up in her bedroom, being assisted by one of the sisters from her school. However, as soon as she is recovered she has another daydreaming fantasy: being crucified and then rescued by her very lesbian classmates & sexy lingerie nuns. At this point the viewer is like "OK, I get it, this movie will play as short sex clips from different fantasies the girl has". And all of a sudden, Silvio Amadio (the director) changes pace  and the film becomes a typical Italian domestic melodrama film, which in a way, changes the film from going full sexploitation (the first fifteen minutes that is) to a commedia all'italiana adult comedy. 

When a movie is titled "the Underage Girl" what viewers are expecting is clearly a sleaze fest of gratuitous nudity & sex and yet, Silvio Amadio & Piero Regnoli's writing offer us an entertaining & refreshing sex comedy done with good taste. If there's one thing that separates Gloria Guida's career from Leonora Fani's is precisely that: directors, writers & producers with a taste for comedy instead of sleazy daring exploits that are worn out just after you've watched them for the first time. However, there are a lot of Italian sex comedy films, so if you're a newcomer you may want to do some research before you get started on the wrong foot.

Oh no! a biker gang!

Stop rubbing your pussies in the tree!!

While Gloria Guida's stunning voluptuous beauty may make it hard to believe she's an innocent coming of age teenage girl looking for love, the rest of the cast, specially those who play her family & friends will clearly enhance such belief because they're all a big bunch of horny peeping toms and adulterous relatives. For instance, the rather obscure Pakistani actress Rosemary Dexter plays Franca Sanna (Valeria's mother) an unhappy or shall I say unsatisfied married woman who's fucking other men not giving a shit about Massimo Sana (Marco Guglielmi) his cheating husband. And then, there's Lorenzo Sanna (Luciano Roffi), Valeria's horny brother, who's after a piece of ass from Carlotta (Gabriella Giorgelli), the family's maid, so how can we possibly blame it on poor Valeria's wet dreams? I mean, she lives with a family of sexual maniacs! No wonder why her parents sent her to a Catholic school for girls only.

Once school is out, Valeria returns to her family only to find his brother making money out of his friends via a peeping tom show where she's the unaware star! In addition, other men from town are lusting after Valeria's virgin pussy, while at the same time she's teasing some of them in order to find the right man to give away her precious hairy virginity.

I better wash off all the Nuns vaginal juices I came home with.

I wonder, will I try anal this summer?

To make matters even more unrealistic, Valeria's search for the right man, finally brings her to a local sculptor who doesn't even know her name! After they're done fucking, he actually asks Valeria "so, uhm, what's your name?" Reasons as to why she chose him instead of her previous teases (including an old man who's a friend of her parents that has a thing for disguising as a Nazi officer) are unclear, and that is to be expected in an Italian sex comedy film. La Minorenne isn't a masterfully written piece where the main story goes pristine from start to finish, au contraire, it's an 84 minute TV commercial introducing the world to the undeniable beauty Gloria Guida is. 

The story has it, Silvio Amadi was son into Gloria Guida (and who isn't?) he made this film only to portray her beauty and moderate acting skills. Later in 1975 he would work with Guida again in "Quella Eta' Maliziosa" and "Peccati di Gioventú". 

"Your mother didn't try cum until she got married"

So, you want me to suck your friends?

Unlike Leonora Fani, who had acting skills but lacked a good opportunity, Gloria Guida was certainly not as skilled in the acting department. She was kind of a limited one (her acting range could best be described as "scantily clad to completely nude"). To be fair, Guida still had her best roles ahead of her. This movie is certainly not a total waste of time, especially for Guida fans (i.e. heterosexual males everywhere), but aside from the surreal, bizarre fantasy scenes at he beginning it's pretty unremarkable.

As for the amount of gratuitous nudity this film has, I'd say it's a moderate amount of T & A compared to other films Guida has starred.  Being a 1974 film, the plot is very naive compared to what other film makers were making the same year. Other popular sexploitation films that year were, Big Bad Mama, Candy Stripe Nurses, Sex Play, Flesh Gordon and Immoral Tales. 

Look at those tits man!

You can cum on my tits if you like.

Although starred by Gloria Guida, La Minorenne features other sexploitation starlets, Rosemary Dexter & Gabriella Giorgelli. Dexter is known for her work in The Shoes of the Fisherman (1968), Jess Franco's Marquis de Sade's Justine (1969) & Eye in the Labyrinth (1972) On the other hand Giorgelli is known for her roles in The Organizer (1963), Federico Fellini's City of Women (1980) & a Tale of Love (1983). 

La Minorenne, never premiered outside Europe during the 70's. Obscure VHS tapes bootlegged later during the 80's allowed overseas enthusiasts to get a glimpse of Gloria Guida's debut. Fortunately for her (and for us too) most of her movies were (at least in Italy) released on DVD allowing her overseas fans to watch her most popular films in pristine quality.  Nevertheless, not every film featured English subtitles or English dubbing so, as I said before in other reviews, do yourself a favor and learn some Italian, it'll do you good and it'll help you enjoy a gigantic list of Italian sex comedies from the 70's. Unfortunately, most of these DVD editions have long gone out of print, and news on re releases are nowhere to be found but if you look hard enough you may find a few of her films among the many communities of movie fans that exist online. 

Gabriella Giorgelli.

Easy girl, easy, let that moist flow through your twat.

Overall an entertaining film despite its campiness. Recommended to Gloria Guida fans and Italian adult comedy films enthusiasts.

Here's the movie trailer:

And here's the movie (Italian language only)

Quella Eta' Maliziosa: That Malicious Age

All hail Gloria.

Quella Eta' Maliziosa, AKA That Malicious Age is a 1975 italian Sexploitation film directed by Silvio Amadio, and starred by blonde Italian bombshell Gloria Guida, Nino Castelnuovo and Anita Sanders. 1975 would be the most prolific year for Guida, filming not only one, but 4 films with her blonde pubes talent (Blue Jeans, Il Solco Di Pesca, Peccati Di Gioventu & today's film in review) Out of the 4 films she made in 1975, I'd say Quella Eta' Maliziosa is the most "everlasting" if you can tag a film with such word. Blue Jeans is definitely her "breakthrough" film but today's flick has a far more consistent storytelling, acting, score & photography. However, this time Gloria Guida is not the main character in the story (despite having her in all promo shots/posters) 

The movie is about a failed paint artist that goes by the name of Napoleone (nino Castelnuovo) Sick & tired of his marriage, he decides to call it quits and answers a request for a gardening position in the holiday house of a wealthy family in the far island of Elba.

Public Transportation System rules.

Peeping tom.

On the night of his first day, he sees Paola (Guida) getting undressed in a striptease fashion as she's dancing to some groovy 70's music. It is more than evident she knows he's seen her but nothing happens (yet)

Not long after the night scene, Napoleone finds a perverted fisherman (Mimmo Palmara) dancing and masturbating in front of Paola's window, finding this repulsive, Napoleone fights the man until Paola's mother (Sanders, her role has no name) stops the fight. Paola's mum takes the gardener to his room to find out why they were  fighting themselves outside her house. He explains everything with details and her reaction leads to Anita Sanders only nude scene on the film. 

Although the film features good acting provided by the more experienced actors (Castelnovo, Sanders & Palmara) the whole idea behind the film feels unfinished. Let's start by the film's name, why in the world would you call a movie "That Malicious Age" if only a couple of scenes sort of refer to it? The answer may be "this is an exploitation flick, don't all exploitation films do the same?" Yes, most of the exploitation flicks have misleading promo art. Despite the title's issue this is a good film of a man who wants to make a living out of his troubled marriage. The film is the story of Napoleone, a man who's seduced by both mother & daughter.

You fucking pig!

"I've got something for you to garden to"

"That Bush is going to be expensive ma'am"

Photography is definitely a good asset on this film. Filmed in its entirety in the beautiful Italian island of Elba, the film makers do not waste time when it comes to displaying the most appealing places the island features. The music, at times repetitive,  is in charge of composer Roberto Pregadio who delivers a groovy score that resembles the time it was written: the 70's!

When it comes to Gloria Guida,the blonde Italian starlet, her role suits her very well: little to say a lot to show. Like in most of her roles, she impersonates an oversexed blooming teenager who's looking for someone to have fun with. Since the movie is set in the summer time, young Paola has no school lessons to attend to, nevertheless she's studying English at Portoferraio (this allows Napoleone to drive her into town and get a little closer) Also, Paola has a boyfriend (seen in a family picnic scene) but she doesn't seem to care much about him since the arrival of the more experienced gardener.

"I'm melting with this fever, help me gardener"

"Yes, spread that cum on my tits"

As the film comes to its ending a plot twist is revealed: While Paola finally allows Napoleone to give her a good fuck in the woods they don't realize they were followed by the crazy fisherman. As soon as Napoleone goes after Paola's clothes (spread all over the woods) The filthy fisherman takes advantage of the situation and tries to rape the not so innocent Paola.  Unfortunately to him, Paola defends herself with a big rock, leaving him completely stunned. The slutty teen thinks she's killed him so as soon as she starts screaming, Napoleone returns to find her in complete shock. 

 

The outcome of the film will surprise you but it's nothing like a good Giallo, although it's been said somewhere that all you need to film a Giallo is to have at least one murder scene and in that case, Quella Eta' Maliziosa delivers. 

 

Doesn't the grass get in your ass?

"I'm a good girl, I swallowed your whole load"

"Get your hands off of me you dirty old man"

Overall, a movie you would only watch for enjoying Gloria Guida's magnificent body. however, she spends a lot more time nude in other films. If I were to recommend it, I'd say is a fairly entertainment journey of an innocent man who gets in the way of the wrong women at the wrong time, just don't expect a masterpiece because there are far greater Italian sexploitation flicks out there (check the labels on this blog) Guida somehow disappoints as she's not in the lead plus the lack of nude onscreen time this may not be the film you're looking for if you only care about her exploits. Nevertheless, if you want to have a good time with a cliched love story with a twist, then Quella Eta' Maliziosa is the film you're looking for.

 

Here's a fan made videoclip that sort of works as the film  trailer (there is no film trailer available online, if you find it let me know)

 

 

La Ragazzina: Monika

Gloria Guida's debut.

This is one of the first films of Gloria Guida, in fact it is her debut film! she was only nineteen years old at the time of the filming (1974) Unlike many speculators who claim Guida, like many other European bombshells began their nude career before they were legally entitled to. All of the boys at her school and men in her life lust after Monika who doesn’t want to give up her virginity until she meets the right suitor.

La Ragazzina, AKA Monika was co-written and directed by Mario Imperoli (he would next direct the Italian blockbuster Blue Jeans with Guida on his side once again) The screenplay for Monika was co-written by Arpad DeRiso who other notable screenplays include Hercules Against the Moon Men, Death Carries a Cane and Death Steps in the Dark. The score for Monika was composed by Nico Fidenco and it is reminiscent of the scores that he composed for the Black Emanuelle franchise that starred black beauty Laura Gemser. The Italian language title for Monika is “La Ragazzina”, which translates into “The teenie girl”.

So, what is Monika about?

The plot revolves around a young woman named Monika who is still a virgin as she approaches her sixteenth birthday(gee, first world problems!). Her grab happy boyfriend Leo time and again tries to pressure her into sleeping with him. Monika doesn’t want to give up her virginity to just anyone and she is willing to wait until she finds someone who "connects" with her on a more emotional level. Along the way the plot introduces two more suitors for Monika, her art teacher and one of her fathers’ business partners. It is with the art teacher that she finds the strongest connection, while her fathers’ business partner obsession far outgrows her residual interest in him.

Pimp &  Boyfriend.

Sunbathing.

The plot is clearly molded to exploit its star Gloria Guida in her first starring role and her more than abundant sex appeal. Even though Ornella Muti is the most prominent sex symbol to emerge out of Italian cinema in the 1970’s. Gloria Guida in many ways is on par with her popularity wise, at least in Italy. Some of Gloria Guida’s more notable films include, So Young, So Lovely, So Vicious…, The Teasers, To Be Twenty and Blue Jeans (in which she would re-team with director Mario Imperoli).

Director Mario Imperoli doesn’t waste a single chance to showcase his star Gloria Guida. Whether he has her running in slow motion on the beach or posing nude in front of the mirror where the camera like the men in the film fixates on Monika’s every move. Besides Gloria Guida’s superb performance as the naive Monika, other performances of note include Gianluigi Chirizzi (Burial Ground: The Nights of Terror) in the role of Monika’s boyfriend Leo as sleazy character who also has a side job as a pimp and Paolo Carlini in the role of Massimo Moroni (Yes Moroni, like the mobster from Batman), one of her fathers’ business partners. Ultimately Monika works as well as it does because of the strong presence of its star Gloria Guida.

Tender flesh.

Am I sexy enough?

Gloria Guida, like many Italian starlets from the 70's has somehow been a "hard to find" talent outside Europe. Finding her films in official releases (DVD, Blu-Ray, you name it) it's really hard for those not living in the old continent. As a matter of fact, my reviews of her films (along with Ornella Muti's) are all based on dated European releases (the VHS kind or bootleg DVDs) since the NTSC versus PAL rule still pisses some video players off, plus awful dubbing, awful out of synch subtitles and no more cult video rental stores, God! cut me some slack, will you?

Anyways, the pain described in the previous paragraph it's not La Ragazzina's case since it had its official American release around 2009.

Italian Beauty.

In a nutshell, if you've never seen Gloria Guida in action, she was one of the most ubiquitous of an incredible crop of Italian actresses who came of age in the 1970's Golden Era of Italian exploitation film (including Ornella Muti, Jenny Tamburi, Eleanora Giorgi, Lili Karati and dozens of others who would never get kicked out of bed for eating soda crackers). She kind of resembled a young Brigitte Bardot or Barbara Bouchet. And I don't think she ever met a film role she wasn't willing to take all her clothes off for. This is not a very good movie (and it might not be much better, and could even be worse, with subtitles), but god knows I've suffered through much worse movies for the sake of taking another gander at the gorgeous GG. 

Here's a public domain version for your viewing pleasure, courtesy of YouTube:

Blue Jeans

Forget other girls! demand Italian beauty only!

The more you watch Italian movies, the more you realize Italy is a synonym for genius. Whenever, a newcomer into the world of cult cinema states the exploitation genre  best examples come from the USA it is our duty to remind him/her how wrong that statement is. Actually, the USA ripped off of many Italian films from many genres. For example, the horror genre with serial killers is actuallly an idea developed by the Italians long before the Americans decided to "americanize" the Italian Giallo genre. Nevertheless, the reason that gathers us today here is to continue reviewing the magnificent and prolific career of another Italian 70's diva: Gloria Guida. If the number one beauty of Italy and the whole world is Ornella Muti then, number two bombshell in the list is definitely Guida, the blue-eyed blonde. 

Last year we reviewed one of her films, namely 1979's La liceale, il diavolo e l'acquasanta. Now it's time to continue with perhaps, her most famous film and one of top Italian blockbusters of all times: Blue Jeans.  The film grossed about 310 millions lire at the Italian box office. The film critic Vittorio Spiga referred to the film as "an adult comic book that flows into a real exaltation of the remarkable ass of Gloria Guida". 

"$21.000 Lire and you can have me any way you want"

Thinking 'bout sex?

A key work in Gloria Guida's elusive filmography is her fourth feature, Blue Jeans, released in Europe just about a year after Guida had been crowned Miss Teen Italy. Guida was just 18 when she shot the admittedly uneven, but mildly entertaining, Blue Jeans with director Mario Imperoli, the filmmaker who had introduced her to film audiences with the very popular La Ragazzina, AKA Monika in 1974. Italian audiences had responded immediately to Imperoli's sexy blonde discovery and by the time she reunited with the director again for Blue Jeans, Guida already had another two hits on her resume (Silvio Amadio's La minorenne and Giuliano Biagetti's La novizia).. 

Absolutely perfect for the sexy comedies that Italians were flocking to throughout the seventies, Gloria Guida was one of the most charming actors that came to fame in the commedia erotica all'italiana genre. Standing in clear contrast to her darkly sensual Italian peers, Guida was all sex and sunshine and she had the absolute perfect face, figure and openness for the Sex Comedies that she became famous for. Guida was also very funny and had a wonderfully sweet quality about her that gave even her more explicit films an oddly innocent feel, and a director who absolutely recognized this special quality was Mario Imperoli.

And the award for Best Title Screen Ever goes to...

Bombshells hitchhiking!

Gorgeous Gloria Guida plays a teenage streetwalker nicknamed "Blue Jeans" because of the short-shorts(what's left of 'em anyway, and no Daisy Duke didn't come up with them at all)that she always wears. After she is picked up on prostitution charge by the police, she claims to be the illegitimate daughter of Dr. Carlo Anselmi (Paolo Carlini) a wealthy local artist--even though he denies it--and is sent to live with him until he is able to legally disavow his relationship to her. Much (alleged)hilarity ensues as she wanders around the house naked, antagonizes his live-in girlfriend (Marisa, played by annie Carol Edel), and disrupts his society parties. Nevertheless, the plot twist, changes the mood of the film in its entirety, as we find out  Blue Jeans owns her pimp money and that he's followed her and planned to kill Dr. Anselmi so that they can inherit his money.

Blue Jeans is a slight film that is only fitfully funny but it is never less than compulsively watchable thanks to Guida, who appears in nearly every scene of the film (that she easily steals from all of her more experienced costars including Paolo Carlini as her bumbling father). Featuring a delightfully breezy score by the legendary Nico Fidenco and some truly gorgeous color photography by future Dario Argento cinematographer Romano Albani, Blue Jeans is finally mostly just a showcase for Guida and her considerable physical charms (Imperoli all but abandons his already thin narrative throughout the film with fetish-like closeups of Guida's long muscular legs and shapely behind). If the film is perhaps more memorable than it should be it is probably due to the perverse and violent final act that seems taken from another work entirely.

Nice to meet you daughter.

Let's go shopping daddy!

When his camera isn't ogling Gloria Guida's astonishing physique, Imperoli's direction is workmanlike and not especially stylish. Compared to say the incredible satiric comedies that the great Salvatore Samperi was making with Laura Antonelli, such as the masterful Malicious (1973), Blue Jeans feels fairly weak indeed. Perhaps the big tragedy of Gloria Guida's career is that most of the films she did make throughout the seventies survived mostly due to her presence alone, with a few notable exceptions like Fernando Di Leo's haunting To Be Twenty (1978). Still, this does not mean Blue Jeans is not worth watching. The film is the altered reality every man wish he lived on: Easy horny teens waiting for a good piece of dick, no pun intended.

Like most of her films, Blue Jeans has never been released on home video in the United States and finding a copy can be very harsh. Nevertheless, internet has proven with time to be an excellent distributor for many unreleased gems like this one. Finding the appropriate subtitles may also take some time to master but patience will get you to the right places. Guida is definitely a cult-figure in need of a larger audience, if only she could find a major new following if some enterprising company would invest in her elusive filmography. Until then, fan subbed versions of some of her films, like Blue Jeans, can be found on the web while a few have been granted Region 1 release (with special mention going to To be Twenty and Monika). For those with all-region players, with no need for English subs or dubs, a number more are available on European disc.

Can't you see I'm only 17?

My oh my!

Overall, Blue Jeans is a very entertaining Sexploitation Commedia All'Iataliana. Gloria Guida continued to work in films alike until her career was no longer an object of interest. The amount of nudity on this film is not that exploitative, every nude scene is connected to the plot, just don't expect high standards of acting here, Guida is gorgeous but she was never nearly as good as Ornella Muti was in the acting department. Her beauty is stunning, no doubt about it but it's a pity that most of her films revolve around her body assets rather than acting, good storytelling or creativity. Still, she did manage to star a few good films. All of those films will be reviewed here as soon as possible. 

One final commentary, If you want the queen of Italian sexploitation, look no further!

Here's the official German trailer:




And since, we can't have it on DVD or Blu Ray in America, here's the real deal (Italian only, sorry)