One of the innumerable portmanteau films produced in Italy since the 1950s; many had been helmed by multiple directors and featured the most popular film stars of the time. Some other examples, however, were made by one director as a vehicle for a particular star's versatility (for instance, Nino Manfredi in Lina Wertmuller's LET'S TALK ABOUT MEN [1965]). This one, in fact, follows the latter trend and featured Giancarlo Giannini and Laura Antonelli in all (but one, in her case) nine segments. However, with the 70s, a lot of vulgarity had seeped into Italian comedy and, with a title like that, the film under review here certainly falls into this category - despite the respectable fare with which both Risi and Giannini were typically associated!
Anyway, quality varies a lot from one episode to the other: perhaps the best were Nos. 2 (concerning an overcrowded poor family, with the stars bursting into spontaneous insults every now and again), 3 (in which Giannini, married to the luscious Antonelli, actually prefers to offer sexual favors to old ladies!), 4 (Giannini is a playboy who's unstoppable in a mobile environment - trains, boats - but actually impotent in bed...so his wife proposes to use the elevator of their hotel, with tragic results!) and 8 (the longest segment and the one in which Antonelli doesn't appear, where a man goes to meet his brother - whom he hasn't seen in years - and falls for a transvestite hooker played by Alberto Lionello, with a surprising denouement). The other episodes aren't too bad, either (one, where Antonelli plays a nun[!], is spoken in gibberish and seems to have been inspired by A CLOCKWORK ORANGE [1971]) - but the repetition and, eventually, the film's considerable length becomes tiresome. Still, Armando Trovajoli's score (including its suggestive title track) is notable.
Anyway, quality varies a lot from one episode to the other: perhaps the best were Nos. 2 (concerning an overcrowded poor family, with the stars bursting into spontaneous insults every now and again), 3 (in which Giannini, married to the luscious Antonelli, actually prefers to offer sexual favors to old ladies!), 4 (Giannini is a playboy who's unstoppable in a mobile environment - trains, boats - but actually impotent in bed...so his wife proposes to use the elevator of their hotel, with tragic results!) and 8 (the longest segment and the one in which Antonelli doesn't appear, where a man goes to meet his brother - whom he hasn't seen in years - and falls for a transvestite hooker played by Alberto Lionello, with a surprising denouement). The other episodes aren't too bad, either (one, where Antonelli plays a nun[!], is spoken in gibberish and seems to have been inspired by A CLOCKWORK ORANGE [1971]) - but the repetition and, eventually, the film's considerable length becomes tiresome. Still, Armando Trovajoli's score (including its suggestive title track) is notable.