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Plot: good girls go to heaven, Valeria goes everywhere…

Silvio Amadio was a promising director that helmed two interesting giallos with Amuck (1972) and Death Smiles On A Murderer (1973) that saw him working with some of Italy's finest leading ladies Rosalba Neri, Barbara Bouchet and Ewa Aulin. Compared to them Gloria Guida was but a starlet, willing and able to shed fabric if required, of questionable acting talent. Obviously Amadio’s best days were truly well behind him and not even Guida’s ascent in the commedia sexy all’Italiana could pull him from the morass of mediocrity. Amadio would work with Guida on another three occassions with So Young, So Lovely, So Vicious... (1975), That Malicious Age (1975), and Il Medico... La Studentessa (1976) but suffice to say no amount of Guida in the buff can mask how routinous and daft these are. The Minor was the last hurrah of a director well above this kind of daft melodramatic swill. There’s only so many ways for Gloria Guida to undress until that grows stale too.

The Minor was only glorious Gloria's second feature and the follow-up to the rather innocuous Monika (1974). Guida was a year removed from Blue Jeans (1975), the feature that would launch her legendary derrière to Eurocult superstardom, and her role as everybody's favorite promiscuous Catholic schoolgirl or la liceale in Michele Massimo Tarantini’s La Liceale (1975). That Gloria couldn't really act was manifest in her debut outing but at least she's given something to work with here. In her scenes with veteran actor Corrado Pani he does most of the heavy lifting for her. Guida's non-acting is charming at first but tends to grow tedious the farther one progresses into her filmography. While it stands to reason that la Guida did more than just taking her clothes off in Blue Jeans (1975), and That Malicious Age (1975), it wouldn't be until To Be Twenty (1978) a few years later that she proved that she could actually act. It's true that Gloria Guida was handed terrible scripts banking heavily on her willingness to shed clothes, but even with a good screenplay she wasn't exactly an Edwige Fenech, Barbara Bouchet, or Femi Benussi. Let alone that she was able to match ubiquitous bedroom farce queen Laura Antonelli. 

To its credit at least The Minor attempts to do things a little differently in its opening 15 minutes. Just like Mario Imperoli’s Monika (1974) and Blue Jeans (1975), The Minor opens with a pair of legs in the shortest blue skirt imaginable. The skirt and the legs in them, of course, belong to everybody’s favorite raunchy comedy darling Gloria Guida. From there it takes a page from the Christina Lindberg romp Exponerad (1971) as she’s chased, surrounded and then raped by a gang of bikers. We learn that Guida is Valeria Sanna and she’s summoned to the doctor’s office for a medical check-up. Right when the doctor is about to get naughty with her, her class mates burst in, wearing colorful corsets, and Valeria punishes the medic with castration. By this time sister Angela (Nicoletta Amadio) has found the schoolgirls in the woods and Valeria attempts to corrupt the good sister with some sapphic seduction. In her next flight of fancy Valeria finds herself topless and crucified by evil men and women of the cloth until a band of schoolgirls and nuns come to her rescue. She’s brought before the court of the headmaster (Giulio Donnini) and is instructed to return home for the summer and spent time with her dysfunctional family.

Things take a turn towards well-charted and rather daft commedia sexy all’Italiana and melodramatic territory when Valeria returns home. Her absentee father (Marco Guglielmi) has an office affair with his secretary. Her young and attractive mother (Rosemary Dexter) has an affair with wealthy entrepreneur Carlo Savi (Giacomo Rossi Stuart, as Giacomo Rossi-Stuart) while their in-house maid Carlotta (Gabriella Lepori) is in a tryst with Valeria’s constantly horny brother Lorenzo (Luciano Roffi). Valeria herself is the object of everybody’s attention as she can’t sunbathe topless without being spied on from nearby boats and no less than twice do a gang of schoolboys break-and-enter into her house to watch her undress. One day while wandering the beach she makes her acquaintance with Spartaco (Corrado Pani), a middle-aged sculptor living in a shack. An unlikely bond develops between the two and soon Valeria finds herself torn between interest in boys of her own age and her growing affection towards the cultured and worldly social pariah Spartaco. In a scene towards the end Giacomo Rossi-Stuart’s Carlo has Valeria dressing up as a internment camp prisoner while he poses as a Nazi officer and tries to lure Valeria in bed. At that point her mother enters the room and she’s none too pleased with her lover. It is then that Valeria realizes that she’s no longer interested in the adolescent boys that cause her so much grief, but in old Spartaco instead.

There are far and few Gloria Guida commedia sexy all’Italiana that are truly mandatory. The Minor is too routine and by-the-numbers to warrant recommendation outside of the opening 15 minutes that have Gloria partaking in various of daydreams. The Minor offers ample opportunity for Guida to shine as she’s put in (and out of) various alluring garments; be it the schoolgirl outfit with a skimpiest blue skirt and diaphanous knee-high socks, miniscule see-through lingerie and the blue bikini that features in most of the beach scenes. Seeing Guida is always a delight but no amount of bare skin can mask just how hideously banal The Minor truly is. Guida never shied away from nudity and The Minor has enough of Gloria in the buff to satisfy anyone’s cravings, the plot however is as trite as many of these comedies were wont to be. Gloria Guida might not have been the most gifted of actresses, but her shapely derrière and her willingness to shed clothes allowed her a steady career in bawdy commedia sexy all’Italiana. Obviously not all of her comedies and melodramas were created equal, but at the very least most were enjoyable in the basest sense of the word.

Granted, Gloria Guida was no Barbara Bouchet, Femi Benussi or even Evelyn Kraft. If The Minor proves anything it is that even Guida was too good to waste on mediocre swill like this. The creativity that it manifests and the goodwill that it generates in the first 15 minutes is too easily squandered as The Minor is yet another coming-of-age melodrama that banks entirely on miss Guida’s willingness to generously disrobe in front of the camera. The screenplay by Piero Regnoli has nothing significant to add to the genre – and not even the on-screen romance between Guida and Corrado Pani was all that novel by this point. Guida had been romancing men old enough to be her father before and after in Mario Imperoli’s Monika (1974) and Blue Jeans (1975). That The Minor plays out almost exactly like the earlier Scandinavian Exponerad (1971) proves just how moot the entire exercise was, even if it’s livelier than its Swedish predecessor. The opening 15 minutes alone manifest more creativity than the remainder of the feature can ever be bothered to muster. The Minor is far from director Silvio Amadio’s best, but it more than signifies that his best days were very well behind him now. While Guida’s ass was at least as famous as Benussi’s, Femi possessed a kind of vibrant versatility that Gloria never quite got a hold of.

Whether one can stomach the average Gloria Guida commedia sexy all’Italiana is entirely dependent on one's tolerance for Benny Hill slapstick shenanigans from buffoons as Lino Banfi and Alvaro Vitali as well as the usual amount of tragedy that was obligatory in these features. Nobody in the right mind watches these things for the story and the reason why everybody is here is to see Gloria Guida in the buff. The Minor is slightly more creative than the usual fare that Guida found herself in, but it is never able to consolidate that initial and early promise. Each and every excuse is still good enough to have glorious Gloria undress but it hardly guarantees an engaging, let alone compelling experience. Thankfully Gloria would be soon become a superstar with her role as the luscious la liceale in Michele Massimo Tarantini’s La Liceale (1975) (released in North America as The Teasers) and the controversial satire To Be Twenty (1978) with Lilli Carati. The Minor isn’t necessarily terrible – but it’s not good enough to warrant recommendation either. It’s a commedia sexy all’Italiana on auto-pilot, and it shows.

Plot: hapless gardener is seduced by a mother and her underage daughter

Not all Gloria Guida comedies are created equal. Just like Fernando di Leo’s Blue Jeans (1975) before it That Malicious Age is another of these rather bland melodramatic and slightly tragic coming-of-age commedia sexy all’italiana exercises that are part and parcel in Guida’s early-to-mid seventies repertoire. Like any of the titles preceding it That Malicious Age has a proclivity towards melodrama but that doesn’t stop it from featuring more than a copious amount of Guida in advanced state of undress and a handful of risqué situations that it could easily classify as a regular soft erotic romp. Is it one of Gloria Guida’s best outings? That’s entirely dependent on what you come to these things for. What it does feature is enough Gloria Guida in the buff to satisfy anyone’s cravings.

Silvio Amadio was crazy about Gloria Guida. Perfectly understandable given how lovely la Guida was one of the prime Lolitas of the commedia sexy all’italiana. No, Amadio wasn’t just crazy about her. He was obsessed with her. He had filmed glorious Gloria earlier in the not entirely creatively stunted The Underage Girl (1974) and would do so again in So Young, So Lovely, So Vicious (1975). Unfortunately Guida didn’t reciprocitate his amorous feelings and Amadio descended into a self-destructive tailspin as a result. Gloria - whose shapely derrière was made a legend in its own right by Mario Imperoli’s Monika (1974) and Blue Jeans (1975) - was in a relationship with famed showman/crooner Johnny Dorelli and no on-set fling with a celebrated director was worth that risk. However Guida’s claim to cinematic immortality was to come in the form of Michele Massimo Tarantini’s La Liceale (1975) (released in North America as The Teasers) with Giuseppe Pambieri and a few years down the line with Fernando di Leo’s irreverent, subtextual and widely misunderstood satire To Be Twenty (1978) where la Guida was in company of fellow Lolita Lilli Carati, genre veteran Vittorio Caprioli and the late, great Ray Lovelock.

At behest of his high-strung (off-screen and uncredited) wife out-of-work painter Napoleone “Nino” Castellano (Nino Castelnuovo) takes up a gardening job at a summer mansion in the municipality of Portoferraio on the Mediterranean island of Elba on the Tuscan Archipelago. En route to the job interview Nino makes his acquaintance on a crowded bus with a stunning blue-eyed blonde who immediately starts flirting with him. Once at his destination he awkwardly bumbles his way through the job interview with the family matriarch (Anita Sanders), a bored socialite housewife, who instantly makes advances towards him. It is then that Nino finds out that the attractive girl he met on the bus earlier is his employer’s daughter Paola (Gloria Guida). Paola lives with her mother and absent stepfather and writer Adolfo (Andrea Aureli). As Nino settles into his new surroundings and starts to work around the house he is alternately pushed into compromising positions by the mother as well as the daughter. As the dance of seduction from mother and daughter alike intensifies things take a turn for the tragic for Nino when Paola spurs the advances of a Spanish fisherman (Mimmo Palmara) living in a nearby shack.

That Malicious Age is, of course, a tour de force for everybody’s favorite soon-to-be schoolgirl Gloria Guida. While rather demure compared to some of her other work That Malicious Age sees Anita Sanders in the habit of undressing in front of Nino for no particular reason. It has Guida’s Paola doing a sultry striptease in front of the window and her conveniently leaving the door to her room open whenever she undresses. A particularly suggestive scene has Paola giving Nino an implied footjob when the two of them are driving back from Portoferraio with the company of Paola’s blissfully unaware parents in the back. That Malicious Age concludes with its most memorable scene that sees Paola running around completely naked in Calenzano pinewoods. Since no Gloria Guida comedy or melodrama is complete without its share of tragedy her nude scene is a prelude to the movie’s downbeat conclusion. The entire thing is pervaded by tragedy as it truly is about the sheer dysfunctionality of the bourgeoisie. Nino finds himself martyred (his Christ pose when Paola falls into his arms drives the point home well enough) and ousted from the community after coming to nubile Paola’s rescue towards the very end.

The cast for That Malicious Age is an assortment of young new stars and respected elders in supporting roles. Nino Castelnuovo was a regular in comedy, drama and romance al through the sixties and seventies. His many credits include, among others, The Umbrellas Of Cherbourg (1964), Strip Nude For Your Killer (1975), La Collegiale (1975), Star Odyssey (1979), and The English Patient (1996). Anita Sanders was a former Swedish model of no visible talent that would retire from acting after That Malicious Age. Mimmo Palmara was a monument of the Golden Age of Italian cinema and a pillar in the peplum and spaghetti western genres. Palmera made appearances in, among many others, the Pietro Francisci pulp sword-and-sandal epic The Labors Of Hercules (1958) and its amiable sequel Hercules Unchained (1959), The Trojan Horse (1961), the Eurospy-fumetti curiosity Argoman, the Fantastic Superman (1967) and The Arena (1974).

Andrea Aureli was another monument of the Golden Age of Italian cinema and a regular in peplum, spaghetti western and poliziotteschi. His credits include diverse offerings as Paprika (1991), Adam and Eve Meet the Cannibals (1983), Lady Frankenstein (1971), Samoa, Queen of the Jungle (1968) and The Last Of the Vikings (1961). The most famous among the crew was director of photography Antonio Maccoppi who was a frequent collaborator of Amadio and lend his talents to Killer Nun (1979), Our Lady Of Lust (1972), So Young, So Lovely, So Vicious (1975), Nude For Satan (1974), The Underage Girl (1974), Secret Confessions in a Cloistered Convent (1972) and School of Erotic Enjoyment (1971) where Malisa Longo's breasts deserved a credit of their own.

Gloria Guida might not have been the cream of the crop of the commedia sexy all’Italiana as far as acting talent was concerned but her presence illuminated whatever production she found herself in. That Malicious Age isn’t especially funny or sizzling sexy although it never fails to find creative or far-fetched excuses to have Guida undress or lose articles of clothing. Nino Castelnuovo is an amiable leading man and his interactions with Anita Sanders and Gloria Guida are what make That Malicious Age work. It never aspires to the same creative heights as The Underage Girl (1974) and seems content to dwell in the same general sphere as Mario Imperoli’s Monika (1974) and Blue Jeans (1975). There are enough shots of la Guida’s legendary derrière and the third act introduction of Paola’s boyfriend Franco (Mario Garriba) is too little too late to be of any meaning. The Mimmo Palmara subplot feels like an afterthought and the bittersweet conclusion only seems there to have the expected level of tragedy that apparently no Gloria Guida comedy is complete without. It’s competent and enjoyable enough, but Guida had yet to manifest actual acting talent in Fernando di Leo’s To Be Twenty (1978).