Skip to content

Plot: restoration artist takes in long-lost daughter. Drama and hilarity ensue…

Gloria Guida - Miss Teen Italy, 1974

Even though Blue Jeans is one of the earlier entries in Gloria Guida’s extensive, and often lowbrow, tour of duty as one of the prime Lolitas - together with Lilli Carati, and Jenny Tamburi – in the Golden Age of commedia sexy all’italiana genre it is not a typical example of the form. Guida carved out a respectable carrière thanks to her fantastic derrière. Former Miss Teen Italy, 1974 Gloria Guida was the star of a series of raunchy comedies, she wouldn't truly establish herself until her turn in Fernando di Leo’s To Be Twenty (1978). The year before la Guida played her soon-to-be signature liceale, or the Catholic school girl, in Silvio Amadio's La Minorenne (1974). 1975's La Liceale (1975) (released in North America as The Teasers) set Guida on the way to commedia sexy all’italiana superstardom and her liceale would figure into three sequels over the two-year period of 1978/79. Blue Jeans is cut from a different cloth and resembles her That Malicious Age (1975) more than anything else. That Malicious Age (1975) put glorious Gloria in advanced state of undress opposite of Nino Castelnuovo, Anita Sanders and peplum stars Andrea Aureli and Mimmo Palmara.

Like many of Guida's comedies Blue Jeans tends to be more on the melodramatic side than the outright comedic, although that does occasionally happen too. No matter what the circumstance what Guida's comedies did tend to feature was plenty of incidental - and situational nudity - and Blue Jeans is no different. Blue Jeans reunites slender-bodied Guida with Monika (1974) (released domestically as La Ragazzina) director Mario Imperoli, and co-stars Paolo Carlini, and Gian Luigi Chirizzi. Just like Monika is Blue Jeans at its best when it combines melodrama and comedy with the often very naked hijinks of Gloria Guida. As Il Resto del Carlin film critic Vittorio Spiga accurately observed Blue Jeans is "an adult comic book that flows into a real exaltation of the remarkable ass of Gloria Guida".

Wasting not a moment on illustrating exactly why the movie is called Blue Jeans the viewer is treated to a credit montage of the camera following and hovering around a pair of very lowcut Blue Jeans. At least Imperoli got his money’s worth out of Gloria Guida who the pair of jeans, and the glorious richly-formed posterior in them, belongs to. Blue Jeans is the kind of girl that gets catcalled, felt up in public places, and that makes drivers stare uncontrollably causing road collisions on a daily basis. Busted on a prostitution charge for soliciting a middle-aged client (Marco Tulli) Blue Jeans reveals that her name is Daniela Anselmi (Gloria Guida), and that she’s the illegitimate daughter of Latina, Lazio artist, Dr. Carlo Anselmi (Paolo Carlini). The authorities are willing to drop the charge if Carlo is prepared act as Daniela’s legal guardian until she reaches majority. Carlo dutifully agrees to his newfound parental duties, much to the chagrin of his live-in girlfriend Marisa (Annie Carol Edel, as Annie Karol Edel), jealous of the attention the young girl is getting. As Carlo attempts to teach Blue Jeans some culture, modesty, and, well, manners; her hormonally-charged pranks, and proclivity to run around naked, cause Carlo to grow affectionate of the stray. That is until Daniela’s squalid boyfriend Sergio Prandi (Gian Luigi Chirizzi) shows up, and things take a turn for the fatal. At least British comedy Venus (2006) with the late Peter O'Toole and Jodie Whittaker was so kind to lift most of its plot from an old Italian melodrama-comedy that few remember.

The eleventh hour introduction of Daniela’s lecherous boyfriend Sergio Prandi (Gian Luigi Chirizzi) is one of the screenplay's weaker moments. His presence disturbs the growing bond between Daniela and her estranged father. Chirizzi is a typical Italian prettyboy, and he’s obviously no David Hess, nor a Giovanni Lombardo Radice. While the role aims for a sociopathic loner, Chirizzi is only able to make Leo mildly annoying at worst. Prandi is about as threatening, or non-threatening rather, as the teen boys Daniela pulls a prank on during a socialite party at the opulent castle Moroni is restoring. A great source of comedy - outside of Guida’s tendency to turn up naked at the most inopportune moments - are the house servants that help Moroni in the day-to-day operations of the restoration. One of the servants is so smitten with Moroni that she follows his orders to the letter, even the scolding, slightly demeaning ones that Carlo throws her way in an offhand manner when he’s agitated. Other times they ensure that Carlo always has his orange juice.

It’s not exactly the sort of thing you’d expect of writer Piero Regnoli, a prolific scribe who started in the business in 1952 and who caught his first big break with Mario Bava’s I Vampiri (1957). Regnoli was the go-to man for commedia sexy all’italiana, sceneggiata, poliziotteschi, spaghetti westerns, and post-apocalyptic actioners, but he also signed off on some of the most horrid screenplays this side of Rossella Drudi and Claudio Fragasso when the Italian horror industry all but collapsed in the late 80s. For the most part the screenplay is a reworking of Imperoli’s earlier Monika (1974) and Regnoli might, or might not, be responsible for its third act murder scheme. The sudden and jarring shift in tone, and Daniela’s 180° behavioral change that results from it when Prandi appears, are the only strikes against the otherwise lighthearted Blue Jeans. What makes the tonal shift so damning is that prior to Prandi’s entrance Daniela had been a sexually promiscuous exhibitionist and her turning docile and submissive in the face of her socially non-adapted lover doesn’t quite gel with anything and everything prior. Her precociousness, lust for life and Mediterranean temperament are completely negated once Prandi makes his entrance as Moroni’s supposedly-but-not-really mute apprentice.

Returning from Monika (1974) are Paolo Carlini, Gian Luigi Chirizzi, and in a much smaller role, Mario di Girolamo. Annie Carol Edel had been a reliable supporting actress in comedies, peplum, and dramas of various stripe. Blue Jeans arrived towards her fin de carrière. Before and after Blue Jeans Edel was in films from Antonio Margheriti, Bitto Albertini, and Umberto Lenzi, but also in productions from legendary hacks as Bruno Mattei, Joe D’Amato, and Alfonso Brescia. Edel partially redeemed herself with Salomè (1986), an art house adaptation of an Oscar Wilde play chronicling the Biblical tale of King Herod and Princess Salomé. Paolo Carlini and Gloria Guida appear to be the primary draw as far as cast is concerned. Guida for being the pretty new girl, and Carlini was a respected character actor.

The obvious reason to see Blue Jeans is Blue Jeans herself, Gloria Guida. Imperoli gets a lot of mileage out of Guida, who was completely comfortable shedding clothes whenever the script required, and he shoots her from every flattering angle. Whether it are the bookends where Imperoli’s camera focuses on Guida’s ample behind, the pranks Blue Jeans pulls at a socialite party in her new home, or the tricks she pulls on the dim-witted housekeeping staff at the castle – all of it usually involves the loss of clothing. A big draw for Blue Jeans is the extensive nudity on account of Gloria Guida. Guida, who compensates her lack in chest by her long legs and ample behind, was never the greatest, or most gifted, of the Lolita comedy actresses – but her lack of acting talent didn’t impede on her apparent ability to build an extensive career around taking her clothes off on a semi-regular basis. None of the nudity in Blue Jeans is crass and/or debasing as Mario Imperoli was a craftsman, first and foremost, and not an ordinary smut peddler as certain other Italian directors of dubious merit. Blue Jeans is rife with images of Gloria Guida in the buff, but none of it is ever vulgar as it would have been in lesser hands.

Proving that a modest budget and a simple premise - or more likely the constant presence of Gloria Guida’s fantastic ass - put more butts in seats than her acting talent Blue Jeans grossed a total of around 310 million lire at the Italian box office. None too shabby for an unassuming little genre exercise low on plot and who’s entire raison d'être seemed to be Gloria Guida in various stages of undress. What probably also helped was that Mario Imperoli knew that it took more than pointing the camera at a beautiful girl in, or preferably out, of whatever little fabric she was wearing. Imperoli’s direction is workmanlike, and just like Gloria Guida still manifested no discernable acting talent beyond taking her clothes off, Imperoli compensated in competence what he lacked in individual style. All of which doesn’t stop Blue Jeans from being a very enjoyable romp, especially prior to the clumsy third act revelations and hasty conclusion. It wouldn’t be until Fernando di Leo’s subtextual tour de force To Be Twenty (1978) that Gloria Guida showed some depth in her acting, probably due to the presence of fellow Lolita Lilli Carati.

Plot: bored socialites screw themselves, and others, over on opulent yacht

The abolition of the Hays Code in 1968 finally allowed American filmmakers to capitalize on the Sexual Revolution that was taking place in various places around the world. No longer restricted by its stifling regulations and free of its rigorous censoring directors could finally push the envelope in a more liberated fashion. In parallel movement erotic cinema surged in Canada thanks to Danielle Ouimet and her fellow stars of Maplesyrup porn (which is something of a misnomer as many productions of the cycle were soft erotic movies by and large) and the commedia sexy all'italiana turning up the heat in view of the more looser societal norms.

Leading the charge in terms of sexual liberation and gratuitous display of skin was Top Sensation (released in North America as The Seducers through Jerry Gross' Cinemation Industries), a thriller mostly remembered for being the only thriller, or early giallo, to pair together Rosalba Neri and Edwige Fenech, two of Italy's most desirable exploitation starlets. In a number of ways Top Sensation laid the groundwork for Nico Mastorakis’ deeply cynical Hellenic proto-slasher Island Of Death (1976). Dismissed on release as an exercise in pulp and tedium Top Sensation has since garnered the reputation of something of a cult favorite. Its formula proved strong enough that it even spawned one or two imitations of it own. Not bad for a movie about a bunch of unlikeable, bored rich people.

Ottavio Alessi had been second unit directing in various capacity since 1940, so it seems only logical that he would eventually ascent to the director’s chair to helm his own features. His only directing credit prior to Top Sensation was the Totò comedy What Ever Happened to Baby Totò? (1964). Handling second unit direction for the production was Rosalba Neri, who had over a decade of experience in front of the camera by that point. Based upon his earlier writing, and the decadence that would give Top Sensation its repute, Alessi was hired to co-write the screenplay for The Snake God (1970) with Nadia Cassini and to later provide the story for the Joe D’Amato directed Black Emanuelle installments Emanuelle Nera: Orient Reportage (1976), and Emanuelle in America (1977).

Top Sensation takes the central premise of Roman Polanski’s Knife in the Water (1962), one part of Michelangelo Antonioni’s L’Avventura (1960), and spices it up with a healthy dose of Mediterreanean eroticism. Directed by screenwriter Ottavio Alessi Top Sensation works despite its minuscule budget and solitary location. In fact Top Sensation spawned imitations of its own with Giuliano Biagetti’s Interrabang (1969), with Haydée Politoff, and Ruggero Deodato’s Waves Of Lust (1975) with Deodato’s wife-to-be Silvia Dionisio in what looked like a constant state of undress. Not that Top Sensation is in any way lacking in terms of bare skin and nudity on display. Capitalizing on the nascent pin-up culture Top Sensation puts its two leading ladies in the skimpiest of bikinis, and more often than not, out of them.

Central to the plot of Top Sensation is middle-aged oil heiress Mudy (Maud Belleroche, as Maud De Belleroche), a jetset socialite, who has taken her mentally challenged, socially stunted son Tony (Ruggero Miti) on a boating trip on her yacht. Tony lives isolated in his bunk and enjoys nothing more than playing with his toy cars, and starting the occassional fire. Invited along for the trip are the stunning Paola (Rosalba Neri) and Aldo (Maurizio Bonuglia), a young couple whose frolicking she hopes will spark the flame of sexual desire in Tony. Also on the yacht is Ulla (Edwige Fenech), a high-class escort, to ensure that Tony's first sexual experience is worth treasuring. To its credit the screenplay keeps how Mudy came into her fortune - whether she amassed it herself, or plainly married into it - rather vague. Circling around Mudy like vultures are Paola and Aldo, an upper-class gold-digging young couple, who take turns seducing the seemingly always cranky Mudy. Ulla partakes in the scheme but for entirely different reasons than Paola and Aldo. When the boat experiences technical problems near an island, and Tony takes a liking to naive, world-strange goat herder Beba (Eva Thulin, as Ewa Thulin) things go haywire when her husband Andro (Salvatore Puntillo) gets wind of the situation…

Rosalba Neri and Edwige Fenech spent most of their screentime in the skimpiest of bikinis, and about as much time out of them. Both women are highly sexual, and completely sexualized. In its defense at least Top Sensation makes no qualms or excuses about the fact. Early on Paola and Ulla notice Andro spying on them from the foliage. “God, I wish he'd move into the open more,” Ulla muses, “he ought to be hard by now” Paola notes in a near-porn exchange. The two girls lure him out by taking their tops off and oiling each other on the deck with sunscreen. When the boat first experiences trouble, Tony disappears and is seen on the nearest island. Aldo and Ulla volunteer to search the shore and return the young boy. At one point Ulla, wearing nothing more than a captain’s hat and a white shirt, runs into a wandering goat nearby Beba’s farm, something which greatly excites her. Aroused by the farm animal she spills out her left breast - which the goat happily indulges in suckling with reckless abandon - as the goat makes its way down she allows herself to be orally pleasured by the animal. Aldo, enthused at the shore-bound vista, wastes no time in documenting the salacious happening with a photocamera he brought along for the trip. Later on the boat Paola and Ulla ravage Beba by feeding her alcohol, and the two are only stopped when Mudy barges in on the lower deck.

The stars of Top Sensation are Rosalba Neri, at the height of desirability at 31, and Edwige Fenech, a freshfaced 21 year old model-turned-actress from France. Neri was regular in peplum, spaghetti western, Eurospy adventures and comedies throughout most of the sixties. Rosalba had also partaken in several Jess Franco productions by that point, back when doing so wasn't considered a surefire way to either sabotage, or end, one's career in the cinematic arts. Top Sensation marked Neri's trajectory towards more risqué productions. Not only did she direct second unit but also ensured that she looks amazing for the entirety of the production. In the seventies Neri would figure into, among others, The Beast Kills In Cold Blood (1971), Lady Frankenstein (1971), The French Sex Murders (1972) (an all-star giallo with Anita Ekberg, Barbara Bouchet and Evelyne Kraft), and The Devil's Wedding Night (1973). Even though Neri was anywhere and everywhere in the 1970s she never truly established herself as a leading lady, much in the same way as her contemporaries Paola Tedesco and Rita Calderoni. In short, Top Sensation is sensational and quintessential viewing for Rosalba Neri completists/fanatics.

In more ways than one Top Sensation was a career-defining performance from the nubile Edwige Fenech. Fenech owned much, if not all, of her acting career to director Sergio Martino. After Edwige's appearance in Mario Bava’s 5 Dolls For An August Moon (1970) Martino directed her in The Strange Vice Of Mrs. Wardh (1971) and All Colors Of the Dark (1972). The only thing of note that Fenech had done prior to Top Sensation was the amiable adventure Samao, Queen Of the Jungle (1968) along with that other famous comedic star of the 1970s, Femi Benussi. Thanks to her work in giallo with Sergio Martino, Fenech would establish herself as the royalty of domestic exploitation. In the following decade Edwige would make her return to the commedia sexy all'italiana where she originally found her footing. Like her co-star Rosalba Neri, Edwige Fenech doesn't shy from the near-constant or partial nudity that her role requires. She seems to be having a blast.

Top Sensation was the only acting credit for Maud Belleroche and the screen debut for Eva Thulin whose career lasted a brief two years and encompasses a total of four movies. Maud de Belleroche is a Baroness from the exclusive 17th arrondissement of Paris, France who gained some repute and infamy as a writer, journalist and sympathizer to the Collaboration. As a student she was the mistress of Jean Luchaire and eventually followed her second husband Georges Guilbaud in exile to Germany, Italy, Spain and Argentina. De Belleroche was a decorated sportswoman (French junior ice skating champion, French record-holder scuba-diving) and gifted orator for Amis de Versailles, Amis des Châteaux de la Loire, Alliance Française, Connaissance du monde. She published various book under the alias Sacquard de Belleroche and won the Prix ​​Broquette-Gonin of literature of the French Academy in 1963 for Five Characters in search of Emperor. Her memoire The Ordinatrice from 1968 was so popular that it warranted a follow-up a few years down the line. Ruggero Miti - whose acting career lasted from 1966 to 1972, and whose only other credit of note is La Rivoluzione Sessuale (1968) with commedia sexy all-italiana queen Laura Antonelli - has the look of a 1970s Milo Ventimiglia or rather a fairly standard 1970s Italian pretty boy.

There's plenty of the naked female form to be had in Top Sensation, but it is custodian to quite some rich subtext beyond the superficiality of the premise. First and foremost, Top Sensation is about corruption: the corruption of wealth, the corruption of innocence and its brazen transgressive sexual politics qualify it as a giallo. Every character, Beba excepted, is thoroughly reprehensible. Paola and Aldo are two bored upper-class yuppies, with Paola being a bisexual nymphomaniac to boot. Ulla is a first-class opportunist who will jump at every chance if it involves personal enrichment. Mudy is high-strung, bossy, and abusive to anyone in her vicinity, not only Tony. At one point she encourages Beba, battered once more by her inebriated peasant of a husband, to cast off the shackles of the subservient, submissive housewife role she has assumed. However, none of it is genuine, as Mudy only does so as a way of extorting money from Andro via Beba. In other words, every single person, with exception of Beba, on the boat is thoroughly corrupted by greed, jealousy, and emotionally manipulative in the worst of ways.

Bored with their wealth and bored with their lives the socialites on the yacht will stop at nothing to screw over someone, anyone, everyone if it helps in their personal enrichment. Paola and Aldo are hired by Mudy to get Tony interested in the fairer sex, but that doesn't stop the two from trying to seduce Mudy at various points. Paola only shows interest in Beba once it's clear that Tony cares for her. In the ultimate act of corruption Paola and Ulla feed Beba alcohol which leads into a memorable girl-on-girl three-way that makes Paola's sapphic liaison with Mudy pale in comparison. By proxy Ulla is the least morally bankrupt of the socialites as she's merely there on a contractual basis, although that doesn't make her any less culpable in what ultimately transpires. Top Sensation is transgressive and risqué at various points but it never quite develops into something that really pushes the envelope. It's the old warhorse: the decadent ruling class feeding on the proletariat.

Concluded by a quote from Ecclesiastes in hopes of redeeming itself Top Sensation manages to do a lot with very little. With only a single location at its disposal the premise hinges on how well the dialog is able to sell the characters. Terrible English dubbing notwithstanding every actor gives his or her all to the characters. Rosalba Neri and Edwige Fenech are a delight as a duo of nymphomaniac sex kittens that struggle to keep their clothes on, Maurizio Bonuglia revels in playing a sleazebag, whereas Eva Thulin shines as the innocent shepherd girl. Salvatore Puntillo enjoys the role of the somewhat dimwitted peasant, but in return is allowed to rub closely to both Neri and Fenech. Ruggero Miti is at his best in the scenes with Thulin, but his character is not nearly inculpable in the events that unfold. For a production as impoverished Top Sensation is a scathing indictment of the upper-class and reveals some surprising subtextual depth next to its rampant and near-constant showcasing of its generously formed and seldom clothed female lead duo.