Plot: where Monika goes confusion follows. Hilarity ensues!
Monika (released domestically as La Ragazzina that translates to Young Girl) is historic for being the debut of blonde bombshell Gloria Guida. In a blitz career that would only last 8 years Guida would be the star of a series of almost interchangeable bawdy sex comedies that banked heavily, if not entirely, on her willingness to shed clothes. The credit of discovering one of Italy's most enduring and popular commedia sexy all'Italiana Lolitas is Mario Imperoli, who would direct her in Blue Jeans (1975) and shoot her to domestic superstardom with nothing but a pair of very low-cut jeans.
In the wild and exuberant seventies Gloria enchanted everyone everywhere she went. Guida was Miss Teen Italy, 1974 and bound to turn heads. In 1974 Gloria was 19 years and starred in only two movies. The following year would be one of her busiest as she starred in 7 (!!) movies and played, chronologically, a novice nun, a disgruntled socialite heiress, her world-famous schoolgirl, a naughty maid, a young and willing debutante, and a wayward prostitute. Gloria was frequently paired with slapstick specialists Lino Banfi, and Alvaro Vitale, as well as genuine comedic talent as Enzo Cannavale, Lando Buzzanca, and Vittorio Caprioli. In 1981 Guida married to crooner, actor, and showman Johnny Dorelli. Like her husband Guida maintained a singing career until that ended too in 1991. Since retiring Gloria has lived in Italy with her husband and remains a star domestically despite not having done anything significant in many years.
Monika (Gloria Guida) is a fun-loving sixteen-year-old who has an unrequited love for her art professor Bruno De Angelis (Andrés Resino). She doesn't like her boyfriend Leo (Gian Luigi Chirizzi) too much, and when he isn't annoying her she's courted by an uncredited middle-aged gentleman. The situation at home isn't much better. Her lawyer father Massimo Moroni (Paolo Carlini) is married to his job leaving his bored, stay-at-home wife Sandra (Colette Descombes) to seek her pleasure elsewhere. To Monika's dismay her mother holds up an affair with her art professor when she's not tempting her neighbour with topless sunbathing, striking sexy poses, and skinny dipping. All Monika wants is to be loved, but all men seem only interested in one thing. If only Monika could meet the right man...
As low on story as Monika is it never fails to showcase Gloria at her finest. In that capacity she can be seen sporting impossibly short mini-skirts, getting the prerequisite medical check-up, in the shower as well as a a bout of topless sunbathing, and her soon-to-be signature: running around across the countryside with little to no clothes on. While most of Gloria's comedies tend to be identical there are thankfully some exceptions. Her most creative probably is The Minor (1974), and her most iconic La Liceale (1975). Usually (but not always) her sexy melodramas tend to be stronger than her comedies and as such That Malicious Age (1975) and So Young, So Lovely, So Vicious (1975) come highly recommended. If Gloria has one classic to her name it would be the Fernando Di Leo satire To Be Twenty (1978), a scathing polemic so rich in political subtext and some of the darkest cynicism disguised as a sex comedy that it was misunderstood upon original release. It also helped that it co-starred that other famed Lolita from the Golden Age of commedia sexy all’Italiana, miss Lilli Carati.
Supporting Gloria Guida are Paolo Carlini, Colette Descombes, and Andrés Resino. Paolo Carlini debuted in 1940 and his first big break came with the William Wyler directed Roman Holiday (1953) with Gregory Peck and Audrey Hepburn. Carlini also appeared in It Started In Naples (1960) with Clark Gable and Sophia Loren. In the 1970s Carlini frequently appeared in comedies and Imperoli would cast him once more for the crime flick Like Rabid Dogs (1976). Colette Descombes was a French actress that ended up in Italy, and her most notable entry is the giallo Orgasmo (1969) from Umberto Lenzi. Andrés Resino played a professor earlier in the León Klimovsky directed Waldemar Daninsky epic The Werewolf Versus the Vampire Woman (1971) with Spanish horror icon Paul Naschy.
Never underestimate the appeal of a blue-eyed blonde that's prone to get naked. Guida played just about every possible male fantasy figure, everything from a naughty nun, a night nurse, and (more often than not) sex-crazed socialites or horny Catholic schoolgirls. The only thing that Gloria never came around to play was the l'insegnante or the teacher. As unbelievable as it may sound Gloria etched out a career almost exclusively in sex comedies and coming of age dramas. Whereas her contemporaries Barbara Bouchet, Evelyne Kraft, Edwige Fenech, and Rosalba Neri branched out into a variety of Eurocult genres, for some reason she never did. Imagine what a giallo with Gloria Guida could have been. Imagine what Renato Polselli or Luigi Batzella could have conjured up with her starring.
Monika comes from a time when Gloria Guida had yet to define herself as the penultimate Italian sexbomb, and the once-and-future queen of lowbrow Italian sex comedies and coming of age melodramas. It seemed that everybody realized early on where Guida's strengths lie, and in the years to follow she would be taking her clothes off in increasingly absurd (and sometimes genuinely comedic) situations. While not all Guida comedies are created equal she did some excellent work with Silvio Amadio, and Mariano Laurenti. She would never equal or surpass her lone stint with Fernando Di Leo (and neither would her co-star Lilli Carati for that matter) and fortunately she never ended up working with hacks like Alfonso Brescia in her post-1975 and post-To Be Twenty (1978) years. Gloria was wise to quit when she did, by her own volition and with her dignity intact.