La bella Antonia, prima Monica e poi Dimonia (1972)

Antonia’s father, unable to quell his daughter’s growing infatuation with men, he sends her to a monastery to protect her virtue from being tarnished by her many male suitors.

IMDB

Who else could play the title character of La Bella Antonia but La Bella Edwige? As a virtues (at first ) medieval maiden (not for long) bound to a marriage of inconvenience. she has to have a picture painted to sweeten the deal. Enter Giovanni Piccolomini (Riccardo Garrone), wearing a scene stealing red cap indicating his artistic nature. Giovanni's brush is irresistible to every woman he meets, including (within the first ten minutes of the film), a serving wench at the local tavern and both of Antonia's ladies in waiting. Being one of those period sex romps from Fenech' early years, she still had to share on-screen nudity with up to six other women per film. Later her status as Italy's queen of Sexploitation grew strong enough for her to demand alone-right on nakedness.

While Antonia remains adamant of saving herself for her clumsy blond Vulco (who looks and acts like Prince Valium from Spaceballs), Giovanni presents his favorite conquests with the latest fashion from Rome: a pair of big yellow bloomers. Hence the catchy theme song (La Mutanda) at the start. Owing to a rather under explained misunderstanding, Antonia commits herself to a convent because she is denied the love of Vulco, while it is actually him she is betrothed to all along. Luckily Giovanni decides to help the pair get together, although how he finds the time to do so while pleasing all the other women in town remains a mystery. The action (and I mean this literally) switches to the local convent, where all sorts of nocturnal activities are going on during nightly prayers.

Of course at the time this film was shot, free love was all the rage, but the unrivaled promiscuity shown here borders on the ridiculous. For instance, over in another subplot, hapless servant Ariosto is forced to pimp out the female staff to Antonia's lusty old dad. But mom (who does not look old enough to have carried Edwige in the first place) is on to him. Meanwhile again, Giovanni is painting an alfresco for Vulco's mother, who really does not look old enough to - well, you get the picture. Eventually, all's well that ends well with one of those Asterix final page banquets, except that once Antonia is married, she starts to take after her father…

La Bella Antonia, prima Monica e poi Dimonia is medieval period comedy that was directed by Mariano Laurenti who also worked with Edwige Fenech on another medieval period comedy titled Ubalda, All Naked and Warm. Visually La Bella Antonia, prima Monica e poi Dimonia benefits from Tino Santoni’s picturesque cinematography which features a few inspired shots. Tino Santoni had previously worked as a cinematographer on Valerio Zurlini’s Violent Summer and Girl with a Suitcase. The film uses many locations and actors that would also be used in the Edwige Fenech film Ubalda, All Naked and Warm. The film's warm and playful score was composed by Berto Pisano (Strip Nude for Your Killer, Burial Ground).



The films plot revolves mostly around a drifter/painter/conman that seduces and sleeps with all the women in town. Edwige Fenech’s character Antonia (The Naughty Nun) is more a secondary role with the bulk of her performance being the last twenty minutes of the film. The plot involves everyone running around trying sleep with each other and not much else of substance.



The best scene in the whole films involves the conman painter and Antonia. They tell her lover Folco that they are going upstairs to paint of portrait of Antonia. Folco gets drunk and impatient while waiting for them so he goes to see if they are done yet. He is so drunk that he makes out with man dressed in Antonia’s close while she and the conman painter make love in the same room. The film is filled with sexual shenanigans’ like this scene. The female casts are all naked at some point during the film including Edwige Fenech who also wears a see through night gown in one scene.



La Bella Antonia, prima Monica e poi Dimonia is presented in an anamorphic widescreen that preserves the films original scope photography. There is noticeable print damage in the form of nicks and scratches throughout. Colors look lucid with some scenes looking not as vivid as others and details look crisp throughout. Overall the transfer looks good with the most improvement being that the source could have been cleaned up more. One audio option was included with this release a Dolby Digital mono mix in Italian. The audio sounds clear with a few instances where its sounds flat and not as dynamic.




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