During the climax, Rena is simultaneously seen in the lobby (with clothes on) and downstairs in the sauna (without clothes on).
The end credits mix-up 'Anna Bergman (I)' (qv) and 'Pat Astley' (qv), transposing the character names by which they were referred to in the dialogue.
Also Astley is shown as "Pat Ashley".
Here's another of these bawdy, saucy, naughty, eye candy flicks, that the English do so well. Set on a sex health farm, with hotties and open nudity, a plus, we have two money forgers hiding out.
It is hard to defend this film against the criticisms aimed at it by other reviewers and most film critics. It is incoherent, it is poorly scripted (to say the least) and it is, emphatically, a repulsive spectacle.
British sex comedies are kind of like "Lake Woebegone" in-reverse--they're all below average. And then some of them are downright awful.
Samperi's directorial debut is also the first film of his I've watched and it seems that his other films - culminating in MALIZIA (1973), which made an international star of Laura Antonelli - are more or less along the same art-house erotica lines with the added benefit of having, at least initially, a decent array of international performers appearing in them. Italian cinema of the 1960s and 1970s yielded several obscure gems and, while this is certainly not one of its shining examples, it is intriguing enough to warrant at least one viewing.
As a child of the seventies I grew up with the Myth that this movie was a great porn classic. I first managed to see "Behing the Green door" first and was both as excited and impressed as a young teen could be.
This is one of those films that I describe as "so bad it's good". This is an often-used term by people to describe films that are usually ineptly produced and fail at delivering what they intend yet end up being incredibly funny, albeit for all the wrong reasons.
It seems like an aeon ago that the likes of Mary Millington and Fiona Richmond were able to cause such uproar with their brand of dingy, don't-scare-the-donkeys soft-porn. Pre-MTV, this was sex the English way: socks on, lights out and trying not to burn holes in the nylon sheets during a giggly post-coital fag.
A diminutive, baby-faced pornographer by the name of David Sullivan had become one of Britain's youngest millionaires by the mid-seventies as the publisher of a handful of top-shelf magazines which were as strong as the censorious values of the day would allow (one of which was called Whitehouse, simply to annoy the self-appointed media watchdog Mary Whitehouse, which should give you some idea of where Sullivan was shooting from) and the owner of a nationwide chain of sex shops. One of his star discoveries was Mary Millington, a bisexual blonde butcher's wife from Dorking whose enthusiastic performances in underground hardcore porn loops made her the closest thing Britain had to its very own Linda Lovelace, who had become an unlikely global star after the success of the notorious Deep Throat.
This movie - which amazingly was a box office smash in the UK in the late 70s and early 80s (it ran non-stop between 1977 and 1981 in London's West End) - embodies everything that was bad about British so-called `sex films' of the era - namely a lame and tedious plot, a second-rate cast of comedy has-beens and never-were's, poor acting and very little actual sex and nudity. A version of the film containing very steamy and explicit sex scenes was actually shot, but in the puritanical climate of late-70s Britain with its notoriously restrictive anti-porn legislation sometimes known as the `Limp Dick Laws' (and sadly things haven't really changed much in the intervening 20-odd years), this was deemed unacceptable for screening to UK cinema audiences and never saw the light of day (no sex please we're British!!
