Those were the days ... when you could make jokes about nudity and all kinds of different things ... all kidding aside, there are some very disturbing themes here, that are being used as comedy tropes ... I would not be surprised if some feel this is quite sexist. And while men are being portrayed as helpless (to their own horniness to name one of their flaws),it is mostly the women that are being objectified.

Still there is some charm in all those involved - and if you can accept this as a movie of its time, you may be able to laugh at most of the jokes. Depending on your understanding and acceptance even those of adultery and forced sex - the latter is completely ridiculous, especially considering that the characters involved are shown to have been fully clothed, the whole time ... not sure if that takes anything away or makes it better for some.

Again, I will not tell anyone how to feel about what they might watch - I am telling what there is and that this is far removed from PC and woke culture of today ... stereotypes and cliches en masse.

In the 1970s, the Italians made use of relaxed censorship conditions by considerably sexing up their comedies - even slapstick comedies such as this one. This process sometimes helped staging intrinsically sexual situations (e.g. a cheating spouse caught in the act),but more commonly was exploited to add gratuitous nudity.

Most of these sexy comedies from that era had slapstick elements of some form, but this movie goes further and shifts the balance towards slapstick. In other words, we have here a sexy comedy but also a slapstick comedy. There is a problem when these subgenres are combined, and it is: pace. Slapstick requires actions to be fast and furious, but erotic elements need a much slower pace to work best. This film implements a corresponding shift of gear to accommodate both moods, but the shift itself is at times abrupt and unconvincing.

Johnny Dorelli is much more bearable than the usual comedy males of the genre (Alvaro Vitali, Lino Banfi, Gianfranco D'Angelo, etc.),or at least his brand of humour travels better - he is less of a clown and more of a comic actor. Female lead Barbara Bouchet plays it straight, but she had hardly a choice - Italian comedies of that time use women as objects of adoration, not to carry the comedic elements.

The overall result does not quite work, but does not completely fail either. The unusual combinations of moods leaves it as an interesting curiosity.