I see London, I see France. I see Lola wears no underpants…
She is decadent in her actions and never misses an opportunity to flaunt her assests and flirt with anyone that she finds can appease her sexual desires and fantasies. These are the ways of Lola, a young Italian woman, who finds her sexuality blooming in a way taunting everyone’s imagination.
The uncut and uncensored Italian version of Frivolous Lola (aka Monella) was another classic Tinto Brass soft-core erotic comedic-drama that possessed a light-heartedness that only Brass can achieve so effortlessly. Brass has always won me over with his films, filling them with exotic European beauties and tying together a structured plot that is tied into a beautiful big, red bow.
Frivolous Lola is the story of a strong-willed woman, set in Italy in the 1950′s, who is coming of age into her sexuality and learning what she wants, how she wants it, and when she wants it. She is decadent in her actions and never misses an opportunity to flaunt her assests and flirt with anyone that she finds can appease her sexual desires and fantasies. The focus of her lust is her fiancé, Masseto (Mario Parodi), a bread baker that works for her family’s bakery business, who is more traditional in his values and not the exhibitionist that his marriage counterpart is.
As always, there is plenty of eye-candy in Lola (Anna Ammirati), as she is undressed fully in more scenes than I can count and in no way am I complaining. Brass sure can pick some beauties to grace the screen and are very good actresses as well. There were so many artfully and tastefully constructed montage sequences that really make this film stand out as an erotic and artistic film, fully worth of Cult Epics giving it their usual treatment and release. The film is shown in a beautiful 16X9 enhanced widescreen version, along with a soundtrack that is just as eclectic as Brass‘ style of filmmaking.
Brass‘ films are so unique because they do a lovely job of balancing softcore erotica with scenes flirting with the boundaries of hardcore pornography. His films pick up elements that are the best of both worlds. Frivolous Lola goes in depth to create and re-invent Lola’s character as she learns more and more about her own sexuality and the boundaries that she breaks on an everyday basis. Lola flaunts her attributes and Brass seems to be reading every mind of every dirty man’s thoughts when looking at a total beauty. Brass‘ films always involve a jealous partner, boyfriend, or husband and give the female leads total empowerment, never casting the women in his films as victims to the male cast. I find this to be very refreshing and one of the reasons I enjoy Brass‘ films so much. He films scenes of nudity and sexuality in an uplifting manner that does not play the standard where women are objects of desire, to be ever preyed upon by strong male leads and cast.
In one scene, Lola is picked up for a ride by a man who happened to be driving down the road she was walking on. Once inside the vehicle, she allows herself to be taken advantage off, playing off of the driver’s horny tendencies and when Lola decides enough is enough, the man gets angry and tries to force himself upon her. Lola escapes, ready to combat any further aggressive advances and instead of crying or getting upset over the whole experience, she laughs and frolics as if she did not have a care in the world. Following this scene, Lola takes a squat, urinating in the downpour of rain, something one is probably only accustomed to viewing in a hardcore romp, not a film filled with substance, plot, and structure. I truly love the balance that Brass plunges into his film scripts and storylines.
One of my favorite scenes in the film was where Lola was laying in her bedroom on her bed, nearly naked, and pulling out one pubic hair at a time, playing the game of “He loves me, He loves me not”. I can positively say I have never seen that filmed in any movie of any kind. I believe Brass to be way ahead of his time and a genius in blending arthouse cinema, humor, drama and sex. Each scene in the film is beautifully shot by cinematographer Massimo Di Venanzo, whom you may remember his work on Brass‘ Trasgredire a.k.a. .
As to how Brass cast the lead of Frivolous Lola, the story goes that Brass was driving and nearly crashed his car into her while she was bicycling along the road. The actress went on to say in a jokingly manner that unless she was cast in his latest film she would report him to the authorities.
The extra features included on this disc are an interview with the director, Tinto Brass, which is 25 min. in duration, as well as a photo gallery and trailers. I found the interview with Brass to be very informative and entertaining, but wished there was an audio commentary that came along with it. The interview takes place in the director’s home.
Lola dances Mambo scene: