By drugging his wife into a fitful slumber and picture-posing her in various open positions for photo-ops, Frank cements our disgusted feeling that we are somehow watching the actual sad home life of the Italian Pinto, Tinto. It is only when he becomes jealous over his wife's attentions to his son-in-law, played with robot-amateur woodenness by Franco Branciaroli, that Finlay becomes excited enough to maintain another kind of woodenness. As the premature, if you will, hubby in this standard menage a trois, he can only last a matter of seconds in the sack with his much younger wife, played by the suitably stunning Sandrelli. British thesp Frank Finlay takes a leap at a starring role by heading south to Italy and being forced to look every bit the dirty old man under the meticulous kink direction by Brass. Brass' focus on lead actress Sandrelli's bottom is the only theme you're bound to come away with after viewing an hour and 50 minutes of this soft-core cornfest. Who knows really, because Brass is more concerned with Stefania Sandrelli's derriere than he is about political/spiritual ambivalence.
Set against Mussolini's rise to power in 1940s Italy, I suppose auteur Tinto Brass is trying to make some haughty comment on how the Italian populace of the time, repressed by Catholic guilt, succumbed to Il Duce's desire for them to fall faithfully in line with Italian pride and become unfaithful from the moral direction of the Church. A main female character sums up this pile of narrative nonsense at the conclusion of the film saying something like, "I was faithful by being unfaithful." Meaning she was compliant in her husband's wishes for her to link up with their son-in-law so her horny husband could become sexually excited by watching her, thus sparking their marriage alive again.
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