Marina Hedman in Una Moglie, due amici, quattro amanti (1980)

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Review

The better part of genius is discovering a niche and sticking with it. The artistic strength of Italian director Michele Massimo Tarantini is in mixing libido and laughter in a hodgepodge of absurdity and gratuitous nudity that is most often accompanied by subtitles. Una Moglie, due amici, quattro amanti (1980) plays true to a formula that Massimo Tarantini was perfecting in such titles as Policewoman on the Porno Squad (1979) and Gay Salomé (1980) and would continue to exploit in pictures typified by Women in Fury (1985). The trick to Tarantini's success? Ludicrous conflict pitting the lewd against the luscious and ending in a lubricious twist.