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The Fruit is ripe

Patricia, the protagonist, makes her way into the life with boobs. Perhaps this shocked those in Italy who decided the titles and who transformed "Griechische Feigen" (that is, the "Greek figs", better known as "The Fruit is ripe ") into "La porno villeggiante” (Literally “The porn holidaymaker”).
Who knows if this "tasty" title has brought more people to the cinema than a literal translation would have done, but it certainly has upset the meaning of a film that is not porn and is not about a vacationer who fucks without thinking too much. Indeed, “The Fruit is ripe” speaks of freedom, emancipation, and the will to live and openly criticizes society and whoever is in charge of it. This message is also the best thing in this 1977’s German film, directed by the prolific Sigi Rohemund with Betty Vergés, model and actress with a very short career, as the protagonist.
She is our heroine, Patricia, the one who makes her way showing her boobs, as I said at the beginning. We find her swimming naked in the pool in her family's bourgeoisie house, with her parents who would like their daughter to leave immediately for the College. She goes to the airport, but flies to Greece. From then on, her adventures as a young, beautiful and pissed girl (as her peers would say in "Avere Vent’anni") begin. She first meets an uninhibited couple on the beach, then risks being raped by two stupid tourists who then suffer his clever revenge and again, he gets into a stranger's boat.
So far, so good. A fast, cheerful first part with this shrewd and self-confident girl, who takes off the clothes (literally and figuratively) of a rigid and boring society. Then, however, the boy on the boat she gets on, a certain Tom, steals her heart and "The Fruit is ripe", end into a long series of romantic situations between the sea and the beaches of Greece, with the two they exchange languid words, often naked. A deadly boredom, which makes me say, I think for the first time, that I was bored looking at boobs.
Fortunately, then Tom disappears (to reappear only in the last few minutes) and the film resumes a bit of liveliness with Patricia again unleashed in making fun of adults.
A work with a clear initial objective, which is lost throughout the central part and picks up the thread in the last part when it is too late.
Maybe they had no other ideas and they had to stretch the story with the love story, also leaving some things unclosed, like the two rapists who seek revenge but who limit themselves to making discord between Patricia and Tom, and then disappear in nothing. A real shame because here there are interesting ideas and Betty Vergés, French, appeared in Playboy and star of only four films is really very pretty. There is also Olive Pascal, certainly the best known name, but which plays a very small role.