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St.Tropez, St.Tropez

Even though we are in 1992, there is still someone who wants the eighties. Out of time. And that’s not a great thing for a movie.
Castellano & Pipolo are the directors and authors of a screenplay that focuses on four strong women, protagonists of the usual stories that travel in parallel. Apart from this interesting idea, the choices of the cast are almost all wrong and the events have no bite. In short, you don't laugh, not even by accident. In addition to a bad acting and a horrible soundtrack (eighties of course) by Zambrini, there is also a poor copy of "L'emmerdeur", better known in the American film version with Walter Matthau and Jack Lemmon, here, in charge of a new couple formed by Alba Parietti and Fabrizio Bracconieri, with the first in the role of a killer with a Sicilian accent (incredibly well done) and the other fighting with depression. However, this two reaches the sufficiency, something that other adventure companions can only dream of. Because Serena Grandi and Stephane Ferrara who play a married couple in search of the emotions experienced on the coast when they got married, represent the most boring and worst part. A couple in which the comic aspect is lacking, because Ferrara is not funny and Serena Grandi has not gone down in history for her comedy or skill (but she is always beautiful).
The omnipresent Jerry Calà puts a patch, leaving the role of piano bar musician to rise to a famous conductor who returns to St. Tropez to try to win back his former wife, played by Demetra Hampton still strong of the fame of "Valentina", who wants to marry a very boring Swiss man. Calà, as always, gives life to his gags with his proverbial "no" acting but he is the only one who knows how the genre works.
Finally, the other big name of appeal: Deborah Caprioglio, who plays two cousins with Maurizio Micheli. She is frigid and he is very much in love with his cousin who tries to help  to unlock. They end up in the midst of their attempts, a couple formed by Rosanna Banfi and Aldo Bergamaschi, a stripper, who seems to be the solver of Caprioglio's problems. Micheli, who is always a good actor, does nothing else apart repeat what he has already seen and Caprioglio is simply his shoulder.
There is little to say or save in a film in which Jerry Calà is the best performer (with Parietti), a job in which, unlike its peers, there are sexy moments and very little nudity. Another great mistake.