High School Girl
1974 film
From Wikipedia, the free encyclopedia
High School Girl (Italian: Cugini carnali, also known as The Visitor, Loving Cousins and Hot and Bothered) is a 1974 commedia sexy all'italiana film co-written and directed by Sergio Martino and starring Susan Player.
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- Sergio Martino
- Fernando Popoli
- Sauro Scavolini
| High School Girl | |
|---|---|
| |
| Directed by | Sergio Martino |
| Written by |
|
| Produced by | Carlo Ponti |
| Starring | |
| Cinematography | Giancarlo Ferrando |
| Edited by | Eugenio Alabiso |
| Music by | Claudio Mattone |
Production company | Champion Cinematografica |
Release date |
|
Running time | 90 minutes |
| Country | Italy |
| Language | Italian |
Plot
A shy and inexperienced 16-year-old boy enjoys an awakening when his fast-living cousin from the city comes to stay at the family villa.
Cast
- Susan Player as Sonia
- Riccardo Cucciolla as Celio D'Altamura
- Alfredo Pea as Nico D'Altamura
- Hugh Griffith as Baron of Roccadura
- Claudio Nicastro as Don Savino
- Rosalba Neri as Altomare
- Fiorella Masselli as Berenice
- Renzo Marignano as Sonia' father
- Lia Tanzi as Baron of Roccadura's maid
- Mauro Perrucchetti as Arcalli
- Edda Ferronao as Berenice
- Raf Baldassarre
- Carla Mancini
Production
The film was produced by Champion Cinematografica.[1][2] It was Martino's second consecutive film produced by Carlo Ponti, following the success of The Violent Professionals .[1] It had the working title La cugina ('The cousin'), that was changed because of the Aldo Lado's film with the same title.[1][3] Martino's first choices for the main role were Monica Guerritore and Gloria Guida.[1] It was shot in Apulia, between Lecce, Monopoli, Nardò, Conversano and Porto Cesareo.[1] Michele Massimo Tarantini served as assistant director.[2]
Release
The film was distributed in Italian cinemas by Interfilm starting from 4 March 1974.[1]
Reception
Domestically, the film was a success, grossing over 800 million lire.[1] La Stampa's film critic Achille Valdata noted that "Martino lacks the effortless wit needed to handle a genre already showing evident signs of fatigue, only superficially concealed by the familiar verbal and visual extravagances".[4]
