Sergio Corbucci, born in 1927, was a pivotal figure in Italian cinema, known for his audacious approach to spaghetti westerns. His 1966 film Django not only showcased his directorial prowess but also solidified his status as a master of the genre, blending violence with a sharp narrative. Corbucci also directed The Hellbenders (1967), further establishing his unique voice in exploitation cinema. As a writer for The Evil Eye (1963) and The Blancheville Monster (1963), he explored themes of horror and suspense, enriching the cult film landscape.
Strange Occasion
Three sexy and comedic episodes. First segment: Giobatta is an Italian immigrant in the Netherlands, who barely earns a living selling castagnaccio to the locals. While checking his pockets during a night robbery, some muggers discover Giobatta is well-endowed and take him to the owner of a nightclub, who forcibly hires him as a live sex performer. While the profits improve the livelihood of Giobatta and his unaware wife Piera, their sexual life suffers. When Piera finds out about Giobatta’s moonlighting, she allows him to continue on the condition that she be the female performer. Seeing as Giobatta is too shy to perform with Piera in public, the nightclub owner demotes him to doorman and hires another male performer for Piera. Second segment: Antonio is a man who has the taboo of sex. When his wife and daughter go on holiday, at the door of the house of Antonio knocks the beautiful Cristina, a Swedish girl, the daughter of a friend of his. Antonio begins to fall in love, and so Cristina falls in love with him too. That night the two have sex, and the day after Cristina, believing that Antonio has a very clear conception of sex, tells him that his wife made love with her father. Antonio, indignant, doesn’t… welcome his wife. Third segment: In Rome, a bishop: Ascanio, is stuck in the elevator of a building with a beautiful woman. The bishop was going to see his mistress, but now he is stuck, and then Ascanio goes having a chat with the woman about sexual matters, expressing all his indignation at the manner in which the Italians of that time approach to sex. The woman manifests sound moral principles; but at the end, when the elevator is unlocked, the contradictions of the two characters are shown.
