Any art house patron in the early sixties must have thought modern society was headed toward a complete collapse as witnessed by the emptiness of life and the bored, amoral behavior of characters in films like Federico Fellini’s La Dolce Vita (1960). That film was mostly a portrait of wealthy, jaded Romans and ambitious social climbers that was probably the most famous in a wave of films that viewed Italian society as a lost and alienated culture. Michelangelo Antonioni’s L’Avventura (1960), La Notte (1961) and L’Eclisse (1962) offered similar views of a world where modern progress and technology had a dehumanizing effect on relationships while Antonio Pietrangeli’s I Knew Her Well (Italian title, Lo la conoscevo bene, 1965) focused on a naïve working class woman who seeks an acting career in Rome but finds herself exploited and eventually discarded by the people that profession attracts. Less well known, Franco Brusati’s Il Disordine (Disorder, 1962) differs from the above films in that it depicts both upper class and economically strapped folks in Milan who share the same sense of disillusionment and despair over their lot in life. Also, it is almost epic in scale and more tragic and heartfelt than the aforementioned titles.
In the late sixties there were a number of sun-drenched erotic romps from Italy filmed in picturesque settings around the Mediterranean such as Giuliano Biagetti’s Interrabang (1969) and Ottavio Alessi’s Top Sensation aka The Seducers (1969). Most of these promised and delivered sexy scenarios with abundant nudity (primarily female), murder and risqué situations for the sexploitation crowd. The Sex of Angels (Italian title: Il Sesso degli Angeli, 1968) comes on like the ultimate softcore fantasy but turns out to be a complete tease. In fact, unlike others of its ilk, The Sex of Angels is actually a morality tale about the consequences of hedonism as well as a critique of the free love generation.