Monella (1998): Tinto Brass’s Bawdy, Sunny Celebration of Unapologetic Desire
As Lola, Anna Ammirati is the entire show. She possesses the quintessential Brass heroine physique (curvy, natural, unashamed) and radiates an infectious, almost childish joy in her own sexuality. She isn’t a victim or a seductress in the noir sense; she’s a force of nature—like a horny, benevolent tornado. Ammirati doesn’t have to stretch her acting chops much (the script demands pouting, laughing, and disrobing), but she sells Lola’s frustration and ultimate liberation with genuine charisma. Patrick Mower, as the bumbling Masetto, is a cartoonish foil—all stammer and cold sweats. Monella -1998-
From the opening scenes, it is clear that "Monella" is a film that defies conventions. The movie's protagonist, Riccardo, played by Marco Giambruno, is a middle-aged man with a fascination for young women. His obsession with Monella, played by Martina Grimoldi, a stunning and enigmatic young woman, drives the plot and sparks a series of events that challenge social norms and moral boundaries. Through Riccardo's character, Brass cleverly satirizes the societal phenomenon of older men desiring younger women, often at the expense of their own relationships and responsibilities. Monella (1998): Tinto Brass’s Bawdy, Sunny Celebration of
In the post-#MeToo era, Monella is a difficult film to place. Younger audiences often read it as male gaze run rampant. However, a counter-read has emerged among some film scholars (e.g., Elena Gremigni, 2020) who argue that Lola is a – she uses the male gaze against men, weaponizing their own desire to destabilize their authority. The film’s ending (Lola smiling at the camera, having secured marriage on her own terms) suggests she has won the game. Ammirati doesn’t have to stretch her acting chops