Performance & Direction: Cara dolce nipote Review
Last updated: January 21, 2026
Quick Verdict: Hit or Flop?
Is Cara dolce nipote (1977) worth watching? According to our cinematic analysis, the film stands as a FLOP with a verified audience rating of 3.8/10. Whether you're looking for the box office collection, ending explained, or parents guide, our review covers everything you need to know about this Comedy.
Cast Performances: A Masterclass
The success of any Comedy is often anchored by its ensemble, and Cara dolce nipote features a noteworthy lineup led by Ursula Heinle . Supported by the likes of Femi Benussi and Francesco Parisi , the performances bring a palpable realism to the scripted words.
Performance Analysis: While the cast delivers competent and professional performances, they are occasionally hampered by a script that leans into familiar archetypes.
Final Verdict: Is it Worth Watching?
In summary, our editorial assessment of Cara dolce nipote (1977) is negative. With an audience rating of 3.8/10, it stands as a highly recommended experience for genre enthusiasts.
Story & Plot Summary: Cara dolce nipote
Quick Plot Summary: Cara dolce nipote is a Comedy film that brings laughter through sharp writing and comedic timing, providing amusement while touching on deeper societal themes. This summary provides a scannable look at the movie's central conflict and narrative structure.
Ending Explained: Cara dolce nipote
Ending Breakdown: Cara dolce nipote attempts to tie together its various plot elements. The finale presents its approach to comedy resolution.
The conclusion addresses the core thematic questions, offering viewers material for post-viewing discussion.
Ending Analysis:
- Narrative Resolution: The story concludes by addressing its primary narrative threads, providing closure while maintaining some ambiguity.
- Character Arcs: Character journeys reach their narrative endpoints, reflecting the film's thematic priorities.
- Thematic Payoff: The ending reinforces the comedy themes established throughout the runtime.
The final moments of Cara dolce nipote reflect the filmmakers' creative choices, offering an ending that aligns with the film's tone and style.
Who Should Watch Cara dolce nipote?
Consider Watching If:
- You're a completist for Comedy films
- You're curious despite mixed reviews
- You have low expectations and want casual entertainment
Top Cast: Cara dolce nipote
All Cast & Crew →Cara dolce nipote Parents Guide & Age Rating
1977 AdvisoryWondering about Cara dolce nipote age rating or if it's safe for kids? Here is our cinematic advisory:
⏱️ Runtime & Duration
The total runtime of Cara dolce nipote is 87 minutes (1h 27m). Ensuring you have enough time for the full cinematic experience.
Final Verdict
Analyzing the audience sentiment, IMDb rating of 3.8/10, and global collection metrics, Cara dolce nipote stands as a challenging project for the creators. It remains an essential piece of the 1977 cinematic year.
Frequently Asked Questions
Is Cara dolce nipote worth watching?
Cara dolce nipote is definitely worth watching if you enjoy Comedy movies. It has a verified rating of 3.8/10 and stands as a FLOP in our box office analysis.
Where can I find Cara dolce nipote parents guide and age rating?
The official parents guide for Cara dolce nipote identifies it as Not Rated. Our detailed advisory section above covers all content warnings for families.
What is the total runtime of Cara dolce nipote?
The total duration of Cara dolce nipote is 87 minutes, which is approximately 1h 27m long.
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How Cara dolce nipote Compares & Where it Ranks
Critic Reviews for Cara dolce nipote
There is neither a teen nor severe naughtiness in this 1977 low-budget erotic comedy starring one-time actress Ursula Heinle, and genre favourite Femi Benussi (Strip Nude for Your Killer, Adolescence pervertie). Much of the story feels like a pastiche of ideas the writers director, and producers had already visited in other films – often in far darker context – but Naughty Teen is essentially about ‘teenage’ Daniela (twentysomething Heinle) visiting her uncle Corrado, and the unrest she stirs due to her utterly uncanny resemblance to her uncle’s long-deceased wife. The first thing little Daniela does is raid her dead aunt’s armoire for frilly clothes, teaser her uncle in the shower using nothing but soap, water, and her bare bodkin, and taunt the so-called pilot who rents an adjacent loft from uncle Corrado. Daniela’s presence stirs up an old rivalry between her uncle and pilot Franco, and while jealousies bubble to the surface, her inevitable departure for hairier male pastures causes a rapprochement between the two bickering men, sewing the seeds of healing, harmony, and landlord-tenant bliss. The basic plot feels awfully similar to occult oddity Sex, Demons and Death [M] (1975) – a young ‘teen’ visits her ‘uncle’ and stirs up trouble between himself, the sexy maid, and her wandering off to fraternize with ‘kids’ of her age – and the large house used for both films seems may be the same lot and furniture, but without any danger elements in the script, director Andrea Bianchi (Strip Nude for Your Killer) and writer Piero Regnoli (Blue Jeans) are left with teasing scenes that at best show off the considerable physical beauty of Heinle and Benussi. Heinle poses well, and perhaps with a few more roles she would’ve evolved into a minor, marginally emotive erotic icon, but there isn’t much for her to do or say in the film. The bulk of the dialogue is reserved for the bickering men, whereas Heinle’s been completely overdubbed to cover her (presumably) German accented English lines. Whatever the actress said on set seemed to have been an approximation of the script, as the Italian dubbing and the corresponding translation use a whole different verbal toolbox. The dubbing itself is beyond loose, however; no one seemed to have cared much about staying close in sync, and the music cues by Elsio Mancuso tend to repeat bland porno-Muzak and pseudo Morricone lounge styles. The only reason Naughty has any merit is Heinle; replace her with a generic sexpot, and the film is pretty much bottom-barrel material; unremarkable, if not mildly teasing. One 7 Movies’ print is adequate, but it’s been sourced from perhaps a TV print where two watermarks on the lower right & left corners have been blurred, and the digital compression is fairly active. The two fuzzy rectangles are constant after the main title sequence, and the end credits were either non-existent, or lopped off. The English subtitles must be engaged in advance, and some of the translations have a few typos. As with several prior films in the label’s erotic film series, the cover art bears no resemblance to the actual film. Most of the creative crew soon worked on this film’s cousine terrible, the completely insane and morally Wrong Malabimba (1979), , which writer Regnoli later ripped off in the rather inept Satan’s Baby Doll / A Girl for Satan / La Bimba di Satana (1982).
There is neither a teen nor severe naughtiness in this 1977 low-budget erotic comedy starring one-time actress Ursula Heinle, and genre favourite Femi Benussi (Strip Nude for Your Killer, Adolescence pervertie). Much of the story feels like a pastiche of ideas the writers director, and producers had already visited in other films – often in far darker context – but Naughty Teen is essentially about ‘teenage’ Daniela (twentysomething Heinle) visiting her uncle Corrado, and the unrest she stirs due to her utterly uncanny resemblance to her uncle’s long-deceased wife. The first thing little Daniela does is raid her dead aunt’s armoire for frilly clothes, teaser her uncle in the shower using nothing but soap, water, and her bare bodkin, and taunt the so-called pilot who rents an adjacent loft from uncle Corrado. Daniela’s presence stirs up an old rivalry between her uncle and pilot Franco, and while jealousies bubble to the surface, her inevitable departure for hairier male pastures causes a rapprochement between the two bickering men, sewing the seeds of healing, harmony, and landlord-tenant bliss. The basic plot feels awfully similar to occult oddity Sex, Demons and Death [M] (1975) – a young ‘teen’ visits her ‘uncle’ and stirs up trouble between himself, the sexy maid, and her wandering off to fraternize with ‘kids’ of her age – and the large house used for both films seems may be the same lot and furniture, but without any danger elements in the script, director Andrea Bianchi (Strip Nude for Your Killer) and writer Piero Regnoli (Blue Jeans) are left with teasing scenes that at best show off the considerable physical beauty of Heinle and Benussi. Heinle poses well, and perhaps with a few more roles she would’ve evolved into a minor, marginally emotive erotic icon, but there isn’t much for her to do or say in the film. The bulk of the dialogue is reserved for the bickering men, whereas Heinle’s been completely overdubbed to cover her (presumably) German accented English lines. Whatever the actress said on set seemed to have been an approximation of the script, as the Italian dubbing and the corresponding translation use a whole different verbal toolbox. The dubbing itself is beyond loose, however; no one seemed to have cared much about staying close in sync, and the music cues by Elsio Mancuso tend to repeat bland porno-Muzak and pseudo Morricone lounge styles. The only reason Naughty has any merit is Heinle; replace her with a generic sexpot, and the film is pretty much bottom-barrel material; unremarkable, if not mildly teasing. One 7 Movies’ print is adequate, but it’s been sourced from perhaps a TV print where two watermarks on the lower right & left corners have been blurred, and the digital compression is fairly active. The two fuzzy rectangles are constant after the main title sequence, and the end credits were either non-existent, or lopped off. The English subtitles must be engaged in advance, and some of the translations have a few typos. As with several prior films in the label’s erotic film series, the cover art bears no resemblance to the actual film. Most of the creative crew soon worked on this film’s cousine terrible, the completely insane and morally Wrong Malabimba (1979), , which writer Regnoli later ripped off in the rather inept Satan’s Baby Doll / A Girl for Satan / La Bimba di Satana (1982).
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This review has been verified for accuracy and editorial quality by our senior cinematic analysts.
This analysis is compiled by our editorial experts using multi-source verification and audience sentiment data for maximum accuracy.










