Lia (Gloria Guida, SO YOUNG LOVELY AND VICIOUS) and Tina (Lilli Carati, THE ALCOVE) are two "young, hot, and pissed off" twenty year old women on the road. They hitchhike, shoplift, and flirt their way to Rome where they find digs at the commune of Nazariota (Vito Caprioli, RULERS OF THE CITY). They are taken aback when Nazariota suggests that they "satisfy desires" (putting the communing in commune) to contribute to the upkeep of the debt-ridden dive. Lia doesn't mind ("so long as they are clean") but Tina prefers to have a choice, and handsome Raymond Lovelock's perpetually-tripping Rico is the only one of the unwashed that tickles her fancy (actually she tickles his... while he's sleeping). Fed up with a series of "unfinished quickies" Tina drags Lia along as they seek other means of making money, including selling encyclopaedias door to door to middle class customers who are more interested in their nubile forms. When the commune becomes the subject of a TV documentary, the police plant drugs and conduct a raid. Lia and Tina get deported back to their home towns, but fate has something else in store for them at a remote roadside restaurant. Daniela Doria (forever mistreated in Lucio Fulci's horror films like CITY OF THE LIVING DEAD, HOUSE BY THE CEMETERY, and especially NEW YORK RIPPER) is on hand as a single mother of triplets. AVERE VENT'ANNI is not really director Fernando Di Leo's commentary on the youth movement(s), more so his sour commentary on seventies Italy. No one really comes off well here. The hippies are unwashed, some comatose from their drug use, the middle class are hypocrites, the authorities are corrupt (they don't mind drug use and prostitution, but they'll set you up if you get political), men really believe that women who rebuff them are lesbians who just haven't found the right man, and wearing a short skirt is tantamount to leading them on. As shocking as the ending of Di Leo's original cut it, it is necessary to spoil it in any discussion of the film. Di Leo does not side with the rapists (roughnecks spurned on by a seemingly impotent suited voyeur who perpetrates the film's most gruesome act), he has stated that the film is about girls who think they are free getting killed for being free. The negative reaction to the ending was such that the producers ordered a drastic recut of the film, deleting the downbeat finale, shuffling scenes, and generally dumbing down any political themes, winding up with a fluffy sexpoloitation movie. It was this version that served as the basis for the English dubbed version (supervised by dubbing artist Nick Alexander and actor/writer Robert Booth), which additionally had a new title sequence and replaced all of the score and Italian-language songs with CAM-licensed music selected by Donatella Ibba (wife of composer Carlo Maria Cordio). This version (possibly working from rewritten and redubbed Italian dialogue for the recut) also marginalized or completely inverted several of Di Leo's more liberal social and political statements. In the Italian version, a rather crass individual states that feminism is too complicated and that they should leave it to the women, whilst in the English version he simply says that feminism is too complicated for the female mind. The documentary filmmaker states in the Italian version that Catholicism, Marxism, and psychoanalysis have produced conditions conducive to schizophrenia, while in the Italian version, he states that the combination of Christianity, Marxism, and psychoanalysis have revealed the shortcomings of all other theories and theologies. The recut version is a nonsensical bit of softcore sexploitation for most viewers, but may leave a sour taste for viewers more familiar with the original cut of the film.