An American millionaire has just died .His sole legatee is a youthful indiscretion , a girl who is currently living in Italy.Two private eye detective agencies,in competition with each other,investigate.Combining business with pleasure ,they search sunny Italy , but they only have one clue to find their heiress:she has three moles on the ....buttock.(sign of the times,they have a word in the others' ear about this "secret" .)

The plot is so predictable that it does not matter at all ;it is a Dalida vehicle,a pretext to show her to advantage ,in a nutshell, to hear her sing every fifteen minutes ;and sing,Dalida does: "D'Où Viens-Tu Gitan?' "Itsy Bitsy Petit Bikini "(a cover of the American " polka dot bikini" ) "O Sole Mio" ,an old French chestnut "Parlez-Moi D'Amour"(which gives the movie its French title),"Le Bonheur Vient Me Dire Bonjour "(sadly unprophetic when you know how sad Dalida's life was )and an Italian cover of Monnot-Moustaki's "Milord",which does not cut ,by a long shot, Piaf's famous version.If it were not enough,for good measure, there is a bonus : a recording of "Romantica" played by the bubble girl who cannot live with her rubber duck .

All the girls serve as foils to the star-singer :they are nymphomaniacs or idiots ;ditto for the private eyes:Raymond Bussières and his pal are clumsy ,oafish,ridiculous , to make the audience side with handsome Jacques Sernas ,who often worked in Italy ,and though popular in the early sixties, died unnoticed three years ago.

At a time when people would not travel much , the main star ,apart from the singer , is Italy : the story takes us to the ruins of Pompeii (sadly ,spoiled by the guide's drivel) and to Capri;the cinematography is as luminous as the Italian sky.The gags are ponderous :only the cocaine bag (actually bicarbonate which brings the superintendent relief for his stomach ache) is relatively funny.

Should be reserved for Dalida's numerous fans.

Italian cinema has deeply influenced world cinema through its socially conscious realism and modernist experimentation, but it also flourished in popular genres like peplum (sword & sandal), giallo thrillers, and broad comedies. Its narratives often weave together politics, contemporary social change, class consciousness, and family dynamics, balancing artistic ambition with entertainment that resonated widely.

Lamberto Maggiorani in Bicycle Thieves (1948)

Private eyes are in search of an American millionaire's sole legatee;

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Dalida and Jacques Sernas in Che femmina!! E... che dollari! (1961)

Che femmina!! E... che dollari!

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