I like the storyline of this show,it attract me so much

Absolutely the worst movie.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

OMG, WHO KNEW! Juliette Mills has a beautiful and FULL, rounded pair! I mean, you could tell on Nanny & The Professor but REALLY, until AVANIT, who knew. TOUCHE! Needless to say, after watching this film it must have been rated "R" for the time it premiered. An excellent film with a marvelous performance by Juliette Mills. Jack Lemmon was excellent in the part but I can easy see another actor in the role if need be, but NOT in Juliette Mills' role! Juliette's innocent and pure nature reflects the quality of the character needed though the character if far from naive of the ways of the world. Quite a turn-about from Nanny: Phoebe Phigalilly. Gorgeous scenery, clever wit and a story that is as fresh in it's approach to a classic situation as when it was written with NO comparison what so ever to so much of the forgettable junk-food movies of today overloaded with super-heroes and senseless violence! This film depicts the original 'super-heroes' of mankind at their best, a man and a women up against their human nature and sexual instincts with an inspiring back-drop location of the breath taking coast of Italy! Ah, I remember the isle of Capri! ... an avenue to a man and women's dreams and full of glorious emotions. A MUST SEE! 10!

You can do that by simply not watching this atrocity. I said so over 10 years ago and I maintain the same line. You've got to be over 70 AND hate modern times to like this ancient concoction. I've seen Lemmon in memorable movies, but he ain't in this one. But then, any old movie has trouble keeping up with changing culture, I'll give you this. I admit, I saw Avanti, possibly when I was too young to make much sense of it. But it did cause me a few laughs. That I remember. Watching it now, I see myself sitting stony-faced, counting the minutes. What on earth was that all about!? I need to write ten lines but there's nothing to be said other than save yourself the expense, the time, the disappointment. If you have to see ancient movies, get yourself something substantial and let me know what that might be. Thank you. Go away, Avanti.

(1)The reviewer who titled his review in part "a morally suspect film" was right on target: the film gives tacit approval to cheating on a spouse, the latter who in the film, from snippets of phone conversations from Lemmon's end, seems to be a helpful, loyal wife. (2)No realistic motive underlies the romantic relationship of the two main characters. (3) The film assumes a woman would be happy to be alone 11 months of the year, all for the sake of one annual month with a married man, with no prospect of permanent union. (4)The film relies on cheap gags which in turn depend on totally suspending reality. Some examples: (a) at the time the movie was set in the early 1970s (by its own cultural and political references), passport control at Leonardo da Vinci did not stamp most foreign passports; (b) an American official addressing a corpse in a coffin, swearing it in for duty, is not at all credible; (c) who would believe that a man would calmly substitute the corpse of a stranger for his own father and fly that corpse to the U.S. for a large funeral, while consigning his father's corpse to an Italian cemetery with a headstone bearing a false name--all this, to keep his new-found lover happy? For those reviewers who raved about the musical theme: what theme? There was none. There were varying bits of Italian folk music. At the beginning of the film, in Rome and then in Ischia, I heard some bars which I believe came from the Neopolitan comedic folk piece "Io, Tua Madre e Te" repeated a few times, but that was it. It is no surprise that the play the movie was based on had a very short run on Broadway and that the movie version didn't make a splash. The ONLY realistic descriptions of the Italian mentality were the acceptance of marital infidelity, the tangled bureaucracy, and the willingness to use personal connections to help a friend or a friend or relative of a friend. Everything else supposedly typically Italian was a gross exaggeration. (For whatever it's worth, I have no Italian ancestry, but I lived and worked independently in Italy and have some understanding of a country with many mentalities, depending on the region and on the city and town. The only American film about Italy that I've seen that, to me, had any flavor of accuracy was "A Bell for Adano." All other American films set in Italy are fantasies. If one wants to see a film with some realistic depictions of segments of Italian society, one should see those that are those made by Italians. Not all Italian directors, of course - Cinecittà produces lots of bombs too.)

For more than a decade, American big shot Walter Armbruster has been in the habit of lavishing August and September at the Grand Hotel Excelsior in Ischia, where he has been convening covertly with his British mistress. This is slowly fathomed after Walter Armbruster, Jr., played dynamically by a seasoned Jack Lemmon, comes to the Italian haven to declare his father's body. The senior Armbruster took a hairpin turn a little too abruptly, unfortunately, and his Fiat fell over 600 feet into a vineyard. His mistress was also killed. Her daughter, played by an insatiable Juliet Mills, has come to claim the body, and when the two children meet it is not initially a beauteous spectacle.Billy Wilder's intermittently funny, cute travel farce begins with this elementary pivot and builds a friendly, cultivated interlude out of such material as issues with Italian etiquette, the dilemma in finding zinc-lined coffins, and the extensive lunch hours when no orders can be made. And then there is another unceremonious headache: The bodies have been stolen from the morgue.A veteran of the romantic comedy whose directorial approach---though less sharp in its latter days---continues to reflect his regard for the central priority of the writing, Wilder confounds these obstacles with some other strands that in some way zigzag channels with the Armbruster legend. There is the valet, for example, who wants to escape to America, away from the indignation of his pregnant Sicilian girlfriend. There's the meddling of the U.S. Ambassador, who wants to elect Armbruster Sr. to a post-mortem embassy post, so the body can return home by diplomatic pouch, so to speak. And there is the frustration that Jack Lemmon and Juliet Mills find themselves falling in love just as their parents had.Wilder justly grasps that no one is better than the Italians at conniving to grease the wheels of a romance. Everyone in the hotel, especially the suave manager, played by Clive Revill, went along with the autumnal romance between the old couple who met every August. Everyone is resolute that the children shall remember their parents in the right way. The same menus are served, the same songs played and, inescapably, Lemmon and Mills find themselves sunning on the same rock in the same altogether.Wilder's fourth to last picture isn't a laugh-a-minute sort of a movie, and it's too long by maybe half an hour. It also aches with the trouble that the audience has everything deduced several minutes before Jack Lemmon does. But the movie has a particular enchantment, some of which works on auto-pilot with the locations, and there is in most of the several Wilder/Lemmon collaborations a buoyant disregard, as if life is best verged upon with a blithe, if confused, smile. The then up-to-date exchanges by ceaselessly likeminded veteran script collaborators Wilder and I.A.L. Diamond, Kissinger jokes, Billy Graham jokes, etc., gives this casually amusing movie the air of a vaudeville comedian's TV special. But Mills is refreshingly unconventional, and there is a deft performance by Revill and a Rota-reminiscent Felliniesque score by Carlo Rustichelli.