on 17 May 2016
Three couples go about their bourgeois lives, argue and gossip, get ready for a supper together, and gather at the hosting couple's residence. Then, on a whim, they play a game, placing wagers on the results, in which, blindfolded, two of the couples strip buck-naked and attempt to discover if they can recognise their respective spouses not by sight, but by groping and caressing, to discover if their bodies really are so memorably distinctive as they have assumed them to be.
The results are disappointing: they identity the wrong man or wrong woman as supposedly the spouse whom they have known so intimately. Hard feelings and mutual recriminations (a "blame game", as it were) ensue among these friends, some of whom also have been unequal work colleagues or otherwise are socially and financially inferior to others among them, which only further aggravates latent animosities. During the others' nude ordeal, the third couple, which referees dressed and fully-sighted the groping nude pairs, becomes aroused, embraces, and begins the process to reconcile after having reached previously the point of divorcing each other. Following the party, the man and woman continue back at home to patch things up in their marriage. In fact, by the the end of the motion picture, all is well with each of the three couples as one has parting glimpses of them at their homes.
All of this makes for an original plot and some low-key eroticism that titillate the viewer, the more so since the men and women involved are all quite good-looking. They also are of similar physique from man to man and from woman to woman, which they must be for their all too brief "grope-a-thon" session to have any tension and suspense to it.
The nudity is alike full-frontal and full-dorsal, although, of the two men, one only gets a glimpse of Juergen Vogel's male genitalia, seen thickly flaccid, which his boyishly macho, eagerly impulsive character, Boris, has been extolling so boastfully at several points in the film for their amplitude and sexual potency. One does not see quite so entirely the fine body of handsome Benno Fuermann (an actor who may be better known internationally than the others and who is the most talented of the cast) when, back at home he and his nearly estranged wife undress partially (Fuermann leaving his undershorts on), fervently embrace, and reconcile.
Fuermann also is the most skilled actor of the six, playing his part with a naturalness that the others lack, whose depictions are rather "stagey" and brittle by comparison to Fuermann's masterly way with his role. Despite such artificiality that tends to prevail in the film, the handsome men and pretty females of the cast, their cleverly nude playfulness, and the lively dialogue and the constant shifts in temper that it reflects (however much the delivery of it most of the actors render rather stilted) indeed do make for entertaining and lively display and interplay, which do not outlast the viewer's patience, even at the container's indication of 100 minutes for the movie's duration.
The subtitles provided, in a choice of English or French, function well (at least for the English ones to which this viewer resorted), although it would have been nice if the film had been dubbed into those languages; that would limit how often one needs to make resort to them to follow the dialogue, limiting how much the non-German-fluent viewer can follow fully all of what appears non-verbally, as images, onscreen. There are no bonus features with the DVD edition from Mongrel Media, of which the catalogue number is DVDF-170, so indicated as printed, oddly placed, on the packaging, but the overall quality of this video product is good.