Based on Mozart's opera Cosi Fan Tutte, All Ladies Do It tackles the nature of human beings, clearly exposing the physical impossibility of the concept of fidelity. In order to do this, Tinto Brass paints the portrait of a couple bound love, Diana (Claudia Koll) & Paul (Paolo Lanza), whose marriage is put in danger when Diana pushes her fantasies too far, making them a concrete reality with a varied entourage which includes her cousin and the participants of an orgy.
Paul's excitation, initially aroused by his wife's fantasies, then turns to jealousy before he realises, through the aid of close relatives, that the love his wife brings to him is intact and very real. For Brass, love is above-all spiritual but the fidelity of the soul can, however, be dissociated from the fidelity of the body.
After The Key, once again we find ourselves in Venice, the erotic city par excellence in the eyes of the director, its isolation from the rest of the world assimilating it to a kind of boudoir city favourable to fantasies.
All Ladies Do It is located between the classy and thematic approach of The Key and the more modern, hard Miranda. The beauty of the main actress finds an echo in that of the city and Brass manages to build his film around his characters; the sex scenes used here as dramatic springs around the the couple in question. The cinematography, following the example of The Key, is polished and the directing stylized, the efforts concerned with the mise en scène, as the framings and production hoist the film beyond primitive exercises like Miranda.
The perky classical music also perfectly accompanies this joyous libertine story, placing All Ladies Do It in the tradition of the contemporary Mediterranean erotic cinema.