My review was written in July 1983 after watching the film on videocassette.
Made over two years ago with the title "Snap!", "C. O. D." is a fitfully amusing German-backed but American-made sex comedy which is too soft (PG-rating instead of today's near-obligatory R) for much usage beyond the drive-in circuit and subsequent tv exposure.
West Germany has been exporting scores of light sex comedies (notably the endless "Schoolgirls" series) over the past decade which unspool at U. S. drive-ins in R-rated or soft X-rated dubbed versions with little public notice. "C. O. C." is similar in format to these (especially a mid-1970s title "Penthouse Playgirls"), dealing with the efforts of peripatetic young adman Albert (Chris Lemmon) to sign five beautiful and famous international women to contracts endorsing Dumore Industries' line of brassieres.
Along the way, there are some effective slapstick and gags, but the main thrust of the picture is to display an impressive assemblage of actresses known for their top-heavy superstructures. Former Penthouse mag pinup Corinne Alphen appears as a Hollywood star seen filming a satirical horror flick "The Zombies' Revenge". Teresa Ganzel (of "The Toy") is cast as the president's dizzy blonde daughter, black actress/stripper Marilyn Joi is alluring as a disco singer, Carol Davis is a fiery Italian countess and German starlet Dolly Dollar appears as a top-heavy wrestler. In context, the lovely German actress Olivia Pascal (memorable in "Vanessa") is cast as Albert's plain-Jane secretary. Even the running gags involving Albert's opposition are handled by the divertingly busty Jennifer Richards.
With all this pulchritude on the bill, "C. O. D." opts for an old-fashioned risque approach in its teasing avoidance of nudity or sex scenes, which have become a staple of comedies of late. A big plus is the work of Jack's son Chris Lemmon, carrying his hectic role with enthusiasm and solid comic timing. Also of value is the original English soundtrack recording which separates this from the throwaway dubbed project.
Chuck Vincent's direction is fast-paced, boosted by location-hopping production values that are way above average for the genre. Robert Pusilo's costume and production design work is suitably garish.
Made over two years ago with the title "Snap!", "C. O. D." is a fitfully amusing German-backed but American-made sex comedy which is too soft (PG-rating instead of today's near-obligatory R) for much usage beyond the drive-in circuit and subsequent tv exposure.
West Germany has been exporting scores of light sex comedies (notably the endless "Schoolgirls" series) over the past decade which unspool at U. S. drive-ins in R-rated or soft X-rated dubbed versions with little public notice. "C. O. C." is similar in format to these (especially a mid-1970s title "Penthouse Playgirls"), dealing with the efforts of peripatetic young adman Albert (Chris Lemmon) to sign five beautiful and famous international women to contracts endorsing Dumore Industries' line of brassieres.
Along the way, there are some effective slapstick and gags, but the main thrust of the picture is to display an impressive assemblage of actresses known for their top-heavy superstructures. Former Penthouse mag pinup Corinne Alphen appears as a Hollywood star seen filming a satirical horror flick "The Zombies' Revenge". Teresa Ganzel (of "The Toy") is cast as the president's dizzy blonde daughter, black actress/stripper Marilyn Joi is alluring as a disco singer, Carol Davis is a fiery Italian countess and German starlet Dolly Dollar appears as a top-heavy wrestler. In context, the lovely German actress Olivia Pascal (memorable in "Vanessa") is cast as Albert's plain-Jane secretary. Even the running gags involving Albert's opposition are handled by the divertingly busty Jennifer Richards.
With all this pulchritude on the bill, "C. O. D." opts for an old-fashioned risque approach in its teasing avoidance of nudity or sex scenes, which have become a staple of comedies of late. A big plus is the work of Jack's son Chris Lemmon, carrying his hectic role with enthusiasm and solid comic timing. Also of value is the original English soundtrack recording which separates this from the throwaway dubbed project.
Chuck Vincent's direction is fast-paced, boosted by location-hopping production values that are way above average for the genre. Robert Pusilo's costume and production design work is suitably garish.