Zum Gasthof der spritzigen Mädchen (1979)

Out in the countryside, somewhere in the middle of nowhere in Bavaria, innkeeper Alois is up to his neck in financial trouble. His tavern is doing exceptionally badly, and the only person who regularly shows up is the bailiff. Now, because of his overdue payments, even the brewery is refusing to supply him. The priest and the village schoolteacher think they should put on a pious medieval pageant in the barn, but Alois doubts it will attract even a single soul, let alone boost business at his tavern. Besides, the innkeeper’s daughter, Annamirl, has already put up four exceptionally attractive young musicians from an all-female band in the hayloft. And she is not entirely wrong to think that “sex sells” even now: the pretty women’s physical charms—and their willingness to bare all from time to time—are bound to attract more attention, at least from the virile men, than some medieval pageant. The village men are in favor of using the young women as a tourist attraction. But the women, the priest, the teacher, and the mayor are vehemently opposed. The village is thus divided into two camps, and both sides fight for their cause by any means available. The young musicians, too, are fighting to set up a rock club here, so that this godforsaken village will finally make the headlines. They know how to charm and ultimately win over more than a few wavering minds with their willing use of their bodies. With so much hormonally fueled effort, it soon emerges that some of the village’s offspring, supposedly conceived in the marital bed, were actually conceived in “sin”—and the lines between supporters and opponents are soon blurred for good. In the end, even the priest proves to be only a man, and nearly succumbs to the “sinful” temptation embodied by the women.