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The Eroticist
The Eroticist
The Eroticist
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The Eroticist
Italian film poster
Directed byLucio Fulci
Screenplay by
Story by
  • Lucio Fulci
  • Sandro Continenza
Produced byEdmondo Amati
Starring
CinematographySergio D'Offizi
Edited byVincenzo Tomassi
Music byFred Bongusto
Production
companies
  • New Film Production
  • Les Productions Jacques Roitfeld
Distributed byFida Cinematografica
Release date
  • March 16, 1972 (1972-03-16)
Running time
108 minutes
Countries
  • Italy
  • France
LanguageItalian

The Eroticist (Italian: Nonostante le apparenze... e purchè la nazione non lo sappia... all'onorevole piacciono le donne, lit. 'Despite Appearances... and Provided the Nation Doesn't Know... The Senator Likes Women') is a 1972 Italian commedia sexy all'italiana film directed (and co-written) by Lucio Fulci.[1] It had censorship problems and was banned shortly after its release. Later it was released in a heavily cut version and prohibited for persons under 18 years.[2]

Plot

[edit]

At an airport, Italian senator Gianni Puppis arrives greets the female president of the Republic of Urania. Puppis, a contender for the Italian presidency, is captured on film groping her bottom as she greets the press. No one notices the incident, and she is unsure of who was responsible.

Photos of the incident reach Father Lucian, a Catholic priest. Lucian arranges a meeting with Puppis and demands blackmail money in exchange for the pictures. Puppis remembers nothing about the incident and refuses to pay. That night, Puppis dreams of a naked woman beckoning him.

Puppis calls Lucian and offers him the money. In return, Lucian offers to arrange a consultation with a psychiatrist. During the session, Puppis describes his recent affliction: his dreams and waking thoughts center around behinds, primarily female ones, despite Puppis being a homosexual. Behinds fill his thoughts and precipitate black-outs, during which he commits acts of bottom-pinching. Puppis vows to maintain his self-control, but later that day his hands wander while standing behind a woman in an elevator at the Senate offices.

The next day, Puppis announces that he is going on a "spiritual retreat" until the results of the elections are announced. Lucian drives Puppis into the countryside, temporarily stopping at a gas station. Puppis experiences a barrage of ladies' bottoms at the station forecourt. Before Lucian can stop him, he lurches over to one woman bent over to examine the car's engine, only to find himself face to face with a furious Scotsman.

Later, Lucian and Puppis arrive at a cloister run by Schirer, a priest and psychiatrist. However, Puppis is drunk after consuming liquor he bought at the rest stop. All of Schirer's nurses turn out to be young nuns. That night, the sleeping Puppis grabs a nurse's bottom.

In Rome, the Vatican secret police learn of Puppis's relationship with Lucian through bugged conversations. Cardinal Maravigili, a clergyman and patron of Puppis, is enraged at the possible scandal upon watching film of the airport incident.

At the cloister, Puppis describes a dream to Schirer while under hypnosis, including visions of the Garden of Eden where foliage bursts with naked female bottoms. The following night, Puppis sleepwalks to Schirer's room and molests him while he is asleep. Protecting his vow of chastity, Schirer wakes up Puppis. Realizing his actions, Puppis professes to feel better, claiming that his dreams liberated his mind. He returns to Rome the following morning. At the cloister, Schirer takes confession from the nuns and discovers that Puppis's rampaging sexual dreams were enacted for real.

Furious, Schirer visits Puppis and demands an explanation, but is forced to hide when Maravigili arrives. Hiding in Puppis's shower, Schirer suffers a fatal heart attack when he thinks Maravigili will walk in. Unaware of Schirer's demise, Puppis leaves with Maravigili to attend a garden party. After experiencing erotic visions, Puppis seduces the French ambassador's wife in the bushes. Meanwhile, Puppis's chauffeur discovers Schirer's body and rushes to tell his boss, only to be abducted by Don Gesualdo, the mafioso leading the Vatican secret police.

Returning home, Puppis is met by Sister Hildergarde, the only one of the cloistered order not to have been ravished by him. Begging him to relieve her of temptation and simultaneously scolding him for wickedness, she implores that they whip each for their sins. As the couple gets down to it, the Vatican thugs arrive. Puppis and Hildergarde flee.

Don Gesualdo and his thugs track down the couple to a motel room and kidnap Hildegarde. Maravigli then appears. Puppis says that he wants out of politics, to no avail, as a lot of time and effort was secretly expended to hoist Puppis into position. Maravigli takes Puppis into the Vatican's bowels to view waxworks of recently canonized saints. They include Carmelino, Lucian and Schirer. The Cardinals threatens to do the same to Puppis. When Senator Torsello dies the next day in a "plane crash," Puppis is declared the winner of the election by default.

At an acceptance ceremony, Puppis genuflects before a wax statue of Hildegarde. As he gives his inaugural address on live television, someone in a bar switches the channel to a game show.

Cast

[edit]

Reception

[edit]

An Italian contemporary review states that "It is an indecent and stupid farce, that has nothing to do with political satire." and that it "lacks all sense of sharpness in humour, everything being marked with the seal of the most unhealthy and vulgar taste".[3]

References

[edit]
[edit]
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The Eroticist

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(Italian: Nonostante le apparenze... e purché la nazione non lo sappia... all'onorevole piacciono le donne), released in 1972, is an Italian erotic comedy film directed by and starring as Senator Pupis, a high-ranking whose bid for the is endangered by his uncontrollable impulse to grope women's . The story follows Pupis's attempts to suppress his affliction with the aid of a Dominican friar, leading him to seclusion in a inhabited by nuns, while Vatican-linked political allies work to conceal his behavior from the public. Co-starring and , the film exemplifies the genre, blending with sexual humor to critique corruption in Italian governance and clerical influence. Upon release, it encountered challenges owing to its risqué content and lampooning of authority figures, resulting in cuts and temporary bans in certain markets.

Production

Development and Pre-Production

The screenplay for The Eroticist was co-written by director , with contributions from Alessandro Continenza and others, focusing on a satirical critiquing Italian political elites and clerical influence during the early . The central character, Senator Enrico Pupis, was modeled after Christian Democrat politician Emilio Colombo, then serving as Italy's , with lead actor Lando Buzzanca's makeup designed by Giannetto De Rossi to closely mimic Colombo's appearance, including facial features and mannerisms. This inspiration stemmed from Fulci's intent to expose hypocrisies within the Democrazia Cristiana party, portraying a high-ranking official's sexual compulsions as emblematic of broader institutional corruption and moral double standards. Pre-production occurred in 1971 under producer Edmondo Amati and his son Maurizio for Jumbo Cinematografica, amid Italy's politically charged climate where such direct lampooning risked backlash from powerful lobbies. emphasized comedic like Buzzanca, known for similar roles in sex comedies, while minor parts included early appearances by American actress (later ), who signed a contract for her role as a convent sister that year. Location scouting targeted authentic sites, such as an ancient mountain monastery for scenes, to underscore the film's themes of repressed desires clashing with religious authority. These elements positioned the project as a bold , blending erotic with pointed institutional critique before began.

Filming and Technical Aspects

Principal photography for The Eroticist occurred primarily in and its surrounding region, , capturing urban and rural settings to underscore the film's satirical portrayal of political . Specific locations utilized included Piazzale Ugo La Malfa for street scenes, the Autogrill Pavesi di Feronia rest stop in Fiano Romano for highway sequences, and the historic Chiesa di San Giorgio al Velabro in for interior ecclesiastical shots. The production employed standard Italian cinema practices of the early 1970s, relying on to integrate real-world environments with comedic elements. No extensive studio work is documented, emphasizing on-site authenticity amid the film's of institutional power. Technically, the film was lensed in color on 35 mm Eastman negative stock using spherical cinematographic processes, resulting in a 1.85:1 suitable for theatrical presentation. Audio was recorded in mono, aligning with prevailing norms for productions that prioritized narrative pacing over advanced .

Plot Summary

Senator Giacinto , a prominent Italian senator and leading candidate for the , harbors an uncontrollable compulsion to fondle women's breasts, which manifests during a live television broadcast where he gropes a female guest off-camera, though the incident is not aired. The unedited is secretly obtained by a of political , including figures tied to , who use it as to derail his campaign and maintain their influence. Desperate to suppress his urges and salvage his political ambitions, consults an eccentric American sexologist, Dr. Walter Jeffreys, who employs unorthodox therapies such as and behavioral conditioning to reprogram his inhibitions. These sessions lead to increasingly absurd scenarios, including Puppis's confinement in a remote populated by , where his treatment takes surreal turns amid the film's satirical exploration of power, , and institutional . As the intensifies, navigates a web of deceit involving his aides, mistresses, and adversaries, culminating in a that exposes the underbelly of Italian politics while questioning the feasibility of curing deep-seated human impulses through pseudoscientific means.

Cast and Characters

The principal role of Senator Giacinto , a Christian Democrat struggling with an irresistible compulsion to touch women's buttocks, is played by . portrays Cardinal Maravidi, a high-ranking church official who provides counsel to Puppis amid political ambitions. appears as Sister Delicata, a whose interactions highlight the senator's afflictions. Renzo Palmer plays Father Lucion, a involved in the protagonist's attempts at reform. embodies Don Gesualdo, contributing to the clerical elements surrounding Puppis's predicament. Supporting roles include as Ulderica, Puppis's assistant, and other figures in the satirical depiction of Italian political and spheres.

Themes and Satirical Elements

Political and Institutional Critique

The film satirizes the Italian political system by depicting Senator Pupis's presidential candidacy as propped up through clandestine alliances involving the Vatican, , secret services, and military elites, highlighting institutional complicity in elevating flawed leaders to maintain power structures. This portrayal underscores the era's real-world entanglements, where the exerted significant influence over governance amid the dominance of Christian Democratic administrations in post-war . Pupis's uncontrollable compulsion to grope women serves as a metaphor for moral hypocrisy among politicians, whose personal vices are concealed to preserve public facades and institutional stability, critiquing how scandals are managed through cover-ups rather than . The narrative exposes the Vatican's role in political maneuvering, portraying church officials as enablers of to safeguard interests, a pointed attack on the undue clerical sway in secular affairs during the 1970s. Released in , amid Italy's Years of Lead marked by political violence and institutional distrust, the satire reflects broader disillusionment with elite pacts that prioritized stability over ethical leadership, as Pupis ascends despite his evident unfitness. Critics have noted the film's charged assault on these power networks, blending with incisive commentary on how institutional loyalty trumps individual integrity.

Sexual Compulsion and Human Nature

In The Eroticist, directed by in 1972, the central character's sexual compulsion manifests as Senator Pattacca's irresistible urge to grope women's buttocks, portrayed as an innate biological drive that overrides rational and endangers his political career. This fetish, triggered involuntarily by visual stimuli, compels Pattacca to risk public repeatedly, as seen in incidents during official duties and personal encounters. The film's narrative frames this behavior not as a lapse but as a fundamental , akin to or other primal needs, which persists despite the senator's awareness of its consequences. Attempts to cure Pattacca's compulsion through psychiatric intervention highlight its resistance to modern therapeutic methods. Under and by a , Pattacca temporarily suppresses the urge but ultimately relapses, underscoring the limitations of Freudian or behavioral approaches in eradicating deeply embedded drives. Religious efforts, including consultations with and exorcism-like rituals involving nuns, similarly fail, suggesting that sexual impulses operate independently of spiritual or ethical conditioning. This portrayal aligns with a view of as governed by uncontrollable libidinal forces, where institutional and ideological frameworks provide only superficial restraint. The extends to how such compulsions expose the fragility of power structures, as Pattacca's aides and superiors prioritize concealment over eradication, reflecting a pragmatic acceptance of human frailties in circles. By 1972, amid Italy's political upheavals, the film uses this to critique the of public figures who maintain facades of propriety while harboring base instincts, implying that sexual compulsion reveals the causal primacy of over in shaping . Multiple contemporary reviews noted the film's emphasis on this irrepressible aspect of , linking it to broader socio-political tensions without resolution through reform.

Release and Censorship Issues

All'onorevole piacciono le donne faced immediate resistance from Italian censors upon submission. On 28 1972, the film was rejected by the national commission due to its explicit portrayals of and sharp targeting parliamentary figures and institutional corruption. The decision reflected ongoing conflicts between Italy's post-war liberalization of cinema and residual conservative controls, particularly under Christian Democratic influence, which often scrutinized content deemed subversive to public morals or authority. Subsequently, on 3 February 1972, authorities seized prints on charges, amplifying . After revisions and appeals, the film received approval and was released theatrically in on 16 March 1972. The controversy generated significant publicity, reportedly boosting attendance and contributing to commercial viability despite the delays. Internationally, distribution occurred without comparable domestic upheavals. It premiered in the United States in November 1975 as The Eroticist or The Senator Likes Women, with potential minor edits for local ratings but no documented bans. French and other European markets followed suit in the early , aligning with the era's growing acceptance of comedies amid declining regimes.

Reception and Critical Analysis

Contemporary Reviews

Upon its Italian release on 16 November 1972, The Eroticist garnered attention for its irreverent satire of Christian Democratic Party figures and institutional corruption, blending erotic farce with commentary on sexual hypocrisy among the elite. The film achieved commercial success, capitalizing on Lando Buzzanca's popularity in Sicilian-themed comedies and the era's appetite for politically tinged . Reports indicate that , the real-life politician parodied through the protagonist Senator Giacinto Puppis, viewed the film and reacted with laughter, suggesting a degree of amused tolerance from the targeted establishment despite its barbed critique. Critics at the time highlighted the film's wit in exposing parliamentary absurdities and clerical influence, though its explicit sexual content provoked reservations from conservative outlets aligned with Vatican sensibilities, which often condemned similar "porno-soft" productions for moral laxity. Italian periodicals noted the narrative's escalation from light to darker undertones of compulsion and power, praising Fulci's direction for subverting expectations while critiquing the fusion of and ambition in public life. The work's reception reflected broader tensions in Italian cinema, where political intersected with exploitation elements to both entertain and provoke.

Modern Reassessments

In contemporary analyses, The Eroticist is frequently reassessed as an underrated entry in Lucio Fulci's oeuvre, showcasing his versatility beyond horror through sharp on institutional and hidden vices among elites. Critics highlight its prescience in portraying a network of politicians, , and mafiosi manipulating power, which echoes real Italian scandals like the P2 lodge exposed in the 1980s. A 2021 retrospective on Fulci's top films describes it as a bold act of rebellion against , noting its commercial success despite initial seizures that underscored its provocative edge. The film's treatment of the protagonist's compulsive —framed as an uncontrollable affliction rather than mere perversion—has drawn mixed modern interpretations, with some viewing it as a Freudian of repressed clashing with public morality, while others note its alignment with tropes that prioritized humor over psychological depth. Reviewers on platforms like Criticker commend Lando Buzzanca's lead performance as a "cheeky political ," emphasizing the film's enduring appeal in lampooning in high office, though its explicit content limits mainstream revival. Discussions in Fulci-focused documentaries and interviews, such as those from onward, position The Eroticist as evidence of the director's early satirical bite, contrasting with his later gore-centric reputation and lamenting the decline of such unapologetic Italian comedies. Its history—banned briefly upon release for alleged moral offenses— is now seen as emblematic of Italian cultural battles, with recent availability on fostering niche appreciation among cinephiles for Fulci's visual flair and Buzzanca's .

Cultural Impact and Legacy

The Eroticist exemplifies the genre's fusion of erotic farce with pointed critiques of Italian political and clerical hypocrisy during the early , a period marked by growing public disillusionment with the Christian Democrat-dominated establishment. Directed by as one of his pre-horror comedies, the film portrays a senator's compulsive as a metaphor for unchecked power and moral duplicity, resonating with contemporary scandals and the era's tangentopoli precursors. Its legacy endures primarily as a cult artifact in Italian cinema retrospectives, valued for Fulci's satirical bite rather than widespread influence, with modern assessments highlighting its prescience in exposing the gap between public virtue-signaling and private vice among elites. Scholarly examinations of global political humor reference it as a in cinematic of parliamentary machinations, underscoring its role in amplifying public cynicism toward institutions amid Italy's Years of Lead. The film's censorship battles upon release—banning it temporarily for —further cemented its notoriety as a provocative artifact of libertarian cinematic pushback against state moralism.

References

  1. https://www.imdb.com/title/tt0068193/
  2. https://mubi.com/en/us/films/the-senator-likes-women
  3. https://www.imdb.com/title/tt0068193/plotsummary/
  4. https://www.grindhousedatabase.com/index.php/The_Eroticist
  5. https://www.scribd.com/document/349080890/Dario-Argento
  6. https://dailydead.com/the-drive-of-passion-the-life-and-films-of-giannetto-de-rossi/
  7. https://www.davinotti.com/film/all-onorevole-piacciono-le-donne/1037
  8. https://www.scribd.com/document/795890950/Ofer-Feldman-Editor-Political-Humor-Worldwide-the-Cultural-Context-of-Political-Comedy-Satire-And-Parody-the-Language-of-Politics-Springer-2
  9. https://www.huffingtonpost.it/cultura/2022/02/01/news/viva_la_censura-8625845/
  10. https://www.imdb.com/title/tt0068193/trivia
  11. https://www.davinotti.com/forum/location-verificate/all-onorevole-piacciono-le-donne/50001037
  12. https://www.imdb.com/title/tt0068193/technical/
  13. https://www.filmelier.com/movies/83736/the-eroticist
  14. https://midwestfilmjournal.com/2022/04/15/nun-of-our-business-the-eroticist/
  15. https://en.unifrance.org/movie/6663/the-eroticist
  16. https://www.imdb.com/title/tt0068193/fullcredits/
  17. https://www.themoviedb.org/movie/30552-nonostante-le-apparenze-e-purch-la-nazione-non-lo-sappia-all-onorevole-piacciono-le-donne/cast?language=en-US
  18. https://www.filmaffinity.com/us/film457470.html
  19. https://www.ipersphera.com/allonorevole-piacciono-le-donne-dvdrip-ita/
  20. https://www.staseraintv.com/scheda/Film/a/all_onorevole_piacciono_le_donne/all_onorevole_piacciono_le_donne.html
  21. http://www.notcoming.com/features/fulcisgatesofhell/
  22. https://letterboxd.com/bavalamp/film/the-eroticist/
  23. https://www.imdb.com/title/tt0068193/reviews/
  24. https://bandsaboutmovies.com/2024/02/05/fvi-week-il-merlo-maschio-1971/
  25. https://www.futuro-europa.it/34207/cultura/allonorevole-piacciono-le-donne-film-1972.html
  26. https://movieplayer.it/articoli/film-piu-censurati-italia_24512/
  27. https://www.imdb.com/title/tt0068193/releaseinfo/
  28. https://www.imdb.com/title/tt0068193/releaseinfo
  29. https://core.ac.uk/download/pdf/218199166.pdf
  30. https://lorciofani.com/2010/10/17/italian-retro-allonorevole-piacciono-le-donne-1972/
  31. https://www.cinematografo.it/film/allonorevole-piacciono-le-donne-nonostante-le-apparenze-e-purche-la-nazione-non-lo-sappia-cr7n1qn5
  32. https://www.ilsorpassocinema.com/2021/03/13/i-10-migliori-film-di-lucio-fulci-top-10-movies/
  33. https://www.genregrinder.com/post/italian-grinders-lucio-fulci-giallo-retrospective-part-i-psychological-dissonance
  34. https://www.criticker.com/film/The-Eroticist/
  35. http://www.flyfidelity.co.uk/2019/11/antonella-fulci-on-part-documentary-and.html
  36. https://www.rottentomatoes.com/m/allonorevole_piacciono_le_donne
  37. https://www.dvdcompare.net/review.php?rid=129
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