Erkekten de Beter

Confessions of a Lady Cop (La poliziotta fa carriera)

Movie · 1976 · 15 people

In 1976 Michele Massimo Tarantini made the Italian erotic comedy Confessions of a Lady Cop (original title La poliziotta fa carriera; in Turkey Erkekten de Beter). Running about 82 minutes, it is an example of the commedia sexy all'italiana and was written by Francesco Milizia together with Tarantini. It counts as an unofficial sequel to Steno's La poliziotta: sex and nudity are handled more openly, and farce takes the place of seriousness. It also parodies the hard-edged Italian crime wave known as poliziottesco.

Edwige Fenech stars as policewoman Gianna Amicucchi. The first film, made in 1974, had Mariangela Melato in the lead; Fenech took over the part from this one onward. The cast also includes Mario Carotenuto, Alvaro Vitali, Gianfranco D'Angelo, Gino Pagnani, Michele Gammino, Gastone Pescucci and Nello Pazzafini.

The film grew into a series with two sequels directed by Tarantini and again starring Fenech: La poliziotta della squadra del buon costume (1979) and La poliziotta a New York (1981). Some sources count a trilogy, others a four-film run including the first film. Reviewers have called the cycle an Italian forerunner of the Police Academy films. In Germany the film is known as Politess im Sitten-Stress, in France as La Flic chez les poulets.

DirectorMichele Massimo Tarantini

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Cast

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Gastone Pescucci Gastone Pescucci Actor · died at 73 Nello Pazzafini Nello Pazzafini Actor · died at 62 Edwige Fenech Gigi Ballista Alvaro Vitali Mario Carotenuto Gianfranco D'Angelo Michele Gammino Giuseppe Pambieri Riccardo Garrone Jimmy il Fenomeno Francesco Mulè Gino Pagnani Maurizio Mattioli Fulvio Mingozzi

Through different eyes

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

The film sits where two genres cross: the loose shape of the commedia sexy all'italiana on one side, a parody of the hard-edged Italian crime wave, the poliziottesco, on the other. On paper it is an interesting pairing; in my view, though, the parody does less to turn the genre's rules inside out than to use them as an excuse for nudity and farce. The script strings gags together rather than building a plot, so even 82 minutes feels padded in places. Still, critics are not wrong to call the series an Italian forerunner of Police Academy: you can read here an early draft of the formula that turns a police force into a stage for comedy.

History & Society Lens Asks about the period, the social background and what the work reflects.

Even the Turkish title, which translates roughly as "Worse Than a Man", sums up the attitude of its day: a woman in uniform is measured by whether she can outdo the men. In this genre's hands the policewoman is less a professional story to be taken seriously than an occasion for erotic spectacle. So the film documents not so much women's place in working life as how that place was turned into entertainment for a male audience. Seen from today, that is its real interest: whatever it intended, it is an honest but uncomfortable time capsule of gender roles in 1970s Italian popular cinema.

Family Viewer Asks whether the whole household can watch it; cares about humour and heart.

This one is not for families. As the genre demands, sex and nudity are handled openly, and the comedy is largely built on them. If you want something to sit down and watch with children or grandparents, pick another film. It suits adults only, and mainly those curious about 1970s Italian comedies.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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