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Plot: wealthy middle-aged industrial hires a new secretary. Hilarity ensues!

La segretaria privata di mio padre (or My Father’s Private Secretary internationally) may not be the best Italian sex comedy has to offer but that doesn’t make it any less fun for what it is. Completely free of any subtext and not interesting in upsetting the status-quo My Father’s Private Secretary does most of everything right. This is never as swooning as those Romina Powers-Al Bano comedies from earlier in the decade nor as spicy as anything Gloria Guida, Lilli Carati, or Edwige Fenech ever did. As such this is a comedy that banks heavily (not to say, entirely) on the charms of its nubile starlet. And let that exactly be what Maria Rosaria Omaggio has plenty of. Aided by two comedy juggernauts and as much screen legends My Father’s Private Secretary does exactly what you want it to. The worst what could possibly be leveled at it is that it’s on the tame side for the year it was released. Mariano Laurenti was an experienced veteran of this sort of thing – and he was kind of on auto-pilot here. His direction is efficient and on-point but a sweeping romance like his some of his best scenegiatta this is not. In the treacherous seas of Italo comedy My Father’s Private Secretary serves best as a beginner’s introductory chapter to the genre as a whole as it’s neither old-fashioned nor slapstick-oriented.

Mariano Laurenti was a commedia sexy all’Italiana specialist who had shepherded the genre through the various decades and incarnations. Unlike his contemporaries Bruno Corbucci and Marino Girolami, Laurenti would never venture out of his comfort zone and direct something that wasn’t purely a comedy. As a seasoned veteran he worked with everybody that was anybody. From Edwige Fenech and Femi Benussi to Orchidea de Santis and Nadia Cassini. Laurenti worked with much beloved Lolitas Gloria Guida and Lilli Carati as well as lesser queens as Anna Maria Rizzoli and disgraced divas as Annamaria Clementi and Paola Senatore. He was the man behind the Edwige Fenech decamerotici Beautiful Antonia, First a Nun Then a Demon (1972), Ubalda, All Naked and Warm (1972) as well as The Inconsolable Widow Thanks All Those Who Consoled Her (1973). The same year he did My Father's Private Secretary he also directed the Gloria Guida romp The Landlord (1976) with the Lilli Carati sub-classic The Seatmate (1977) following closely behind. Topping things off are the Edwige Fenech l'insegnante The Schoolteacher Goes to Boys' High (1978) and the Gloria Guida disco romp The Night Nurse (1979). In the eighties he did a few movies with Nino D'Angelo with Picture Story (1982), Jeans and T-Shirt (1983), The Disco (1983), and Neapolitan Boy in New York (1984). In the nineties he directed but 5 movies, none of which gained any sort of international traction. Only the breastacular Saint Tropez, Saint Tropez (1992) (with the delectable duo of former Tinto Brass goddesses Debora Caprioglio and Serena Grandi) which he assistant directed has stood the test of time.

After a glamourous spread in Playboy in May 1976 the career of Maria Rosaria Omaggio was off to a flying start. She was introduced to the world through two high-profile productions. Omaggio debuted in the Umberto Lenzi poliziottesco Rome Armed to the Teeth (1976) and the first Nico Giraldi crime caper The Cop in Blue Jeans (1976) from Bruno Corbucci. In the decamerotico The Lush Andalusian (1976) Maria Rosaria went fully nude, and it seemed only natural that the commedia sexy all’Italiana was the next logical progression. That happened with My Father's Private Secretary. As beautiful as Maria Rosaria Omaggio was, did she even have a fighting chance in a sex comedy scene dominated by ultimate royalty Edwige Fenech, Femi Benussi, Agostina Belli, and Nadia Cassini; where Gloria Guida and Lilli Carati owned the lower rungs of the subgenre; and where Laura Antonelli, Ornella Muti, and Jenny Tamburi inhabited that special niche between the two? After a brief excursion into Spain and the French historical mini-series Joséphine ou la comédie des ambitions (1979) Omaggio found herself working with Lenzi again for the pandemic horror Nightmare City (1980). Once again she bared it all in Playboy (July 1980) and then again in November 1982 right before her turn in Luigi Cozzi’s The Adventures Of Hercules (1983). Her next big feature would be Bruno Corbucci’s Rimini Rimini - One Year Later (1988). In the decades since Maria Rosaria Omaggio has been a constant on the small and big screen and remains active today. Was she ever the biggest star? Probably not, but she certainly acted better than most of those that eclipsed her in enduring popularity.

Armando Ponziani (Renzo Montagnani) is the philandering bourgeoisie CEO of his thriving namesake cosmetics industrialist empire. He lives in a palatial villa on Lake Como in Brianza, Lombardy with his aristocratic moglie Ersilia (Giuliana Calandra), his studious son Franco (Stefano Patrizi), and mousy daughter Amelia (Sofia Lombardo). One day overzealous company chemist Doctor Mingozzi (Aldo Massasso) is picked up by his shy young girlfriend Luisa (Maria Rosaria Omaggio). Mingozzi burns with ambition to climb the corporate ladder and will stop at nothing to take over the Ponziani empire. Driving his wife to the opera one night Armando becomes involved in a road collision. Now plastered in casts he requires not only personal attention but someone (preferably multilingual and able to type) to attend urgent business matters while he and his wife recover. While Armando keeps butler Giuseppe (Enzo Cannavale) and housekeeper Ernesta (Rina Franchetti) busy at the villa Mingozzi recognizes an opportunity when he sees one. He suggest Ponziani hire Luisa for a week to keep the business afloat while they look for a permanent solution. Before long free-spirited and flirty Luisa has beguiled all the men around the house, and a dance of seduction begins. Matters are complicated when Armando’s jealous mistress Ingrid (Anita Strindberg) and Franco’s horny laborer friend Oscar (Alvaro Vitali) get mixed up in the situation.

Far from an ensemble piece there are more than enough familiar faces here. First and foremost there are comedy pillars Renzo Montagnani and Enzo Cannavale. Also present is Alvaro Vitali (for once not in tandem with his usual sidekick Lino Banfi) and he’s not nearly as odious and annoying as he typically is, which doesn’t stop him from his usual cross-dressing routine. The other big name besides Omaggio is giallo royalty Anita Strindberg. She could be seen in A Lizard in a Woman's Skin (1971), The Case of the Scorpion's Tail (1971), Your Vice Is a Locked Room and Only I Have the Key (1972), Who Saw Her Die? (1972), and Murder Obsession (1981). Strindberg goes fully nude despite her advanced age whereas Omaggio is mostly relegated to doing topless. It has to be said, Strindberg looked better preserved in 1976 than Anita Ekberg in 1969. Then there’s that shot of Luisa naked on the bed that kicked off Tinto Brass’ career. The other big star here is Aldo Massasso. Massasso had a respectable career although there isn’t a lot of his we’re familiar with besides Jorge Grau’s The Living Dead at the Manchester Morgue (1974), and Sergio Martino’s The Suspicious Death of a Minor (1975). Then there are the two prerequisite monuments, Giuliana Calandra and Rina Franchetti. Calandra debuted in 1958 and could be seen in Deep Red (1975), The Landlord (1976), Desiring Julia (1996), and Rimini Rimini (1987). Franchetti was a implacable pillar of Italian cinema that debuted in 1932. She could be seen in, among others, Federico Fellini's La Dolce Vita (1960), Atom Age Vampire (1960), as well as the big budget Hollywood Biblical epic Barabbas (1961). Stefano Patrizi and Sofia Lombardo had decent enough careers but never ascended to true superstardom.

There’s a considerable divide between a commedia sexy all’Italiana of the sixties and those of the seventies. The summer of 1968 and the permissive social mores following the Sexual Revolution genre cinema (and exploitation in particular) was suddenly given a whole lot more leeway in terms of nudity and suggestive content in general. Look no further than the giallo Top Sensation (1969) for evidence of just that. Not that My Father's Private Secretary is some sort of lost classic or underappreciated gem, but it’s definitely among the better of its kind. It’s never as racy as anything Gloria Guida or Lilli Carati did and while not as sophisticated as the average Laura Antonelli, Ornella Muti, and Jenny Tamburi romp it’s a better than it has any reason to be. Francesco Milizia’s screenplay ticks all the expected boxes and there’s an absolute minimum of the usual slapstick (often a bane in Italian comedies around this time). Since this was mid-seventies Italy rubber-faced buffoon Alvaro Vitali engages in his usual mugging and cross-dressing antics, although he isn’t nearly as odious and annoying as he typicallly is since this doesn’t involve his usual partner in crime Lino Banfi. Once Luisa is courted by father and son Ponziani Milizia apparently couldn’t be bothered to come up with an explanation as to why Amelia and Mingozzi completely disappear and never return. In a moment of prescience Milizia acknowledges (and spoofs) how preposterous of a proposition it was that nobody took to imitating The Exorcist (1973) with the kind of religious zeal the way the Italians did (a cycle which was in its fourth year by that point). Especially in light how William Friedkin’s most enduring effort stole all of its best and most memorable scenes from Brunello Rondi’s The Demon (1963).

In comparison to what was coming out around the same and in the same genre My Father’s Private Secretary falls in that awkward middle category where it was too racy for 60s standards and on the tame side for a commedia sexy all’Italiana in 1976. Mariano Laurenti was experiencing something of a lull but he would rekindle his creativity towards the end of the decade. While not exactly prudish or chaste My Father’s Private Secretary leans far more towards the first half of the sixties than it does to the seventies. Britain, Germany, and Scandinavia were churning out far more risqué sexploitation around this time. In that respect My Father’s Private Secretary is conservative and even a bit old-fashioned. It’s telling enough that the brunt of the nudity falls upon Anita Strindberg and not miss Omaggio – not that Maria Rosaria doesn’t get her fair portion of it, but the most sensuous revealing scene (a solitary case of full-frontal) is reserved for elder stateswoman Strindberg. All things considered My Father’s Private Secretary is a solid, if uneventful, little comedy that ticks all the right boxes but never really aspires to be anything more than the sum of its various parts. As far as Italian sex comedies go you could do far, far worse. This might not be some forgotten classic but My Father’s Private Secretary is a lot better than it has any right to be. Faint as that praise may be, it shouldn’t stop you from checking it out if you can.

Plot: feisty columnist challenges her editor-in-chief to a bet. Hilarity ensues!

In the Edwige Fenech 80s comedy canon Sballato, gasato, completamente fuso (or High, Gassed, Completely Melted, released in the English-speaking world as simply An Ideal Adventure) is probably the least talked about. Directed by master satirist and genre specialist Steno this is another riot-inducing romp that delivers exactly what it promises, but with an important difference. An Ideal Adventure might possibly be the only comedy in Fenech’s massive body of work that is both a spoof and a satire. While An Ideal Adventure has Edwige making fun of herself Steno uses it to take a critical look at then-contemporary gender roles and societal expectations towards women and through out it all the audience gets to take a good look at Edwige Fenech au naturel. As far as these things are concerned her many on-screen partnerings with Lino Banfi seldom were this fun, although they weren’t exactly lacking to begin with.

As one of the most enduring icons of Italian genre cinema, domestic and abroad, Edwige Fenech had quite the distinguished career. Starting out as one of the many models-turned-actress in French and German comedy Fenech was lucky enough to ride the embers of the jungle goddess subgenre with Samoa, Queen Of the Jungle (1968) into the then-booming giallo explosion with Top Sensation (1969). It were the Martino brothers who catapulted Fenech to superstardom. With Luciano producing and Sergio directing Edwige was one part of the giallo holy trinity of leading ladies along with Spanish sex kitten Nieves Navarro and fellow French model Barbara Bouchet. Navarro would team up with Fenech in All the Colors of the Dark (1972) and Bouchet would be coupled with Edwige’s erstwhile co-star Rosalba Neri in Amuck (1972). Whereas Fenech, Bouchet, and Navarro all at various points would co-star with either Ivan Rassimov or Argentinian import George Hilton never would there be an instance where a production had all three ladies together in a giallo at the same time. Fenech and Bouchet transitioned into comedy once the giallo wave crested Navarro, like Femi Benussi, would soon find herself working with sleaze specialists as Joe D’Amato and the like. It’s testament to either Fenech’s unwillingness to debase herself and the business acumen of her handlers to think in the long-term interest of their client.

The wicked and wild seventies had been kind to Edwige. She had been the queen of giallo, an absolute royalty and one of the subgenre’s most iconic and beloved leading ladies. Parallell to that she was the once-and-future queen of commedia sexy all’Italiana – and, rightfully so, she was fiercely proud of holding both crowns. Now in her mid-thirties (34, if you want to put an exact number on it) and visibly comfortable in her own skin Edy divested herself of her sexbomb image and settled into what only can be described as cougar roles. After a decade of projecting herself as a wanton sex kitten and professionally undressing in front of the camera for just as long Fenech, understandably, wanted more out of the roles she played. Instead of the silken seductress she now was the slightly older, more experienced, and self-made woman, unafraid to demand what was rightly hers.

That these roles still required a load of nudity was, of course, exactly what you’d expect out of a male-dominated industry. Edy never failed to deliver on that end. In An Ideal Adventure all the Edwige-related nudity is relegated to a mostly performative third act vignette and is, unbelievable as it may sound, actually detrimental to everything that came before. Here Steno takes a stab at Italian social conservatism, the partriarchy, and machismo and has him relentlessly poking fun at the inherent absurdities of the genre and in what’s arguably her most self-parodist role miss Fenech makes fun of her well-known penchant for getting naked. While gloriously irreverent An Ideal Adventure may not have been the great deconstruction of the commedia sexy all’Italiana that la Fenech made a living out of nor for that matter is it as incendiary and transgressive as To Be Twenty (1978). This is probably the funniest comedy this side of Wife On Vacation… Lover In Town (1980).

Patrizia Reda (Edwige Fenech) is an ambitious and bright journalist for the Roman weekly La Settimana who’s stuck writing unrewarding pieces for the black and pink pages. At the office she’s constantly forced to deal with getting ogled by her colleagues and the continual unwanted advances of her elderly editor-in-chief Eugenio Zafferi (Enrico Maria Salerno). Tired of writing unfulfilling pieces of no real journalistic importance and wanting nothing more to prove her worth she challenges Zafferi to a daring bet. If she can write a frontpage-worthy article of his designation she’ll grant him that which he’s always desired: a passionate night of carnal delight between the sheets with her. At the office old man Zaffari is constantly beset by the demands of his two high-strung shopaholic daughters Cinzia (Cinzia de Ponti) and Claudia (Ivana Milan). Zafferi takes Patrizia’s proposal to senior editor Orietta Fallani (Liù Bosisio) who will take the final decision. Fallani vetoes that the challenge is only to go through if she may assign Patrizia an article that she deems worthy of her talents and interest. With that in mind she orders Reda to write a story pondering the all-important question, “what does the average Italian male consider an ideal adventure?” During her inquiry Duccio Tricarico (Diego Abatantuono), a foul-mouthed taxi driver from the south who shows almost immediate interest in the well-spoken and cultured journalist, will be driving her from one appointment to the next. Patrizia initially is turned off by Tricarico’s oafish, brutish exterior but soon discovers that he has a heart of gold. Hilarity ensues when Patrizia mistakes slightly deranged valet Pipo (Mauro Di Francesco) for acclaimed filmmaker Brian De Pino (Peter Berling). In the end Patrizia must decide who she loves, Eugenio or Duccio?

Granted, it’s an absolute minimum of story but most of Edy’s 60s and 70s comedies weren’t exactly packed with a lot either. In fact they frequently gave her less to do. While mostly existing as a vehicle to, for once, give Edy something more to do than just taking her clothes off and strutt around An Ideal Adventure contains more than enough references to things that were either timely or related to Fenech’s past work. First there’s La Settimana which Mariano Laurenti made several comedies about, the entire Brian De Pino is not only a jab at New Hollywood filmmaker Brian De Palma but also recalls Fenech’s early 1970s gialli, it briefly uses a sting from Dario Argento’s Deep Red (1975), there’s a riff on the “Here’s Johnny!” scene from Stanley Kubrick’s The Shining (1980), and a torn up poster from Lucio Fulci’s The Beyond (1981) can be seen on the walls. During Duccio’s hospital fantasy vignette, Edy dresses up in a white habit like Mariangela Giordano in Malabimba (1979) and during the heist vignette Edy poses as a store dummy and wears the kind of flowery hat recalling her days in German comedy, especially something like The Sweet Pussycats (1969). The entire bit with the masonic P3 loggia sort of channels All Colors Of the Dark (1972) briefly. Other than that An Ideal Adventure is a fairly straightforward 80s Fenech comedy. It’s not quite as slapstick-oriented as most of her Lino Banfi comedies from around this time. It must have been a relief for Edy to get paid to keep her clothes on. In her mid-thirties Edy was a dashing appearance with that patrician grace that only true divas possess.

Unique in Fenech’s massive body of work for being the only comedy to possess even a shred of self-awareness An Ideal Adventure is at the very least a nice change of pace. For once the entire thing doesn’t revolve Edwige Fenech undressing and here she gets the chance to emote and play a more dramatic role. Which doesn’t mean that there won’t be any comedy or naked shenanigans. In fact, there’s plenty of both. Now that she had arrived at more matronly roles at least Edy was no longer forced to shed clothing constantly. All through the sixties and seventies la Fenech had been taking off her clothes professionally for much of her waking life, and after a decade and a half anyone would be looking to branch out at least marginally. While the roles she was offered ostensibly got better with the years the capacity in which they required nudity never diminished significantly. To her credit, Edy took it all in stride – and was keenly aware exactly why producers and audience took a liking to her. An Ideal Adventure toys with the usual commedia sexy all’Italiana formula enough to be different from the immediate competition but not nearly enough to call it an outlier or anomaly. An Ideal Adventure is a lot of things, but To Be Twenty (1978) it, sadly, is not.