Professional sleaze bag Esposito (Raf Luca) tries to pick up Judge Viola (Edwige Fenech) on the way to court, not realizing who she is. His fat lawyer Bortolon (Mario Maranzana) explains how the entire town lusts for the new Pretora but hates her hard measures. Flanked by Il Advocato and Il Chancelore, part of Viola's job involves censoring dirty movies (while lots of people sneak into the projection room to see the uncut version). Ironically, La Pretora was the subject of censorship herself, and was released in two versions, one with slightly less nudity than the other.
On to the meat of the story: at a party with her nerdy love interest Count Alteri (Giancarlo Dettori), Viola gets a phone call form her floozy sister Rosa (more Fenech!) who has just broken up with an hotel owners son. This second Fenech forgets her troubles as soon as she hears a jaguar pull up, which turns out to belong to Espostio from the beginning. At first he is startled to see La Pretora wearing a bikini top made up out of nothing but two margarita's, but after she devastates him in the sack he realizes they must be twins. They leave the hotel bill for her 'smarter' sister to pay as Esposito starts thinking of ways to take advantage of Rosa's sexual appetite, their combined lust for money and to take revenge on Viola all at once.
First he gets local crooks to pay heavily for an evening with Rosa, leaving them to think they have La Pretora in their back pocket, only to find out the hard way. Next up is a pornographic Snow White photo shoot. Luckily Viola has send her sissy boyfriend over to put a stop to this. The dirty mag still turns up in court, ironically when Viola is about to pass judgment on the director of the pornographic film she was watching in the first reel. Disgraced in front of the entire town of Bellignano, Viola is ready to thrown in the towel without a fight, but the procurator urges her to stay on (after fantasizing about her for a bit). Although it's nice to see Fenech stretch her acting and comedy chops in two completely opposite parts (told apart by different voices and hairdos), the two sisters remain rather undeveloped (though obviously well endowed). There are some hints that Rosa is not quite as dumb as she lets on, yet it remains unclear why she would get her sister into so much trouble, or why Viola is willing to take the blame for everything. Fenech only shares one scene with herself that fails to explain anything at all.
The judge urges Rosa to come and stay at her house (to keep an eye on her). Immediately the naughty one starts putting the moves on the Count with the mustache while the nice one begins to take advantage of being mistaken for her sister. Naturally the meek Alteri gets emotionally torn between the twins. Scumbag's next idea is to take discriminating pictures of Rosa with the little Advocato (Oreste Lionello) who has been leering at Edwige since the opening credits. Viola gets out of this on a technicality that everyone with half a brain can see coming from miles off, but still decides to move to another town with her gullible boyfriend.
Obviously the nonsensical story is just an excuse for a double dose of undressed Fenech, who had not done this amount of screen nudity since her earliest Tiroler comedies. Unlike her other authoritarian figures La Poliziotta, L'Insegnante and La Soldatessa, Edwige only made one Pretora, making this one extra special, though it does make you wish she would have made it a trilogy like the others. Still, in many ways this is the ultimate Edwige Fenech film. She carries the picture, supported by a cast made up almost exclusively of men (the only other actress of note being an uncredited Marina Hedman making a brief appearance as the Evil Queen to Edwige's Snow White).
8 out of 10
On to the meat of the story: at a party with her nerdy love interest Count Alteri (Giancarlo Dettori), Viola gets a phone call form her floozy sister Rosa (more Fenech!) who has just broken up with an hotel owners son. This second Fenech forgets her troubles as soon as she hears a jaguar pull up, which turns out to belong to Espostio from the beginning. At first he is startled to see La Pretora wearing a bikini top made up out of nothing but two margarita's, but after she devastates him in the sack he realizes they must be twins. They leave the hotel bill for her 'smarter' sister to pay as Esposito starts thinking of ways to take advantage of Rosa's sexual appetite, their combined lust for money and to take revenge on Viola all at once.
First he gets local crooks to pay heavily for an evening with Rosa, leaving them to think they have La Pretora in their back pocket, only to find out the hard way. Next up is a pornographic Snow White photo shoot. Luckily Viola has send her sissy boyfriend over to put a stop to this. The dirty mag still turns up in court, ironically when Viola is about to pass judgment on the director of the pornographic film she was watching in the first reel. Disgraced in front of the entire town of Bellignano, Viola is ready to thrown in the towel without a fight, but the procurator urges her to stay on (after fantasizing about her for a bit). Although it's nice to see Fenech stretch her acting and comedy chops in two completely opposite parts (told apart by different voices and hairdos), the two sisters remain rather undeveloped (though obviously well endowed). There are some hints that Rosa is not quite as dumb as she lets on, yet it remains unclear why she would get her sister into so much trouble, or why Viola is willing to take the blame for everything. Fenech only shares one scene with herself that fails to explain anything at all.
The judge urges Rosa to come and stay at her house (to keep an eye on her). Immediately the naughty one starts putting the moves on the Count with the mustache while the nice one begins to take advantage of being mistaken for her sister. Naturally the meek Alteri gets emotionally torn between the twins. Scumbag's next idea is to take discriminating pictures of Rosa with the little Advocato (Oreste Lionello) who has been leering at Edwige since the opening credits. Viola gets out of this on a technicality that everyone with half a brain can see coming from miles off, but still decides to move to another town with her gullible boyfriend.
Obviously the nonsensical story is just an excuse for a double dose of undressed Fenech, who had not done this amount of screen nudity since her earliest Tiroler comedies. Unlike her other authoritarian figures La Poliziotta, L'Insegnante and La Soldatessa, Edwige only made one Pretora, making this one extra special, though it does make you wish she would have made it a trilogy like the others. Still, in many ways this is the ultimate Edwige Fenech film. She carries the picture, supported by a cast made up almost exclusively of men (the only other actress of note being an uncredited Marina Hedman making a brief appearance as the Evil Queen to Edwige's Snow White).
8 out of 10