
Sedotti e bidonati
1964

1973
Director
Gerardo Sofovich
Runtime
88 minutes
Average Rating
No ratings yetSynopsis
Alberto, an employee of a car dealership, is commissioned by his boss to deliver a car that has been sold to a customer. Being a luxury car, he has no better idea than to invent an excuse to the new owner of the vehicle, delay delivery for the next day and use it to go out to have fun at night with his faithful friend Jorge. They both go to a revue theatre and, while witnessing the performance, the first vedette (Corina) faints. Then Alberto and Jorge pose as doctors, in order to meet Corina. As is to be expected, both decide to continue the deception with the passing of the days, causing the confusion to become bigger and bigger and harder to keep secret.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film centers on a heteronormative pursuit of a female performer. There is no evidence of non-cisnormative identities or narratives that challenge traditional structures.
Gender Representation
The narrative reinforces traditional hierarchies. Women appear as objects of pursuit or spectacle, such as Corina, who serves as a catalyst for the male protagonists' deception.
Racial & Ethnic Diversity
The setting suggests a localized, likely homogeneous social environment. There is no indication of intersectional casting or the disruption of ethnic norms within the plot.
Religious & Cultural Diversity
The film operates within conventional social frameworks of 1973 Argentina. It uses social posturing for comedy rather than critiquing established institutions or family structures.
Disability Representation
A character's fainting episode serves merely as a plot device. This use of a physical event lacks nuance and denies the character any real agency.
Strengths
Areas for Improvement
AI Analysis
Los doctores las prefieren desnudas is a traditional farce that prioritizes slapstick and situational irony over social critique. The plot relies on a comedy of errors where two men assume false professional identities to gain proximity to a woman. The film adheres strictly to the genre conventions of its era, focusing on masculine camaraderie and the pursuit of social status. It functions as mainstream entertainment rather than a vehicle for exploring intersectional identities or disrupting power dynamics. Ultimately, the characters serve the requirements of the farce. The narrative lacks the intentionality needed to provide progressive representation or to deconstruct the social hierarchies of the time.

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