A taboo-smasher of the late '60s, featuring interracial affairs, anti-Vietnam statements, violence versus sex. Take a whirlwind trip with a married woman whose journey through the ... See full summary »
A man referred to only as "Yankee" rides into a dying, desolate town in frontier New Mexico which is completely controlled by a man called the "Grand Cougar." Almost immediately, a battle for dominance ensues.
A disbarred lawyer (Giancarlo Giannini) is working as a debt collector for his partner Sapo (Philippe Léotard). Escorting prostitute Milena (Raffaella Baracchi) impregnated by Sapo to an ... See full summary »
Bernard meets Jane in a Night Club, in London, and he likes her. Her father was killed in a car accident, but Jane thinks he has been killed because he was blackmailed for a picture of his ... See full summary »
Bruno is an idealistic hero who questions the meaning of life in this confusing and sometimes hallucinatory erotic drama. After a night in jail, he is gang-raped by punk rockers in a ... See full summary »
Mary is a disillusioned English banker's wife who meets a troubled Italian immigrant, Bruno. Mary is captivated by Bruno and they set off on a voyage together. In the course of their voyage, they meet a series of society's dropouts.
Medieval drama in which Redgrave plays an allegedly insane woman who is allowed to finally leave the madhouse to see if she is capable of functioning normally. Her parents pay no attention ... See full summary »
Bonifacio is 27 years old and he is roaming about Venice. He is trying to decide whether to accept a job or not. In so doing, he recalls all his past life: his love story with Gabriella, ... See full summary »
This so-so portmanteau movie has value mainly for fans who long to see the sublime Silvana Mangano at the crossroads of her career. In the weaker sketches (notably Luigi Comencini's vulgar and interminable Eritrea) she comes across as the rather tawdry sex-symbol of countless dodgy international epics in the 50s, all produced by her husband Dino de Laurentiis. In the stronger episodes (particularly those two directed by uber-aesthete Mauro Bolognini) she metamorphoses into a svelte Art Movie icon, as she would become in her films for Visconti and Pasolini in the late 60s and 70s. If there is one moment where Bitter Rice ends and Death in Venice begins, this may well be it.
In fact, the second and longer Bolognini episode is good enough to justify sitting (or, at least, fast-forwarding) through the rest of this movie. A story of two unhappily-married strangers who share a romantic 'brief encounter' at Rome airport, 'Luciana' shimmers with the delicate low-key eroticism that was Bolognini's stock-in-trade. His earlier and shorter sketch, 'I miei cari,' encapsulates his career-long obsession with all-powerful women and hapless men - a chic bourgeoise visits her ailing husband in hospital, only to berate him for failing to fulfill her sexual needs!
Two mini-sketches by a young Tinto Brass - at once pre-politics and pre-porn - are amusing but insubstantial trifles. Comencini's is unalloyed drek, predictably enough, and Alberto Sordi offers solid but unexciting support in all five sketches. It's Mangano's movie, and she swaggers away with it in fabulous black-and-white outfits designed by Piero Gherardi. (He dressed La Dolce Vita, 8 1/2 and - most unforgettably of all - Juliet of the Spirits.) As a record of one exquisitely beautiful lady and her wardrobe, La Mia Signora gives good value. As a film.... Well, this is one star who was destined for higher things!
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