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The film critic Tatti Sanguineti arrives in Palermo to find out what has happened to Franco Maresco’s unfinished movie: Belluscone. Una storia siciliana. A film that was supposed to tell the story of the unique relationship between Berlusconi and Sicily through the misadventures of the Palermitan impresario of Neapolitan “neomelodic” singers and organizer of street festivals, Ciccio Mira—an undaunted supporter of Berlusconi, nostalgic for the old days’ Mafia— and two artists in his stable, Erik and Vittorio Ricciardi, who perform in the squares of Palermo a song entitled “Vorrei conoscere Berlusconi” (“I Want to Meet Berlusconi”). The film focuses on three failures: the political and human one of a Berlusconi now on the wane; that of the unfortunate and “slapdash” Ciccio Mira, rooted in an old but tenacious culture; and finally, the artistic one of the director, who chooses to disappear after realizing that tilting at political windmills is pointless, in a country that has long identified with Berlusconian “culture” and probably continues to do so.
Having been caught stealing money from his employer to pay for a holiday with his girlfriend Juliette, Michel finds himself in a prison cell. He falls into a deep sleep and awakes to find the door of his cell open. Stepping through the doorway, he finds himself in the most beautiful sun-drenched countryside. A peaceful country road leads him to a remote village whose inhabitants have lost their memory. Husbands and wives no longer recognise one another but everyone seems to know Juliette when Michel enquires about her…
One of several British melodramas picked up for American distribution by Columbia in the late 1950s, The Long Haul stars Victor Mature and Diana Dors, two of the prettiest and most amply endowned screen personalities of the era. Mature is cast as American ex-GI Harry Miller, who takes a job as a truck driver to support his British war bride Connie (Gene Anderson). It isn’t long, however, before Harry is blackmailed into joining a smuggling operation run by the conniving Casey (Liam Redmond). His resolved momentarily weakened by his obsession with gang moll Lynn (Diana Dors), Harry finally decides to turn honest again–if the other crooks will let him live that long. Director Ken Hughes adapted the screenplay from a novel by Mervyn Mills….by Hal Erickson Continue reading