Tag Archives: Italian

Romolo Guerrieri – Liberi armati pericolosi AKA Young, Violent, Dangerous (1976)

Synopsis:
Paul, Joe and Louie go on a bloodthirsty and pointless crime spree, much to the dismay of Paul’s girlfriend (Eleonora Giorgi) and the local police commissioner (Tomas Milian) . The group starts by robbing a gas station where Paul guns down three people. They later rob a bank and a grocery store where Paul kills off an entire other gang that was helping him rob the place. It isn’t long before the entire police force is out to nab the 3 criminals, who pick up the girl and proceed to hightail it to the Swiss border. Read More »

Michael Haneke – Così fan tutte (2013)

Quote:
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. Read More »

Cecilia Mangini – La Canta delle marane AKA Le Chant des fosses (1961)

A short film between fiction and documentary by long-time director Cecilia Mangini (still alive today) and written by Pier Paolo Pasolini. An unknown masterpiece.

Par une chaude journée d’été, une bande de garçons de la banlieue de Rome jouent et rient dans une des nombreuses rivières qui entourent la ville. La caméra les scrute, les approche, révèle les gestes et les regards, et les enveloppe d’une sorte de danse visuelle, tandis que les mots du commentaire – confié à la sensibilité poétique de Pier Paolo Pasolini – racontent les histoires, les désirs, les rêves, l’avenir Read More »

Marco Bellocchio – I pugni in tasca AKA Fists in the Pocket (1965)

Quote:
Tormented by twisted desires, a young man takes drastic measures to rid his grotesquely dysfunctional family of its various afflictions in this astonishing 1965 debut from Marco Bellocchio. Charged by a coolly assured style, shocking perversity, and savage gallows humor, Fists in the Pocket (I pugni in tasca) was a gleaming ice pick in the eye of bourgeois family values and Catholic morality, a truly unique work that continues to rank as one of the great achievements of Italian cinema. Read More »

Dino Risi – Sesso e volentieri (1982)

Director Dino Risi helmed this episodic Italian erotic comedy. The main point of interest in this one is the incredible cast of Eurosploitation starlets in various stages of undress: Laura Antonelli, Gloria Guida and Margaret Lee, with Johnny Dorelli in all ten of the episodes.
Most definitely, not Risi’s best film, but still Risi. Read More »

Mario Caiano – …a tutte le auto della polizia aka Calling All Police Cars (1975)

Synopsis:
At the core of Without Trace is a story about a young girl who is the daughter a prominent doctor. When the girl goes missing her father gets the police to jump into action because of his class status / wealth. Early on this provides one in the story this provides one of the many intricate back stories. There is a loose cannon detective who takes offense to the fact that the police bend over backwards when someone of wealth is involved and drag their feet when it is someone from a poverty background. Things quickly change when the young girls body is discovered and this detective become more sympathetic towards her. Read More »

Federico Fellini – Otto e mezzo AKA 8½ [+commentary] (1963)

Quote:

8 1/2 weaves fluidly through the visually intoxicating landscape of Federico Fellini’s subconscious, seemingly to seek inspiration and validation for his life and work. In an opening scene that symbolizes much of Fellini’s films, a suffocating man, trapped inside his car, inexplicably begins to float into the skies, only to be abruptly tugged back to the ground. But it is also an indelible image that shatters any preconceived illusion of “typical” elements in a Fellini film. The film, 8 1/2, literally marks Fellini’s work on 8 1/2 feature films (the “1/2” derived from collaborative direction films), and proves to be a transitional film in his artistic career. Read More »