Otello Martelli
Whitaker Selby, Lester Kato, and Etienne Devereaux, three eccentric gunmen, discover they are brothers. Their father left them all a mine located in Laredo, Texas. But they discover that Julius Caesar Fuller, the town's greedy landowner (who fancies himself Caesar) has taken control of their mine. They band together to fight Caesar and his black clad gunmen to repossess their mine and avenge their father. Source: SWDB http://www.spaghetti-western.net
Italian comedy film made of three segments directed by Michelangelo Antonioni, Mauro Bolognini and Franco Indovina. First segment: Il Provino; second segment: Gli amanti celebri; third segment: Latin Lover.
In Italy in the 60's it is difficult to get a divorce. Carlo gets a visit from his Swedish wife, but he is already remarried. Every time he meets a new woman, he vanishes away from the last wife.
In 1963, accompanied by a newsreel photographer and a Catholic priest, Piero Paolo Pasolini traveled to Palestine to investigate the possibility of filming his biblical epic The Gospel According to Matthew in its approximate historical locations. Edited by The Gospel‘s producer for potential funders and distributors, Seeking Locations in Palestine features semi-improvised commentary from Pasolini as its only soundtrack. As we travel from village to village, we listen to Pasolini’s idiosyncratic musings on the teachings of Christ and witness his increasing disappointment with the people and landscapes he sees before him. Israel, he laments, is much too modern. The Palestinians, much too wretched; it would be impossible to believe the teachings of Jesus had reached these faces. The Gospel According to Matthew was ultimately filmed in Southern Italy. Mel Gibson would use some of the same locations forty years later for The Passion of the Christ.
Duelist and poet Cyrano de Bergerac and musketeer d'Artagnan meet and team up to stop the conspiracy against King Louis XIII of France.
Primary school teacher Mr. Mombelli, nevertheless satisfied with his life, is driven by his wife to resign and starting a new activity. He invest all his goodwill setting up a footwear little factory.
An anthology of four adult tales: a young couple tries to hide their marriage and the wife’s supposed pregnancy from their place of employment; a billboard photo of a scantily clad woman comes to life to torment the local censor; a lottery is held in which the prize is to spend the night with a beautiful woman; an aristocratic couple comes to terms with life and marriage after the domineering husband is caught visiting sex workers by the press.
A romantic drama partially set in Amsterdam, this standard tale starts out in a mining area in Holland where conditions are about as rough as they get. Two of the miners, Italians Federico and Vincenzo take off together for the city's red-light district, where the women pose in windows for prospective customers. There the duo meet Else and Carrel who are willing to leave their windows to spend a weekend at a resort with the two men. Soon Else has fallen in love with Vincenzo and the future of the two hookers, as well as the miners, seems to look brighter.
Journalist and man-about-town Marcello struggles to find his place in the world, torn between the allure of Rome's elite social scene and the stifling domesticity offered by his girlfriend, all the while searching for a way to become a serious writer.
Rome, 1957. A woman, Cabiria, is robbed and left to drown by her boyfriend, Giorgio. Rescued, she resumes her life and tries her best to find happiness in a cynical world. Even when she thinks her struggles are over and she has found happiness and contentment, things may not be what they seem.
Wealthy teenager Guendalina (Jacqueline Sassard) is a child of divorce. Oberdan (Raf Mattioli), likewise a teenager, is a boy from a blue-collar family. Escaping from the tribulations of her home life, Guendalina creates a dream world of her own, casting Oberdan as her personal Prince Charming. Despite parental objections, girl and boy fall in love. Interestingly enough, the relationship between Guendalina and Oberdan remains pure and chaste throughout their film, which is more than can be said for their parents. their respective parents behave with marked laciviousness. Guendalina marked the return to the screen after a two-year absence by filmmaker Alberto Lattuada, who pursues his characteristic fascination with pubescent sexual yearnings.
Twenty-year-old Joseph (Perkins) and his sixteen-year-old sister Suzanne (Mangano) live in the merciless conditions of an intemperate foreign land with their widowed mother (Van Fleet). Their mother attempts to exert a hold on her children by involving them in the family's run-down rice plantation. However the siblings seek liberation, and look for this in their romantic lives. Suzanne becomes involved with Michael (Conte) and Joseph finds a love interest in Claude (Valli).
A photographer named Corrado snaps a picture of Antonietta. When it shows up on the front page of a magazine, she wants to take him to court over it.
Aging small-time con man Augusto, who swindles peasants, works with two younger men: Roberto, who wants to become the Italian Johnny Ray, and Bruno, nicknamed Picasso, who has a wife and daughter and wants to paint. Augusto avoids the personal entanglements, spending money at clubs seeking the good life. His attitude changes when he runs into his own daughter, whom he rarely sees, and realizes she's now a young woman and in need of his help to continue her studies. His usual partners are away, so he goes in with others to run a swindle, and they aren't forgiving when he claims he's given the money back to their mark. They leave him beaten, robbed, and alone.
A 1954 Italian comedy film directed by Giuseppe De Santis, winner of the Golden Shell at the San Sebastian Film Festival.
When peasant girl Nives is deserted by smuggler Gino Lodi, she betrays him to the police. Police officer Enzo Cinti, who loves Nives, traces her to the Po River cane-fields, where she is working as a cutter to support herself and an infant son, and warns her that Gino has escaped from prison and is seeking revenge. She rejects his offer to protect her. Gino finds Nives, mourning the drowning death of their son. He surrenders himself to the police and then walks at Nives' side in the funeral procession.
When Gelsomina, a naïve young woman, is purchased from her impoverished mother by brutish circus strongman Zampanò to be his wife and partner, she loyally endures her husband's coldness and abuse as they travel the Italian countryside performing together. Soon Zampanò must deal with his jealousy and conflicted feelings about Gelsomina when she finds a kindred spirit in Il Matto, the carefree circus fool, and contemplates leaving Zampanò.
Five young men dream of success as they drift lazily through life in a small Italian village. Fausto, the group's leader, is a womanizer; Riccardo craves fame; Alberto is a hopeless dreamer; Moraldo fantasizes about life in the city; and Leopoldo is an aspiring playwright. As Fausto chases a string of women, to the horror of his pregnant wife, the other four blunder their way from one uneventful experience to the next.
Anna Zaccheo is a beautiful young woman from a working class Neapolitan family. Her main concern is to find herself a suitable husband. She meets a young sailor Andrea one day and gets engaged to him. But while she is waiting for Andrea to return from the navy she gets raped by her boss. Her life suddenly takes a downward spiral.
The story of 5 girls among 200 who answer a wanted ad for a modest secretarial position, which leads overcrowding in the building and a tragic accident.
Anna is a 1951 Italian drama film directed by Alberto Lattuada and starring the same trio as Bitter Rice: Silvana Mangano as Anna, the sinner who becomes a nun; Raf Vallone as Andrea, the rich man who loves her; and Vittorio Gassman as Vittorio, the wicked waiter who sets Anna on a dangerous path. Silvana Mangano's real sister, Patrizia Mangano, acts as Anna's sister on the film. Sophia Loren has got a small uncredited role as a nightclub assistant. Future film directors Franco Brusati and Dino Risi cowrote the script. [Wikipedia]
In Italy, Checco Dal Monte manages a troupe of traveling performers with plenty of heart but minimal talent. At a small town engagement, he encounters the starry-eyed, gorgeous Lily Antonelli, and hires her as a dancer on the show. Vivacious Lily quickly sells out crowds and earns the resentment of Checco's mistress, Melina Amour, but the fledgling performer has far bigger ambitions and soon sets her sights on a higher-profile role.
In a series of simple and joyous vignettes, director Roberto Rossellini and co-writer Federico Fellini lovingly convey the universal teachings of the People’s Saint: humility, compassion, faith, and sacrifice. Gorgeously photographed to evoke the medieval paintings of Saint Francis’s time, and cast with monks from the Nocera Inferiore Monastery, The Flowers of St. Francis is a timeless and moving portrait of the search for spiritual enlightenment.
Francesca and Walter are two-bit criminals in Northern Italy, and, in an effort to avoid the police, Francesca joins a group of women rice workers. She meets the voluptuous peasant rice worker, Silvana, and the soon-to-be-discharged soldier, Marco. Walter follows her to the rice fields, and the four characters become involved in a complex plot involving robbery, love, and murder.
Set amongst the Italian peasantry of WW2, Caccia Tragica (Tragic Chase) is set in motion when a truck loaded with money targetted for farming projects is stolen by bandits. The local villagers set aside their petty political and personal differences, banding together to capture the outlaws and recover the loot. The story takes a romantic detour by concentrating on the romance between two young people caught in the middle between the pursuers and the pursued. At the time of its release, Caccia Tragica was perceived as a Communist tract (it was produced by the left-leaning National Association of Italian Partisans). This didn't prevent the film from winning an award at the 1947 Venice Film Festival, quite a coup for first-time director Giueseppe De Santis.
In High Places is a 1943 Italian comedy film directed by Mario Soldati and starring Adriana Benetti, Massimo Serato and Nerio Bernardi. It is based on a play by Jean Anouilh. The film portrays the rise into high society of an immoral young man.
Released from jail, Nanni punches prison guard Stefano who has denounced him. In order to take revenge, Stefano suggests the suspicion that, during his absence, his wife has had business with the Count Paolo. A few days later, at night, a deadly ambush will be prepared. Based on the novel The Trap (1928) by Toscan Delfino Cinelli.
1017 AD. The Republic of Pisa is organizing a fleet to drive out the Saracens who are infesting the Mediterranean. While the forces are away "The Gorgon," the young daughter of a Pisan nobleman who has been heroically killed, comes to be solemnly invested as the figurehead virgin who will maintain a lantern to celebrate the men's victorious return. In charge of the home guard is an ambitious young Florentine who feels deprived of the forthcoming honour and glory, and who seeks revenge by violating the sacred person of the virgin. He gains access to her well guarded quarters, but when the Gorgon falls helplessly in love with him, his desire for vengeance falls away. His plot exposed, he commits suicide rather than invoke the wrath of the Pisans. The Gorgon too takes her life by throwing herself from a high tower. Meanwhile, the victorious Pisan vessels return.
A comedy about a hobo and a millionaire who swap roles after the millionaire rescues the hobo from a suicide attempt.
Norge follows the first airship flight over the North Pole piloted by Umberto Nobile (the second two years later would be a disaster): desolate Svalbard, mammoth icebergs and expanses of ice are a wonder to behold. The perfect setting for an adventure that is not shy of using Méliès-style tricks to appear even more daring. Then the acclaimed heroes return to their homeland, Mussolini appears and we do not feel like dreaming any more. (Andrea Meneghelli)
