Umberto Di Grazia
Adapted from the mock-heroic poem in Roman dialect, tells the misadventures of the young trasteverino Bartolomeo Patacca that, because of the ambition of his woman, is having to train a group of beggars to go fight in defense of Christianity in Vienna, besieged by the Turks.
An alcoholic artist, who may in fact have been driven to murder, seeks inspiration from a mannequin.
Johnny fights the banker Burton, who tries to acquire with the help of the strange bandit Martinez, in an unlawful way, all the gold mines in the nearer environment.
A young man who has lost his memory, escapes from prison with three other convicts. The other men help him find back bits of his past, until they arrive at a village where two warring families recognize him. Apparently he has a reputation for being a fast gun, and he has been paid to kill a man - who says he is his father. His younger brother is jealous of the attention the prodigal son receives, and things come to a dramatic end.
At the end of World War II, Giovanna, a war bride living near Milan refuses to accept that her husband, Antonio, missing on the Russian front, is dead. There's a flashback to their brief courtship near her hometown of Naples, his 12-day leave to marry her, ruses to keep from deployment, and the ultimate farewell. Some years after the war, still with no word from Antonio, Giovanna goes to Russia to find him, starting in the town near the winter battle when he disappeared. Armed with his photograph, what will she find?
One of the great taboo-smashers of the late '60s, directed by Tinto Brass, featuring interracial affairs, anti-Vietnam statements, violence versus sex. ATTRACTION (NEROSUBIANCO) will stun anyone expecting a standard softcore European sex flick as released originally in the US thru Radley Metzger's Audubon Films under the title THE ARTFUL PENETRATION OF BARBARA, then brace yourself for a whirlwind trip with a married woman (Anita Sanders) whose journey through the psychedelic English youth scene awakens her to the carnal offerings of an African-American man (Terry Carter), all set to by a searing soundtrack by FREEDOM, a tripped-out group formed from the remnants of PROCAL HARUM. Nearly plotless and often improvised, this undiscovered cult film distinctive tone and editing scheme anticipated everything in the following year releases of Nicolas Roeg PERFORMANCE, Kubrick's A CLOCKWORK ORANGE to our current post-MTV mindsets.
The British High Command finds itself in the thick of a huge dilemma when it is realized that they have long been infiltrated by spies from a German intelligence group. This all happens during the preliminary stages of the Battle of Britain.
A man, released after a jail term for a crime he did not commit, raises a gang to go after the man who framed him.
Davy Flannigan (Steffen) lost all his memory of what happened during the war because he was double crossed and shot in the head. When he returns to his hometown Dixie, he's wanted for war crimes. Judge Kellog (Berger) poses as his friend and tries to help him uncover the conspiracy, but Kellog is a liar, and Davy sets out for bandit Hackett's hideout. Hackett, so Kellog told him, took his wife Lisa (Galli) and is behind the whole thing. His path covered with bodies, Davy finds out the truth.
In the far future, a highly sexual woman is tasked with finding and stopping the evil Durand-Durand. Along the way she encounters various unusual people.
