Enzo Doria Movies

This wickedly funny Italian comedy centers upon a lascivious, fun-loving old uncle who hands out blood-test certificates to potential lovers to prove that he is "clean" and wreaks all sorts of havoc when he must temporarily stay with his wealthy but emotionally constipated nephew. At first the nephew is appalled by his uncle's lust for wild-living, but in time he becomes utterly fascinated by the old man. Soon the previously staid young man finds himself drawn into his uncle's crazy life-style and begins learning the value of living life to the fullest. ~ Sandra Brennan, All Movie Guide

Italian filmmaker Ovidio Assonitis, who had ripped off The Exorcist with his successful Chi Sei? (1974) here turns his attentions to the post-Jaws ecokill film with silly results. The titular beast kills swimmers and divers before attacking a sailing regatta (an idea which, paradoxically, was re-appropriated for the American Jaws 2). The film's most outstanding feature is its cast, which includes John Huston, Shelley Winters, and a phoned cameo by Henry Fonda. Bo Hopkins and Claude Akins are also along for the minimal excitement. ~ Robert Firsching, All Movie Guide

When the story begins a young girl who has wandered away from her nanny at a French ski resort is abducted, killed, and buried in the snow. Later, in Venice, the young daughter of Franco (George Lazenby), a popular sculptor, is stalked by a woman in a black veil. Finally, after several near-chances, the girl is grabbed, only to be found later floating in a canal. The police are as arrogant as they are stumped, so Franco, accompanied by his estranged wife, Elizabeth (Anita Strindberg), investigates. As Franco begins uncovering clues, the people he talks to about the case begin to die gruesome deaths. ~ Buzz McClain, All Movie Guide

This story of youthful rebellion is taken from the ancient Greek classic "Antigone." The setting is modern times and Britt Eklund plays Antigone in a fictitious land where reality is suspended. Haimon (Tomas Milian) goes against the wishes of his father and the prime minister by wanting to become an animal. Tiresias (Pierre Clementi) plays a Christ-like figure. The only resemblance between this version and the ancient tragedy is that the three principle characters are slated for an uncertain future among the living. The film was shown at the 1970 New York Film Festival. ~ Dan Pavlides, All Movie Guide

Grazie Zia is better known by its English-language title Thank You, Aunt. As an act of defiance against a world he never fit into, 17-year-old Alvise (Lou Castel) has willed himself into a state of psychosomatic paralysis. From the vantage point of his wheelchair, Alvise cruelly manipulates all those around him. The only one who seems to resist his tyranny is his gorgeous aunt Lea (Lisa Gastoni). Hopelessly in love with Lea, Alvise determines to "conquer" her as well. Her response to his insidious mind games is hardly what Alvise expects, but it's certainly what the audience has been clamoring for since Reel One. To call Grazie Zia kinky would be putting it mildly. The film was also released as Come Play With Me. ~ Hal Erickson, All Movie Guide

In one of the most widely seen and acclaimed European movies of the 1960s, Federico Fellini featured Marcello Mastrioanni as gossip columnist Marcello Rubini. Having left his dreary provincial existence behind, Marcello wanders through an ultra-modern, ultra-sophisticated, ultra-decadent Rome. He yearns to write seriously, but his inconsequential newspaper pieces bring in more money, and he's too lazy to argue with this setup. He attaches himself to a bored socialite (Anouk Aimée), whose search for thrills brings them in contact with a bisexual prostitute. The next day, Marcello juggles a personal tragedy (the attempted suicide of his mistress (Yvonne Furneaux)) with the demands of his profession (an interview with none-too-deep film star Anita Ekberg). Throughout his adventures, Marcello's dreams, fantasies, and nightmares are mirrored by the hedonism around him. With a shrug, he concludes that, while his lifestyle is shallow and ultimately pointless, there's nothing he can do to change it and so he might as well enjoy it. Fellini's hallucinatory, circus-like depictions of modern life first earned the adjective "Felliniesque" in this celebrated movie, which also traded on the idea of Rome as a hotbed of sex and decadence. A huge worldwide success, La Dolce Vita won several awards, including a New York Film Critics CIrcle award for Best Foreign Film and the Palme d'Or at the Cannes Film Festival. ~ Hal Erickson, All Movie Guide