Italian Movies

The psychological thriller Evilenko tells the story of arguably the most infamous serial killer in the history of the Soviet Union. Malcolm McDowell portrays Andrei Evilenko, a man responsibly for the deaths of about 50 kids. An intrepid cop and a gifted psychological profiler team up to try and stop him. ~ Perry Seibert, Rovi

Arriving nearly a decade after Mon Oncle, Playtime continues the adventures of M. Hulot. More than a decade seems to have passed since its predecessor, however. The colorful Paris of Mon Oncle, last seen being slowly chipped away by progress, has now vanished almost entirely. Playtime takes as its setting an ultra-modern Paris where familiar landmarks appear only as fleeting reflections in the new buildings of glass and steel. Alternating between Hulot and a group of American tourists, Tati exploits the chaos just below the overly ordered surface of this brave new world. Again moving from one nearly wordless episode to another, Tati sends his alter ego off to make an appointment in a whirring, featureless office complex. He subsequently moves on to an exhibition of new inventions, meets an old friend at an aquarium-like apartment, wreaks havoc in a snooty new restaurant, and, again, almost falls in love. The most ambitious and technically complex of the Hulot films, it proved unprofitable and helped usher in the financial difficulties that would plague Tati late in life before later getting the recognition it enjoys today. ~ Keith Phipps, Rovi

Together with Diabolique, The Wages of Fear (Le Salaire de la Peur) earned Henri-Georges Clouzot the reputation as a "French Hitchcock." In truth, Clouzot's ability to sustain suspense may have even exceeded Hitchcock's; when originally released, Wages ran 155 tension-filled minutes. Based on the much-imitated novel by Georges Arnaud, the film is set in Central America. The Southern Oil Company, which pretty much rules the roost in the impoverished village of Las Piedras, sends out a call for long-distance truck drivers. Southern Oil's wages of 2,000 dollars per man are, literally, to die for -- the drivers are obliged to transport highly volatile nitroglycerine shipments across some of the most treacherous terrain on earth. Through expository dialogue, tense interactions and flashbacks, we become intimately acquainted with the four drivers who sign up for this death-defying mission: Corsican Yves Montand, Italian Folco Lulli, German Peter Van Eyck, and Frenchman Charles Vanel. The first half of the film slowly, methodically introduces the characters and their motivations. The second half -- the drive itself -- is a relentless, goosebump-inducing assault on the audience's senses. The winner of the Grand Prix at the Cannes Festival, The Wages of Fear was remade by William Friedkin as Sorcerer (1977). ~ Hal Erickson, Rovi

A husband awakens to his wife's sexual needs after reading her diary and uncovering irrefutable evidence of an affair with a passionate stranger. Marta and Dario have been married for six months. In that time, Marta hasn't had a single orgasm due to the fact that Dario is a selfish lover. One day, while perusing a Mantua art gallery, Marta crosses paths with Leon, a handsome stranger whose carnal curiosity awakens her deepest desires. Encouraged by her best friend Sylva to pursue Leon, Marta is soon living out her fantasies with the tall, dark artist. Later, after Dario finds proof of the affair, Sylva teaches him the secret to satisfying a woman. ~ Jason Buchanan, Rovi

The legendary French comedian Jacques Tati returns as his most famous character, the bumbling M. Hulot, in this gentle but pointed satire of 20th Century car culture. In Trafic, Hulot is working as a designer for a major French automotive firm and is struggling to finish his latest project in time for an international auto show in Amsterdam -- a compact recreational vehicle that features everything from an electric razor and a collapsible couch to a built-in barbecue grill. While the car is completed shortly before the show opens, it doesn't run just yet, so Hulot and his mechanic (Tony Knepper) load the car into a truck and with an American public relations officer (Maria Kimberly) in tow, they hit the road for Holland. But what should be a simple trip from Paris to Amsterdam becomes increasingly complicated thanks to flat tires, breakdowns, traffic jams and multi-car pileups, and the well-intentioned M. Hulot does little to make things easier. Trafic began as a collaboration between Tati and Dutch filmmaker Bert Haanstra, but Haanstra dropped out of the project mid-way through production due to disagreements with Tati, and the great comedian finished the project on his own. Trafic proved to be one of Tati's final screen projects; his last theatrically released feature, Parade, was a shot-on-video homage to they heyday of French vaudeville and was primarily devoted to showing off his talents as a mime. ~ Mark Deming, Rovi

Luchino Visconti (Count don Luchino Visconti di Modrone) was a film director, true, but he was also a nobleman and a grand patron of traditional European culture: opera, art, music, crafts and literature. These interests enliven many of his films, but few have been so inspired as the four-hour epic, Ludwig, about the castle-building "mad king" of Bavaria. This long film, made very near the end of Visconti's life, suffers greatly when shortened, as every moment is essential to the story. There are at least four different versions of the film (from just under three hours to over four hours in length); the uncut four-hour version is the most coherent, even though many might find it rather long. The disintegration of aristocratic individuals is a continuing theme of Visconti's, though Ludwig's is the most thorough decay he filmed. The last ruling king of Bavaria (1845-1886) is noted for many things besides his eccentricities: he sold Bavaria to Germany, ending the rule of the Bavarian monarchy; he built amazing castles all over his country (with the proceeds from the sale); and he was Richard Wagner's main sponsor. He was also a notorious recluse, conducting a lifelong platonic love affair with Empress Elizabeth of Austria, and finally succumbing to his adoration of handsome men in a series of outrageous affairs and orgies. His excesses eventually led to his being declared mentally incompetent and being held prisoner in his own castle. The film depicts this incredible life from his coronation at age 19 to his (unproved) assassination well over 20 years later. ~ Clarke Fountain, Rovi

This lavish, 10-hour European miniseries plots the life and times of the famous composer Giuseppe Verdi. Filmed on-location, the series also provides stellar interpretations of Verdi's work by Maria Callas and Luciano Pavarotti. ~ Michael Hastings, Rovi

Opus Arte presents this 2003 performance of Giuseppe Verdi's opera Aida by the Gran Teatre del Liceu. With a cast featuring such notables as Daniela Dessi, Fabio Armiliato, Elisabetta Fiorillo, Roberto Scandiuzzi, and Juan Pons, this production was also performed using the historic "trompe-l'oeil" paper sets of Josep Mestres Cabanes (made from 1936-1945). ~ Dana Rowader, Rovi

Federico Fellini's warmly nostalgic memory piece examines daily life in the Italian village of Rimini during the reign of Mussolini, and won the 1974 Academy Award as Best Foreign Film. The film's greatest asset is its ability to be sweet without being cloying, due in great part to Danilo Donati's surrealistic art direction and to the frequently bawdy injections of sex and politics by screenwriters Fellini and Tonino Guerra. Fellini clearly has deep affection for the people of this seaside village, warts and all, and communicates it through episodic visual anecdotes which are seen as if through the mists of a favorite dream, playfully scored by Nino Rota and lovingly photographed by Giuseppe Rotunno. ~ Robert Firsching, Rovi

Rainer Werner Fassbinder's sweeping 16-hour-long drama Berlin Alexanderplatz is an adaptation of the novel by Alfred Doblin. Franz Biberkopf (Günter Lamprecht) is released from prison as the film opens; he had been jailed for four years after killing his girlfriend Ida. Franz becomes involved with Lina (Elisabeth Trissenaar) and promises to no longer break the law. The 1920s German economy is horrible, and Franz has difficulty providing for himself and his partner. He goes into business with Lina's uncle, who eventually betrays Franz, sending him into a serious downward spiral. Franz becomes involved with a criminal named Reinhold (Gottfried John), a womanizer who convinces Franz to get rid of the woman Reinhold himself has discarded. After a botched robbery, Franz loses his arm in a car accident. With assistance from his ex-girlfriend Eva (Fassbinder regular Hanna Schygulla) and her pimp, Franz recovers and returns to the city. He starts to make some money by acting as a pimp for a prostitute named Mieze (Barbara Sukowa), but Reinhold returns and kills her. The authorities arrest Franz for the murder. The film ends with Franz in a mental hospital, a prime candidate to join the ranks of the upstart National Socialist party. ~ Perry Seibert, Rovi

Bernardo Bertolucci was obviously influenced by the films of Jean-Luc Godard and the worldwide political upheavals of 1968 while assembling his feature-film Partner. This unorthodox adaptation of Dostoevsky's The Double studiously avoids traditional linear storytelling and exposition techniques. Pierre Clementi stars as a repressed young student who concocts a radical alter ego for himself. As the student's two faces argue polemics, Bertolucci uses the opportunity to take freewheeling critical potshots at all forms of political ideology. Not all of Partner makes sense, but the film will command the viewer's interest from beginning to end. ~ Hal Erickson, Rovi

Director Mario Bava's second thriller revolves around a fashion salon owned by wealthy Cristina (Eva Bartok) and her greedy lover Max (Cameron Mitchell). The salon is a front for cocaine-trafficking and blackmail, so when model Isabella (Lea Kruger) is viciously strangled, leaving a detailed diary behind, many of the people connected with the salon become very nervous. Isabella's roommate Nicole (Arianna Gorini) finds the diary and soon has her throat clawed out with a piece of medieval armor. Peggy (Mary Arden), who borrowed abortion money from Isabella, is tortured and has her face pressed into a red-hot iron. The bodies continue to pile up until a conspiracy is exposed and the perpetrators start getting their just desserts. Luciano Pigozzi, Massimo Righi, and Claude Dantes are among the cast. ~ Robert Firsching, Rovi

Samira Makmalbaf makes her sophomore feature outing with this bold, elliptical look at the plight of marginalized populations in modern Iran. The film opens with a group of Kurdish teachers lugging blackboards on their backs in the rocky hinterland looking for illiterates to educate. The group splits up in a panic when they are suddenly confronted by a helicopter border patrol. Two pedagogues, Reeboir (Bahman Ghobadi) and Said (Said Mohamadi), camouflage their chalkboards with mud and take separate paths. Reeboir runs into a bevy of semi-feral adolescent boys who look haggard beyond their years; they spent their entire lives hauling (smuggled) goods through harrowing mountain passes. Reeboir tries to convince the lads that they should learn to read, but he is firmly rebuffed. Meanwhile, Said stumbles upon a wizened old man with a urinary problem and an attractive widowed daughter. Said eventually marries the woman, using his blackboard as dowry. Makmalbaf manages to imbue the film with a mood of fear and loss, making the characters' indomitable spirit all the more moving. This film was screened in competition at the 2000 Cannes Film Festival. ~ Jonathan Crow, Rovi