Mario Passante Movies

Generally considered to be the foremost example of Italian Gothic horror, this darkly atmospheric black-and-white chiller put director Mario Bava on the international map and made the bewitching Barbara Steele a star. Steele plays Princess Asa, a high priestess of Satan who is gruesomely executed in 1600s Moldavia by having a spiked mask hammered into her face. Before she dies, Asa vows revenge on the family who killed her and returns from the grave two centuries later to keep her promise. In a striking resurrection scene replete with bats, scorpions and fog, Asa rises from the tomb to claim her bloody vengeance. With vampires, bubbling flesh, dank crypts, undead servants and torch-bearing mobs, the plot is a little ripe, but the visuals are Bava's primary consideration. The atmosphere is so heavy and the imagery so dense that the film becomes nearly too rich in texture, but the sheer, ghastly beauty of it all is entrancing. Although this was only the second of Bava's twenty-six films as director, it is undoubtedly his best and the one upon which most of his considerable reputation rests. ~ Robert Firsching, All Movie Guide

Nights of Cabiria opens with Cabiria (Giulietta Masina) and her boyfriend playfully embracing by the seaside -- and then he shoves her into the water and steals her purse. Cabiria is revived by some local boys and runs off by herself, shouting. What follows is a series of similarly humiliating episodes, in which the defiantly positive prostitute Cabiria is hurt, but never broken. She gets picked up by movie star Alberto Lazzati (Amedeo Nazzari, doing a self-parody) and taken to his palatial estate. However, his mistress shows up and Cabiria gets locked in the bathroom all night with the dog. She then joins her fellow prostitutes for a blessing from the Virgin Mary, and ends up getting drunk and wandering into a local show, where the hypnotist invites her to join him on-stage. The audience heckles her, and she toughly reminds them of her independence and that she owns her own house. There she meets Oscar (François Perier), an accountant who romantically pursues her. Despite the warnings of her fellow prostitute friend, Wanda (Franca Marzi), she prepares to sell all her belongings and accept Oscar's proposal of marriage. After being ruthlessly taken advantage of once again, Cabiria walks off alone with a smirk of hope. ~ Andrea LeVasseur, All Movie Guide

Swindle and The Swindlers are both English-language titles for 1955's Il Bidone, a lesser-known effort from Federico Fellini. Broderick Crawford, Richard Basehart, and Franco Fabrizi play a trio of con artists who victimize the Italian bourgeoisie (who are shown to be no better than the crooks). Giueletta Masina (Fellini's wife), who had previously costarred with Richard Basehart in La Strada, here plays Basehart's wife. Humphrey Bogart had been intended for the role played by Broderick Crawford; one wonders how Crawford's self-deprecating curtain speech about the hollowness of his existence would have played in Bogart's hands. Swindle was not released to the US until nine years after its completion. ~ Hal Erickson, All Movie Guide

Can a good man tame a woman on the wrong side of the law? Paolo (Marcello Mastroianni) is a slightly clumsy cab driver who, not long after being issued a new vehicle, picks up an interesting fare -- a strikingly beautiful young woman, Lina (Sophia Loren), who is going to the beach with two of her boyfriends. When they arrive at the seashore, Lina invites Paolo to join them, but he soon discovers Lina is simply working her charm on him so her friends can steal his cab. Paolo takes up the matter with the police, but Lina's profoundly silly explanation of the events makes him wonder if he simply misinterpreted the whole thing. However, after meeting Lina's dignified father Stroppiani (Vittorio De Sica), Paolo discovers that both father and daughter are thieves, as is the rest of the family. As Paolo unsuccessfully tries to bring the family to justice, he finds himself falling for the beauteous Lina, and decides to marry her, certain that matrimony will bring her to the straight and narrow. Peccato Che Sia una Canaglia (released in America as Too Bad She's Bad) marked the first time Sophia Loren (then only twenty years old) was co-starred with her frequent screen partner Marcello Mastroianni; they would eventually make thirteen pictures together. ~ Mark Deming, All Movie Guide