Luciano Vincenzoni Movies

Few American film enthusiasts were even aware that anyone made westerns in Italy before Sergio Leone's breakthrough film, 1964's Per un Pugno di Dollari (aka A Fistful Of Dollars), made Clint Eastwood a worldwide star and introduced audiences to the forbidding beauty and troubling morality of Leone's unique vision of the American West. A Fistful of Dollars was an international hit, as were its follow ups Per Qualche Dollaro in Più (aka For A Few Dollars More) and Il Buono, il Brutto, il Cattivo (aka The Good, The Bad and the Ugly), and Leone's striking visual sense and complex storytelling established him as one of the masters of genre filmmaking, though in later years his ambition would outstrip his ability to bring his projects to the screen. Sergio Leone: Il mio modo di vedere le cose (aka Sergio Leone: The Way I See Things) is a documentary which takes a loving look at the highlights of Leone's career in cinema, offering a behind-the-scenes look at how several of his best films were made through interviews with actors and technicians who collaborated with him as well as archival footage of Leone discussing his pictures. Sergio Leone: The Way I See Things received its American premiere at the 2006 Cinequest Film Festival. ~ Mark Deming, Rovi

An Italian immigrant to Australia, Nino (Joe Dolce) is the sort of man who has to try the twisty way first, before cheerfully doing the honest thing. After at first trying to cheat blustery Jack Phillips (Peter Adams) over an auto repair job Phillips is doing for him, the two become friends. When Jack's daughter runs off with a seriously not-good young man (a drug pusher), he comes to the aid of his new friend, and together they track down the girl and her ne'er do well boyfriend, and have a few laughs and a few adventures along the way. ~ Clarke Fountain, Rovi

Loosely based on an historical character and his ennoblement by a Pope, Conte Tacchia relates the adventures of Checco (Enrico Montesano), an upbeat carpenter living at the beginning of the 20th century who is convinced that he is the illegitimate son of a local prince (Vittorio Gassman). Because of his fixation, Checco is nicknamed "Count Tacchia" for the wedge tacchia that a carpenter puts underneath the short leg on an unbalanced table. Checco tries to romance a young Duchess and soon becomes the brunt of cruel jokes by the aristocracy, but then King Humbert actually gives him the title of Count so Checco can fight a French swordsman in a duel to the death. ~ Eleanor Mannikka, Rovi

After her father (Adolfo Celi) is exiled to an island off the coast of Italy for his anti-Mussolini politics, Libera (Claudia Cardinale) is increasingly incensed by the fascist government of Italy and makes a number of bold and very personal gestures against it. At first, these only result in her husband's losing his jobs, but they are finally exiled to the same island that her father was sent to. There she develops a passion for Sandro (Bekim Fehmiu), another internee, but is restrained from having an affair by her strong sense of values. After World War II breaks out, the resistance to fascism becomes much more organized and more active. Libera joins them on a number of actions, usually when these coincide with her more personal vendetta against the Brown-shirts. ~ Clarke Fountain, Rovi

Maria Schneider is Michele, a young student sculptress assigned to look after the kidnapped baby of her ex-lover. She and the kid hit it off but are unable to escape until the kidnappers begin to kill one another off. ~ Clarke Fountain, Rovi

This Italian film was made for the blaxploitation action niche, but sloppy dubbing and unintentionally funny dialogue kept it from packing the kind of action punch needed for box-office success. Father Charlie (Lino Venturi) is an ex-con who has been granted an exemption from canon law to become a priest. When a friend of his gets into trouble which looks suspiciously like a frame-up, Father Charlie decides to investigate, with or without the blessing of his bishop. His friend Lee Stevens (Isaac Hayes) is looking for the real culprit as well, and Father Charlie and Lee soon join forces. ~ Clarke Fountain, Rovi

This 1973 Italian production (remade by Simon Nuchtern for an American release two years later) is a buddy film with a small-time thug (Tony Lo Bianco) meeting a high-profile gangster (Lee Van Cleef) while in prison. The pair team up to attempt a prison breakout. ~ John Bush, Rovi

The title tells all in this western. The trouble is that it is difficult to tell whether or not the film is a serious venture or a parody. There is certainly plenty of violence. ~ Sandra Brennan, Rovi

Leonardo (Franco Nero) is a painter who retreats to a house in the country to regain his lost inspiration. He is plagued by the presence of an erotic apparition. The gorgeous ghost soon moves the painter to the point he wishes to carry on a relationship with her. Leonardo is several bristles shy of a brush as he sinks deeper into insanity. When his fiancé arrives for a visit, she is murdered and chopped into little pieces by the troubled artist. Vanessa Redgrave and Gabriella Grimaldi also star in this story of madness and horror. ~ Dan Pavlides, Rovi

Based on a story by Joseph Conrad, this 18th-century set drama is set shortly after the French Revolution and chronicles the exploits of a former counterrevolutionary pirate who befriends a mentally ill, naive young woman. Eventually his feelings of friendship turn to love and this in turn leads to tragedy when she falls in love with a French naval officer. ~ Sandra Brennan, Rovi

In the last and the best installment of his so-called "Dollars" trilogy of Sergio Leone-directed "spaghetti westerns," Clint Eastwood reprised the role of a taciturn, enigmatic loner. Here he searches for a cache of stolen gold against rivals the Bad (Lee Van Cleef), a ruthless bounty hunter, and the Ugly (Eli Wallach), a Mexican bandit. Though dubbed "the Good," Eastwood's character is not much better than his opponents -- he is just smarter and shoots faster. The film's title reveals its ironic attitude toward the canonized heroes of the classical western. "The real West was the world of violence, fear, and brutal instincts," claimed Leone. "In pursuit of profit there is no such thing as good and evil, generosity or deviousness; everything depends on chance, and not the best wins but the luckiest." Immensely entertaining and beautifully shot in Techniscope by Tonino Delli Colli, the movie is a virtually definitive "spaghetti western," rivaled only by Leone's own Once Upon a Time in the West (1968). The main musical theme by Ennio Morricone hit #1 on the British pop charts. Originally released in Italy at 177 minutes, the movie was later cut for its international release. ~ Yuri German, Rovi