Tano Cimarosa Movies

The sweet sentimental gauze of director Giuseppe Tornatore's international hit Cinema Paradiso (1988) is nowhere to be found in this dark, Kafkaesque crime thriller that takes place, stage play-style, mostly in the confines of one room. Gerard Depardieu stars as Onoff, a famed author who has become a recluse in recent years, publishing nothing. Late one night he is picked up by police officers, who find him running across the French countryside in the rain, breathless and apparently suffering from short-term memory loss. A murder has been committed in the nearby woods, and suspecting Onoff's involvement, the authorities detain him at a leaky, dark command post to await the arrival of an inspector (Roman Polanski), ironically a fan of Onoff's work, who will interrogate his subject and try to arrive at the truth. Una Pura Formalita (1994) was produced simultaneously with Polanski's Death and the Maiden (1994), another film with a stage-bound quality featuring a long, stormy night's interrogation in a single room. ~ Karl Williams, Rovi

In the mid-'70s, Ciccio Ingrassia had a falling out with partner Franco Franchi -- with whom he co-starred in numerous popular "Franco and Ciccio" comedies before and after the quarrel -- and set out on his own, directing himself in this fairly amusing parody. Mimmo Baldi plays Luigi, the overweight son of a town mayor (Lino Banfi), who finds an amulet and takes it home. The demons inside it begin possessing the entire family. Ingrassia stars as a conman who pretends to be an exorcist, but ends up possessed as well. At one point, a Franchi impersonator is defenestrated, illustrating the depth of Ingrassia's feelings at the time. Ubaldo Lay co-stars with Tano Cimarosa and Didi Perego, and cultists will recognize Salvatore Baccaro (La Bestia in Calore, El Castello dell'Orrore) in a typically bizarre role. Well photographed by Guglielmo Mancori, although Marino Onorati's screenplay may not be very funny to those unfamiliar with the rather insular nature of many Italian comedies. ~ Robert Firsching, Rovi

Italian filmmaker Renato Polselli (aka Ralph Brown) wrote and directed this wonderfully sick and demented giallo thriller, a shining example of the sort of outrageous psychosexual perversity for which the genre has become cherished by cult enthusiasts. Former Mr. Universe Mickey Hargitay was already a sleaze favorite for his turn as Il Boio Scarlatto and his disingenuously tearful tour of his late wife's estate in The Wild, Wild World of Jayne Mansfield. Hargitay only solidifies that image here as Prof. Herbert Lyutak, a perverse sex maniac employed as a criminal psychologist. Lyutak is first seen giving a young woman a ride in his car, eventually attacking her and chasing her through the woods to a creek, where he beats her to death. Lyutak's wife (Rita Calderoni) finds his bloody shirt, but because there is another murder while the demented shrink is consulting the police, he is cleared. Working with the authorities, Lyutak has a family friend (Katia Kardinali) pose as a prostitute to catch the killer, but he simply murders another hooker not far away. The bodies continue piling up, with so many alibis and confusing contradictions that it soon becomes apparent the killings are the work of several hands. Polselli keeps the sleaze factor high throughout, notably in some psychedelic nightmare sequences featuring Lyutak's fantasies of torturing nude women in his basement and in the murder of Kardinali, which features some fairly graphic whipping and kinky sexual allusions. There's also lesbianism, strangulation, and an interesting synth-rock score by Gianfranco Reverberi to keep viewers interested, and the ultimate conclusion is -- in keeping with the title -- a delirious, bloody battle between three psychopaths in a cellar. That's only in the original version, however, because the American re-edit removed most of the sleaze, changed the setting from England to the United States, and added two extra murders and a police shootout, not to mention some dubious Vietnam flashbacks. The ultimate entertainment value to genre enthusiasts, therefore, is highly dependent on which version they see, as the extensive changes reduce a wild, flamboyant shocker to just another dull mystery. Gaetano Cimarosa and Stefano Oppedisano co-star. ~ Robert Firsching, Rovi

An Italian engineer who has been working in Sweden returns with his wife to his homeland for a short visit, and he is swiftly detained for some unspecified crime. He moves from horrid prison to even more horrid prison as he awaits trial. His sanity grows ever more shaky in the process, and he still has not learned what the charge is. After even more suffering, he eventually learns the charge against him, just as it is being dropped. This relentless indictment of the Italian prison system is leavened with some humorous moments. The film features comic actor Alberto Sordi, who won a "Best Actor" award for this role at the 1972 Berlin Film Festival. ~ Clarke Fountain, Rovi

Outlaw and prisoner Graziano Cassitti (Terence Hill) escapes and takes to the hill country in Sardinia. He continually eludes police and continues his raids on the nearby town, becoming a folk hero fighting against authorities. He takes comfort in the arms of Anania (Helen Ronee) as the two lovers meet under cover of darkness. Spina (Frank Wolf) is the local man who attempts to negotiate between the outlaw and the police while the arrogant criminal grants interviews to a sympathetic press. The story is taken from the real-life adventures of Graziano Mesina, who was jailed and awaiting trial for kidnapping, robbery and murder at the time of this film's release. ~ Dan Pavlides, Rovi