Rosemarie Dexter Movies

With her marriage and her life disintegrating before her eyes, in this Italian political thriller, Sarah (Verena Volonte) has made a detailed filmed record of it all. Not only that, she made a film of the man who flung bombs into a political demonstration and she is killed for her effort. The story unravels as Sarah's husband, who is suspected of being her murderer, views the film on a moviola. He is trying to figure out what happened and why his wife died. Because he has the film which would expose the murderer and the political forces behind him, his life is also in danger. ~ Clarke Fountain, Rovi

A Pope contends with the prospects of nuclear world destruction in this Cold-War saga of religious faith and international politics. (Anthony Quinn) plays a Russian priest who has spent 20 years in a Siberian labor camp. When Russian and Chinese relations deteriorate, Russian Premier Kamenev (Laurence Olivier) releases him and he is made a cardinal. Kamenev wishes to have a representative at the Vatican in Rome for future political situations. When the Pope (John Gielgud) dies, a series of events makes the Russian priest the first Pope from a communist country. Taking the name of the saint who spread the gospel to Russia, he becomes Pope Kiril Lakota. He often leaves the Vatican in disguise to mingle with the people to remain in touch with the poor and the needy. When millions of Chinese face starvation, the Pope offers to sell the riches of the church on order to feed the hungry, and he asks that all wealthy countries do the same. David Janssen is the television reporter stationed in Rome whose wife (Barbara Jefford) receives counseling from Kiril, unaware he is the Pope. In a symbolic gesture, Kiril offers his crown as a down payment in an attempt to bring world peace and end the starving of millions. Although a fine drama with a competent international cast, the movie failed at the box office to recoup the 9-million-dollar production costs. ~ Dan Pavlides, Rovi

Three young women and a male companion embark on a boat trip aboard a yacht through the fjords of Yugoslavia. The two rooms in the cabin are divided between the lesbian lovers, and the other heterosexual couple. Their LSD-soaked journey gives the female passengers a chance to engage in nudity and the sexual preference of their choice. At one point in their journey, the man is shot in the stomach and lies mortally wounded. While the assailant remains unknown, they embark on a harrowing return trip hampered by storms and the worsening condition of the gunshot victim. The lesbians take over the ship and plan to prematurely bury the nearly dead man at sea. They then set their sights on his female companion, whom they force into lesbianism and drive to thoughts of suicide. Due to legal squabbles, the film was plagued by court-managed (bad) editing. ~ Dan Pavlides, Rovi

In this spy adventure taken from the TV series The Saint, suave Simon Templar must stop a Sicilian Mafioso from succeeding on his personal vendetta. ~ Sandra Brennan, Rovi

This sweet coming-of-age film concerns a pair of Italian teenagers, Gabriele (Jacques Perrin) and Giovenella (Rosemarie Dexter), whose parents attempt to keep them apart. Gabriele's father (Folco Lulli) goes so far as to take his son to a prostitute, and when that fails, considers letting the youngster sleep with his own mistress. Gabriele finally rents an apartment, where he and Giovenella consummate their love. A surprisingly prim coda involves a warning by a policeman and the couple's vows to refrain from further physical intimacy until marriage. ~ Robert Firsching, Rovi

This pulse-pounding follow-up to Sergio Leone's A Fistful of Dollars brings back Clint Eastwood as the serape-clad, cigar-chewing "Man With No Name." Engaged in an ongoing battle with bounty hunter Col. Douglas Mortimer (Lee Van Cleef), the Man joins forces with his enemy to capture homicidal bandit Indio (Gian Maria Volontè). Both the Eastwood and Van Cleef characters are given understandable motivations for their bloodletting tendencies, something that was lacking in A Fistful of Dollars. In both films, however, the violence is raw and uninhibited -- and in many ways, curiously poetic. Leone's tense, tight close-ups, pregnant pauses, and significant silences have since been absorbed into the standard spaghetti Western lexicon; likewise, Ennio Morricone's haunting musical score has been endlessly imitated and parodied. For a Few Dollars More was originally titled Per Qualche Dollaro in Più; it would be followed by the last and best of the Man with No Name trilogy, The Good, the Bad and the Ugly. ~ Hal Erickson, Rovi

Following up 1964's Academy Award nominated L'Homme de Rio, French filmmaker Philippe de Broca wrote and directed this big-screen adaptation of André Couteaux's novel Un monsieur de compagnie. Jean-Pierre Cassel stars as Antoine, a young man who holds the philosophy "Laziness is the mother of all virtue" close to his heart and spends many dreamy days fishing with his wealthy grandfather. But when he has a prophetic dream that the old man will die impoverished, Antoine is motivated to change his life and try to earn his own money. Also starring Catherine Deneuve and Jean-Pierre Marielle, Un monsieur de compagnie was released in the United States in 1966 under the title Male Companion. ~ Matthew Tobey, Rovi

The English title of this Shakespeare adaptation is Juliet and Romeo, according the heroine top billing for the first time in history. Its Spanish title, evidently concocted to obscure its literary roots, was Los Amentes de Verona. Directed by costume-spectacle "regular" Riccardo Freda, the film stars Gerald Meynier and Rosemarie Dexter as Shakespeare's star-crossed lovers. Freda adapted the original text to make room for his usual stylistic grace notes -- not to mention his characteristic spurts of violence. Filmed in 1964, Giulietta e Romeo was distributed in the U.S. in 1968, most likely to cash in on the popularity of the recently released Franco Zeffirelli version. ~ Hal Erickson, Rovi