Silvana Mangano Movies

Uomini e Lupi was released outside of Italy as Men and Wolves. Pedro Armendariz and Yves Montand star as a pair of courageous wolf-hunters in the Abruzzi region of Italy. When Montand returns to his village with a dog instead of a wolf, he is branded a coward. He redeems himself by teaming with Armendariz' wife Sylvia Magnano to kill the wolf who claims the life of her husband. It's a simple story, imbued with powerful visual dynamics by Giuseppe De Santis. Especially impressive is the climax, staged during a blinding snowstorm (it's the real thing, too!) ~ Hal Erickson, All Movie Guide

Vittorio De Sica, Cesare Zavattini, and Giuseppe Marotta wrote this anthology of tales depicting various aspects of Neapolitan life, with the emphasis of poignancy and comedy: "The Racketeer" features Toto with a gangster as his unwanted house guest; "Pizza On Credit" gave Sophia Loren one of her first starring roles, as a wayward wife who loses her wedding ring; "The Gambler" stars De Sica in a hilarious performance as a compulsive gambler whose rich family won't give him money, so he's reduced to playing cards with the young son of his servant; "Theresa" features Silvana Mangano as a prostitute who discovers that a man really does have to be crazy to marry her. (Two other episodes were cut for the film's U.S. release.) ~ Nicole Gagne, All Movie Guide

Silvana Mangano portrays a fickle club chanteuse who must choose between the love of two men (Raf Vallone and Vittorio Gassman). She chooses neither, entering a convent for the sake of convenience. This overwrought drama was produced by Dino de Laurentiis, and reworked by five screenwriters including such respected names as Dino Risi and Franco Brusati, but comes up as a soggy soap-opera rather than an imposing star-vehicle. Nino Rota's fine score and the always watchable Mangano are its only saving graces. ~ Robert Firsching, All Movie Guide

Gregory Ratoff is listed as sole director of the 1949 Orson Welles starrer Black Magic, but it is now common knowledge that Welles directed most of this lavish costumer himself. Told in flashback, the film recounts the life and times of notorious 18th-century hypnotist/magician/scam artist Cagliostro (played, but of course, by Welles). Learning the secrets of hypnosis from Dr. Mesmer (Charles Goldner), Cagliostro exploits this skill to gain wealth, prestige and, on occasion, romance. His downward slide begins when Cagliostro enters into an Anastasia-like scheme to substitute a young lass named Lorenza (Nancy Guild) for French queen Marie Antoinette. The charlatan's partners in crime are gypsies Gilbert (Akim Tamiroff, who manages to out-ham Welles in some scenes) and Zoraida (Valentina Cortese). Longer on style than substance, Black Magic is a wickedly delightful cinematic exercise, with Welles at his overbaked best. ~ Hal Erickson, All Movie Guide

Originally released as Riso Amaro, Bitter Rice was one of the landmark films of the postwar Italian neorealist movement. Silvana Mangano portrays one of hundreds of women toiling slavishly in the Po Valley rice fields. She is courted by two men: respectable Raf Vallone and no-good fugitive from justice Vittorio Gassman. Mangano chooses Gassman, a decision which brings disaster not only to her but to her co-workers. The rice-field scenes are realistic enough to pass muster as documentary footage, though they tend to be undercut in the English-language version by the amateurish dubbing. Critics were unanimous in their praise for Bitter Rice; their words were, however, ignored by the male fans who came to see the film solely on the strength of the now-famous production still of the buxom Silvana Mangano standing in the rice field wearing tight shorts and torn black stockings. ~ Hal Erickson, All Movie Guide