Mario Maranzana Movies

Director Luigi Comencini resists all efforts to make his filmization of the classic Puccini opera La Boheme self-consciously cinematic. As a result, his version of the opera may find itself out of favor with some film fans, but much treasured by Puccini purists. The principal roles of the tragic Mimi and headstrong aspiring artist Rodolfo are sung by Barbara Hendricks and Luca Canonici. Hendricks seems a tad too healthy for the frail Mimi, but this is a common shortcoming with singers who play this part: if one is too sickly, one can't attain those crystal-clear high notes. James Conlon conducts the National Orchestra of France on the La Boheme soundtrack. As in most other adaptations of this piece, the 1989 La Boheme draws its inspiration as much from the Henri Muger novel Scenes of Bohemian Life as it does from the Puccini opera. ~ Hal Erickson, All Movie Guide

In the original story of Camille by Alexandre Dumas, Jr. La Dame aux Camelias, a beautiful Parisian courtesan, Marguerite Gautier, (called "Camille" because of her love for camelias) is supported by a series of aristocratic lovers, but does not fall in love until she meets Armand Duval. Armand's father lets it be known that Camille would ruin Armand because of her "low" past, and she leaves to save his reputation, saying she does not love him anymore. She soon contracts tuberculosis, and Armand hears that she is dying. He rushes to her side, finds out she has loved him all along, and she dies knowing he has always loved her. The True Story of Camille uses the ploy of Alexandre Dumas, Jr. doing his version of "Camille" at the turn of the 20th century, as a means of introducing a flashback to the "real" story behind the "real" Camille, Alphonsine Plessis. In the film, Alphonsine (Isabelle Huppert) - a country girl - was sold by her father to a wealthy neighbor, which starts her off on a round of living in expansive palaces and keeping company with wealthy aristocrats and eventually, Alexandre Dumas, Jr. himself. But that trajectory did not happen all at once. Alphonsine first survives, barely, as a seamstress in Paris. Then she becomes a prostitute, after which a Count Peregaunts (Bruno Ganz) marries her, then more or less disappears, leaving her to become a high-class courtesan. As she makes her way from one handsome, aristocratic client to the next, a noble protector, Count Stechelberg (Fernando Rey) keeps her out of harm's way. By the time she and Dumas meet, she has become infected with tuberculosis - and she has created the inspiration for Dumas' story of Camille. Her father comes along at this point, however, ready to trounce Dumas for romanticizing his daughter's wretched life - the same father that sold her off in the first place. If the viewer can remember that the characters of Marguerite Gautier (Carla Fracci) and Armand Duval from Dumas' story of Camille have been given their "real" personas as Alphonsine Plessis and Dumas in this film, then the story within a story make more sense. ~ Eleanor Mannikka, All Movie Guide

In this Italian drama, Wilma, an aging dance hall girl, befriends La Cicada, a feisty, free-spirited woman who refuses to have sex for money. Together, they go traveling and on the rode take up with the handsome Hannibal, who dreams of opening up his own truck stop/gas station. The two women end up helping him achieve his dream. The place becomes a nightspot which they name La Cicada and turn into a big success. During this time, Wilma marries Hannibal, but Wilma begins worrying that her husband would rather have the young, sexy Cicada. The younger woman proves that he does not want her. When her lovely 18-year-old daughter comes to call, Wilma really gets worried because like her mother, the daughter has also become a whore. ~ Sandra Brennan, All Movie Guide

This sex and science fiction comedy is based on the equation of sexual energy and energy in general. Electrical fixtures have run out of steam, but a love-making pair demonstrates that through the power of their orgasms alone they are able to generate electricity to operate first a light bulb, then a street lamp, then the entire hospital where they are being scientifically observed and ultimately all of society's gadgetry. ~ Clarke Fountain, All Movie Guide

Screenwriter Robert Bolt's directorial debut is a lushly romantic saga concerning the 1812 love affair between the wife of William Lamb, Lord of Melbourne, and the author of the poem Childe Harold, Lord Byron. Excited and embarrassed by the attendant affections heaped upon him, Byron found his writing talent waning, and in 1813 the lovers ended their affair. In her first novel, Glenarvon in 1816, Lady Lamb included a satiric portrait of her former lover. But when she later witnessed Byron's funeral in 1828, she was so affected by his death she never mentally recovered from the trauma. The film charts the doomed romantic course for Lady Caroline Lamb (Sarah Miles), beginning with her marriage to the politically promising William Lamb (Jon Finch) and continuing with her scandalous affair with Byron (Richard Chamberlain). The film then chronicles Lady Caroline Lamb's supreme sacrifice on behalf of her husband's political career. ~ Paul Brenner, All Movie Guide

While it might not have been the best idea on earth to remake the 1939 classic Goodbye Mr. Chips as a musical, the end result is not altogether displeasing. Peter O'Toole steps into the old Robert Donat role of Arthur Chipping (originally Charles Chipping), a young by-the-book schoolmaster at a 1920s British boys school who is humanized by the love of good-natured music-hall singer Katherine Bridges (played by Petula Clark; Greer Garson essayed this role, then named Katherine Ellis, in the original). Though Chips must endure the tragedy of Katherine's death during the 1940 London blitz (a scene filmed from the bomb's point of view!), he is able to persevere by devoting himself to his young charges. In retrospect, this version of Goodbye Mr. Chips might have worked better without the songs, which never rise above banality. And though Petula Clark can't match the poignancy of Greer Garson's performance (in all fairness, she didn't have much of a script to work with), Peter O'Toole is terrific as the title character, convincingly ageing and mellowing as the story unfolds. Originally road-shown at 151 minutes, Goodbye Mr. Chips is today generally available in its 131-minute general-release version. ~ Hal Erickson, All Movie Guide