Elsa Martinelli Movies

Set in Sicily in the 1920's, this movie follows the activities of a love-struck young man who is slightly involved with the local fascist party. The area in which he is living is experiencing considerable political unrest, as the communists, socialists and fascists of the area (among others) vie for control. ~ Clarke Fountain, All Movie Guide

OSS 117 (Luc Merenda) is the French secret agent working for the CIA. His Brazilian vacation is interrupted when he kills a look alike villain stalking him. Soon he is pursued by international agents who believe he is the dead man. Elsa Martinelli provides his romantic interest in a film that patterns itself after the many James Bond features. ~ Dan Pavlides, All Movie Guide

In this thrilling mystery of mistaken identity, Jacques (Pierre Vaneck) is a piano player in a nightclub who is approached by a man he never met before. The stranger offers him a job posing as the husband of a mentally challenged woman. He will be rewarded for taking care of the woman. Since his contract has expired at the club, he readily accepts the proposition. The stranger turns out to be the valet of the woman, who other than playing with decapitated dolls, seems quite normal. Jacques and the woman end up falling in love. He looks just like her husband who disappeared during an African safari. It turns out the missing man is a former Nazi hiding out from the international police. Soon agents converge on the house along with the man who had supposedly vanished, leading to an inevitable showdown. ~ Dan Pavlides, All Movie Guide

Jason Fister (Dustin Hoffman) is the Internal Revenue Service agent sent to Rome to investigate the hidden money of the late gangster Mike Madigan (Cesar Romero). Jason meets Vick Shaw ( Elsa Martinelli) and he mistakenly takes her to be the dead mobster's mistress when in fact she is his daughter. Soon underworld thugs converge on the couple in an attempt to steal the stolen loot. This film was completed in 1967 and was subsequently shelved. It was released in the wake of Hoffman's popularity from his roles in The Graduate and Midnight Cowboy. This inept and contrived comedy is Hoffman's first feature film. ~ Dan Pavlides, All Movie Guide

Vittorio De Sica directs the 1967 episodic sex comedy Sette Volte Donna (Woman Times Seven), consisting of seven short stories each starring Shirley MacLaine. In "Funeral Possession," she plays opposite Peter Sellers as a widow at her husband's funeral. In "Amateur Night," she's a wife who's driven to prostitiution to get revenge on her adulterous husband (Rossano Brazzi). In "Two Against One," she plays an interpreter who gets naked and reads T.S. Eliot to an Italian (Vittorio Gassman) and a Scot (Clinton Greyn). In "The Super Simone," she's a houswife who acts insane to get the attention of her author husband (Lex Barker). In "At the Opera," she's a rich woman determined to get a specific dress. In "The Suicides," she forges a suicide pact with lover Alan Arkin. In "Snow," Michael Caine is hired to spy on her. ~ Andrea LeVasseur, All Movie Guide

In this anthology, six French filmmakers each contributed a vignette, offering their take on the history of prostitution. ~ Sandra Brennan, All Movie Guide

Co-directed by French filmmakers Noël Howard and Denys de La Patellière, La Fabuleuse aventure de Marco Polo is a star-studded, epic retelling of the story of the famed thirteenth-century Venitian explorer. Filmed on location in France, Italy, Yugoslavia, Egypt and Afghanistan, the film stars Horst Bucholz as Polo, the ambitious young voyager who, along with his faithful servant Akerman (Orson Welles), ventures to China, where he joins Mongol Emperor Kublai Khan (Anthony Quinn) in his fight against rebelling forces. Also starring Omar Sharif, La Fabuleuse aventure de Marco Polo was released in the United States and Great Britain under the title Marco the Magnificent. ~ Matthew Tobey, All Movie Guide

Bond-style gadgetry is used in this situation comedy about the amateur thief Bernard (Claude Rich) who meets his match in the felonious female pro Bettina (Jean Seberg), and the amateur teaches the seasoned veteran crooks a new angle. ~ Dan Pavlides, All Movie Guide

Terrence Rattigan, the playwright who brought us the multicharactered, multistoried Separate Tables, again offers us an episodic cross-section of humanity in The V.I.P.'s. When a heavy London fog paralyzes all air traffic, the lives of several people are profoundly affected. As indicated by the title, most of the characters in this portmanteau film are of the social and/or financial elite. Elizabeth Taylor wishes to leave her enormously wealthy husband Richard Burton in favor of playboy Louis Jourdan. Peripatetic European film producer Orson Welles is hoping to escape London with his newest protegee Elsa Martinelli in order to avoid paying his income tax. Australian businessman Rod Taylor, accompanied by his devoted (and adoring) secretary Maggie Smith, is anxious to head to New York to stave off a hostile takeover of his firm. And impoverished aristocrat Margaret Rutherford (who won an Oscar for her performance) would rather not go to Florida to accept a job as a social arbiter, but the wolf must be kept from the door. Before the fog disperses, you can be sure that at least one of the many plotlines will intersect with another. David Frost, in a tiny part as a reporter, was fond of recalling in later years that, while the major stars of The VIPS were introduced in the opening titles with animated limousines, he was consigned a tiny Volkswagen; alas, no such cartoon joke appears in the film, though on occasion the actors-particularly Mr. Welles-behave as though they were cartoons. Mercilessly skewered by the critics, The VIPS was a winner at the box-office, due in great part to the Cleopatra-inspired publicity concerning the top-billed Liz Taylor and Dick Burton. ~ Hal Erickson, All Movie Guide

Much of Orson Welles' latter-day reputation as an "unfathomable" genius rests upon his seeming unwillingness to tell a story in clear, precise fashion. Sometimes, as in such films as Touch of Evil, Welles' spotty storytelling skills can be forgiven in the light of the excellent visuals. In other cases, as in his 1962 adaptation of Kafka's The Trial, Welles'style comes across as empty virtuosity, precious and petulant when it should be profound. Anthony Perkins plays Joseph K, a man condemned for an unnamed crime in an unnamed country. Seeking justice, Joseph K is sucked into a labyrinth of bureaucracy (Welles once described the character as being a "little bureaucrat" himself, who deserves to be punished. This is never clearly expressed in the finished film). Along the way, he becomes involved with three women -- Jeanne Moreau, Romy Schneider, Elsa Martinelli -- who in their own individual ways are functions of the System that persecutes him.

While Welles considered The Trial one of his finest films, this enthusiasm is not universally shared; even his most fervent admirers have been known to emerge from a screening of the film with quizzical, disappointed expressions on their faces. On the plus side, Welles and his cinematographer Edmond Richard perform miracles in transforming an abandoned French railway station into the headquarters of a totalitarian, red tape-ridden society. It's also fun to hear Welles' voice emanating from several of the supporting characters (his post-dubbing budget was nil). All in all, however, The Trial never truly works; it is unfair, however, to lay the blame for this entirely on Welles, inasmuch as the 1948 and 1994 attempts to cinematize the original Kafka novel likewise came a cropper. ~ Hal Erickson, All Movie Guide