Elsa Martinelli Movies

Four Girls in Town is essentially an excuse by Universal-International to test out several of their newer contractees. The plot is motivated by a worldwide movie talent hunt, which naturally arouses the attentions of a bevy of pretty young aspiring actresses. The four girls of the title are Kathy Sonway (Julie Adams, who'd been appearing in films since 1950), Ina Schiller (Germany's Marianne Cook, nee Koch), Maria Antonelli (Italy's Elsa Martinelli) and Vicki Dauray (Gia Scala, also from Italy but herein portraying a Frenchwoman). Conducting the screen tests is budding director Mike Snowden (George Nader), who predictably falls in love with one of the hopefuls. Some laughs are had at the expense of Universal's rival 20th Century-Fox in the person of Helene Stanton, cast as a Marilyn Monroe clone named "Rita Holloway". ~ Hal Erickson, All Movie Guide

Donatela (Elsa Martinelli) is a poor girl who works as personal secretary to wealthy Guido (Walter Chiari). When Donatela's boss is visited by lawyer Maurizio (Gabriele Ferzetti), he mistakenly believes that she, too, is rich--and automatically falls in love with her. Maurizio's attentions prompt Guido to see Donatela in an entirely new light, and soon he is also ardently pursuing her. These romantic complications are interrupted periodically by the musical contributions of bandleader Xavier Cugat and his vocalist-wife Abbe Lane. Despite its unpretentiousness, Donatela was given the usual big publicity buildup when it was released in the US. ~ Hal Erickson, All Movie Guide

The best thing going for this period piece set during the time of the last Russian Czar is its visual atmosphere, defined by gorgeous sets, costumes, and scenery. Alexey (John Derek) is a soldier in the Czar's army whose fiancée is raped by a general. In retaliation, Alexey attacks the general and is sentenced to prison in Siberia. Thanks to the heroics of his bride-to-be he escapes, but she is killed in helping him. Alexey ends up with some boatman plying their trade on the Volga, and he bides his time as he plots to bring justice to the general. Meanwhile, an attractive gypsy woman (Elsa Martinelli) enters his life. ~ Eleanor Mannikka, All Movie Guide

In a series of comedic episodes, wildly disparate individuals pass through the French Riviera and live out their dramas and traumas in this uneven but happy farce by director Vittorio Sala. Of all the sketches, that of top Italian comic Alberto Sordi as a fruit vendor going with his wife for a film shoot on location on the Riviera is the most notable. After the wife is deleted from the cast, the vendor mistakes the director's interest in him as a play for his acting talents. His wife eventually wises him up that his thespian abilities are not the attraction here, and so another career in film bites the dust. The rest of the skits, including an over-the-top jealous husband who is having a hard time on his honeymoon, are amusing enough to keep an audience entertained. ~ Eleanor Mannikka, All Movie Guide

Previously filmed in 1932 as Vampyr, Sheridan LeFanu's classic psychological horror tale was given a second go round in 1961 as Blood & Roses (Et Mourir de Plaisir). While Carl Theodor Dreyer concentrated on mood and suspense in Vampyr, Blood & Roses director Roger Vadim goes directly to the jugular, so to speak, with generous doses of eerie eroticism. Annette Vadim plays Carmilla, who upon learning that she had a vampire ancestor becomes obsessed with finding out even more. Soon Carmilla has succumbed to the siren song of vampirism, and cannot quench her insatiable thirst for human blood. The lesbian subtext in the LeFanu original is played out con brio by Vadim-though not in the heavily bowderlized version made available to American audiences in 1962. Blood & Roses was subsequently remade as The Vampire Lovers and The Blood-Spattered Bride. ~ Hal Erickson, All Movie Guide

Hatari! is Swahili for "danger"--and also the word for action, adventure and broad comedy in this two-fisted Howard Hawks effort. John Wayne stars as the head of a daring Tanganyka-based group which captures wild animals on behalf of the world's zoos. Hardy Kruger, Gérard Blain and Red Buttons are members of Wayne's men-only contingent, all of whom are reduced to jello when the curvaceous Elsa Martinelli enters the scene. In tried and true Howard Hawks fashion, Martinelli quickly becomes "one of the guys," though Wayne apparently can't say two words to her without sparking an argument. The second half of this amazingly long (159 minute) film concerns the care and maintenance of a baby elephant; the barely credible finale is devoted to a comic pachyderm stampede down an urban African street, ending literally at the foot of Martinelli's bed. The other scene worth mentioning involves comedy-relief Red Buttons' efforts to create a fireworks-powered animal trap. Not to be taken seriously for a minute, Hatari is attractively packaged and neatly tied up with a danceable-pranceable theme song by Henry Mancini. ~ Hal Erickson, 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

Based on an interesting plot from a novel by Robert Sheckley, this movie features tongue-in-cheek performances by Andress and Mastroianni, which are responsible for its status as a minor cult favorite. Set in the 21st century, this science fiction movie depicts a society in which population control is facilitated by the use of legalized murder. The society plays an assassination game for fun, in which the last person left alive is the winner. The movie is made for entertainment, but there are some sexual situations. ~ All Movie Guide

In this crime drama, an American fugitive in France is pursued by two thugs for two different reasons. One of the pursuers has been engaged by a large, corrupt construction company that wants the fugitive killed to prevent him from giving damaging testimony. The other stalker has more personal reasons for killing him. When the construction company is acquitted, the assassin is told to protect the fugitive from the other man. A three-way gun battle ensues and all of the men are fatally shot. ~ Sandra Brennan, All Movie Guide