Fabrizio Bentivoglio Movies

A handful of semi-professional musicians struggle to make a name for themselves in this nostalgic comedy-drama set in Italy in the mid-seventies. Faustino (Antimo Merolillo) is a would-be jazz guitarist who has just graduated from school and is looking for a gig, at least in part because he's trying to avoid the military draft. If he can get local promoter Raffaele (Ernesto Mahieux) to sign him to a contract, Faustino can tell the draft board that he's a professional supporting his widowed mother with his career in music, but getting Raffaele to make a deal is proving difficult. Faustino plays part time with a local band led by hard-drinking Mimmo Falasco (Toni Servillo), but when Augusto Riverberi (Fabrizio Bentivoglio), a once-famous bandleader looking to make a comeback, arrives in town, Raffaele pulls some strings and gets Faustino a job as Riverberi's assistant. In need of a singer, Faustino and Raffaele persuade Riverberi to hire a vocalist named Gerry Como (Peppe Servillo), and the first few dates of the tour go well as Riverberi entertains the crowds and juggles romances with Faustino's mother (Lina Sastri) and a lovely small-town hairdresser (Valeria Golino). But when Raffaele double-crosses Riverberi and runs off with the band's money, Faustino begins to wonder if he'll ever make good as a musician. Lascia Perdere, Johnny! (aka Don't Waste Your Time, Johnny!) was the first directorial credit for veteran actor Fabrizio Bentivoglio, who also co-stars as the bandleader Riverberi. ~ Mark Deming, Rovi

When the efforts of a Philosophy teacher from the Italian Region of Puglia and his two brothers to sell an old family farm are stalled by their boorish and aggressive step-brother, the family's dark past is soon dragged into the harsh light of the presence in director Sergio Rubini's simmering family drama. Luigi moved to Milan years ago to escape the tyranny of his brutish father. Though Luigi and his two brothers are currently attempting to negotiate the sale of an old farm that has fallen to disrepair, their loutish, womanizing, half-brother Aldo seems to be doing everything in his power to sink the potentially lucrative deal. Eventually deciding to take the matter into his own hands, former childhood hellion Luigi returns to Puglia only to find that little has changed in his explosively dysfunctional family. When the brothers are acquitted of a homicide and heated accusations begin to fly among family members, Luigi launches a furtive investigation into the case that finds him putting his relationships with his family, and his wife, under the microscope for closer inspection. ~ Jason Buchanan, Rovi

Directed by Carlo Mazzacurati, A Cavallo Della Tigre (Riding the Tiger) is a remake of Luigi Comencini's 1961 film of the same name. It begins in a Milanese parking lot where protagonist Guido (Fabrizio Bentivoglio) falls for Antonella (Paola Cortellesi), who works for a television show. After forming a fast partnership, the two combine wits in order to steal 190,000 dollars in a holdup, but the plan goes horribly askew, and Guido is sent to prison. While in jail, Guido becomes the target of a mean-spirited Turkish convict known among prisoners only as "Tiger" (Tuncel Kurtiz) and his flunkie (Boubker Rafik). When Guido inadvertently finds out about their escape plan, Tiger finds it necessary to have him transferred to his cell, where he can monitor Guido closely enough to ensure that his plans aren't revealed. Due to unforeseen circumstances, however, Guido is forced to escape along with them. ~ Tracie Cooper, Rovi

A would-be illusionist tries to create some magic for himself and his friends in this comic road movie. Max (Til Schweiger) is a struggling professional magician who has a great act, once you get past the fact that most of his tricks don't work very well. One day, Max meets Hugo (Fabrizio Bentivoglio), a thief who boasts all the skill and expertise in his line of work that Max lacks in prestidigitation. Max is convinced he and Hugo would be an unbeatable combination in Las Vegas, so Hugo steals a van and they hit the road for Nevada, after convincing pretty waitress Lydia (Claire Forlani) to tag along as Max's assistant and Hugo's potential significant other. When the trio hits Las Vegas, they encounter Milo (Alan Arkin), a longtime magician and manager who thinks Max has the right stuff to be a success -- until he sees him perform. Magicians was directed by James Merendino, who previously directed the independent cult hit SLC Punk. ~ Mark Deming, Rovi

In this bizarre and darkly comic fantasy, Antonio (Sergio Rubini) is a man who was born with unusually large incisors; his freakishly huge teeth make him an outcast from his peers as a child, and he attempts more than once to break off the offending choppers. The emotionally fragile Antonio was further devastated at the age of 12 when his mother (Anouk Grinberg) died, and as a man, he's become obsessive and controlling in his relationships with women. Antonio is convinced that his girlfriend Mara (Anita Caprioli) has been unfaithful to him -- with her dentist (Tom Novembre), of course. After Antonio confronts Mara in a moment of anger, she responds with rage, and strikes him in the face with a large ashtray, breaking off one of his teeth. Antonio now must travel across the land, going from dentist to dentist in search of someone who can make a crown that will suit his extra-large smile. Denti was shown in competition at the 2000 Venice Film Festival. ~ Mark Deming, Rovi

One of the masters of Italian cinema, Marco Bellocchio, who has made his name with political films, has been continuing his work with mostly adaptations from literature. La Balia, inspired by a novella of Luigi Pirandello, continues this tradition. The period costume drama takes place during a very turbulent period in Italian history. Neuropsychiatrist Moori and his young wife have just had a little boy who refuses his mother's milk. Mori chooses young Annetta as the nanny after having spotted her at the train station among handcuffed soon-to-be-deported subversives. The illiterate country girl seems to be in good health and suitable for the job. Mori makes a contract with her to abandon her own newborn son and instead feed and care for his child. It turns out that Annetta is not just an ordinary nanny, but a woman with a personality and history. Her presence, particularly her loving relationship with the child, threatens the stability of the family to the point that the natural mother, Vittoria, who has been depressed since the birth, leaves the house in desperation thinking this is the best thing for her child. Bellocchio has no pretensions about bringing a new narrative language to cinema with this film. He tells his story simply and convincingly. Particularly noteworthy is the way he juxtaposes the personal conflicts of the characters with the class conflict that forms the background. Cinematography, décor, lighting, all display distinct professional qualities. Acting by Valeria Bruni Tedeschi and newcomer Maya Sansa is worthy of mention. In competition at the 52nd Cannes Film Festival, 1999. ~ Gönül Dönmez-Colin, Rovi

Theo Angelopoulos (Reconstruction) directed this 1998 Cannes Film Festival Palme d'Or winner about a famed author nearing the end of his life. Alexander (Bruno Ganz) lives in his old seaside family home near Thessaloniki, but his daughter and son-in-law plan to sell the house, slightly damaged by an earthquake. Seriously ill, Alexander thinks if he checks himself into the hospital, he'll never check out. Awash in nostalgia, he recalls his late wife, Anna (Isabelle Renauld), seen in flashback, and he lets his daughter read a letter her mother had written to him right after her birth. Alexander's current project involves completing the last unfinished work of a 19th-century poet, but he puts that aside in order to spend time finding a home for his dog. Since his son-in-law won't take the dog, Alexander gives it to his servant. After rescuing an Albanian boy (Achileas Skevis) from a gang that sells children to wealthy Greeks who can't adopt legally, Alexander intends to return the youth to his grandmother in Albania. However, the child lied, and Alexander is unaware the boy has no grandmother. The old man and the boy set forth on a journey, and the other bus passengers include several musicians and the 19th-century poet (Fabrizio Bentivoglio). Bruno Ganz was dubbed into Greek for this Greek-French-Italian co-production. ~ Bhob Stewart, Rovi

Two very different Italian women from opposite ends of the country and the Italian economic stratum forge a friendship based on their amorphous longing for something meaningful in their lives. Elena works as a chemical analyst with a cosmetics company in Treviso. It's a good job, and what with a wonderful lover plus a caring ex-husband, Elena has the makings of a fulfilling, happy life. But despite her fortunate circumstances, she is miserable all the time. One day, she has a fender-bender with Anita, a feisty 80 year-old-woman. The two eventually become friends, but then Anita suddenly dies. Elena decides to fly to Anita's southern hometown of Taranto to notify her relatives. It is there that Elena meets grocery-store clerk Maria, a troubled young woman with a brutal husband and a daughter who is losing touch with reality. A strange but strong friendship grows between the women that culminates in their taking a journey to Mont Blanc with Maria's daughter. ~ Sandra Brennan, Rovi

This French-Italian romantic drama is faithfully based on an early 19th century Goethe novel about the destruction of a married couple. They are Charlotte and Edouard, an aristocratic couple who married late in life and happily lives in a lovely Tuscan villa. Their peaceful, marital bliss is interrupted when Othon (Edourd's closest friend) and his goddaughter Ottilie, who was raised in a convent, arrive for an extended visit. The pregnant Charlotte immediately finds herself drawn to Othon while Edouard is attracted to the girl. As they act upon their impulses a tragedy ensues. ~ Sandra Brennan, Rovi

Thought provoking and a sure conversation starter, this powerful drama from Italian filmmaker Antonio Capuano earned a Silver Ribbon at the 1996 Venice Film Festival and has caused controversy in Italy from both the Vatican and the press because of its unapologetic look at the physical relationship between a priest and a young boy from the streets. But though dealing with a potentially explosive subject, it does so with depth and sensitivity. The priest's homosexuality is but one aspect of a larger story of crime, courage and compassion. Set in the Rione Sanita quarter of Naples, the film first introduces passionate Father Borrelli as he exhorts parishioners to stand firm against the continued encroachment of the Camorra crime syndicate that has plagued Naples since the 19th century. Borrelli's fearless and outspoken comments against the powerful crooks naturally cause them to want him dead, but it isn't so simple. If they kill him outright, he will become a martyr and his cause will persist. Instead, they decide to ruin his good name by exposing the relationship Borrelli has with the street musician Nunzio, a troubled 14-year-old who is forced to live with his equally-troubled aunt after his mother rejects him. For most of his life, Nunzio has known only violence and though he is heterosexual, he is so happy for the love and guidance offered by Borrelli that he does not mind the priest's lovemaking. Nunzio would rather die than betray Borrelli and so strongly resists the Camorra's attempts to use corrupt social workers, policemen and bureaucrats to convince him to file charges. ~ Sandra Brennan, Rovi

The ruination of Michel Sindona, a powerful Italian financier with underworld connections, is chronicled in this historical drama. The tale begins in 1974 after Sindona's banking empire has just collapsed. The state sends in Milanese attorney Giorgio Ambrosoli to supervise the official receivership of Sindona's personal bank. Following the bank's destruction, Sindona high-tailed it to New York, but he still has the lawyer's every move watched. The surveillance is a routine precaution and Sindona isn't too worried about Ambrosoli, whom he sees as just another ineffectual, corruptible bureaucrat, an annoyance, but no real threat to the rest of Sindona's empire. Ambrosoli investigates deeper, and discovers that Sindona is connected to not only, the Mafia, but also the Parliament and to the Vatican. He then becomes a real threat by assuming control of the criminal mastermind's European holdings. While stepping up his investigations, Ambrosoli pays no mind to the ominous hints from the government that he should stop. Thanks to Ambrosoli, Sindona's credibility is severely damaged; meanwhile the lawyer begins receiving anonymous death threats (the actual taped threats are used for added realism). Eventually, Sindona has enough and puts a contract out on Ambrosoli, who was killed in 1979. ~ Sandra Brennan, Rovi

Many tribal people, including the Gypsies, have a form of marriage ceremony where the bride is ritually kidnapped from her home. Pietro De Leo (Fabrizio Bentivoglio), a store security guard, spends his days catching shoplifters, his weekends visiting his children who are in the custody of his ex-wife, and his evenings thinking about how to flirt some more with the store's makeup consultant. One day, he sees a young Gypsy girl (Maria Bako) lift something from his store, but is so taken with her that he lets it slide. He even testifies on her behalf when she comes to court for a hearing on another matter. Indeed, he is so taken with her that he wants to marry her, gypsy-style. He has a great deal of difficulty bringing off the kidnapping, but finally accomplishes this and the subsequent wedding. He moves to the south of Italy and starts a new life with her as a truck driver while she gets legit jobs as a hotel maid and at a factory. However, now that he is in a close relationship with her, the cultural barriers between them begin to loom large. ~ Clarke Fountain, Rovi