Luciano Pigozzi Movies

Ostensibly starring American actress Linda Blair, who actually only spends about ten minutes on screen, this exploitation film was originally a Spanish-Italian exploitation film (Orinoco-Prison of Sex) that was re-edited with the new Blair footage inserted periodically to make it appeal to American audiences. The story (originally starring exotic European sex symbol Ajita Wilson and Anthony Steffen) is set within the horrific confines of a South American women's labor camp that forces inmates to slave in an emerald mine. Daly (Blair) is a former slave, who gets revenge upon the camp owner, a successful American gem broker. After a long search, she finally finds him, corners him in an office and while holding him at gunpoint with an Uzi, begins describing in detail the ordeal she and other inmates were forced to endure. This flashback segment is comprised of the original film. ~ Sandra Brennan, All Movie Guide

Love at First Sight was filmed before Dan Aykroyd gained fame on Saturday Night Live, but released afterward. This Canadian serio-comedy stars Aykroyd as a blind man who wants to marry lovely Mary Ann McDonald. Alas, McDonald's redneck dad has a prejudice against the handicapped, and refuses to bless the union. ~ Hal Erickson, All Movie Guide

Rod Steiger portrays Italian dictator Benito Mussolini in this internationally produced "how the mighty have fallen" biopic. In the waning days of the war, the once-strutting Il Duce hides from his pursuers like a common thief. He's hoping to fall into the hands of his former Axis comrades or the benign Allied troops, rather than suffer the vengeance of the out-for-blood Italian freedom fighters. But it is the latter group who reaches Mussolini first, ignominiously executing both the dictator and his mistress Clara Petracchi (Lisa Gastoni). This strangely cast period piece features Henry Fonda as a German cardinal and Franco Nero as an Italian officer. Originally titled Mussolini: Ultimo Atto, The Last Days of Mussolini was also issued as The Last Four Days. ~ Hal Erickson, All Movie Guide

A year after Get Carter (1971), director Mike Hodges and star Michael Caine reunited for this comic crime thriller. Caine stars as Mickey King, a writer of cheap paperback detective novels, living in Rome and cranking one noir book after another. King is approached by Ben Dinuccio (Lionel Stander) and offered an abnormally large sum to ghost write the autobiography of a mystery celebrity. The intrigued King agrees and is transported to a remote island where he meets his subject, Preston Gilbert (Mickey Rooney), a one-time movie star known for playing gangsters and notorious for hanging out with real-life mobsters off the set (a sly jab at Frank Sinatra and George Raft). Now dying of cancer, Gilbert wants King to jot down his life story before he dies. Although he's an abusive jerk, Gilbert's had an interesting life and King sets about getting it all down on paper, but then the star is murdered at a party, leaving King with no conclusion to his tale. Playing detective like the heroes of his stories, King pieces together a mystery involving Gilbert's past, his ex-wife, a transvestite who's supposed to be dead, and an Italian prince running for office. Though largely dismissed at the time of its release by fans and critics disappointed at its dissimilarity to Get Carter, Pulp (1972) was championed by a few and became something of a cult favorite over subsequent decades. ~ Karl Williams, All Movie Guide

Carroll Baker, the blond starlet best known for her role in Baby Doll, ended her career in a number of Italian giallo thrillers including A Quiet Place to Kill, Paranoia, The Fourth Victim, and this giallo-tinged crime film from director Osvaldo Civirani. Baker plays a dual role as translator Julie Harrison and her twin sister Mary. The serpentine plot begins as Julie tells her lawyer Dave Barton (Stephen Boyd from Ben-Hur) that Mary's life is being threatened in London while Julie herself is being stalked by a mysterious stranger in Amsterdam. Dave's racecar-driving friend Tony Shane (George Hilton) saves her from both an attempted kidnapping and an attempted murder before putting her up with an old blind woman to hide. The blind woman is murdered that same night, and Luciano Pigozzi turns up as an insurance investigator who finds out that Mary has stolen a precious diamond from an Indian Maharaja, double-crossing her husband to do so. To reveal any more of the plot would rob the viewer of the jaw-dropping developments, but the film features an unbelievable prank played by Julie's knife-wielding co-worker in a gorilla mask, a speeded-up car chase reminiscent of Rat Pfink a Boo Boo, and a very odd denouement in an abandoned windmill. The cast is loaded with genre veterans like Lucretia Love, Carla Mancini, Franco Ressel, and Ivano Staccioli, and the familiar-sounding score is by the ubiquitous Stelvio Cipriani, making this a solid addition to any giallo library. Various versions run 89 and 87 minutes. ~ Robert Firsching, All Movie Guide

One of seventeen sequels to Gianfranco Parolini's 1968 spaghetti western Sartana, this slow-moving entry has very little, if anything, to do with the series. The story concerns gunman Lee Calloway (William Berger), who agrees to help three outlaws break out of jail in exchange for half of their stolen gold. Calloway carries through with his end of the bargain, but the outlaws betray him and leave him in the desert to die. After wandering for days, Calloway is rescued by Esther (Jolanda Modio), who nurses him back to health only to trick him as well in order to collect a reward for his life. ~ Robert Firsching, All Movie Guide

Spaghetti Western fans used to the likes of Django and The Good, The Bad and the Ugly might be taken by surprise when watching Sabata. True, the film does star spaghetti Western star Lee Van Cleef as the tight-lipped hero of the title, but it has a very different feel from the genre's traditional, Sergio Leone-derived style. Director/co-writer Gianfranco Parolini (alias Frank Kramer) takes things in a direction that seems to fall halfway between The Wild Wild West TV series and a James Bond movie; the film is packed with colorful characters, exotic weapons, and the action scenes that mix wild stunts with pyrotechnics. Parolini appropriately gives the film a light touch, playing up the colorful and humorous aspects while delivering the action. The end result is a little too long for this sort of light material, causing it to drag a bit in the middle, but it is too good-natured and entertaining to dislike. In short, Sabata is likely to make fun viewing for Euro-cult fans and anyone interested in an offbeat Western. ~ Donald Guarisco, All Movie Guide

In this espionage drama, a leading American spy has a miniature camera surgically implanted in his eye, unbeknownst to him, and with it photographs secrets for the Russians, helping them gather information about a newly created death ray. The scientist who created it knew the secret could fall into enemy hands and so placed his secret plans into the skull of his unknowing daughter before he died. Meanwhile another spy begins following her. ~ Sandra Brennan, All Movie Guide

Director Mario Bava's second thriller revolves around a fashion salon owned by wealthy Cristina (Eva Bartok) and her greedy lover Max (Cameron Mitchell). The salon is a front for cocaine-trafficking and blackmail, so when model Isabella (Lea Kruger) is viciously strangled, leaving a detailed diary behind, many of the people connected with the salon become very nervous. Isabella's roommate Nicole (Arianna Gorini) finds the diary and soon has her throat clawed out with a piece of medieval armor. Peggy (Mary Arden), who borrowed abortion money from Isabella, is tortured and has her face pressed into a red-hot iron. The bodies continue to pile up until a conspiracy is exposed and the perpetrators start getting their just desserts. Luciano Pigozzi, Massimo Righi, and Claude Dantes are among the cast. ~ Robert Firsching, All Movie Guide

Normally, an actor or actress in a foreign-language film was not the ideal candidate for an Academy Award, inasmuch as his or her English-language "performance" was often dubbed in by an anonymous third party. Such was not the case of Sophia Loren in Two Women (La Ciociara), who did her own English dubbing. Adapted by director Vittorio De Sica and Cesare Zavattini from the novel by Alberto Moravia, Two Women is the semi-neorealist account of widow Cesira (Loren) and her teenaged daughter, Rosetta (Eleanora Brown), as they struggle to survive in war-ravaged Italy. A conventional romantic triangle between mother, daughter, and Michele (Jean-Paul Belmondo), is barely under way when the war rears its ugly head once more. Seeking shelter in a bombed-out church, Cesira and Rosetta are attacked and raped -- a horrifying sequence, capped by a freeze-frame close-up of Rosetta, her face a taut mask of terror (this image was enough to prompt a virulent "anti-smut" editorial in The Saturday Evening Post). Once they've recovered from this appalling experience, mother and daughter are offered a ride back to Rome by friendly truck driver Florindo (Renato Salvatori). Though Cesira had hoped to keep her daughter from compromising herself as a means of survival, she is crushed to discover that Rosetta has given herself to the truck driver in exchange for a pair of stockings. When Cesira and Rosetta finally reconcile, it is a grievous occasion, mourning the death of their mutual love, Michele. A last-minute replacement for Anna Magnani, Sophia Loren brought hitherto untapped depths of emotion to her performance in Two Women; she later stated that she was utilizing "sensory recall," dredging up memories of her own wartime experiences. ~ Hal Erickson, All Movie Guide