Luigi Pistilli Movies

Paolo Giana Maria Volonte is a lonely teacher who learns that two of his friends have been murdered in this twisting crime drama. He discovers that the victims were the recipients of threatening, anonymous letters. Paolo falls for Louisa Irene Papas, the widow of one of the dead men. He finds out too late that she may have been an accomplice to the murder when he learns she may be having an affair with a local man of importance. ~ Dan Pavlides, All Movie Guide

Francesco Rosi utilizes the breathtakingly beautiful Italian landscape in an unspecified Italian city to hatch this mystery film involving murder and corruption in high places. As the film begins, a well-known prosecutor is killed. The murder turns out to be the first in a series of murders -- and all the victims are judges. With Italy lapsing into chaos because of the crimes, the craggy and careworn Inspector Rogas (Lino Ventura) is brought in to solve the murders. Rogas thinks that a man, sent to prison for a crime he didn't commit, is the person responsible for the killings. But when Rogas reports that fact to his superiors, they want nothing to do with the case. When more killings occur, Rogas uncovers a plot involving his superiors who are using one man's revenge murder as a ploy in order to affect nefarious changes on the entire country. ~ Paul Brenner, All Movie Guide

Robert Montgomery's 1946 film Lady in the Lake attempted to tell the entire story with a "subjective camera": shooting the film from the point of view of the main character, with the camera acting as his "eyes". The first hour or so of Dark Passage does the same thing--and the results are far more successful than anything seen in Montgomery's film. Humphrey Bogart heads the cast as an escaped convict, wrongly accused of his wife's murder. After being forced to beat up a man (Clifton Young) from whom he's hitched a ride, Bogart hides out in the apartment of Lauren Bacall, while recovering from plastic surgery, and tries to set about locating the actual murderer. ~ Hal Erickson, All Movie Guide

This pulse-pounding follow-up to Sergio Leone's A Fistful of Dollars brings back Clint Eastwood as the serape-clad, cigar-chewing "Man With No Name." Engaged in an ongoing battle with bounty hunter Col. Douglas Mortimer (Lee Van Cleef), the Man joins forces with his enemy to capture homicidal bandit Indio (Gian Maria Volontè). Both the Eastwood and Van Cleef characters are given understandable motivations for their bloodletting tendencies, something that was lacking in A Fistful of Dollars. In both films, however, the violence is raw and uninhibited -- and in many ways, curiously poetic. Leone's tense, tight close-ups, pregnant pauses, and significant silences have since been absorbed into the standard spaghetti Western lexicon; likewise, Ennio Morricone's haunting musical score has been endlessly imitated and parodied. For a Few Dollars More was originally titled Per Qualche Dollaro in Più; it would be followed by the last and best of the Man with No Name trilogy, The Good, the Bad and the Ugly. ~ Hal Erickson, All Movie Guide

Romolo Guerrieri directed this well-constructed thriller from a screenplay from genre specialist Ernesto Gastaldi. Returning to Geneva from their honeymoon, newlyweds Deborah (Carroll Baker) and Marcel (Jean Sorel) meet a man named Philip (Luigi Pistilli), who blames Marcel for the suicide of his girlfriend. Spaghetti-western star George Hilton appears as an artist-neighbor with a secret, and Evelyn Stewart (aka Ida Galli) also appears. The plot has many twists and turns, but Guerrieri manages to keep it on track until the intriguing conclusion. ~ Robert Firsching, All Movie Guide

A father and son are offered a good price for their land by a wealthy land baron. they agree to the sale, but are tricked into giving up their property through a bureaucratic maneuver for next to nothing. The son grows up to become a young man and fueled by his hatred for the evil baron, he seeks revenge on all who drove his family from the land. He becomes an outlaw but manages to escape capture while he kills off those responsible for uprooting his family by underhanded means. One by one, the victims fall to the vengeful son as he becomes a legendary hero to the peasants and the oppressed. The color process for the film is not credited. ~ Dan Pavlides, All Movie Guide

In this nasty drama, a 17th-century Italian nun's long repressed sexual passion is awakened when a handsome nobleman rapes her. Confused by her unholy emotions, the nun sees that the aristocrat is arrested. Unfortunately, the louse impregnated her and shortly after bearing his child, she helps him escape from prison. Reunited, the two embark upon a passionate affair. One day another nun sees the two making love. Unfortunately, she dies before she can tell anyone. Later the offending nun is captured and given a life sentence for having sex and helping to murder her colleague. ~ Sandra Brennan, All Movie Guide

Carefully side-stepping a full condemnation of Italy's notorious, 1980's cult leader Ebe Giorgini, this docudrama tells the story of her rise to religious power from the point of view of a distraught father of one of Ebe's cult members. The father was never around to develop much of a relationship with his daughter, and for that reason she has taken up as a novitiate with "Mamma Ebe," whose dubious lifestyle includes two husbands, at least one probable lover, and champagne cruises on her yacht. Worse than these private details of her life are the examples of sadistic physical abuse that millionaire "Mamma Ebe" meted out to her charges when she was displeased by their actions, or the fact that she makes her novitiates work 18-hour days. After this docudrama wrapped, Ebe Giorgini was sentenced to serve time for her activities, a sentence later commuted to house arrest. ~ Eleanor Mannikka, All Movie Guide

This raw Italian political melodrama investigates the underbelly of Rome in the early '70s, exposing drugs, crime and sexual scandal. Many of the characters and episodes are based on incidents which made Italian newspaper headlines in that period. Throughout, it implies that one important behind-the-scenes personage ("number one") is pulling the strings of the characters. The film's tone of outrage clearly differentiates it from a more easygoing film exploring the similar nightlife of 1960s Rome, La Dolce Vita. ~ Clarke Fountain, All Movie Guide

The Continental cast and scenes of intense violence may earmark Texas, Addio as a spaghetti Western, but the plot of this Italian/Spanish production unspools very much like its Hollywood counterpart. Django star Franco Nero's character provides the link; his two-fisted, taciturn Texas sheriff, Burt Sullivan, is cut from the same unwavering in-his-duty cloth as Gary Cooper's lawmen as he crosses the border to bring wealthy and sadistic Mexican crime boss Cisco Delgado (José Suárez) to justice for the murder of his father. Sullivan's body count may be staggeringly high by the film's fade-out, but his kills are strictly in defense of himself, his greenhorn brother, Jim (Cole Kitosch, aka Alberto Dell'Acqua or Robert Widmark), or later, a group of Mexican revolutionaries led by lawyer Luigi Pistilli that attempts to overthrow Delgado's corrupt regime. Director Ferdinando Baldi (whose Western curriculum vitae includes the more European-flavored Blindman [1971] and Get Mean [1975], with American ex-pat actor Tony Anthony) makes excellent use of the Almeira, Spain, locations (well photographed by future Trinity Is Still My Name director Enzo Barboni); and if his pacing is occasionally draggy, he more than makes up for it with a wealth of well-staged brawls and shoot-outs. His script (written with Django co-scribe Franco Rossetti) is lean and solid, with a hint of noir in its central dark secret regarding Delgado's relationship with Sullivan's family. ~ Paul Gaita, All Movie Guide

This twisted Italian oddity, originally titled L'Odessa, is an incomprehensible muddle of Devil-possession horror and lots of kinky soft-core sex (its original U.S. title was The Sexorcist). The story revolves around a weird religious icon -- depicting one of the two thieves crucified with Christ -- and the demonic sexual influence it exerts on a young art student (Stella Carnacina). After a gory dream sequence in which the woman imagines herself being nailed to a cross herself, the statue eventually comes to life and begins to sexually torment her ... whereupon the entire film careens off-track into Exorcist territory, where it slogs for an uninvolving and unoriginal final hour. ~ Cavett Binion, All Movie Guide

Italian filmmaker Sergio Corbucci directed this serious-minded populist spin on the spaghetti western, starring Jean-Louis Trintignant as Silence, whose vocal cords have been slashed by sadistic bounty-hunters. Silence joins with local hillfolk in fighting the corrupt and tyrannical authorities in the town of Snow Mill. Corbucci's sympathies are clearly with his bandit heroes, who are only doing what they must to survive, while the law is represented by a corrupt sheriff, who lets his wealthy patrons run wild, and sadistic scum like Klaus Kinski, who kills the poor because he enjoys it. Politically charged in a way that only a film of its time could be, Il Grande Silenzio's themes of class struggle and violent revolution were a bit too hot for an American release in 1968. Vonetta McGee co-starred with genre regulars Frank Wolff, Luigi Pistilli, and Raf Baldassare. ~ Robert Firsching, All Movie Guide