Nerio Bernardi Movies

In this costume drama, a 17th-century Polish colonel falls in love with a princess. Unfortunately the girl is already engaged to a Ukraine commander. The colonel does his best to convince her to break it off and take off with him. The commander gets even by burning down the count's palace and massacring all the residents. He then kidnaps the princess and designs an attack on the colonel's unit. The Poles do not run, and the count is killed thus freeing the lovers to reunite. ~ Sandra Brennan, All Movie Guide

Gordon Scott portrays Glaucus, the son of the king of Pyras, who journeys to the neighboring kingdom of Mycene, which is ruled by the evil cult of the god Moloch. There he assumes the name of Hercules and distinguishes himself in the arena, becoming a trusted member of the household guard. This allows him to organize and lead a rebellion against the followers of the murderous Moloch, then against the monster himself. The acting and production values of this sword-and-sandal adventure film are above average, with very elaborate battle scenes involving far more than the usual number of extras, a large visual canvas, and an ambitious finale set in a maze of caverns in which two contending sets of gods use the character as their pawns. A rich score by Carlo Rustichelli also enhances the viewing of this lively, action-filled fantasy-adventure, although parents might want to keep younger viewers away from this movie, with its depictions of Moloch mutilating the beauty of the women sacrificed to him. ~ Bruce Eder, All Movie Guide

Steve Reeves gives the most dramatically demanding performance of his career (and a surprisingly good one) in The Trojan Horse. Essentially a retelling of the final year of the siege of Troy from the point of view of Aeneas (Reeves), the movie is filled with fascinating portrayals. Aeneas, taking the interpretation from the poet Virgil, is the wisest of the Trojans and, after ten years of war, has become the leading advocate for finding an end to the fighting. His wisdom and nobility have earned him a place at the table with King Priam and the other rulers, which puts him at odds with the vain, jealous Paris and his Helen. Opening with the slaying of Hector by Achilles, the film is steeped in complex personal relationships and mythological conceits. John Drew Barrymore is the other "name" actor here, playing Ulysses as a clever, cynical, and bold warrior among the Greeks. Reeves brings real nobility to Aeneas and relies on his acting skills as much as his physique to bring off this movie, often mixing the two in a script filled with ironies, as when Aeneas must kill a Greek warrior for whom he earlier expressed respect. Along with Reeves' two Hercules films from the end of the 1950s, and Vittorio Cottafavi's Hercules and the Captive Women, this is one of the best examples of Italy's sword-and-sandal genre. ~ Bruce Eder, All Movie Guide

According to the Greeks, the Minotaur was a legendary half-man, half-bull who lived on Crete and demanded the sacrifice of humans, according to the scripters of this typical Italian costume drama, the real story is about twin sisters (both played by Rosanna Schiaffino), one evil and one pure-hearted. This story has the Minotaur as a secondary figure, all bull, who stands up on his hind legs to indicate his god-like status. The real hero is Theseus (Bob Mathias) who ultimately kills the Minotaur (for the Greeks, too) because he has fallen in love with the good sister and has to save her from being sacrificed. ~ Eleanor Mannikka, All Movie Guide

René Clément's thriller Purple Noon stars Alain Delon as Tom Ripley, an American who travels to Europe on an all-expenses-paid mission to convince his friend, the errant playboy Philippe Greenleaf (Maurice Ronet), to travel to San Francisco at the request of the wealthy Greenleaf family. Initially, the pair enjoy the good life in Italy, often to the anger and dismay of Philippe's much put-upon fiancee Marge (Marie Laforet). However, as Tom's funds begin to run dry, it becomes more and more apparent that Philippe has no intentions of returning to the U.S., forcing Tom to consider more nefarious means of maintaining his extravagant lifestyle. Purple Noon is adapted from Patricia Highsmith's novel The Talented Mr. Ripley, and like Alfred Hitchcock's classic Strangers on a Train, also based on Highsmith's work, the theme of identity transference is dominant. The subject even extends to the homoerotic undercurrents which simmer below the surface of Tom and Philippe's relationship, setting into motion a love/hate tension which explodes during a high seas journey. ~ Jason Ankeny, 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

The most frequently filmed of Emile Zola's works, Nana was given a slick, polished cinemazation by French- filmmaker Christian-Jacque in 1955. Martine Carol is well (if predictably) cast in the title role, playing a poverty-stricken Parisian girl who rises to prominence as a high-priced whore. Nana is content to love 'em and leave 'em until she becomes the mistress of government-official Charles Boyer. Her genuine love for Boyer results in disgrace and disaster for them both. While less inhibited than the bowdlerized 1934 Sam Goldwyn production of Nana, this French/Italian co-production is rather far afield from the Zola original. ~ Hal Erickson, All Movie Guide

This Italian crime melodrama may remind some viewers of the methodical American TV series Dragnet. In trailing a gang of counterfeiters, the authorities follow the trail of clues to a small town. Here the creation of "funny money" is the principal industry --and the job is made easier because the counterfeiters have been able to get their hands on the same type of paper used for legal tender. Police inspector Moroni (Fosco Giachetti) continues to dog the criminals' trail to Naples, where the film comes to a rousing conclusion. A few arbitrarily inserted dance sequences involving a sexy young girl were added to hype the film's box-office appeal. ~ Hal Erickson, All Movie Guide

This filmed biography of 19th-century composer Pietro Mascagni ignores his eventual descent into poverty and obscurity. However, the script is unstinting in its re-creation of the tragedies facing Mascagni during his rise to fame. Pierre Cressoy plays Mascagni, whose ultimate success leads to a tender reconciliation with his long-estranged father. Highlighting Melodie Immortali is an abbreviated performance of Mascagni's greatest triumph--actually his only triumph--the one-act opera "Cavaleria Rusticana." This sequence is dominated by the superb tenor voice of Metropolitan Opera star Mario Del Monaco. ~ Hal Erickson, All Movie Guide

Paul Gallico adapted his own short story Never Take No For an Answer in collaboration with his wife Pauline. Filmed on location in the Italian communities of Rome and Assissi, the film relates the simple story of 7-year-old war orphan Peppino (Vittorio Mannunta). When his beloved donkey falls ill, Peppino insists upon transporting the animal to the tomb of St. Francis, patron saint of animals. Denied permission by the local authorities, Peppino decides to take his case all the way to the Pope, and to that end embarks upon a grueling journey to the Vatican. Never Take No for an Answer was remade for television in 1973 as a Hallmark Hall of Fame special. ~ Hal Erickson, All Movie Guide

Heart and Soul is actually an Italian variation on Goodbye, Mr. Chips. Vittorio de Sica plays a provincial schoolmaster, much beloved by his past and present students. We follow De Sica as he stands steadfastly at his post throughout the years, during which time he is aided and abetted by his adoring assistant teacher Maria Mercader. Emphasis is given to the war years, when De Sica is suspended for his political beliefs. Though Vittorio De Sica is frequently credited as the director of Heart and Soul, that responsibility was in the hands of Duilio Coletti. ~ Hal Erickson, All Movie Guide

The Lost One is the English-language title for the 1948 adaptation of Giueseppe Verdi's opera La Traviata. Departing somewhat from the original plotline, the film accommodates a "framing story" involving Verdi (Nerio Bernardi) and Alexandre Dumas Jr. (Massimo Serato), author of the opera's source novel La Dame aux Camelias. Standing by the grave of legendary Parisian courtesan Alphonsine Plessis, who died of a broken heart after falling truly in love for the first time in her life, Verdi and Dumas are inspired to immortalize Plessis' story in print and on stage. The film then segues into the opera proper, as the tragically coquettish Violetta (Nelly Corradi) enters into a romance with handsome and wealthy young Alfredo (Gino Mattera), ultimately and sadly coming to the realization that their marriage will never take place due to her soiled reputation. For the benefit of English-speaking audiences, The Lost One was provided with a voiceover narration, in which the heroine records the events of her life in her diary. ~ Hal Erickson, All Movie Guide