Laura Betti Movies

Whoever Says the Truth Shall Die is a naked-truth documentary on the life and work of Italian filmmaker Pier Paolo Pasolini (1922-1975). Using still pictures, excerpts from such Pasolini efforts as The Gospel According to St. Mathew, and extensive interviews, director Philo Bregstein charts Pasolini's matriculation into one of the most controversial cinematic figures in the world. Anti-fascist, pro-Communist, homosexual, "blasphemer"-all these were Pasolini, and much much more besides. Pasolini himself is heard and seen in probing question-and-answer sessions, as are several of his colleagues, including director Bernardo Bertolucci and actress Laura Betti. The title Whoever Says the Truth Shall Die proves prophetic when Pasolini is bludgeoned to death by a 17-year-old boy. ~ Hal Erickson, All Movie Guide

This tragic story explores the situation of a little Italian peasant boy who is discovered by an Englishman to have unusual musical and mathematical gifts. Based on a book by Aldous Huxley, the boy is exploited by his neighbors, and his life is made miserable after the Englishman leaves. When his English patron discovers how things are, he returns to save the boy, but it is too late. ~ Clarke Fountain, All Movie Guide

A presumptuous American actress falls for a handsome Italian banker before embarking on the misadventure of a lifetime in this comedy of errors starring Goldie Hawn and Giancarlo Giannini. Anita (Hawn) is an American actress vacationing in Rome. When the free-spirited screen star sets her sights on a friendly banker named Guido (Giannini) who's currently en route to visit his ailing father, she agrees to join him on his trip without realizing that her handsome traveling companion is a married man. In the days that follow Anita and Guido will form a special bond as their journey together leads them from one comic disaster to the next. ~ Jason Buchanan, All Movie Guide

A young writer is trapped between his awful actress mother (Laura Betti) and the knowledge that he has only a mediocre talent as a playwright and almost no force of character. After the young man in this story suffers the loss of his mistress to his self-satisfied novelist stepfather, his self-respect is so shattered that he commits suicide. This is an Italian adaptation of The Sea Gull by the Russian playwright Anton Chekhov. ~ Clarke Fountain, All Movie Guide

Based on a novel by Roger Borniche, this crime drama retells the story of the renowned gangster "Pierrot le Fou," whose band of robbers sought out banks and factories in the period just after the Second World War, when the French police forces were in disarray. In the movie, Alain Delon plays Robert, the gangleader, who plans for his gang to perform a large number of major robberies in one day. After that, he and his gang will retire comfortably for a time with the loot. Performed with split-second timing, the robberies go well almost to the end. ~ Clarke Fountain, All Movie Guide

The son of Emperor Franz Josef of Austria, Crown Prince Rudolf, is believed to have shot his female lover and himself in a tragic suicide pact in 1882 in Mayerling. Due to Imperial cover-ups, the full story may never be known. This story has been filmed several times, in French in 1935 and in English in 1968. Hungarian director Miklos Jancso recreates those events for his own purposes, continuing his favored theme of the rejection of paternal authority. In the film, which has very little dialog, Rudolf is a good-natured pan-sexual golden boy, who cavorts on his rural estate with a host of beautiful, aristocratic lovers and friends of both sexes. He refuses to leave his country idyll even though he has been ordered to by the Emperor, his father. Despite the fact that for a large part of the film, attractive young people go about unclothed and engaging in erotic encounters, the mood is one of melancholy rather than prurience. The Prince is a political liberal who wishes to arrange things so that the Emperor will arrest him, creating a public scandal which will provide a rallying point for the opposition. Instead, when the expected troops come, Rudolf's sensuous friends loyally ward off the Imperial officers, humiliating them in the process. The result is that the guests, the Prince and a hermaphrodite friend are killed by newly arrived Imperial reinforcements, and the now-familiar official story of murder and suicide is concocted for public consumption. ~ Clarke Fountain, All Movie Guide

Based on a true story, this political thriller/drama explores the ordeal of Linda Murri (Catherine Deneuve), a 19th-century upper-class Italian woman who was caught in an unhappy marriage and who broke the code of behavior for aristocrats by taking a lower-class lover. After her husband was murdered, Murri stood trial for the murder. Her professor father's socialist opinions were clearly the reason for the harshness of the prosecution. The case was widely known throughout Italy at the time, and caused a national furor. Murri did not actually arrange to murder her boorish nobleman husband Count Bonmartini (Paolo Bonacelli); rather, she told her brother how unhappy she was and that she was afraid for her life. He acted on her complaint by taking the drastic step of murder. The trial resulted in her being given a long prison term, along with her brother (Giancarlo Giannini), her lover Carlo Secci (Ettore Manni) and her brother's assistants Pio and Rosa (Corrado Pani and Tina Aumont). The relentlessness of the prosecutor Giudice Stanzani (Marcel Bozzuffi) and the spinelessness of the family patriarch Augusto Murri (Fernando Rey), the professor with the unpopular opinions, are key dramatic features of this complex story. ~ Clarke Fountain, All Movie Guide

When Andrea (Luigi Diberti) receives a telegram saying that his father is dying, he and his wife hop into their car and drive back to their hometown. On arriving, he discovers that someone has played a mean-spirited prank on him, and his efforts to discover the source of the telegram lead him on a journey through memories of his youth and adolescence in the town. ~ Clarke Fountain, All Movie Guide

Jed (Tomas Milian) is an unlikely hero in this Italian western. As thoroughly unlikeable a robber as ever walked the West, he nonetheless robs from the rich and gives to the poor. Not only is he a murderous, ill-tempered sort, he is bad-mannered, too. When Sonny (Susan George) decides he should be her man and teach her how to be a proper outlaw, sparks fly. ~ Clarke Fountain, All Movie Guide

In Bernardo Bertolucci's art-house classic, Marlon Brando delivers one of his characteristically idiosyncratic performances as Paul, a middle-aged American in "emotional exile" who comes to Paris when his estranged wife commits suicide. Chancing to meet young Frenchwoman Jeanne (Maria Schneider), Paul enters into a sadomasochistic, carnal relationship with her, indirectly attacking the hypocrisy all around him through his raw, outrageous sexual behavior. Paul also hopes to purge himself of his own feelings of guilt, brilliantly (and profanely) articulated in a largely ad-libbed monologue at his wife's coffin. If the sexual content in Last Tango is uncomfortably explicit (once seen, the infamous "butter scene" is never forgotten), the combination of Brando's acting, Bertolucci's direction, Vittorio Storaro's cinematography, and Gato Barbieri's music is unbeatable, creating one of the classic European art movies of the 1970s, albeit one that is not for all viewers. ~ Hal Erickson, All Movie Guide

Set in a Catholic boy's school, this wearisome tale concerns a group of obnoxious rich students and their pompous headmasters. The film tries hard to be an allegory of the anti-establishment social atmosphere of the early 1970s, evidently attempting to prove that Mankind is basically bestial by depicting all the characters as repulsive and self-serving. There's no highlight to speak of, though the scene in which the students stage a deliberately offensive amateur theatrical is perhaps the most watchable sequence. In the Name of the Father is a dreary exercise in heavy-handedness and repetition. ~ Hal Erickson, All Movie Guide

A family's murderous battle over some bayfront property is the subject of director Mario Bava's bloody horror-thriller, which many have cited as the grandfather of the modern slasher film. Claudine Auger is the scheming daughter of a murdered Countess; her staged suicide forms the basis of the film's plot. In a seemingly unrelated subplot, four hippies arrive in a dune buggy led by Brigitte Skay, who dances the Shake and swims naked before having her throat hacked open with a machete. Skay's boyfriend has his face chopped with the same machete and the other couple has a spear thrust through their bodies as they make love. All of these murder scenes were imitated in Steve Miner's Friday the 13th, Part 2, and the film's style influenced countless American slasher films of the 1970s and '80s. Bava also includes a strangulation by telephone cord, a gory axe decapitation, a man speared to a wall, and five other murders. Antefatto was a trendsetting film, and paved the way for literally hundreds of graphically violent imitations. The film exists in several versions, differing mainly in the extent of the bloodshed. ~ Robert Firsching, All Movie Guide

Paulina (Bulle Ogier) drifts aimlessly after she leaves her ailing brother. Struggling to find a place for herself in society, she first enters an insane asylum and later winds up in a whorehouse. She leaves the bordello and hooks up with some young revolutionaries as she continues to search for a way out of her disenchantment and find her calling in life. ~ Dan Pavlides, All Movie Guide