Al Silvani Movies

Martin Scorsese's brutal character study incisively portrays the true rise and fall and redemption of middleweight boxer Jake La Motta, a violent man in and out of the ring who thrives on his ability (and desire) to take a beating. Opening with the spectacle of the over-the-hill La Motta (Robert De Niro) practicing his 1960s night-club act, the film flashes back to 1940s New York, when Jake's career is on the rise. Despite pressure from the local mobsters, Jake trusts his brother Joey (Joe Pesci) to help him make it to a title bout against Sugar Ray Robinson the honest way; the Mob, however, will not cave in. Jake gets the title bout, and blonde teenage second wife Vickie (Cathy Moriarty), but success does nothing to exorcise his demons, even as he channels his rage into boxing. Alienating Vickie and Joey, and disastrously gaining weight, Jake has destroyed his personal and professional lives by the 1950s. After he hits bottom, however, Jake emerges with a gleam of self-awareness, as he sits rehearsing Marlon Brando's On the Waterfront speech in his dressing room mirror: "I coulda been a contender, I coulda been somebody." Working with a script adapted by Mardik Martin and Paul Schrader from La Motta's memoirs, Scorsese and De Niro sought to make an uncompromising portrait of an unlikable man and his ruthless profession. Eschewing uplifting Rocky-like boxing movie conventions, their Jake is relentlessly cruel and self-destructive; the only peace he can make is with himself. Michael Chapman's stark black-and-white photography creates a documentary/tabloid realism; the production famously shut down so that De Niro could gain 50-plus pounds. Raging Bull opened in late 1980 to raves for its artistry and revulsion for its protagonist; despite eight Oscar nominations, it underperformed at the box office, as audiences increasingly turned away from "difficult" films in the late '70s and early '80s. The Academy concurred, passing over Scorsese's work for Best Director and Picture in favor of Robert Redford and Ordinary People, although De Niro won a much-deserved Oscar, as did the film's editor, Thelma Schoonmaker. Oscar or no Oscar, Raging Bull has often been cited as the best American film of the 1980s. ~ Lucia Bozzola, Rovi

Clint Eastwood's first comedy feature proved to be one of his most profitable vehicles. Eastwood plays Philo Beddoe, a bare-knuckle boxer who travels from fight to fight in a beat-up truck, accompanied by his "pal" Clyde, a orangutan with a mean right hook, and his human buddy Orville (Geoffrey Lewis). During a stopover, Philo meets and falls in love with would-be country & western singer Lynn Halsey-Taylor (Sondra Locke). After a while, she wants to break off the relationship, but he doesn't -- a shaky plot peg upon which to hang several reels' worth of zany car chases and confrontations with such opponents as a gang of bikers and a battalion of hostile lawmen. Adding to the fun is Ruth Gordon as Eastwood's don't-mess-with-me octogenarian mother, and Beverly D'Angelo as an ace sharpshooter. The enormous box-office success of Every Which Way But Loose yielded an equally wacky -- and equally lucrative -- sequel, Any Which Way You Can. ~ Hal Erickson, Rovi

This classic Greek tale of a friendship that overcomes even death makes for an interesting sword-and-sandal saga, with Guy Williams in the role of Damon. An apt choice since Williams is himself an expert swordsman, as partially demonstrated in his role as Zorro on American television (1957-59). Pythias (Don Burnett) has been caught plotting the assassination of King Dionysis I of Syracuse (Arnoldo Foa). Before his execution, Dionysis grants Pythias leave to put his affairs in order because Damon volunteers to stand in his stead if Pythias does not come back to face the executioner. Damon's act is considered foolish. He was safe, why should Pythias come back? But the two are devotees of the Pythagorean mysteries, and their faith in brotherly love goes beyond self-interest. When Pythias does return in the allotted time, King Dionysis is impressed enough to have a change of heart. ~ Eleanor Mannikka, Rovi

This 153-minute Biblical epic about salt and sin is directed by Robert Aldrich and has enough dynamic interactions between its chief protagonists to sustain interest in-between climactic scenes. Stewart Granger is Lot, the Hebrew leader who takes his people to camp in the Valley of Jordan only to find that they are caught between the Helamites on the one hand, and the wicked Queen Bera (Anouk Aimee) on the other. She rules over the twin cesspools of Sodom and Gomorrah and is beleaguered by a crafty brother who wants the scepter she now wields. The Queen makes a pact with Lot that he can stay with the Hebrews in the valley as long as he defends it -- she wants to use him and the Hebrews as a first line of defense against the Helamites. To seal the pact, she gives Lot her best slave Ildith (Pier Angeli) to be his wife. Adventures and excitement prevails as Lot and the Hebrews brave one challenge after the other -- until Lot realizes that his people are being corrupted by the environment of Sodom and Gomorrah and eventually receives a Divine vision and knows he has to lead the Hebrews away from here. Special effects are impressive and take much of the impact away from the fate of Ildith, as she turns one last time to look back at the crumbling cities. ~ Eleanor Mannikka, Rovi

Once branded himself by the House Un-American Activities Committee, award-winning director Martin Ritt focuses on the cruel branding of five women in this standard wartime drama. Some of his better-known films (The Spy Who Came In from the Cold, Norma Rae) also deal with the question of social and ethical choices in the face of pressure. In this story, the savagery of the Yugoslav partisans as they fight off Nazi occupation forces is also vented on five women accused of Nazi sympathies because of their sexual association with one German officer. The women (played by Silvana Mangano, Vera Miles, Barbara Bel Geddes, Jeanne Moreau, and Carla Gravina) have their heads shaved in order to brand them as traitors. What the partisans did to the German officer (Steve Forrest) in revenge for sleeping with these women was much worse. Intermittently shocking, the film with its excess cruelty and hatreds stands as a good indictment against war and its causes. ~ Eleanor Mannikka, Rovi

This 1959 version of Lew Wallace's best-selling novel, which had already seen screen versions in 1907 and 1926, went on to win 11 Academy Awards. Adapted by Karl Tunberg and a raft of uncredited writers including Gore Vidal and Maxwell Anderson, the film once more recounts the tale of Jewish prince Judah Ben-Hur (Charlton Heston), who lives in Judea with his family during the time that Jesus Christ was becoming known for his "radical" teachings. Ben-Hur's childhood friend Messala (Stephen Boyd) is now an ambitious Roman tribune; when Ben-Hur refuses to help Messala round up local dissidents on behalf of the emperor, Messala pounces on the first opportunity to exact revenge on his onetime friend. Tried on a trumped-up charge of attempting to kill the provincial governor (whose head was accidentally hit by a falling tile), Ben-Hur is condemned to the Roman galleys, while his mother (Martha Scott) and sister (Cathy O'Donnell) are imprisoned. But during a sea battle, Ben-Hur saves the life of commander Quintus Arrius (Jack Hawkins), who, in gratitude, adopts Ben-Hur as his son and gives him full control over his stable of racing horses. Ben-Hur never gives up trying to find his family or exact revenge on Messala. At crucial junctures in his life, he also crosses the path of Jesus, and each time he benefits from it. The highlight of the film's 212 minutes is its now-legendary chariot race, staged largely by stunt expert Yakima Canutt. Ben-Hur's Oscar haul included Best Picture, Best Director for the legendary William Wyler, Best Actor for Heston, and Best Supporting Actor for Welsh actor Hugh Griffith as an Arab sheik. ~ Hal Erickson, Rovi

Nights of Cabiria opens with Cabiria (Giulietta Masina) and her boyfriend playfully embracing by the seaside -- and then he shoves her into the water and steals her purse. Cabiria is revived by some local boys and runs off by herself, shouting. What follows is a series of similarly humiliating episodes, in which the defiantly positive prostitute Cabiria is hurt, but never broken. She gets picked up by movie star Alberto Lazzati (Amedeo Nazzari, doing a self-parody) and taken to his palatial estate. However, his mistress shows up and Cabiria gets locked in the bathroom all night with the dog. She then joins her fellow prostitutes for a blessing from the Virgin Mary, and ends up getting drunk and wandering into a local show, where the hypnotist invites her to join him on-stage. The audience heckles her, and she toughly reminds them of her independence and that she owns her own house. There she meets Oscar (François Perier), an accountant who romantically pursues her. Despite the warnings of her fellow prostitute friend, Wanda (Franca Marzi), she prepares to sell all her belongings and accept Oscar's proposal of marriage. After being ruthlessly taken advantage of once again, Cabiria walks off alone with a smirk of hope. ~ Andrea LeVasseur, Rovi

Using the dry historical tome Gods, Graves and Scholars as its source, MGM came up with the rip-roaring adventure film Valley of the Kings. Robert Taylor plays Mark Brandon, an Indiana Jones-style archaeologist who embarks upon an expedition to Egypt. Brandon has agreed to help Ann Mercedes (Eleanor Parker) to locate the tomb of the Pharoah Ra-Hotep, thereby proving the validity of her late father's theories about Egyptian history. Along for the ride is Ann's seemingly affable husband Philip (Carlos Thompson), while the sinister Hamed Bachkour (Kurt Kasnar), who seems to be a criminal of some sort, dogs the expedition's trail. Upon arriving at the tomb, all heck breaks loose as the film's true heroes and villains are revealed. Valley of the Kings combines location-filmed footage in glorious Eastmancolor with a few moderately convincing studio mockups. ~ Hal Erickson, Rovi

Humphrey Bogart stars as one of five disreputable adventurers who are trying to get uranium out of East Africa. Bogart's associates include pompous fraud Robert Morley, and Peter Lorre as the German-accented "O'Hara", whose wartime record is forever a source of speculation and suspicion. Becoming involved in Bogart's machinations are a prim British married couple (Edward Underdown and blonde-wigged Jennifer Jones). As a climax to their many misadventures and double-crosses, the uranium seekers end up facing extermination by an Arab firing squad. The satirical nature of Beat the Devil eluded many moviegoers in 1953, and the film was a failure. The fact that the picture attained cult status in lesser years failed to impress its star Humphrey Bogart, who could only remember that he lost a considerable chunk of his own money when he became involved in the project. Peter Viernick worked on the script on an uncredited basis. Beat the Devil eventually fell into public domain, leading to numerous inferior editions by second and third-tiered labels. ~ Hal Erickson, Rovi

The official credits for the Italian-made Stranger on the Prowl read: "written and directed by Andrea Forzano." In truth, Andrea Forzano was two people: screenwriter Ben Barzman and director Joseph Losey, both of whom had been blacklisted by Hollywood and were forced to work under pseudonyms. Essentially a two-person character study, the film stars Paul Muni as a down-and-out crook on the lam. Muni befriends a young street urchin (Vittorio Mazzunchelli, billed as "Manunta" in many prints) in an Italian port city. At first amused that the boy is a sneak thief, Muni tries to deflects the kid from a life of crime. Tipped off by a woman anxious to collect the reward for Muni (who is wanted for murder), the police pursue the two lost souls. Muni sees to it that the boy manages to escape, but is himself gunned down. A weak-tea imitation of the Italian neorealist movement, Stranger on the Prowl was cut by 18 minutes for its English-language release (in Britain it was titled Encounter). The full, original 100-minute Italian version, released in 1951, was known as Imbarco a Mezzanote. ~ Hal Erickson, Rovi

Failing to make a dent in Hollywood, actress Constance Dowling was more successful in Italian films. Constance heads the cast of Stormbound as a plucky girl reporter. During torrential downpour, our heroine finds herself sharing a shack with notorious bandit Aldo Silvani-the very man she'd been sent to interview. The crook graciously gives Constance an exclusive story, then bids her adio. A heavily edited version of Stormbound was released in the US by Republic Pictures. ~ Hal Erickson, Rovi

Maria Montez made her final screen appearance in the Italian-American co-production Thief of Venice. Montez is cast as Tina, an 8th-century Venetian tavern keeper, caught in the crossfire during the Italian city-state's war with Turkey. Aligning herself with naval officer Alfiere Lorenzo Contarini (Paul Christian), Tina does her best to prevent a Turkish takeover of Venice. First, however, she must neutralize the chief villain, scheming Scarpa the Inquisitor (Massimo Serato). Production values are quite impressive, even though the script (by Hollywood's Jesse Lasky Jr. and England's Michael Pertwee) is nothing special. Maria Montez died in 1951, a full year before the American release of Thief of Venice. ~ Hal Erickson, Rovi

Vespro Siciliano has its roots in a true story. In 1821, the Sicilian people staged a revolt against the provisional leader and his occupying army. In this cinemazation, Roldano Lupi stars as legendary Sicilian patriot Giovanni da Procida. Paul Muller co-stars as the villainous leader, who is drawn in broad, wholly evil strokes. Clearly a labor of love for all concerned, Vespro Siciliano was lavishly produced on the scale of a super-spectacular. By its very nature, the film's audience appeal was limited, though it enjoyed a healthy second life on American television. ~ Hal Erickson, Rovi