Milena Vukotic Movies

One of Oscar Wilde's most popular plays is given a new screen interpretation in this period comedy. In New York in the early '30s, Mrs. Erlynne (Helen Hunt) is a widow who lives comfortably through the largesse of several married men, and when she runs out of wealthy suitors in Manhattan, she decides to find greener pastures among the wealthy elite of Italy's Amalfi coast. Mrs. Erlynne sets her sights on Robert Windermere (Mark Umbers), a wealthy Englishman who is married to the young, innocent and very beautiful Meg (Scarlett Johansson). Mrs. Erlynne gingerly tries to separate Robert from his wife and his money, fueling suspicions within Amalfi society as well as the audience that they are involved. Humiliated and ready to beat him at his own game, Meg begins to consider the advances of the handsome Lord Darlington (Stephen Campbell Moore), one of her husband's close friends. In the midst of all the attempted infidelity, the genially eccentric Tuppy (Tom Wilkinson) struggles to win Mrs. Erlynne's hand, while only one of the interconnected parties know that she carries a shocking secret. A Good Woman was based on Wilde's Lady Windermere's Fan, with its title drawn from that show's subtitle, "A Play About a Good Woman." ~ Mark Deming, All Movie Guide

The famed Italian film director Pietro Germi (his sharply observant and satirical films include The Immoralist, and Divorce Italian Style) began work on this comedy, but died before he could do more than write the screenplay. However, he lived long enough to choose Mario Monicelli as his successor. In the story, four friends keep their friendship alive and their Tuscan town lively by means of an endless series of practical jokes and pranks of various sorts. Perozzi (Philippe Noiret) works on the night desk of a newspaper, reporting on crime. Mascetti (Ugo Tognazzi), an aristocrat, has seen better days. They are joined in mischief by Melandri (Gastone Moschin) and Necci (Duilio DelPrete), an architect and a cafe-owner by profession respectively. When the town doctor (Adolfo Celi) manages to outwit the collective efforts of the four, he is soon invited to join their little club. The rhythms of life in a cheerful provincial town are effectively unveiled in this zany and affectionate film. ~ Clarke Fountain, All Movie Guide

Apparently in the Italy of the 1920s, the only way to keep your home out of the maws of the tax collector was to steal and cheat from everyone in sight -- and the dupes you'd swindle wouldn't know the difference since all their attentions would be focused upon cheating you. That little bit of homespun philosophy is the only conclusion to be drawn from Arabella, a broad sex-farce enlivened with British comic Terry-Thomas appearing in a quartet of roles, and the sexy Virna Lisi as the title character, who is compelled into chicanery in order to prevent her mother's home from being taken away by the tax man. To raise funds, Arabella rooks money from Terry-Thomas, in various fake beard incarnations as a general, a duke, a hotel manger, and an insurance agent. But while she is busy conning the four Thomases, she steps on the toes of an equally tricky burglar (James Fox) and two young lovers -- Giancarlo Giannini and Melina Vukotic. Arabella ultimately becomes attracted to the burglar. Now she must hold her base animal urges in abeyance and concentrate on squeezing more cash out of the Terry-Thomases. ~ Paul Brenner, All Movie Guide

The second of two horror films shot in a single production term and bearing the name of pop-art icon Andy Warhol (whose participation pretty much ended with the use of his name), this film is slightly superior to its higher-profile predecessor, Andy Warhol's Frankenstein. Direction is credited to Warhol factory filmmaker Paul Morrissey, though there still exists a very vocal camp who insist that the real credit should go to Italian director Antonio Margheriti. Euro-horror leading man Udo Kier assays the title role, playing the count as a pale, anemic-looking blood junkie with an overwrought accent. Finding the supply of "weer-gin" blood diminishing rapidly in Romania, Dracula is forced to seek a fix in a predominantly Catholic Italian province, where he is certain a few virgins still exist. He travels with his assistant (Arno Juerging) and his coffin-sealed sister to the decrepit, crumbling mansion of the financially-strapped Marquis DiFore (a tour-de-force performance from Bicycle Thief director Vittorio de Sica) who welcomes the affluent Count with open arms, hoping to marry off any one of his four daughters. Dracula clearly has other intentions for the girls... but his plans are rudely thwarted by beefy, socialist handyman Mario (Joe Dallesandro), who has been dutifully divesting the young maidens of their -- ahem -- virtue, thus tainting their blood and making it unsafe for vampiric consumption. Very unsafe, it turns out -- as we are treated to protracted scenes of the death-pale Count vomiting up gallons of blood. Rated "X" at the time of its release (and subsequently re-rated "R" ten years later), this outrageous catalogue of depravity features wildly campy performances, inane dialogue and an outrageous climax. ~ Cavett Binion, All Movie Guide

Rock Hudson stars in this frothy romantic comedy as filthy-rich American Robert Talbot. Talbot owns an Italian villa, where he traditionally stays only one month out of the year (September), but when Talbot suddenly decides to show up in July, Talbot's major overseer Maurice (Walter Slezak) is shocked out of his skin to see him -- it seems that Maurice has turned Talbot's villa into a hotel for the remaining eleven months of the year. But it's July in Italy, and love is in the air, and Talbot becomes distracted by the beautiful Lisa (Gina Lollobrigida) and soon he is trying to prevent her from marrying another man. Sandra Dee and Bobby Darin (in his first screen role) play young guests of the villa. ~ Paul Brenner, All Movie Guide

The tenth installment of the popular Fantozzi series about a hapless bureaucrat, this film features the title character getting cloned by multinational corporations looking for the ultimate salaried milquetoast. ~ Jonathan Crow, All Movie Guide

This is the fourth "Fantossi" comedy by director Neri Parenti and stars Paolo Villaggio again as the out-of-luck office clerk who is the butt of all jokes, the recipient of consistently bad fortune, and the father of an exceptionally ugly daughter. When Fantossi's daughter gets pregnant, he goes to the hospital to find out about an abortion for her but ends up on the operating table himself for a sex-change operation -- and as usual, no one pays any attention to his protests. Eventually he is put back together again, and by that time, his daughter has given birth to a strange-looking baby indeed -- much to the consternation of Fantossi's friends at the office who are forced to look at his baby pictures. Exaggerated episodes such as this characterize the humor in the film, humor that may be extreme but can be understood without subtitles. ~ Eleanor Mannikka, All Movie Guide

Ugo Fantozzi (Paolo Villagio) is a retired accountant who is stunningly ugly, and his ability to suffer having even the most innocent situations turn into unqualified disasters has made his name an Italian byword for a really luckless sad-sack. This is the seventh of the popular comedies depicting his adventures, and by rights should be the last. In it, he goes on a skiing weekend and finally gets his mitts on Signorina Silvani, the hard-bitten but sexy woman who tantalized him all during his working life. The story continues, showing the demise of his fellow office workers and then his own, but when he winds up in a Buddhist heaven instead of a Catholic one (typical sour luck, that) it begins to look as though he might get more chances to go through the whole darn thing again and again... ~ Clarke Fountain, All Movie Guide

An ordinary man is driven to violence in the name of revenge in this drama. Paul Varlin (Jean-Louis Trintignant) is a businessman who decides to take his wife and daughter on a vacation. While stopping for gas, Varlin's wife is accosted by a gang of motorcycle thugs, who progress from ogling her legs to raping both the wife and the young girl, and then killing them both. When Varlin discovers this horrible crime, he takes it upon himself to track down and kill the bikers in the name of justice. L'Agression also features Catherine Deneuve and Claude Brasseur. ~ Mark Deming, All Movie Guide

Though fitted out with an English-language title, Black Holiday didn't receive much distribution outside its native Italy. Set during the 1930s, the film stars Adolfo Celi as an irrepressible anti-fascist professor. While the Mussolini government tolerates Celi so long as he remains within the walls of academia, the professor goes a few steps too far. He is subsequently "invited" to take a permanent vacation on a remote Mediterranean island. The absence of Black Holiday on the official list of Adolfo Celi's credits would suggest that this film was either never released theatrically or made for Italian television. ~ Hal Erickson, All Movie Guide

Made in Italy is a multistoried film, set...in Italy, of course. An all-star cast appears in brief seriocomic vignettes about rich and poor, tourist and native. Director Nanni Loy exhibits the realistic and somewhat earthy technique he'd used on his earlier documentaries, with heavy emphasis on ironic punch lines. Filmed in 1965 by a Franco/Italian production team, Made in Italy received the best possible exposure upon its 1967 American release when clips were showcased on Johnny Carson's Tonight Show. Best bit: The "give to the poor" poster in an impoverished Italian mountain village. ~ Hal Erickson, All Movie Guide