Paola Borboni Movies

In the original story of Camille by Alexandre Dumas, Jr. La Dame aux Camelias, a beautiful Parisian courtesan, Marguerite Gautier, (called "Camille" because of her love for camelias) is supported by a series of aristocratic lovers, but does not fall in love until she meets Armand Duval. Armand's father lets it be known that Camille would ruin Armand because of her "low" past, and she leaves to save his reputation, saying she does not love him anymore. She soon contracts tuberculosis, and Armand hears that she is dying. He rushes to her side, finds out she has loved him all along, and she dies knowing he has always loved her. The True Story of Camille uses the ploy of Alexandre Dumas, Jr. doing his version of "Camille" at the turn of the 20th century, as a means of introducing a flashback to the "real" story behind the "real" Camille, Alphonsine Plessis. In the film, Alphonsine (Isabelle Huppert) - a country girl - was sold by her father to a wealthy neighbor, which starts her off on a round of living in expansive palaces and keeping company with wealthy aristocrats and eventually, Alexandre Dumas, Jr. himself. But that trajectory did not happen all at once. Alphonsine first survives, barely, as a seamstress in Paris. Then she becomes a prostitute, after which a Count Peregaunts (Bruno Ganz) marries her, then more or less disappears, leaving her to become a high-class courtesan. As she makes her way from one handsome, aristocratic client to the next, a noble protector, Count Stechelberg (Fernando Rey) keeps her out of harm's way. By the time she and Dumas meet, she has become infected with tuberculosis - and she has created the inspiration for Dumas' story of Camille. Her father comes along at this point, however, ready to trounce Dumas for romanticizing his daughter's wretched life - the same father that sold her off in the first place. If the viewer can remember that the characters of Marguerite Gautier (Carla Fracci) and Armand Duval from Dumas' story of Camille have been given their "real" personas as Alphonsine Plessis and Dumas in this film, then the story within a story make more sense. ~ Eleanor Mannikka, All Movie Guide

Vittorio De Sica delivers a full-blown comic performance as Cesare Celli, an American gangster exiled to Italy and kidnapped by a collection of inept crooks. These incompetents are headed by Harry Price (Robert Wagner), who demands a ransom from Cesare's friends for his safe return. When none of Cesare's friends send money to rescue Cesare from the kidnappers, Cesare is outraged and concocts a scheme for a five-million-dollar platinum robbery as a way to pay Harry's gang back for their efforts and to get his revenge on a world that has ignored him. Cesare trains his collection of nincompoops for the robbery and imports the famed Professor Samuels (Edward G. Robinson) to plan the heist. After a series of problems raising the money for the robbery and obligatory bumblings by the gang, Cesare and his men are ready to proceed with the heist. But then, right before the robbery, Harry and his girlfriend, Juliana (Raquel Welch), decide to betray Cesare and abscond with the platinum themselves. ~ Paul Brenner, All Movie Guide

In this Italian comedy set in the 16th-century, a prince and a princess marry. Trouble ensues when a rumor that they have not consummated their marriage is circulated. The prince's father is most concerned, as a virgin marriage means he will have no heirs. He insists that the marriage be annulled. He then requires his son to marry another, but his current wife's family will not agree to the annulment until the prince proves he is a capable lover. The prince refuses to cooperate until his father threatens to cut him off financially. The prince then is paired with a virgin, and eventually passes his test. ~ Sandra Brennan, All Movie Guide

Italian maestro Federico Fellini's first international success is a nakedly autobiographical film that bears many of the formal and thematic concerns that recur throughout his work. Set in the director's hometown of Rimini, I Vitelloni follows the lives of five young vitelloni, or layabouts, who while away their listless days in their small seaside village. Fausto (Franco Fabrizi), the leader of the pack, marries his sweetheart, but finds himself constantly distracted by other women. Meanwhile, would-be playwright Leopoldo (Leopoldo Trieste) continues work on his dreary plays, dreaming of staging them one day. Clownish Alberto (Alberto Sordi) still lives at home with his mother and sister, Olga (Claude Farell), while boasting of preserving the family honor by watching over her. While the movie seems to pay little attention to Riccardo (Riccardo Fellini) and Moraldo (Franco Interlenghi), the latter eventually emerges as its key character, plainly serving as Fellini's alter ego. Stuck in adolescence, the five friends stumble into various misadventures, as they seek to spice up their uneventful provincial lives. Ultimately, one of them breaks free from their self-imposed paralysis and moves on, leading to one of the most poignant farewell sequences in film history. A hit in Italy upon its release, I Vitelloni secured Fellini's reputation as an up-and-coming talent, while also introducing its title into Italian vernacular. ~ Elbert Ventura, All Movie Guide

Two masters of Italian neorealism--screenwriter Cesare Zavattini and director Luigi Zampa--collaborated on It is Easier for a Camel. As indicated by the film's title, a measure of religiosity figures into the proceedings. Recently deceased Carlo Bacchi (Jean Gabin), on the verge of being sent to Hell, is given 12 extra hours' life to redeem himself. Returning to earth, Bacchi tries to buy his way into the good graces of God. This, of course, has no effect on his ultimate fate--but an extreme act of self-sacrifice does. The film works best when it sticks to the story at hand, instead of going off on satirical tangents aimed at hypocrisy and conspicuous consumption. ~ Hal Erickson, All Movie Guide

Heroine Valentina is understandably distraught when she cries out "Ho perduto mio marito!" ("I've lost my husband!") Understandably, but not authentically. It seems that the still-unmarried Valentina has only pretended to lose her fictional hubby during a vacation, so that she may spend a little "quality time" with her bookish cousin Giuliano. Though Valentina has romance in mind, Giuliano takes her seriously and begins conducting a search for her nonexistent spouse. Throughout the search, Valentina constantly needles him by cataloging her imaginary soulmate's perfections, forcing Giuliano to try to come up to the girl's impossibly high standards. Naturally, he finally falls in love with her, at which point the film tactfully ends, never dwelling upon his reaction when he finds out he's been hoodwinked. ~ Hal Erickson, All Movie Guide

This situation sex comedy falls somewhere in between vulgarity and burlesque. Ulli (Giuliano Gemma) and his six cave-dwelling cronies try to learn all the conveniences of their era -- like building fires, using the wheel, and perfecting the use of tools and weapons. A fire engulfs their tiny island and the men are forced to take a raft to the unknown mainland. There Ulli meets Filli (Senta Berger), and he spends his time trying to make her his monogamous girlfriend by discouraging others who desire her for their own. Ennio Morricone provides the music to this feature, which was a surprising box-office hit in Italy. ~ Dan Pavlides, All Movie Guide