Lucia Bosé Movies

A particular highlight of this symbolic Italian drama is that it marks the return of Lucia Bose to film. She retired from film when she married the famed Spanish bullfighter Dominguin in the 1950s. Socialite Danielo is a higher-up in the television world but is repulsed both by high society and the media. In his dreams, he is Gulliver in Lilliputia, and the Lilliputians torture him in various ways. ~ Clarke Fountain, Rovi

Michelangelo Antonioni's first narrative feature is a stark, minimal interpersonal drama that would establish many of the themes and techniques that would recur in his work for the rest of his career. Story of a Love Affair centers on the dynamic between Guido (Massimo Girotti) and Paola (Lucia Bosé), two old flames re-igniting their passions for one another. Tabs are being kept on both of the lovers by their current spouses as well as by a private investigator, but even after their pursuers fall out of the picture -- whether due to accidents or disinterest -- Guido and Paola find that their love for each other is waning. Filled with stark, empty compositions, unpredictable camera movements, and static, self-obsessed characters, Story of a Love Affair would mark Antonioni as a maverick among the prevailing neorealists of the post-war Italian film community. ~ Michael Hastings, Rovi

A conservative professor of economics and his restless wife discuss the rapidly changing world that affects them. Sex education, politics, women's liberation issues and the new Catholic church collide with their traditional upbringing. The wife contemplates divorce as she wonders if there is more to life than just living until you die in this slow-moving drama. ~ Dan Pavlides, Rovi

Federico Fellini makes his most decadent, undisciplined work in this free adaptation of Petronius' famous farcical chronicle of ancient Roman life. The film opens with Encolpio (Martin Potter) vying with his friend Ascilto (Hiram Keller) for the affections of a young effeminate lad named Gitone (Max Born). When the youth chooses his rival or him, Encolpio begins a journey that has him encountering Romans of every stripe and color. He drops in on an orgy thrown by Trimalchio (Mario Romagnoli), a wealth-loving ex-slave who has spurned his wife in favor of a pleasures of a young boy; he toils on a slave galley, fighting off the advances of Lichas (Alain Cuny) -- the ship's burly wall-eyed captain; he steals an albino hermaphrodite demi-god who is reputed to be able to tell the future; and fails to summon the enthusiasm to make love to a whore-priestess. Along the way, we witness a parade of prostitutes in ancient Rome's pleasure quarters; watch performance by Vernacchio (Fanfulla), an actor whose on-stage specialties include farting and public amputation; and the wonton devouring of a human corpse for financial gain. ~ Jonathan Crow, Rovi

Following the success of Hamam, Turkey-born, Italy-based Ferzan Ozpetek delivers another exotic film that delves into the traditions of his origin. Once again, the exotic city of Istanbul is the place of intrigue. But, unlike Hamam, which was a contemporary story, Harem Suare takes place at the turn of the century in the last days of the Ottoman Empire. The locale of this ornate story of love, power, and fear is the magnificent Yildiz Palace, where Sultan Abdulhamit whiles away the time listening to the finale of La Traviata as rebellions rage all over the country. The Sultan cannot stand unhappy endings, so he has asked Safiye, his favorite concubine, who is Italian, to rewrite the libretto so that Violetta does not die. Nadir, one of the black eunuchs, has plans for Safiye, whom he thinks should become the official wife. Nadir's plans take a different turn when he and Safiye fall in love. In the harem, which is isolated from the rest of the world, life goes on with its plots and subplots, loyalties and betrayals, happiness and tragedies as if time did not exist. The story is told from the point of view of Safiye, concentrating more on human relations than on palace politics. The director plays with mirror images to reflect the two faces of personalities and the complexities of intercultural relations. Mythology is blended with sexuality, emphasizing the delicate nuances of language. The exotic element is not abused and historical details are used sparingly and only when necessary. Acting by young French actress Marie Gillain, who plays Safiye, and Lucia Bose, who plays her in old age, as well as Alex Descas as the eunuch Nadir and famous Turkish actor Haluk Bilginer as Sultan Abdulhamid are all commendable. 52nd Cannes Film Festival, 1999. ~ Gönül Dönmez-Colin, Rovi

Since Moliere's plays are national classics of France, an air of reverence surrounds them. However, they are for the most part comedies based on older commedia del'arte storylines and acting conventions (which most closely resemble the broad humor of the American vaudeville or the British music halls). Moliere's big innovation was to give the stock characters from these ancient themes an actual script to follow, rather than leaving them to improvise their own lines. His lines were usually much, much wittier. Otherwise, these tales are every bit as farcical (and sometimes slapstick) as anything from The Three Stooges or, for that matter, the classical farces of Plautus. However, when the actors ham it up in their parts too much, eyebrows are raised. This multinational production of Moliere's classic L'Avare, or The Miser is an excellent case in point. The lead role of Arpagone, the miser, is played exhuberantly by Alberto Sordi, who for years has traded (on and off the stage) on his pinched, miserly appearance and his romantic skittishness - somewhat akin to the shtik perfected by Jack Benny in the U.S. These characteristics also fit the role to a "T." In the story, the miserly widower is trying to arrange things for the maximum safety of his funds and to prevent his children from doing something stupid, like marrying poor people. In the meantime, his well-known wealth has made him the target of sinister matrimonial designs by the murderous sister of a powerful cardinal. He decides to find a suitable bride for himself to stave off this unhappy prospect, and at the same time arrange good marriages for his son and daughter (who have other people in mind). A triple wedding will cost little more than a single one, and will save him lots of money. Needless to say, everything goes wrong (and finally goes right) in this romantic farce. ~ Clarke Fountain, Rovi

This Spanish/Italian melodrama concerns the rivalry between a mother and her daughter for the affections of a rakish drifter. The mother has known his affection before, but on this particular journey through their town, he is drawn to the girl instead. He takes her to his favorite assignation place, a nearby whorehouse, and they begin to see one another regularly, until one day the mother takes her place. The girl's response to this is somewhat drastic. ~ Clarke Fountain, Rovi

In this dreamlike and erotic picture, a middle-aged couple have invited a number of people to dinner. As the dinner proceeds, accompanied by liturgical music, the meal is transformed into an erotic fantasy as the guests make love to one another; the wife has an incestuous union while her husband and their daughter look on, and then the wife and another woman do some extraordinary things with and to the husband. ~ Clarke Fountain, Rovi

Actress Jeanne Moreau made her directorial debut with this tale about a gathering of actresses who, over the course of an all-night conversation, come to reassess their careers and romantic lives. ~ Jason Ankeny, Rovi

Metello (Messimo Ranieri) is the son of an anarchist who shares his father's passion for justice. After he is introduced to love by the young widow Viola (Lucia Bose), he falls in love and marries Ersilia (Ottavia Piccolo). Labor unrest leads to a strike by workers, and Metello is thrown in jail. Upon his release, he lies to officials when he says he will abandon political causes. He tries to balance his family life and remain true to his ideals in the changing political climate in Florence at the turn of the 20th century. Ennio Morricone provides the music for this feature that appeared at the 1970 Cannes Film Festival. ~ Dan Pavlides, Rovi

With little or no embellishment, filmmaker Marguerite Duras offers a simple, often wordless chronicle of a woman's day. She and her friend are seen doing yard work, talking about their families and receiving the occasional visitor. The brightest spot in the day is when a washing machine salesman comes to call. ~ Sandra Brennan, Rovi

This Italian drama is a four episode anthology based on the stories of Pirandello. The episodes were compiled from two Italian episodic films from the mid 1950s. ~ Sandra Brennan, Rovi