Barbara Bouchet Movies

In this farcical comedy of errors, Marcello (Renzo Montagnani), a man devoted to his glorious single life, finds out that he can only receive an inheritance from his mother if he marries - and that is just out of the question. Meanwhile, he must somehow make his father - now a bishop living in Brazil - believe that he plans to soon tie the knot. That is where Amelia (Barbara Bouchet) enters the picture. As Marcello works on his deception, many loopy characters weave in and out of the story: Amelia's brother who loves to wear any great costumes he can find, a gardener obsessed by the subject of bombs, an Arab sheik, and other unlikely figures. Meanwhile, Amelia's real boyfriend Stefano (Gianni Cavina) is always a force that cannot be ignored. ~ Eleanor Mannikka, Rovi

The director of an Italian milk company, Alberto, lost his beautiful American wife after he caught her having a shower with the plumber. He is fixated on women's breasts, but so is his psychiatrist, who calls his obsession a nostalgia for the mother's breast. One of his psychiatrist's other patients is a woman who found her cellist husband playing musical sex games with the family maid. In a protracted series of meetings, the two patients grow acquainted, and love grows up between them. ~ Clarke Fountain, Rovi

A chance for revenge brings a hit man out of retirement in this crime drama directed by genre specialist Antonio Margheriti (aka Anthony M. Dawson). Sal Leonardi is a well-connected American Mafioso who, while vacationing in Naples, visits a racetrack and is persuaded by good natured tout Angelo (Massimo Raniei) to put his money on a long shot. While Angelo sometimes works around the odds at the track by putting front-running horses off their stride with a pellet gun, in this case Angelo's horse wins without outside interference and pays off big. But after Sal collects his winnings, he's spotted by Gennare Gallo (Giancarlo Sbragia), a local mob boss who holds a grudge against Sal's partners; guns are drawn, Sal and his bodyguards are killed, while Angelo, who is also a police informant, is stripped of his winnings. Back in New York, Leonardi's partners are eager to even the score against Gallo, and hey approach Peter Marciani (Yul Brynner), a former hired killer who retired after the traumatic murder of his brother. Peter is persuaded to assassinate Gallo when he learns that the Italian mobster was behind the murder of his brother; Peter flies to Napes and finds an ally in Angelo, but he soon learns that there's more to this story than he's been led to believe. Originally released in Italy as Con La Rabbia Agli Occhi, Death Rage was screened in the UK under the more literal translation Anger In His Eyes; the film also co-stars Martin Balsam as a police detective investigating the Leonardi killings. ~ Mark Deming, Rovi

The Italian Blood Feast stars American actress Barbara Bouchet, headlining a no-name supporting cast. Bouchet plays a leggy lady private eye who investigates a murder on the Continent. She discovers that the killer is a capricious carnivore who enjoys dining on human flesh. Too bad the culprit stopped before consuming the producer, director and screenwriter. Also known as Feast of Flesh, Blood Feast is better than the 1963 Herschel Gordon Lewis gorefest of the same name-but not by much. ~ Hal Erickson, Rovi

The English-language title for the Italian L'Anatra All'arancia was Duck in Orange Sauce. Though Ugo (Ugo Tognazzi) is comfortably married to Lisa (Monica Vitti), he nonetheless takes up with pretty (and fetchingly underdressed) American Patty (Barbara Bouchet). In retalitaiton, Lisa begins an affair with French count Jean Claude (John Richardson), arousing Ugo's jealousy. At his request, the four members of this romantic quadrangle repair to a summer house to come to a "civilized understanding"--which erupts into something out of the Keystone Kops. ~ Hal Erickson, Rovi

Robert Mitchum's son Christopher heads the cast of this Italian melodrama. Despite the horrific title, the film is actually a Mafia yarn. Arthur Kennedy shows up as a WASP-ish Godfather type, while Barbara Bouchet is the love interest. The presence of Hollywood names in the cast was supposed to create a market for Cauldron of Death in the U.S. ~ Hal Erickson, Rovi

Barbara Bouchet stars as a reformed hooker in this gang-war thriller. For reasons uniquely her own, Bouchet joins forces with professional assassin Henry Silva. Her aim is to put an end to an Italian gang war. Silva doubts that it can be done, but what the heck, the money's good. It's not for nothing that Cry of a Prostitute carries a hard "R" rating. ~ Hal Erickson, Rovi

When several young boys are brutally murdered in a small southern Italian village, the superstitious locals react with ignorance and violence. All misfits are immediately suspected, such as big-city tart Barbara Bouchet, the local village idiot, and voodoo practitioner Florinda Bolkan, who is brutally murdered by the villagers in a startling and powerful scene. Cop Tomas Milian (Almost Human, Amistad) comes to investigate, and is rather curious about a young priest who censors the town's reading material to keep it free of corruption. The peculiar clergyman seems to envy the dead boys, who will never grow up to be corrupted. Milian soon becomes convinced that the priest wants to send the kids' souls to Heaven and feels guilt about desiring the boys sexually. ~ Robert Firsching, Rovi

Emilio P. Miraglia directed and co-wrote (with Fabio Pittorru) this Italian-West German co-production, a standard giallo thriller released in the subgenre's most high-profile year. The film begins with a 1958 prologue in which two young girls, Kitty and Franziska, learn the tale of the Red Queen in an old German castle. Supposedly, she comes back every 100 years to claim seven new victims. 1972 is the year of her latest appearance, and the film flashes forward to a mysterious red-caped figure wandering the castle halls. Soon, people start dying, and the adult Kitty (Barbara Bouchet) and Franziska (Marina Malfatti) appear to be among the killer's intended victims. Kitty works for the Springe Fashion Company, whose perverse general manager, Hans, is one of the first victims, and the company's models are soon targeted as well. Alberto Spagnoli's cinematography is particularly noteworthy, and there is plenty of blood and torture for those more interested in the horror elements of gialli than their typically illogical mystery components. Ugo Pagliai co-stars with Sybil Danning, Nino Korda, and Carla Mancini. ~ Robert Firsching, Rovi

This comedy takes sharp aim at the hypocritical behavior of supposedly celibate Roman Catholic clergy. Keeping to the middle ground, neither too "holy" nor too critical, it was a hit in native Italy. Don Clemente (Lando Buzzanca) has done too good a job as a priest in his rural parish and is promoted to a wealthy parish in Rome. Along with the new job come new temptations, most prominent of which is the desire to embrace the problems of Silvia, a beautiful young prostitute with a yen for married life (Rossana Podesta). Their relationship develops until he must choose between his calling and marrying Silvia. As he is growing accustomed to life in the city, he gains insight into his romantic temptations by observing how his peers and superiors in the church respond to theirs. ~ Clarke Fountain, Rovi

A Yugoslavian boy has recently returned from a trip to the U.S. where he picked up some money, and formed an attachment to an American girl, who agreed to come see him in Yugoslavia. He eagerly awaits her arrival. In the meantime, he flashes his money around, drives an expensive car, and alienates nearly everyone he knows. He even moves out of his family's house to stay in a fancy hotel for the duration of his wait. ~ Clarke Fountain, Rovi

Shirley MacLaine plays Charity Hope Valentine who, despite her job at a seedy dime-a-dance joint, is an incurable optimist. Charity never stops looking for true love and never seems to look for it in the right places. We first see her in the company of Charlie (Dante DiPaolo), a slimeball who steals her purse and pushes her into the Central Park pond. Next she stumbles into a one-night stand with Vittorio Vidal (Ricardo Montalban), an egotistical movie star; this comes to nothing when Vittorio's contrite girlfriend Ursula (Barbara Bouchet) comes calling, forcing Charity to spend the night hiding in the closet. Desperate to escape the dance hall, Charity heads to an employment agency, where a bureaucratic clerk (Alan Hewitt) informs her that she has no qualifications. Unhappily, Charity heads for the elevator, where she becomes trapped with the very shy -- and very claustrophobic -- Oscar Lindquist (John McMartin). Once they've gotten out of the stalled elevator, Charity begins dating Oscar, never telling him of her checkered past or her sordid dance-hall job. Oscar eventually finds out but assures her that it doesn't matter. However, at the engagement party held at the dance hall, Oscar's puritanical streak emerges. He walks out on Charity, leaving her alone and heartbroken once more. With the help of a group of flower children (among them Bud Cort and Kristoffer Tabori), Charity is able to pick herself up and start living "Hopefully Ever After." Sweet Charity was adapted from the 1965 Broadway musical of the same name, which in turn was inspired by the 1957 Fellini flick Nights of Cabiria. ~ Hal Erickson, Rovi