Nino Baragli Movies

With his 1963 Rabbia (Rage), Pier Paolo Pasolini sought to construct an essay film out of found footage, that would enable him to impose his extreme Marxist ideological framework on some seminal events of the 20th century, thus telling history "his way." Using clips of such subjects as the Congo in the early 60s, atomic blasts from 1956, a celebrity visit by Sophia Loren to an eel festival, and exploitation of workers at a Fiat plant - accompanied by a prose poem, authored by Pasolini and then read by him on the soundtrack - Pasolini speaks out against bigotry, intolerance, middle-class hypocrisies, human complacency and a host of other ills that concerned him. His unusual method of juxtaposing unrelated images (and short-circuiting the audience's reactions in this way) anticipates his contributions to Dusan Makavejev's Sweet Movie in the mid-1970s, which employs similar associative techniques but waxes far more shocking. This film incurred a massive amount of trouble almost immediately after it went into production; its original producer, Gastone Ferrante, had the wild and antagonistic idea of turning the project into an episode film, of which Pasolini's segment would constitute 1/2; Ferrante asked the ultra-rightwing ideologue Giovanni Guareschi to do the other half, planning to "pit" the two halves against one another in the same program. This, of course, drew ire from Pasolini, who so detested Guareschi's philosophies that he wanted nothing to do with the conservative. The picture was nevertheless released as planned, to dismal box office draws, and thereafter disappeared for 45 years. In 2008, a second, "reconstructed" version emerged (33 years after Pasolini's murder) and played at the Venice Film Festival, minus the Guareschi elements; retitled La Rabbia di Pasolini, it was supervised by Giuseppe Bertolucci, who receives co-directing credit with Pasolini and does a two-minute filmed introduction. ~ Nathan Southern, All Movie Guide

The complicated travails of several generations of Italian women provide the basis for this drama that is based on a novel by Susanna Tamaro. It begins with the peaceful death of Olga, the elderly family matriarch. Marta, her granddaughter returns from the US to attend the funeral and once in Olga's villa in Trieste, begins reading her grandmother's diary. Olga's story unfolds via flashback. As a young woman, Oldga had to marry Antonio a man she didn't love. Later she became passionately involved with a handsome doctor at the local spa. He impregnates her and shortly thereafter dies in a terrible car wreck. The result of their love is Illaria, who grows up to be terribly neurotic. She bears Marta and then she too dies in an automobile accident, leaving Marta to be raised by Olga. ~ Sandra Brennan, All Movie Guide

Popular comic actor Diego Abatantuono headlines this lively comedy that follows the adventures of a small-town barber from Italy who one day spontaneously heads for Rio de Janeiro to see his estranged sister. Life there is bewilderingly busy and colorful and the simple barber has many riotous adventures there. ~ Sandra Brennan, All Movie Guide

Grossly mistaken identity provides the impetus in this Italian farce. Loris is an anti-social fellow with a high sex drive. During a party he is pointed towards an "easy mark." Unfortunately he approaches the wrong woman. When he discovers his mistakes, he nervously apologizes for the attempted liberties. A run-away chain-saw becomes involved and the frightened woman ends up filing a police report. Her report leads police boss Frustalupi that he has finally found the crazed sex killer the "Mozart of vice" whom Frustalupi has hunted for the last 12 years. Situations go from bad to worse as the police begin surveillance upon Loris whose every action becomes misconstrued by them. Things get even stickier when they put policewoman Jessica on the case as undercover bait. ~ Sandra Brennan, All Movie Guide

This poignant Italian drama tells the tale of a producer who would do just about anything to have actress Kim Novak appear in his next film. Enrico, a producer, needs $250,000 so he can hire Kim Novak for his film. The problem is that he is almost broke. He wants to sell his palatial family home but cannot unless his wife Emilia consents to it. Unfortunately, they are separated and she is involved with a new man. She has tried to convince her son Luca, that his father is a rat. Enrico's passion for Kim Novak is revealed through his memories of his youth which included a series of orgies with a sexy barmaid who was the spitting image of Novak. Eventually Luca, returns to his father determined to help him out and the two share many wonderful times. ~ Sandra Brennan, All Movie Guide

The seemingly endless chain of assassinations of judges who seek to end (or at least curtail) the pervasiveness of organized crime and deep corruption in Italian political life, is the topic of this political thriller. As the film opens, Carla (Carla Gravina) is the gynecologist wife of a judge (Jacques Perrin) who is determined to prosecute the country's gang lords with the help of an informant. His life is constantly under threat. Despite the pervasive presence of police bodyguards, the inevitable happens, and he and his informant are killed. Carla, infused with his mission and angry at his death, takes the notes he had hidden and contacts the widow of the informer. With that material, she produces a television documentary featuring the widows of assassinated judges. Of course, this puts her and many others in danger also. Despite this, it begins to appear that she has roused the women of the country to action. ~ Clarke Fountain, All Movie Guide

Fuzzy memories of Anne Frank's diary sometimes cause people to forget that at the height of World War II, Nazi-occupied Amsterdam was not a safe haven for Jews. While many people in the Netherlands and elsewhere risked their lives to protect them, a great many more enthusiastically assisted the Nazis in mistreating them. This children's drama is based on the autobiographical book Kinderjaren by Jonah Oberski. Beginning with his recollections as a four-year old boy, he witnesses the increasing isolation and persecution of his Jewish family living in Amsterdam, until finally they are rounded up and sent to an internment camp. There, while his mother goes mad and his father grows increasingly ill, he is unwittingly drawn to become a member of the group of boys that help with the running of the camp. Jonah is played by two boys: Luke Petterson plays him as a young boy, and Jenner Del Vecchio plays him as an adolescent. ~ Clarke Fountain, All Movie Guide

Gabriele Salvatores' antiwar story Mediterraneo is set during World War II on a seemingly deserted island in the middle of the Aegean Sea. After their ship is sunk by the British, a unit of Italian soldiers finds refuge on the island, where they soon realize that the area is not deserted after all--its citizens have merely gone into hiding after believing they were under German attack; indeed, the Germans have already imprisoned all of the village's young men. As the brigade of soldiers, led by one Lt. Montini (Claudio Bigagli), becomes ingrained into island life, they begin repainting the church's frescoes, starting soccer teams, even finding romance. Time passes until an Italian pilot (Antonio Catania) touches down on the island, and relates the news of the world since the soldiers' arrival in 1941. Ultimately, a British rescue party comes for the soldiers, bringing with them the men who were captured by the Germans years before. Four decades later, Montini returns, re-joining the few other men who could not bring themselves to leave their island refuge. ~ Jason Ankeny, All Movie Guide

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, All Movie Guide

Serious, logical Martha (Barbara Sukowa) and dreamy, superstitious Anna (Stefania Sandrelli) have been best friends. That is, until Martha's lover Victor (Sami Frey) decides he'd rather be Anna's lover. Mortified, Martha flees to Africa, leaving the field clear for her ex-friend. When Anna comes down with cancer, she pleads with Victor to get her to come back and somehow put this rupture in their friendship behind them. Curiously, Martha does come back, and after some understandable tension and a few bitter words, they manage to reestablish their friendship, though it is now on a different basis. ~ Clarke Fountain, All Movie Guide

In this picaresque period adventure comedy, the roguish almost-gentleman Paolo (Paolo Hendel) of 1832 Naples accompanies his younger friend, Duke Ottavio (David Riondino) to the southern part of Italy. At the time, Italy was a hodge-podge of tiny nations, dukedoms, and principalities which were often run by some other nation, such as France or the Austro-Hungarian emperor. Also sweeping the yet-to-be-unified nation was a revolutionary fervor for democracy and unification. At the same time, the forces of tradition were working very hard to suppress these ideas. These movements give rise to some of the dangers the two men face with grace and nonchalance, as they travel through the undeveloped (some might even say uncivilized) regions of Southern Italy. ~ Clarke Fountain, All Movie Guide

Ferroccio Ferri (Paolo Rossi) is a quiz-show champion who is an expert on camels in this offbeat comedy. He is eligible for the upcoming show that will award a sizeable sum of money to the grand-prize winner. Camillo (Diego Abatantuono) is the manager of a second-rate traveling troupe who recruits Ferri to ride a camel for a promotional tour of the Po Valley. Sabina Guzzanti plays a notoriously bad singer in Camillo's troupe with comedic flair. Ferri loses on the quiz show and meets the beautiful Anna (Giulio Boschi) on the train ride back home. Anna talks Ferri into posing as her lover so she can dump her fiancee in front of her mother (Laura Betti) and father (Giancarno Sbragia). ~ Dan Pavlides, All Movie Guide

Mitzi (Hanna Schygulla) turns to Sandor (Marcello Mastroianni) for help when her husband is murdered by right-wing extremists looking for a cache of diamonds. She and her young son escape with Sandor to Italy. By the 1930s, they return to Budapest to run the successful Arizona Club, a posh watering hole for the social elite. Mitzi falls for an American journalist, her son falls for a woman with ties to high-ranking Nazis, and Sandor is questioned about his Jewish heritage. The son learns he is half Jewish as the Nazi round-up and deportation begin. Uneven editing in places suggests that a lot of film ended up on the cutting-room floor. ~ Dan Pavlides, All Movie Guide