Mario Bonnard Movies

This was ironically the last film made by director Mario Bonnard, and it follows the pattern of the classic Italian costume dramas about macho or mythic heroes, in this case, a certain Glaucus (Steve Reeves, the glorious Greco-Roman past could not occur without him). Taking the cue from its larger-than-life hero, the story, set in 79 A.D., bounds from one spectacle to another without undue concern for nuanced dialogue or subtleties of character. Glaucus has to single-handedly tackle the brutal thugs that are taking over Pompeii and is forced to fight off a lion and a crocodile -- though not all at the same time. He overcomes wounds and enemies in preparation for his toughest fight, that of rescue and survival when Mt. Vesuvius blows its top, the biggest and final spectacle in a series of battleground fireworks. ~ Eleanor Mannikka, All Movie Guide

Robert Villa plays the archetypal prodigal son in the Italian Disillusion. Ostensibly attending law school, Armando (Villa) is actually squandering his father's money on gambling and women. All the while, Armando's ingenuous father (Ruggero Ruggeri) bursts with pride whenever speaking of his studious offspring. As the film's English-language indicates, Papa is in for quite a shock when he arrives in Paris on a visit. Fortunately, Armando is sufficiently remorseful, and does his best to earn back the money he has frittered away. Disillusion was directed by veteran filmmaker Mario Bonnard, who in his acting days frequently essayed the same sort of rakish character played here by Robert Villa. ~ Hal Erickson, All Movie Guide

This filmed biography of 19th century composer Giacchino Rossini was originally released in Italy in 1940. Nino Besozzi stars as Rossini, while real-life contralto Paola Barbara plays Rossini's opera-star wife Isabella Colbran. The plot concentrates on the years 1815 through 1827, during which Rossini was commissioned to write such operatic masterpieces as Queen Elizabeth and Otello. His most famous work, William Tell, is only alluded to; Rossini is just about to begin writing the opera when the film fades out. Though most of the actors are little more than animated waxworks, Armando Falconi brings a welcome jolt of vitality in the role of the mercurial King Ferdinando I. ~ Hal Erickson, All Movie Guide

The King's Jester is a non-musical Italian film version of the tragic opera Rigoletto. While we hear no vocal renditions of "Caro Nome" and "La Donna e Mobile", those songs, along with the rest of Verdi's score, can be heard as incidental music. French character actor Michel Simon stars as the hunchbacked jester Rigoletto, whose thirst for revenge motivates the story. When Rigoletto's daughter Gilda (Maria Mecarder) is seduced by the Count, the jester plots to set up the nobleman to be killed--but it is the long-suffering Gilda who ends up the victim of Rigoletto's machinations. Exceptionally well photographed by Ubaldo Arata, The King's Jester was a success in both Italy and the US, where it was sometimes run under its original title Rigoletto. ~ Hal Erickson, All Movie Guide

The postwar American popularity of Italian film stars Anna Magnani and Aldo Fabrizi resulted in the belated U.S. release of many of their earlier efforts. Completed in 1942 as Campo de Fiori, The Peddler and the Lady didn't make it to America until 1949. Per the film's English-language title, the story concerns a fish peddler (Fabrizi) who courts a wealthy young lady (Caterina Boratto). Magnani is consigned to the supporting role of an earthy fruit vendor. She overacts outrageously, but one is hard-pressed to take one's eyes off her. Naturally, Anna Magnani was billed over the title as the star when Peddler and the Lady played American houses. ~ Hal Erickson, All Movie Guide

Il Conte di Brechard was adapted by director Mario Bonnard from the popular play by Gioacchino Forzano. It all begins in the days before the French Revolution, when the titular count (Amedeo Nazzari) expels his servant Perault (Ugo Ceseri) from his estate. But after the Reign of Terror, positions are reversed and Perault returns triumphantly as the Count's master. Revelling in his newfound authority, Perault orders his own daughter Maria (Louisa Ferida) to marry the Count. The plan is to have Maria denounce her new husband, giving Perault an excuse to arrest his former employer and assume total control of the estate. The ex-servant's plans are thwarted when Maria falls genuinely in love with the likable aristocrat. ~ Hal Erickson, All Movie Guide

Thirty Seconds of Love is the English-language title for this romantic trifle. The plot is as "naughty" as the title, with heroine Grazia (Elsa Merlini) racing from one brief amorous assignation to another. Nothing of a questionable nature is shown on-screen, but the dialogue has more innuendoes than an episode of Rowan and Martin's Laugh-In. Among Grazia's swains are handsome young Nino Besozzi and comic-relief dentist Enrico Viarisio. Trenta Secondi d'Amore was released in the U.S. the same week as another Mario Bonnard-directed effort L'Amore Che Canta. ~ Hal Erickson, All Movie Guide

Prolific actor/director Mario Bonnard had another winner on his hands with L'Alberio di Adamo (Adam's Tree). Despite its title, the film is not Biblical in nature -- rather, "Adam's Tree" is the name bestowed upon a small tree in a small Italian town, under which two young lovers were once discovered commiserating romantically. Since that time, the tree has become a rendezvous for every would-be Adam and Eve in the vicinity; thus, when handsome young Baldi is seen driving the beautiful widow Matilde in the direction of the tree, everyone misunderstands the circumstances. As the rumors catch fire and burn out of control, the person who suffers most is the respectable Dr. Lombardi, in whose automobile Baldi and Matilde were driving. There's a happy ending when Dr. Lombardi's "notoriety" makes him world famous -- and, for the first time in his life, a desirable soul-mate for many a gorgeous damsel. ~ Hal Erickson, All Movie Guide

Fra Diavolo is based on the 1830 comic opera by Daniel Auber. Tino Pattiera plays the title character, based on a real-life Italian bandit who disguised himself as a Marquis to divest the wealthy and famous of their valuables undetected. The original Eugene Scribe libretto has been altered several times over the past 170 years, depending on the political mood of the times: in this version, Diavolo is no mere outlaw but the Robin Hood-like leader of a band of revolutionaries, bent on toppling the rotting royalty. He disguises himself as a royal ambassador, intercepts an important message from the King, and successfully mounts his revolution, with his sweetheart Anita (Madeleine Breville) at his side. Surprisingly, this Fra Diavolo is far less faithful to its source to the more famous Hollywood version of 1933, which starred Laurel and Hardy and Dennis King and was released in most areas as The Devil's Brother. ~ Hal Erickson, All Movie Guide