Augusto Caminito Movies

When Berenice Rondi (Eva Grimaldi) learns of her father's death from a heart attack, she also learns that the police are looking to find his last girlfriend. Before now, she had not imagined that her businessman dad Marcelo (en Gazzara) was much of a womanizer, but as she participates in the police's inquiries, she gets acquainted with how he conducted his life and is distressed to learn of and meet his many lady friends. As the mystery unfolds through a series of flashbacks, it becomes clear that she herself is at the center of it. ~ Clarke Fountain, Rovi

In the hippie era, the motto used to be "never trust anyone over 30." In this geriatric romance, the motto might be amended to read "never trust anyone under 60." Still sprightly and interested in life though they are in their 70s, the two lovers in this film are confined in an unsympathetic "rest home" by their relatives and are only able to meet rarely in a camper loaned to them by some black immigrant workers. When the staff at the home get wind of their affair, they take vigorous action to try and "calm them down" simply to reassert their deadening control over them. Eventually the two of them end their romance, but the woman escapes the rest home and finds freedom in the company of the immigrants. ~ Clarke Fountain, Rovi

In this episodic comedy, the rich are seen to be different from the rest of us: more lustful and less scrupulous, for starters. In one episode, a parish priest fresh from a pilgrimage to Lourdes is drawn into a situation (approved of by the Pope himself) where he must try to discourage the notions developed by an Italian princess, who dreamed of the priest's face and now entertains the idea of marrying him rather than the man society has destined her for. In another episode, the ever-hapless Paolo Villaggio plays an insurance agent who is drawn just a bit too deeply into one of his client's marital schemes. ~ Clarke Fountain, Rovi

The Italian comic Carlo Verdone stars in (and directs and co-authors) this conventional, and unevenly humorous look at Oscar (Verdone), the neighborhood wannabe jock and biker who tries to land a part in a movie. After he is rejected, Oscar exacts revenge by causing a car crash that the producer's insurance has to cover. His plan backfires when the American actress in the film gets canned as a result (she was in the car), and moves in with him until her husband can come from Texas and bring her home. In the meantime, Oscar starts to take a shine to the woman -- even though his phone bills are beginning to take on the size of Texas as Nancy keeps dialing up her husband. ~ Eleanor Mannikka, Rovi

In this sequel to 1987's Nosferatu the Vampire, Nosferatu (Klaus Kinski) is brought back to life by gypsies and shows his thanks by pushing an old lady out of a window onto a row of spikes. He seduces a local princess and battles a professor (Christopher Plummer) who is out to destroy him. Director Luigi Cozzi was brought in to finish the film when Kinski violently disagreed with original director Augustino Caminito and refused to be directed by him. ~ Brian Gusse, Rovi

Fabio Bonetti (Alberto Sordi) is a normal bank employee, enjoying the security of a peaceful home with a loving wife and pretty teenage daughter -- until he comes across some film surreptitiously taken by a private investigator that reveals his wife Flavia (Monica Vitti) in a whole new light. The Super-8 clips were taken by mistake -- the private eye thought he was filming the society woman who lives above the Bonetti family -- but they change Fabio completely. Each day he learns a little more -- first, he sees that his wife drinks when no one is around, secondly, he discovers that his daughter sometimes gets high on heroin, and that Flavia was able to save her from a descent into prostitution. Next, he learns that his doctor had (mistakenly, it turns out) told Flavia that Fabio only had a few months to live, and as a final blow, he sees that his wife strayed from her years of fidelity once -- and only once -- and that brings him to the brink of suicide. As time goes by, Fabio not only comes to care for his wife more deeply, he has to consider how he should bridge the gap that has grown between them -- and whether or not he should confront her with the truth. ~ Eleanor Mannikka, Rovi

A good idea is taken to the well one too many times in this routine comedy by Luciano Salce. Paolo Villaggio is Arturo, the bank teller of the title, and Catherine Spaak is his put-upon wife Elena. Arturo's problem is that he does not have enough money to keep his head above water and so that is his wife's problem too. The maid no longer works because she has not been paid in living memory, and Elena is forced to scrub the floors. Then Arturo brings in his mistress to shore up their finances. After he fails in his objective (she moves in but cannot help that much), Elena brings in her lover to help out. After he arrives, his wife also moves in with her lover. At that point, who is sleeping with whom becomes a question of mathematical complexity. ~ Eleanor Mannikka, Rovi

Antonio (Alberto Sordi) is an Italian art-restorer working at a cathedral in France. An old friend of his, Robert (Philippe Noiret), lives there. Robert is a banker who has married into money. A sexually adventurous young woman approaches Antonio, but he resists getting involved with her. When it is found that she was raped and murdered in a derelict house once inhabited by Robert's mother, Antonio is disturbed, for he recalls having seen his friend leaving the house at about the time of the murder. Meanwhile, the suspicions of the police have become centered on the two of them. ~ Clarke Fountain, Rovi

Among the spice plantations of Columbia are to be found any number of abused peasant farmers. Normally, the great landlords expect the church to support them and at the same time keep the natives quiet. In this Italian family comedy, the ruthless spice masters are instead saddled with two of the most radical revolutionary priests imaginable, Padre G. (Terence Hill) and Padre Pedro (Bud Spencer), who straighten things out using little more than fisticuffs, righteousness, and more than a little slapstick. ~ Clarke Fountain, Rovi

A group of international jewel thieves band together to pull off a huge heist in this suspenseful caper film that was shot in Europe, New York, and Brazil. The adventure begins in Rio where a burned out school teacher (Edward G. Robinson) decides to chuck his unfulfilling career and try to steal some of the diamonds he sees being delivered to the gem company across the street from his classroom. Realizing that the theft must be carefully planned and delicately executed, he heads for New York to gain the assistance of an old friend, a crime boss (Adolfo Celi) who then gathers an outlaw group comprised of an electronics expert, a safecracker, a gigolo, and an ex-mercenary. They make their plans and head back to Rio when the city is engulfed in Carnival celebrations. Unfortunately, they quickly learn that the diamond company has installed a nearly impenetrable new security system called Grand Slam 70. While altering their plans, the company secretary (Janet Leigh) gets suspicious and makes a few plans of her own. ~ Sandra Brennan, Rovi