Massimo Franciosa Movies

Three different takes on love are presented in this episodic Italian film. The first story begins as a prostitute is involved in an auto wreck and ends up in a body cast. While recuperating, she attempts to seduce a young priest preparing to take his final vows. He does not succumb and instead tries to save her. By the story's end, she has become a nun, and he has left the clergy. The second tale follows a widow as she takes her husband's corpse back to Sicily. En route she makes a few new friends who turn out to be those who killed her husband, who unbeknownst to her was a notorious mafioso. In the last story, a young woman marries a troubled middle-aged man. To help him, she suggests he take a lover. She then finds out he has had one for a long time. ~ Sandra Brennan, All Movie Guide

For some reason, the elongated figures limned by the highly astigmatic painter El Greco (1541-1614) perfectly suited the grandees of Spain even though they were clearly anything but realistic, and they fascinate even today. The Greek (Cretan, actually) painter's life in Spain could have served as the basis for a fascinating biography, but the makers of this film chose to concentrate on the bad ol' Inquisition and portray the painter as being warned by his girlfriend that he is being watched; as a foreigner, he is suspected of heresy. Mel Ferrer plays the painter in this historical melodrama which is not nearly as bad as it could have been. ~ Clarke Fountain, All Movie Guide

Reminiscent in all ways to a "B" movie, this stock-in-trade story is about a young southern Italian who likes off-track betting and cannot hold down a job -- until he becomes a house servant to a man he admires very much. Life is idyllic until some gangsters ask the ex-con house servant to kill off his boss for money. When the young but honorable fellow cannot follow through with that idea, the gun gets turned against the forces of the underworld instead. ~ Eleanor Mannikka, All Movie Guide

Il Cocco di Mamma translates to "Mamma's Boy," a more than adequate description of protagonist Maurizio Arena. On the verge of achieving success as a prizefighter, Arena loses because he's afraid his face will be permanently damaged. Branded a coward by his friends and family, our hero is finally able to find inner reserves of strength through the love of a good woman (Inge Schoener). No longer frightened of facial disfigurement, Arena at last emerges victorious. The story is nothing special, but the handling of the material, combined with the film's realistic depiction of life in working-class Rome, is first rate. ~ Hal Erickson, All Movie Guide

Director and co-writer Luigi Zampa, best known for his earlier works as a satirist of favorite targets like bureaucratic labyrinths, takes a stab at the complicity of society and family in the criminal acts of a few individuals. The stage is set by a somewhat dysfunctional family with its sad history told in a series of flashbacks. Emilia Bonelli (Ana Mariscal) is an overly ambitious and driven woman. This dominant personality trait has its effects on her henpecked husband Luigi (Francois Perier), and her daughter Carla (Jacqueline Sassard). Circumstances ultimately lead to the courtroom and an aloof judge in the persona of Andrea Morandi (Jose Suarez). ~ Eleanor Mannikka, All Movie Guide

In this amusing look at the petty deceits of everyday life, Marcello Mastroianni shines as wealthy antique dealer Nello Poletti, a man with every comfort money can buy. One day, however, Poletti is falsely accused of murdering his former mistress (Micheline Presle), who set him up in a life of luxury only to be cast aside in favor of a younger woman (Cristina Gajoni). The evidence seems overwhelming, and Poletti is sent to jail, where he reflects on his shameful life of deceit in pursuit of wealth. Overcome by guilt, Poletti decides to confess, only to discover that the real killer -- a spurned lover -- has already been apprehended. Once he is off the hook, Poletti returns to his original pattern of fast cars and fast women, even jokingly referring to himself as "The Assassin," and proving that he has learned absolutely nothing from his ordeal. The story is fairly predictable, but is never less than entertaining, thanks to a clever screenplay by director Elio Petri, Tonino Guerra, Pasquale Festa Campanile, and Massimo Franciosa. Petri (making his directorial debut) gets the most out of his talented cast, particularly Mastroianni, and there are some nice supporting turns by veteran character actors Salvo Randone, Andrea Checchi, and Enrico Maria Salerno. ~ Robert Firsching, All Movie Guide

Set in Italy during WW I, this war drama centers on the off-beat relationship between a Bavarian general an a peasant girl after they both end up captured by a bungling Italian soldier. ~ Sandra Brennan, All Movie Guide

Set in the 16th century, this bawdy comedy is erotic without pornographic detail as two women and one man enjoy a wild and lusty relationship. Angela (Laura Antonelli) is widowed and one day, as she gazes out her window, she is stirred by the sight of a dashing blond foreigner (Jason Connery, son of Sean). She eventually sends her ladies' maid to speak to him as a go-between, while the ladies' maid of the married woman next door is on the same errand. It seems the foreigner is more interested in Angela's neighbor but has no compunction about making love to both women. The dashing young man is soon literally dashing from one woman to the next in a mixed-up confusion, not wanting to give himself away as romancing two women instead of one. Meanwhile, the ladies' maids (and others) enter into the act, while the married woman's husband is due home at any time. ~ Eleanor Mannikka, All Movie Guide

This gripping, Oscar-nominated war drama is set in the fall of 1943 during the Nazi occupation of Italy when all the Neapolitan males from five to sixty are forced to work in slave camps. Tired of the cruelty and oppression, the people rise up and launch such a violent melee that they frighten the German invaders out of their city. ~ Sandra Brennan, All Movie Guide

Valeria (Francoise Fabian) is a doctor, but she's also an alcoholic. Unable to do her regular work effectively, she gives that (and her family) up, so as to better devote herself to drink. However, she has an errant benevolent impulse and invites Chim (Anna Kanakis), a sluttish drug addict, to share her quarters. Thereupon she proceeds to dry the woman out, curing her of her addition almost solely through the force of her will. That done, her victim/patient decides that it's time to return the favor, and after a lot of hootin' and hollerin', demon rum is no longer part of her life. ~ Clarke Fountain, All Movie Guide

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, All Movie Guide

Arguably Luchino Visconti's best film and certainly the most personal of his historical epics, The Leopard chronicles the fortunes of Prince Fabrizio Salina and his family during the unification of Italy in the 1860s. Based on the acclaimed novel by Giuseppe Tomasi di Lampedusa, published posthumously in 1958 and subsequently translated into all European languages, the picture opens as Salina (Burt Lancaster) learns that Garibaldi's troops have embarked in Sicily. While the Prince sees the event as an obvious threat to his current social status, his opportunistic nephew Tancredi (Alain Delon) becomes an officer in Garibaldi's army and returns home a war hero. Tancredi starts courting the beautiful Angelica (Claudia Cardinale), a daughter of the town's newly appointed Mayor, Don Calogero Sedara (Paolo Stoppa). Though the Prince despises Don Calogero as an upstart who made a fortune on land speculation during the recent social upheaval, he reluctantly agrees to his nephew's marriage, understanding how much this alliance would mean for the impecunious Tancredi. Painfully realizing the aristocracy's obsolescence in the wake of the new class of bourgeoisie, the Prince later declines an offer from a governmental emissary to become a senator in the new Parliament in Turin. The closing section, an almost hour-long ball, is often cited as one of the most spectacular sequences in film history. Burt Lancaster is magnificent in the first of his patriarchal roles, and the rest of the cast, especially Delon and Cardinale, become almost perfect incarnations of the novel's characters. Filmed in glorious Techniscope and rich in period detail, the film is a remarkable cinematic achievement in all departments. The version that won the Palme d'Or at the Cannes Film Festival ran 205 minutes. Inexplicably, the picture was subsequently distributed by 20th Century Fox in a poorly dubbed, 165-min. English-language version, using inferior color process. The restored Italian-language version, supervised by cinematographer Giuseppe Rotunno, appeared in 1990, though the longest print still ran only 187 minutes. ~ Yuri German, All Movie Guide