Tonino Guerra Movies

Italian army regulars resist the orders of a cruel general whose rigid interpretations of the rules call for a man to be shot. Leone (Alain Cuny) orders the execution of an army regular who halted the troops while under enemy fire. A sympathetic lieutenant substitutes a dead body for that of the doomed soldier because he believes the general has been wrong and the man acted normally. Another lieutenant is shot when he refuses to shoot men who have exited quickly from a foxhole under bombardment. This anti-war film illustrates the enemy is not the only force of evil on the battlefield and that war is inherently wrong for everyone involved. ~ Dan Pavlides, All Movie Guide

Leonardo (Franco Nero) is a painter who retreats to a house in the country to regain his lost inspiration. He is plagued by the presence of an erotic apparition. The gorgeous ghost soon moves the painter to the point he wishes to carry on a relationship with her. Leonardo is several bristles shy of a brush as he sinks deeper into insanity. When his fiancé arrives for a visit, she is murdered and chopped into little pieces by the troubled artist. Vanessa Redgrave and Gabriella Grimaldi also star in this story of madness and horror. ~ Dan Pavlides, All Movie Guide

Vittorio De Sica directed this sudsy romantic drama, which received punishing reviews on its initial release. Recently-divorced fashion designer Julia (Faye Dunaway) arrives in Venice from the U.S. and meets handsome race car driver Valerio (Marcello Mastroianni) at the airport. While she initially brushes off his advances, she soon has a change of heart and invites him to spend a few days with her at the villa where she'll be staying. After several days divided between lovemaking and sightseeing, a party at Julia's home turns into an orgy, and Valerio decides that he's bitten off more than he can chew and leaves her. However, Valerio soon learns that there's a reason for Julia's reckless abandon -- she is suffering from a terminal illness and has a very short time to live. Faye Dunaway and Marcello Mastroianni were romantically involved at the time Amanti was in production, though little of their personal chemistry appears onscreen. ~ Mark Deming, All Movie Guide

This drama examines the ethics of filmmaking as it chronicles the detached way in which a documentary maker exploits the misery of his subjects. It all begins with the seduction of another man's wife. He takes the woman to Bombay where he is filming opium addicts undergoing a rather extreme cure involving physical beatings. He then heads for Bali to chronicle the cruelty suffered deaf-mute prostitutes. Next, he goes to a Buddhist temple and tries to persuade a monk to light himself on fire. Back in India he cons a starving, deposed maharajah into eating bugs in exchange for canned food. The mistress is disgusted by the way her lover callously exploits and degrades these victims. She berates him, but still heads for war-torn Vietnam to catch some atrocities. The documentarist is excited when he learns the Viet Cong are planning to bomb a bar, and he hides his camera inside. The bomb goes off and most of the inhabitants are blown up. Later the delighted director retrieves the film. When he finds his lover dead inside the ruins, he orders his assistant to film his crying face. ~ Sandra Brennan, All Movie Guide

Italian director Michelangelo Antonioni's first English-language production was also his only box office hit, widely considered one of the seminal films of the 1960s. Thomas (David Hemmings) is a nihilistic, wealthy fashion photographer in mod "Swinging London." Filled with ennui, bored with his "fab" but oddly-lifeless existence of casual sex and drug use, Thomas comes alive when he wanders through a park, stops to take pictures of a couple embracing, and upon developing the images, believes that he has photographed a murder. Pursued by Jane (Vanessa Redgrave), the woman who is in the photos, Thomas pretends to give her the pictures, but in reality, he passes off a different roll of film to her. Thomas returns to the park and discovers that there is, indeed, a dead body lying in the shrubbery: the gray-haired man who was embracing Jane. Has she murdered him, or does Thomas' photo reveal a man with a gun hiding nearby? Antonioni's thriller is a puzzling, existential, adroitly-assembled masterpiece. ~ Karl Williams, All Movie Guide

Set in fourth century Italy, this sword and sandal adventure retells the story of Kurosawa's The Seven Samurai as it follows the exploits of two brothers who gather a gallant group of ex-galley slaves and sail off to the Middle East to enact the downfall of a tyrant. ~ Sandra Brennan, All Movie Guide

Based on an interesting plot from a novel by Robert Sheckley, this movie features tongue-in-cheek performances by Andress and Mastroianni, which are responsible for its status as a minor cult favorite. Set in the 21st century, this science fiction movie depicts a society in which population control is facilitated by the use of legalized murder. The society plays an assassination game for fun, in which the last person left alive is the winner. The movie is made for entertainment, but there are some sexual situations. ~ All Movie Guide

In this sex-charged character study, a woman's husband persuades her to share in his predilection for group sex. Later, she meets a student and has a one-day affair with him. ~ Steve Huey, All Movie Guide

Red Desert (Il Deserto Rosso) once more combines the considerable talents of director Michelangelo Antonioni and star Monica Vitti. Cast as Giuliana, an unhappy wife, Vitti suffers from an unnamed form of depression and malaise. Her quicksilver emotional shifts disturb everyone around her, but they, like she, pretend that nothing is truly wrong. British engineer Corrado Zeller (Richard Harris) seems to understand what Giuliana is really after in life, and he acts upon it by entering into an affair with the troubled woman. Giuliana eventually comes to terms with her physical and mental pain, but this hardly means that she's "cured" in the conventional sense. Monica Vitti's sense of isolation is heightened by Antonioni's (and cinematographer Carlo DiPalma's) choice of colors, and especially by Carlo Savina's bizarre electronic musical score. This is a landmark movie in Antonioni's effort to portray alienated individuals in contemporary life; he places people against towering forms of technology to emphasize their smallness and lostness in the modern world of technological change. ~ Hal Erickson, All Movie Guide

In this challenging drama by Michelangelo Antonioni, his characteristic long, significant periods of silence punctuate the message that people just cannot seem to communicate with each other. Capping off Antonioni's previous two films (L'avventura and La Notte) in much the same style, this tale involves a woman, Vittoria (Monica Vitti), who has just suffered the break-up of an imperfect relationship with a staunch intellectual (Francisco Rabal). Piero (Alain Delon), a stockbroker, casts his romantic gaze in Vittoria's direction and the woman gradually relents and they begin a tentative affair. There is much to appreciate in this man who is not overly intellectual and is blessedly free of complications, and the same can be said of Vittoria. Yet their innermost fears play upon both of them in ways that go against an honest expression of their love -- and against a lasting relationship. ~ 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