Francesco Maselli Movies

A group of leftist radicals send an incendiary letter to a major local newspaper, only to find their devotion to the cause at hand tested when the paper actually prints the letter in director Francesco Maselli's provocative entry into the cinema politico sub-genre. The war in Vietnam is raging, and as the body count continues to rise, the Italian Communist Party grows increasingly complacent. In a desperate effort to shake up the communist leaders, a small group of leftist activists have sent a letter to the evening newspaper stating that they intend to take up arms against American troops in Vietnam as a protest against the war. The only problem is that they never expected the paper to print the letter. Now, with public attention to their plight at an all-time high, the scandalous provocateurs will be forced to decide whether or not their commitment to peace is really worth dying for. Produced by Franco Cristaldi and featuring an impressive cast that includes Nanni Loy, Monica Strebel, Tanya Lopert, Lorenza Guerrieri, and Graziella Galvani, Masselli's classic black comedy was considered so controversial upon initial release that it nearly ended the director's career. ~ Jason Buchanan, Rovi

This provocative drama toys with notions of time and space on film as it presents the story of a woman who is suddenly abandoned by her lover and mentor, the famed Italian writer Emilio Flora who has been nominated for a Nobel Prize. For the past three years this man who is considerably older than the woman has devoted most of his time educating her in art, literature, and science, and love. Now that he is gone, the woman must try to understand why. She is the only character in the film which takes place in the little house they shared. Her only outside connections are with the telephone. ~ Sandra Brennan, Rovi

Adapted from Umberto Eco's best-selling novel, director Jean-Jacques Annaud's The Name of the Rose is a 14th century murder-mystery thriller starring Sean Connery as a Sherlock Holmes-esque Franciscan monk called William of Baskerville. When a murder occurs at a secluded Benedictine Abbey, William is called in to investigate. As he and his apprentice, Adson von Melk (Christian Slater), delve deeper and deeper into the case, more dead bodies begin to turn up. Eventually, Bernardo Gui, an inquisitor played by F. Murray Abraham gets involved, but he may not have the best intentions. Sean Connery's performance earned him the award for Best Actor at the 1988 British Academy Awards. ~ Matthew Tobey, Rovi

Political intrigues and infighting within the Italian Communist Party are the overriding themes of this drama. Emile (Gian Maria Volonte) has been sent to Turin by the Italian Communist Central Committee in Paris, ostensibly to find out which of the four Party representatives working in the Fiat is a spy. Previously, Emile had been ostracized because he had a too-heated argument with a member of the Party's Trotskyite faction. Restored to favor, he takes his assignment very seriously and has many searching interviews with each of the four. ~ Clarke Fountain, Rovi

The "doll"in this Italian seriocomedy is played by Virna Lisi. Craving attention, Virna claims that she has been robbed and assaulted. Thanks to this artifice, she becomes a celebrity, and then a high-priced model. Her chickens come home to roost when three innocent men are arrested and charged for the non-existent robbery and rape. Virna is all for keeping her mouth shut, but her resolve is weakened by Haya Harareet, the wife of one of the accused. Doll That Took the Town was originally released as La Donna Del Giorno. ~ Hal Erickson, Rovi

The idle lives of the rich or famous or both are depicted from an aloof and uninvolved perspective in this standard though uneven drama by director Francesco Maselli. Claudia Cardinale appears in one of her early screen roles as Fedora, a member of the elite and privileged in a provincial Italian town. The seedy underside of illicit affairs, quick flings, betrayals and deceptions, and other, similar pasttimes of the "in" circle slowly become apparent when a young outsider tries to gain acceptance into the exclusive group. As the plot weaves in and out of the various liaisons in a cool and remote manner, the motivation for wanting to take part in it all is hard to fathom. ~ Eleanor Mannikka, Rovi

Seven top Italian filmmakers pooled their talents on the omnibus "reality" feature Amore in Citta (Love in the City). The film is divided into six separate episodes; the first of these, "Paid Love", is a straightforward study of prosititution written and directed by Carlo Lizzani. In the second, Michelangelo Antonioni's "Attempted Suicide", several would-be suicides discuss the reasons for their despair. Dino Risi's "Paradise for Four Hours" is a humorous glance at a provincial dance hall. Federico Fellini's "Marriage Agency" finds an investigative reporter posing as a husband-to-be. Cesara Zavattini and Umberto Maselli's "Story of Caterina" dramatizes the true story of a young unwed mother. And "Italians Stare", written and directed by Alberto Lattuada, illustrates the various "girl-watching" techniques of Italian males. Among the actors particpating in the six vignettes are Ugo Tognazzi, Maressa Gallo, and Caterina Riogoglioso. Originally intended as the first installment in a "movie magazine" titled "The Spectator", Amore in Citta was released at 110 minutes; most American prints are bereft of the opening "Paid Love" segment. ~ Hal Erickson, Rovi

Michelangelo Antonioni's first narrative feature is a stark, minimal interpersonal drama that would establish many of the themes and techniques that would recur in his work for the rest of his career. Story of a Love Affair centers on the dynamic between Guido (Massimo Girotti) and Paola (Lucia Bosé), two old flames re-igniting their passions for one another. Tabs are being kept on both of the lovers by their current spouses as well as by a private investigator, but even after their pursuers fall out of the picture -- whether due to accidents or disinterest -- Guido and Paola find that their love for each other is waning. Filled with stark, empty compositions, unpredictable camera movements, and static, self-obsessed characters, Story of a Love Affair would mark Antonioni as a maverick among the prevailing neorealists of the post-war Italian film community. ~ Michael Hastings, Rovi