Ennio Morricone Movies
With his peerless versatility and productivity, Ennio Morricone has been one of the most famous and influential film composers since the 1960s. Drawing from classical, jazz, rock, Italian folk, and avant-garde influences, Morricone's 400-plus scores have accompanied every conceivable movie genre; his innovative soundscapes for Sergio Leone's 1960s Westerns, however, were enough to ensure his lasting reputation. His list of directorial collaborators a veritable Who's Who of post-1960 international cinema, Morricone's music has masterfully accompanied the films of most notably Leone, Bernardo Bertolucci, Pier Paolo Pasolini, Giuseppe Tornatore, Roland Joffe, Brian De Palma, and Warren Beatty.A lifelong Rome resident and classically trained musician, Morricone began studying at the Conservatory of Santa Cecilia at age 12. Advised to study composition, Morricone also specialized in playing trumpet and supported himself by playing in a jazz band and working as an arranger for Italian radio and TV after he graduated. Morricone subsequently became a top studio arranger at RCA, working with such stars as Mario Lanza, Chet Baker, and the Beatles. Well-versed in a variety of musical idioms from his RCA experience, Morricone began composing film scores in the early '60s. Though his first films were undistinguished, Morricone's arrangement of an American folk song intrigued director (and former schoolmate) Sergio Leone. Leone hired Morricone and together they created a distinctive score to accompany Leone's different version of the Western, A Fistful of Dollars (1964). Rather than orchestral arrangements of Western standards à la John Ford -- budget strictures limited Morricone's access to a full orchestra regardless -- Morricone used gunshots, cracking whips, voices, Sicilian folk instruments, trumpets, and the new Fender electric guitar to punctuate and comically tweak the action, cluing in the audience to the taciturn man's ironic stance. Though sonically bizarre for a movie score, Morricone's music was viscerally true to Leone's vision. As memorable as Leone's close-ups, harsh violence, and black comedy, Morricone's work helped to expand the musical possibilities of film scoring. Though he was initially billed on Fistful as Dan Savio, Morricone's name became almost as well-known as Leone's when his more ambitious score for The Good, the Bad and the Ugly (1966) yielded a Top Ten hit (despite his avowed disdain for pop music soundtracks).
Even more so than in the first two Dollars films, Morricone's scores for The Good, the Bad and the Ugly and Leone's epic Once Upon a Time in the West (1968) elevated the action to operatic heights. Reaching crescendos in The Good's famous graveyard shootout and West's showdown between Charles Bronson's Harmonica and Henry Fonda's Frank Booth, Morricone and Leone created set pieces that were as powerful musically as visually, placing music on a par with the image rather than subordinating it. Integrating a spectral harmonica into the theme music for Booth as well as Harmonica, the soundtrack hints at their fateful relationship long before the truth is visually revealed. Morricone's scores were so integral to Leone's Westerns that he had Morricone write and record Once Upon a Time in the West's main themes, and then played them during shooting so that the actors could move to the score's rhythms. Morricone and Leone repeated this for their equally effective collaboration on the gangster saga Once Upon a Time in America (1984).
Even as he was permanently changing the landscape of Western scores, the breadth of Morricone's talent became apparent as he took on more overtly "art" film projects. Morricone's music lent drama to Gillo Pontecorvo's highly regarded, documentary-style war film The Battle of Algiers (1966); that of Algiers and his score for Pontecorvo's Queimada! (1969) were two of Morricone's outstanding, non-Leone 1960s works. Morricone also delved into the remnants of Italian cinema's postwar heritage with Marco Bellochio's unsung, late neorealist film Fist in His Pocket (1965), Bernardo Bertolucci's neo-neorealist second film Before the Revolution (1964), and Pier Paolo Pasolini's parable/farewell to that legacy, Hawks and Sparrows (1966). Keeping pace with Bertolucci's and Pasolini's evolving styles and concerns, Morricone continued to collaborate with the directors into the 1970s. From the Godard-ian Partner (1968) to the coming of age story Luna (1979) and hostage drama Tragedy of a Ridiculous Man (1980), Morricone enhanced the emotion and drama of Bertolucci's increasingly stylized (and occasionally muddled) imagery, reaching an apex with the somber, grand, and celebratory compositions for Bertolucci's epic 1900 (1976). Morricone's lavish scores for Pasolini's sexy, satirical "Trilogy of Life," The Decameron (1970), The Canterbury Tales (1971), The Arabian Nights (1974), and his notorious final film Salo, or the 120 Days of Sodom (1975), were one of the few aspects of the films not to provoke controversy.
Staying close to his genre film roots even as he advanced in art cinema, Morricone provided psychedelic accompaniment for Mario Bava's superhero romp Danger: Diabolik (1968), and crafted a series of evocative scores for Dario Argento's stylized thrillers, including The Bird With the Crystal Plumage (1969), The Cat O'Nine Tails (1971), and Four Flies on Grey Velvet (1974). Enhancing his international reputation from the 1970s onward, Morricone continued to compose for movies across the artistic spectrum as well as collaborating with an international constellation of directors and stars. Beginning with The Burglars (1971), Morricone devised straight-up action scores for several Jean-Paul Belmondo star vehicles, including Le Professionel (1981); his music also graced the wildly popular French transvestite comedy La Cage Aux Folles (1978) and its sequels. Hired by Don Siegel to give his ironic edge to the Clint Eastwood Western Two Mules for Sister Sara (1970), Morricone made his presence felt in American films in the late '70s with his eerie, pulsating music for the otherwise ridiculous sequel The Exorcist II: The Heretic (1977). Morricone finally received his first Oscar nomination for his magical, pastoral score for Terrence Malick's spectacularly beautiful Days of Heaven (1978).
Constantly working and easily shaking off such lows as a Razzie nomination for John Carpenter's remake of The Thing (1982), and the troubled fates of Sam Fuller's provocative race drama White Dog (1982) and Leone's Once Upon a Time in America (1984), Morricone hit another career peak in the mid-'80s with directors Roland Joffe and Brian DePalma. Merging Brazilian folk and European liturgical traditions through drums, flutes, oboes, chants, and arrangements of "Ave Maria" and "Te Deum," Morricone's majestic score for Joffe's award-winning epic The Mission (1986) garnered another Oscar nomination and became a soundtrack hit. One of Morricone's personal favorites (along with The Exorcist II), he has said of The Mission that it "represents me nearly completely." Morricone earned another Oscar nod the following year for his lushly orchestral, yet edgy, percussion-driven score for De Palma's popular big screen version of The Untouchables (1987). As with his durable associations with Leone, Bertolucci, and Pasolini, Morricone went on to score Joffe's Fat Man and Little Boy (1989), City of Joy (1992), and Vatel (2000), and De Palma's Casualties of War (1989) and Mission to Mars (2000).
Morricone entered into yet another fecund creative partnership in the late '80s with Giuseppe Tornatore's Cinema Paradiso (1988). A favorite of movie music fans, but not one of his Oscar nominations, Morricone's score struck the perfect balance of sentimental, bittersweet nostalgia to accompany Tornatore's paean to cinema. Morricone also scored Tornatore's more downbeat Everybody's Fine (1990), cinema love letter The Star Maker (1995), and earned kudos for his imaginative music for The Legend of 1900 (1998). His work on Tornatore's Malena (2000) earned Morricone his fifth Oscar nomination.
After excursions into Shakespeare with Franco Zeffirelli's version of Hamlet (1990) and the dark side of desire with Pedro Almodóvar's sex comedy Tie Me Up! Tie Me Down! (1990), Morricone garnered his fourth Oscar nod for his moody, period-tinged score for Barry Levinson's Bugsy (1991). As prolific in the 1990s as ever, Morricone had a happy reunion with Eastwood for the summer hit In the Line of Fire (1993), provided the violins for Bugsy star Warren Beatty's glossy remake of Love Affair (1994), brought out the horror and romance in Mike Nichols' Wolf (1994), ditto for Adrian Lyne's adaptation of Lolita (1997), and scored a docudrama about his erstwhile murdered collaborator Who Killed Pasolini? (1995). Working again with Beatty, Morricone neatly sent up political platitudes with martial horns, drums, and fifes and hauntingly paid tribute to the senator's spirit with soaring yet funereal strings in Beatty's incisive satire Bulworth (1998), earning a Grammy nomination for his work.
Even as he began to collect lifetime achievement awards, including a Golden Lion at the Venice Film Festival in 1995, Morricone continued going strong into the new millennium. Maintaining his presence in European and American cinema through his work with Joffe, De Palma, and Tornatore, Morricone also revisited another past creative relationship when he reunited with The Cannibals (1971) director Liliana Cavani for her adaptation of Patricia Highsmith's Ripley's Game (2002). ~ Lucia Bozzola, All Movie Guide
- 2009
Giuseppe Tornatore directed this grand-scale portrait of life and love over several decades in a small town in Sicily. The Torrenuovas are a family of peasant shepherds who have lived and worked in Bagheria though many generations. In the years before the rise of Mussolini, the family often found themselves working for Don Giacinto (Lollo Franco), a local tycoon who often used his power and position to take advantage of others. Young Peppino Torrenuova senses a profound injustice in the way Don Giacinto treats his elders, and as the years pass the young man becomes a passionate advocate for social change. Once he grows to be a man, Peppino (Francesco Scianna) falls in love with beautiful Mannina (Margareth Made) and they get married, starting a family of their own over the objections of Mannia's parents, who believe she can do better. As Peppino throws in his lot with the local Communist party and works to make life better for his fellow peasants, we see a number of important historical events through his eyes and watch the fortunes of his town and his family rise and fall. Featuring guest appearances by Monica Bellucci, Raoul Bova and Donatella Finocchiaro, Baaria was the opening night attraction at the 2009 Venice International Film Festival. ~ Mark Deming, All Movie Guide
- 2008
This concert performance captures the legendary Ennio Morricone conducting the Roma Sinfonietta Orchestra through a number of his most famous film works including selections from Once Upon a Time In America, The Good, The Bad, and the Ugly, and The Mission. ~ Perry Seibert, All Movie Guide
- Starring:
- Roma Sinfonietta Orchestra, Choir La Fenice, (more)
- 2006
The devastated life of a man haunted by the unsolved murder of his beloved wife is strangely complicated by the mysterious neighbor who loves him from afar in a dark noir thriller directed by Manuel Pradal and starring Norman Reedus, Emmanuelle Béart and Harvey Keitel. Vincent (Reedus)' wife has suffered a most brutal fate, and these days the once happy New Yorker is but a frozen shell of his former self. Vincent is not a man unloved, however, because although he may currently be unaware of her feelings for him, his neighbor Alice (Béart) knows in her heart that she and Vincent were meant to be together. All that needs to happen to make Vincent recognize her love is for the grieving widower to finally be liberated from his tragic past; and Alice is willing to go to any lengths necessary in order to make this happen. If Vincent was finally to find the man responsible for his wife's death, he could finally be free to open his heart to Alice. When Alice hails a cab driven by lonely New York soul Roger (Keitel), the gears of the scheming woman's elaborate plan are slowly set into motion despite the ignorance of both the naïve cabbie, and the somber object of her delusional affections. ~ Jason Buchanan, All Movie Guide
- Starring:
- Harvey Keitel, Emmanuelle Béart, (more)
- 2006
Few American film enthusiasts were even aware that anyone made westerns in Italy before Sergio Leone's breakthrough film, 1964's Per un Pugno di Dollari (aka A Fistful Of Dollars), made Clint Eastwood a worldwide star and introduced audiences to the forbidding beauty and troubling morality of Leone's unique vision of the American West. A Fistful of Dollars was an international hit, as were its follow ups Per Qualche Dollaro in Più (aka For A Few Dollars More) and Il Buono, il Brutto, il Cattivo (aka The Good, The Bad and the Ugly), and Leone's striking visual sense and complex storytelling established him as one of the masters of genre filmmaking, though in later years his ambition would outstrip his ability to bring his projects to the screen. Sergio Leone: Il mio modo di vedere le cose (aka Sergio Leone: The Way I See Things) is a documentary which takes a loving look at the highlights of Leone's career in cinema, offering a behind-the-scenes look at how several of his best films were made through interviews with actors and technicians who collaborated with him as well as archival footage of Leone discussing his pictures. Sergio Leone: The Way I See Things received its American premiere at the 2006 Cinequest Film Festival. ~ Mark Deming, All Movie Guide
- Starring:
- Eugenio Alabisio, Nino Baragli, (more)
While the major American TV networks were jockeying to be the first to present a filmed biography of the late Pope John Paul II, cable's humble Hallmark Channel managed to beat everyone to the punch with the four-hour Karol: A Man Who Became Pope. Actually, this made-for-TV film was a Polish-Italian co-production, debuting on Italian television as Karol, un Uomo Diventato Papa on April 8, 2005, and subsequently released theatrically in Poland. Curiously, it had been filmed in English, so no dubbing was necessary -- thus enabling Hallmark to rush the production onto American screens as early as August 15, 2005. Piotr Adamczyk stars as Karol Wojtyla, whose tireless fight for humanity and basic fundamental rights begins with the German invasion of his native Poland in 1939. Appalled at the brutal treatment afforded his Jewish friends, Karol turns to religion as a means of making a difference in the world, and with the help of several other like-minded individuals mounts a nonviolent, but extremely effective, anti-Nazi resistance. Ordained as a priest at war's end, Karol finds himself fighting another form of godless totalitarianism, this one from the Communists who have overtaken his country. Ultimately, Father Karol Wojtyla's noble mission culminates in his being elected as Pope John Paul II in 1978 -- and it was surely no coincidence that Poland's liberation was now but a matter of time. Although A Man Who Became Pope looks lavish and expensive, it was very economically produced, and had made back its cost many times over before its acquisition by Hallmark. The film is also a "winner" in terms of its straight-on portrayal of the pontiff, and the commendably sincere, unadorned performances of virtually every actor in the cast. ~ Hal Erickson, All Movie Guide
- Starring:
- Piotr Adamczyk, Malgorzata Bela, (more)
The Spaghetti West documents the film genre referred to as Spaghetti Westerns. These movies were made in Italy, where production costs were very cheap and the terrain offered perfectly believable sets, during the 1950s and '60s. While Sergio Leone became the most well-known director that made his bones in the genre, a number of famous film personalities such as Clint Eastwood and Ennio Morricone established themselves in these Westerns. The film utilizes clips of some of the most famous spaghetti westerns, as well as interviews with those who made the films and those who have been inspired by these sparse, stylish movies. ~ Perry Seibert, All Movie Guide
- 2004
Political proverb states that a population in fear is a population that is easily controlled. In this documentary exploring the climate of fear that existed in the wake of the September 11, 2001 terrorist attacks on the United States, filmmaker Adam Curtis explores the possibility that Western neoconservatives used anxiety as a tool to manipulate the masses into behaving in a predictable and controllable manner. By claiming that contemporary Western Democracy relies more on propagating the myth of an all-powerful al-Qaida just waiting for the right time to strike rather than focusing on domestic issues and the bettering of the people, as previous generations of politicians had done, Curtis suggests that Washington is intentionally manipulating the population into a defensive stance that gives those in charge more power than necessary. ~ Jason Buchanan, All Movie Guide
- 2003
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For a variety of reasons, mostly political, Charlie Chaplin left the United States in the early fifties living the final quarter-century of his life in Switzerland. Charlie Chaplin: The Forgotten Years documents this last act in the legendary director's life. The film intersperses personal footage of the man with interviews from those who knew him during this period. ~ Perry Seibert, All Movie Guide
- Starring:
- Geraldine Chaplin, Eugene Chaplin, (more)
- 2003
Miguel Hermoso's La Luz Prodigiosa (Marvelous Light) examines what might have happened if famed Spanish writer Federico Garcia Lorca had not been executed at the beginning of the Spanish Civil War. In Grenada in 1936 Joaquin (Ivan Corvacho Cervantes) delivers a man he decides to call Galapago (Sergio Villanueva) to nuns after Galapago is shot. Fifty years later, Joaquin comes back to Grenada and is conned by Adela (Kiti Manver). Joaquin decides to find Galapago, who is now homeless. Joaquin and Adela soon suspect that Galapago may be Lorca, and each reacts to the situation differently. The music for Marvelous Light was written by the great Ennio Morricone. ~ Perry Seibert, All Movie Guide
- Starring:
- Alfredo Landa, Nino Manfredi, (more)
- 2002
Giorgio Perlasca was an Italian cattle dealer who was sympathetic to the fascist cause until September 8, 1943. Perlasca was in Budapest, Hungary, on a business trip when he had the opportunity to see first hand how Hungarian Jews were being treated by German occupying forces. Shocked by the cruelty and violence he saw, Perlasca had a sudden change of heart, and hatched a plan to help the Jews escape to freedom by impersonating a Spanish consul. As a result of Perlasca's brave actions, the lives of five thousand people were spared that day. Perlasca is a historical drama originally produced for Italian television which reenacts Perlasca's remarkable true story; Luca Zingaretti leads the cast as the daring Italian businessman. ~ Mark Deming, All Movie Guide
- Starring:
- Luca Zingaretti, Jerome Ange, (more)
- 2002
Directed by Tinto Brass, Senso '45 takes place during the waning period of Nazi occupation in Venice, and is based on an 1882 novella written by Camillo Boito. When a wealthy, politically connected older woman named Livia (Anna Galiena) develops a relationship with Helmut (Gabriel Garko), a rakish, opportunistic SS officer, both are sucked into a state of moral decline similar to that which the country itself has gone into since the occupation. Senso '45 also features Franco Branciaroli, Antonio Salines, Loredana Cannata, Erika Savastani, and Simona Borioni.
~ Tracie Cooper, All Movie Guide
- Starring:
- Anna Galiena, Gabriel Garko, (more)
- 2001
Auteur Silvano Agosti wrote, produced, directed, edited, and photographed this spicy Italian comedy about a husband trying to rekindle his marriage. A filmmaker (Franco Nero) is worried that the spark has gone out of his marriage to Anna (Eleonora Brigliadori), an attractive blonde several years his junior. The director isn't certain if Anna's disinterest in the bedroom is due to his infidelity, their inability to have a child, or simple depression on her part, but he starts to wonder if their 15-year marriage may be coming to an end. One night, the filmmaker hears his wife murmuring a number of erotic suggestions in her sleep, and he's more than willing to comply with her wishes when she awakens, whether it means an all-green wardrobe or seducing her during the next rainstorm. Silvano Agosti actually decided not to write the score for La Ragion Pura himself, instead allowing veteran composer Ennio Morricone to provide music for the film. ~ Mark Deming, All Movie Guide
- Starring:
- Franco Nero, Eleonora Brigliadori, (more)
- 2000
Recalling François Girard's The Red Violin, Canone Inverso - Making Love is a multi-layered, multi-generational tale of music, fate, and passion. Based on the novel by Paolo Maurensig, the film opens in pre-WWII Europe, where Jeno, a half-Jewish boy, lives in relative poverty with his mother. His father, who abandoned his wife and son, left them with only a rare violin and a canone inverso, a traditional composition written for two instruments. During Jeno's (Hans Matheson) adolescence, his mother dies, and in the wake of her death, he is drawn to Sophie Levy (Melanie Thierry), a married, French Jewish pianist with whom he develops a close relationship. At Sophie's encouragement, Jeno applies for a scholarship to a music conservatory; there, he meets David Blau (Lee Williams), an aristocratic cad who becomes a great influence in Jeno's life. When Jeno is expelled from the school for being Jewish, David quits in protest and takes his friend back to his father's estate. It is at the estate that Jeno discovers a piece of music written by David's father that sparks a revelation about his family heritage -- and his connections to David and Sophie. ~ Rebecca Flint Marx, All Movie Guide
- Starring:
- Gabriel Byrne, Domiziana Giordano, (more)
- 1996
Usury is a serious problem in mid-'90s Italy, a country torn by the realities of a long-term economic recession and the people's desires for material prosperity. Unforutnately, with the closure of many Italian banks and the lack of available credit, these things are hard to come by legally, so many, especially businessmen, turn to loan sharks. According to surveys, over %65 of the nation's businesses have involvement with violent loan sharks who like their seafaring cousins will patiently circle the rickety financial lifeboats of their prey until the right moment and then rush in for the kill. This allegorical crime drama from Italian filmmaker Ricky Tognazzi chronicles the complex psychological relationship between one such loan shark and his prey, an old friend from college. Francesco (the intended victim) runs a failing construction company owned by his dying father-in-law who went deeply in debt trying to keep the firm afloat. Outwardly, Sergio is an upstanding financial advisor who knew Francesco a decade before when they were both wild college boys. Sergio learns of Francesco's plight via a helpful banker and as soon as the father-in-law dies sends Claudio (his thug) to visit the bereaved family. Saying he represents the wealthy Signora Sauro (Sergio's secret lover and accomplice) Claudio offers to make a substantial loan to Francisco who accepts. Soon Sergio is back in Francesco's life. He has set his sights on his old friend's beautiful wife Miriam and becomes obsessed with bedding her. At the same time Claudio, whom Francesco doesn't realize is in cahoots with Sergio, begins threatening him for the money. Fortunately Sergio is there to 'save' Francesco from what he doesn't realize is the inevitable destruction of his business. At least that was Sergio's plan. Unfortunately, as ruthless and shrewd as he is, he does not count on the inconsistency of his accomplices. He also underestimates his victims and that proves for him, a terrible mistake. The film is also known as Un Homme Honnete. ~ Sandra Brennan, All Movie Guide
- Starring:
- Vincent Lindon, Sabrina Ferilli, (more)
- 1996
The title creature is not a canine but rather a passionate, strong-willed Sicilian woman who turns her home village on its ear with her constant battles against sexual repression. This sensual Italian drama chronicles some of La Lupa's seductive hunts. Her prey includes a strapping young buck just home from the military and the town priest. ~ Sandra Brennan, All Movie Guide
- 1996
Filmed on location in Colombia, the four-part British miniseries Nostromo was based on the 1904 Joseph Conrad novel of the same name. Relocating to the fictional South American country of Costaguana, 19th century British aristocrat Charles Gould (Colin Firth) was determined to revive the old San Toma silver mine established by his father. As Gould was swept up by events beyond his control, the story began to focus upon the mine's head stevedore Nostromo (Claudio Amendola), a mysterious, mystical man much admired and respected by his fellow natives. When a revolution broke out, Nostromo was entrusted with a large amount of Gould's precious silver. Would this responsibility culminate in the corruption of Nostromo -- or would he be "saved" through the intervention of Gould's wife, Emelia (Serena Scott-Thomas). Albert Finney stole the show as the mercurial Dr. Monygharm. Originally telecast by BBC2 in 1996, Nostromo aired in America the following year. ~ Hal Erickson, All Movie Guide
- 1996
A ripe 19-year-old virgin fights to keep her virtue and retain her free-spirited ways during WW II. Set in an ancient, remote Neapolitan village, Miluzza is the lovely pubescent daughter of the glorious Nunziata, a nymphomaniac who is surprisingly well tolerated by her husband and her normally conservative neighbors. Nunziata and Miluzza lead an idyllic life until the Allies bomb their village. During the shelling Nunziata is killed in a manner that would make Freud proud. Afterward, Miluzza gets work at a tomato sauce factory where the owner, enticed by an accidental peak at her underwear attempts to seduce her in a local hotel. With her reputation thus ruined, life for Miluzza becomes a struggle to fight the gossip mongers and those who would rape here until she encounters Pietro, a handsome wounded soldier who offers her a better life. ~ Sandra Brennan, All Movie Guide
The life of the reluctant Old Testament prophet is told in this made-for-television biblical drama. When the Pharaoh Ramses calls for the death of all Hebrew children, a mother puts her son Moses in a basket and sends him down the Nile to save his life. The baby is found by a princess and raised as the heir to the family throne. Called upon by God, the hesitant Moses (Ben Kingsley) accepts the challenge to lead his enslaved people out of Egypt for what becomes a 40-year journey into the promised land. This extravagant production was nominated for the "Outstanding Mini-Series" Emmy. ~ Bernadette McCallion, All Movie Guide
- 1996
This drama, set in 1938, chronicles a month in the life of the Portuguese journalist Pereira. He is first seen as a lonely, widowed, and overweight editor of the culture page of a second-rate Lisbon newspaper. Earlier in his career, he had been a news reporter. Pereira is fascinated with old literature; he is also obsessed with death. He hires himself an assistant, Monteiro Rossi, to prepare obituaries for old writers before they die. The young man and his girlfriend are both passionate fighters against the dictatorship in Portugal. They, along with a German Jewish woman, help to draw Pereira out of his dusty old books and spark his interest in the current political turmoil of Europe. Eventually they strongly encourage him to use his position to post notice of the impending dangers to the public. At their urging, Pereira is emboldened to publish his translation of an anti-German French short story. Although he sneaks it past the censors, his editor catches it and Pereira is in deep trouble. Meanwhile Rossi leaves his job to join the underground revolutionaries. Pereira keeps sending money to Rossi's girl, but he doesn't become totally committed to the cause until he meets up with the philosophical cardiologist who narrates the tale. ~ Sandra Brennan, All Movie Guide
- Starring:
- Marcello Mastroianni
