Carlo Ponti Movies
Italian mega-producer Carlo Ponti's resumé reads not only like a checklist of the golden highlights of postwar European cinema, but as a testament to the creative vision of a maverick -- a filmmaking revolutionary defiantly unafraid to take enormous career risks. In the final analysis, Ponti's consistency in gracing the pinnacle of success and breaking new filmic ground time and again -- in Italy, Great Britain, and Hollywood -- is virtually unprecedented in moviedom. Born December 11, 1913, in the hamlet of Magenta, Italy, on the outskirts of Milan, Ponti studied law as a young man and launched his own practice as an attorney before entering filmmaking with the Mario Soldati-directed period epic Piccolo Mondo Antico in 1940, starring Alida Valli. That picture's twin commercial and critical triumphs enabled Ponti not simply to continue his production-oriented work, but to ride the crest of Italian neorealism by collaborating with the top helmers in Italy as the '40s progressed, including Luigi Zampa (Vivere in Pace [1947], Cuori Senza Frontiere [1949]), Alberto Lattuada (Il Mulino del Po [1949]), Renato Castellani (Mio Figlio Professore [1946]), and Pietro Germi (Gioventu Perduta [1947]).In 1950, Ponti teamed with another brilliant mind on the south European filmscape, Dino de Laurentiis. During their seven-year partnership, the men extended their influence beyond the Mediterranean with a series of massively budgeted international co-productions, the most famous of which was King Vidor's Italian-American joint venture War and Peace (1956), an adaptation of the Tolstoy novel starring Audrey Hepburn, Henry Fonda, and Mel Ferrer. Regional (Italian) co-productions of Ponti and de Laurentiis during the '50s included Alberto Lattuada's 1951 Anna, Roberto Rossellini's Europa '51 (1952), and Federico Fellini's La Strada (1954) -- not exactly the first film to launch Fellini onto the international scene (the still-influential Variety Lights, The White Sheik, and I Vitelloni preceded it), but a hallmark of international cinema nonetheless, and one of its director's most vital works, winning the Academy Award for Best Foreign-Language Film.
This idea -- that of seeking out, nurturing, and cultivating exciting cinematic talent, both new and established -- became something of a hallmark of Ponti's career, evident in his decision to shepherd then-neophytes Martin Ritt (Black Orchid [1958]), Sidney Lumet (That Kind of Woman [1959]), and especially Jean-Luc Godard (A Woman Is a Woman [1961]) through production and distribution channels. (The ongoing involvement with Godard made Ponti one of the few producers in history to aggressively shape both Italian neorealism and the French New Wave.) Additional credits during the 1960s include George Cukor's Heller in Pink Tights (1960), David Lean's Doctor Zhivago (1965), and Milos Forman's The Firemen's Ball (1967).
The Ponti-produced Blow-Up (1966) and Zabriskie Point (1970) -- both directed by Michelangelo Antonioni -- and especially Paul Morrissey's ultraviolent twin horror features Blood for Dracula and Flesh for Frankenstein (1973), represented massive risks from the standpoint of content, but paid off critically and commercially, becoming runaway sleeper hits.
Meanwhile, alongside Ponti's career accomplishments, his personal life crescendoed. In 1950, he purportedly served as a 37-year-old judge for a beauty contest and fell for one of its contestants, the luminous Sophia Loren -- at that time, only a 15-year-old girl named Sofia Lazarro. In 1956, 22-year-old Loren wed Ponti in Mexico, and their marriage lasted over four decades, until Ponti's death. It survived repetitive tabloid interference, Ponti's alleged adulteries, and rumors of Loren's feelings for other men. They had two children together, symphony conductor Carlo Jr. and director Edoardo, in addition to two children from Ponti's first marriage. During the early years of their union, Ponti prepped the then-ingenue for international stardom, and hit a watershed moment in the pursuit of that goal when Loren won the 1961 Best Actress Oscar for Two Women, directed by Vittorio De Sica. Ponti's production-oriented work lasted through the end of the 1970s, but after 1976's elephantine disaster opus The Cassandra Crossing and 1977's well-received Una Giornata Particolare, he largely retired. In later years, Ponti and Loren moved to Switzerland together. Ponti died of pulmonary complications in Geneva, Switzerland, on January 9, 2007 -- merely three weeks after celebrating his 93rd birthday. ~ Nathan Southern, Rovi
The film is set during the late 1930s: the occasion is the first meeting between Mussolini and Hitler. Left alone in her tenement home when her fascist husband runs off to attend the historic event, Sophia Loren strikes up a friendship with her homosexual neighbor Mastroianni. As the day segues into night, Loreon and Mastroianni develop a very special relationship that will radically alter both of their outlooks on life. Beyond the "sensational" aspect of virile Marcello Mastoianni playing a gay character, A Special Day garnered a great deal of American attention when the stars promoted the film on the very first installment of PBS's Dick Cavett Show (that's the one in which Mastroianni might have said the F-word). ~ Hal Erickson, Rovi
- Starring:
- Sophia Loren, Marcello Mastroianni, (more)
This bizarre entry into the disaster film genre concerns a group of hapless passengers aboard a transcontinental luxury train who are infected with a viral plague by a group of terrorists. Burt Lancaster plays military man Mackenzie, who wants to send the train across a rickety bridge so all the passengers will die, with Mackenzie reasoning the tragedy will give the terrorist movement a bad name. Among the passengers on the train trying to build up antibodies are Jennifer Rispoli Chamberlain (Sophia Loren); Nicole (Ava Gardner), who is embroiled in an affair with a younger man named Robby Navarro (Martin Sheen); and Dr. Jonathan Chamberlain (Richard Harris), a physician who wants to save the passengers but ends up duking it out with the terrorists. ~ Paul Brenner, Rovi
- Starring:
- Sophia Loren, Richard Harris, (more)
- 1976
Down & Dirty was originally titled Brutti, sporchi e cativi in Italy. That translates literally to "dirty, nasty and bad", in reference to the lower-class characters and surroundings in this Ettore Scola film. Scola zeroes in on a particularly offensive Roman family. The stingy patriarch, Nino Manfredi, is personally wealthy but morally bankrupt, and his repulsive view of life trickles down to every member of his clan. Not content with corrupting his own flesh and blood, Manfredi spreads his philosophy throughout his village, where he functions as slumlord. By the time Manfredi's wife and sons begin plotting his murder, the audience is ready for a long, cold shower, with plenty of soap. A bleak film heavily laden with humor, Down & Dirty won Ettore Scola a Best Director award at the Cannes Film Festival. ~ Hal Erickson, Rovi
- Starring:
- Nino Manfredi
In this Italian sex comedy, a wealthy, widowed count has a heart attack and must have bed rest and no stress to recover. His avaricious relatives would rather see him dead. Knowing that he is a lusty fellow unable to resist a woman's charms, they hire a bombshell of a sexy nurse to meet his every need and cause a fatal coronary. Things don't go as planned when the nurse falls in love with her patient. ~ Sandra Brennan, Rovi
The mutual admiration between actor Jack Nicholson and director Michelangelo Antonioni resulted in the psychological drama The Passenger. Nicholson plays David Locke, a disillusioned American reporter who is sent on a grueling mission to North Africa. When he stumbles across the body of a dead man, Locke, long desirous of starting life over again, assumes the corpse's identity. He soon discovers that the man he's pretending to be is involved in gun running on behalf of a terrorist group. Making the acquaintance of a mysterious woman (Maria Schneider), he finds a kindred spirit -- a woman as "lost" as he. ~ Hal Erickson, Rovi
- Starring:
- Jack Nicholson, Maria Schneider, (more)
- 1975
- PG
In this film, an Italian hooker ends up as head gangster after her mobster boyfriend commits a murder and tries to cover it up. ~ Iotis Erlewine, Rovi
- 1975
Maria Schneider is Michele, a young student sculptress assigned to look after the kidnapped baby of her ex-lover. She and the kid hit it off but are unable to escape until the kidnappers begin to kill one another off. ~ Clarke Fountain, Rovi
- Starring:
- Maria Schneider, Sydne Rome, (more)
- 1975
The Italian Man with a Flower in His Mouth bears no relation to the Luigi Pirandello one-act play of the same title. Also known as Flower in His Mouth, and The Masters this thriller stars Jennifer O'Neill as an American schoolteacher, newly arrived in Sicily. No sooner has she assumed her duties in a remote rural town than a series of ritual murders begins. Is Jennifer the catalyst, the cause...or merely the excuse? The film's original Italian title was Gente di Rispetto. ~ Hal Erickson, Rovi
- 1974
This simple movie, which follow the exploits of two transcontinental truck drivers as they wrestle their semi across Europe, is much enhanced by having the veteran actors Michel Constantin and Giancarlo Giannini in the roles of Nino and Sandro. At the beginning of the film, the two men have not driven together before, and neither one is much pleased with the other. By the end of the film, their adventures and common adversities have drawn them together. ~ Clarke Fountain, Rovi
- Starring:
- Giancarlo Giannini, Michel Constantin, (more)
Spaghetti meets chop-suey in the Italian/Spanish/Hong Kong production Blood Money. Lee VanCleef plays an adventurer in search of a treasure buried somewhere in the orient. The clues are tattooed on the backs of four lovely young ladies. This translates to lots of exposed epidermis, not to mention a surplus of blood-and-gore. VanCleef emerges from the confusion with his reputation intact, but most of the supporting actors were never heard from again. Blood Money was produced by Sir Run Run Shaw, Hong Kong's leading purveyor of box-office bonanzas. ~ Hal Erickson, Rovi
- Starring:
- Lee Van Cleef, Lo Lieh, (more)
- 1974
In Jury of One, French filmmaker Andre Cayatte once more probes into the intricacies of the Gallic justice system. Sophia Loren plays the widow of a man reputed to be a gangster. When Loren's son Michel Albertini is accused of murder, his father's reputation practically assures a guilty verdict. Desperately, Loren kidnaps Gisel Casadessus, the wife of prosecuting judge Jean Gabin. In order to save Gisel's life, Gabin acquits Albertini, only to discover that his wife, a diabetic, has died after refusing to take insulin. It is up to the conscience-stricken Loren to mete out final justice against herself. Jury of One was also distributed to English-speaking countries under the title The Verdict. ~ Hal Erickson, Rovi
- Starring:
- Jean Gabin, Sophia Loren, (more)
- 1974
In turn-of-the-century Sicily, aristocratic scions Adriana (Sophia Loren) and Cesar (Richard Burton) have loved one another for years, but Adriana accedes to the wishes of Cesar's father and marries his foolish younger brother Antonio (Ian Bannen). When Antonio dies, much to the relief of everyone, it looks as though the coast is now clear for Cesar to marry Adriana after a suitable mourning period. Alas, she has a fatal illness and it is not to be. This romantic melodrama is chiefly distinguished by the fact that it is the last film directed by the legendary Vittorio de Sica, who died shortly afterward. ~ Clarke Fountain, Rovi
- 1974
In this black comedy, a struggling actor-playwright goes on tour with a play he wrote for himself and his lover. It is about the life and love between Benito Mussolini and Claretta Petracci, his mistress. When his show travels to Italy it meets with a very negative response from the local Communists who throw tomatoes at them. To get them to stop, the actor changes their minds by placing emphasis on the romance between the two rather than the politics. ~ Sandra Brennan, Rovi
- Starring:
- Ugo Tognazzi, Bernadette Lafont, (more)
- 1974
- R
In this Italian sex comedy, everyone in a small provincial town sleeps with everyone else, except for Nico, the shy, hapless nephew of Don Carlo, an important landowner. When his beautiful blonde cousin is sent to the manor for the summer, she uses all her wiles to get him into bed before she has to return to her family. ~ Clarke Fountain, Rovi
- Starring:
- Susan Player, Hugh Griffith, (more)
- 1974
Gianna Abastanza (Mariangelo Melato) is tired of men acting as though they can do everything better than women, so she enters the police force and dons a policewoman's uniform. By following the law more closely than her police comrades and superiors, she soon runs into trouble with them, though this does not prevent love from blossoming. ~ Clarke Fountain, Rovi
- Starring:
- Mariangela Melato, Orazio Orlando, (more)
Incest, necrophilia, and Joe Dallesandro? It must be Andy Warhol. Warhol did indeed co-produce this 1973 schlock spectacular -- originally presented in 3D -- that was directed by Factory fave Paul Morrissey. Starring Udo Kier in the role of "Ze Baron," Flesh for Frankenstein is a horror story for a new 'n' lewd generation. This time around, the mad scientist has created the nymphomaniacally-inclined Adam and Eve, whose mission it is to spawn a new race. Along for the ride --somewhat literally -- is a lusty stable boy (Dallesandro) who main duty it is to entertain the Baron's equally lusty wife/sister. Sex, gore, unconvincing bat attacks, and the highest camp this side of the Appalachian Trail combine for a dizzyingly outrageous midnight movie. Flesh for Frankenstein got a second chance at life when it was screened at the 2002 Philadelphia Gay and Lesbian International Film Festival. ~ Rebecca Flint Marx, Rovi
- Starring:
- Joe Dallesandro, Udo Kier, (more)
The second of two horror films shot in a single production term and bearing the name of pop-art icon Andy Warhol (whose participation pretty much ended with the use of his name), this film is slightly superior to its higher-profile predecessor, Andy Warhol's Frankenstein. Direction is credited to Warhol factory filmmaker Paul Morrissey, though there still exists a very vocal camp who insist that the real credit should go to Italian director Antonio Margheriti. Euro-horror leading man Udo Kier assays the title role, playing the count as a pale, anemic-looking blood junkie with an overwrought accent. Finding the supply of "weer-gin" blood diminishing rapidly in Romania, Dracula is forced to seek a fix in a predominantly Catholic Italian province, where he is certain a few virgins still exist. He travels with his assistant (Arno Juerging) and his coffin-sealed sister to the decrepit, crumbling mansion of the financially-strapped Marquis DiFore (a tour-de-force performance from Bicycle Thief director Vittorio de Sica) who welcomes the affluent Count with open arms, hoping to marry off any one of his four daughters. Dracula clearly has other intentions for the girls... but his plans are rudely thwarted by beefy, socialist handyman Mario (Joe Dallesandro), who has been dutifully divesting the young maidens of their -- ahem -- virtue, thus tainting their blood and making it unsafe for vampiric consumption. Very unsafe, it turns out -- as we are treated to protracted scenes of the death-pale Count vomiting up gallons of blood. Rated "X" at the time of its release (and subsequently re-rated "R" ten years later), this outrageous catalogue of depravity features wildly campy performances, inane dialogue and an outrageous climax. ~ Cavett Binion, Rovi
- Starring:
- Joe Dallesandro, Udo Kier, (more)
- 1973
In this historical fantasy, based on the classic medieval poem during the days of King Arthur, the gallant Green Knight gallops into the court and makes a gruesome challenge to the Round Table Knights. He dares any of them to successfully chop off his head. If they fail, he gets to hack off theirs. Brave Gawain accepts the challenge and with a mighty swing slices off the Green Knight's noggin. Unfortunately, the headless body calmly picks up the head and places it back on his shoulders. The honor-bound Gawain then must fulfill his destiny at the palace of the Green Knight. ~ Sandra Brennan, Rovi
A group of extremely glamourous college coeds (Suzy Kendall among them) are being stalked by a hooded sex-killer whose weapon of choice is a hacksaw. Despite this perverse premise and an equally sick title (which translates as "The Bodies Show Signs of Carnal Violence"), this remains a rather dull exercise, representing the lower end of the Italian giallo thriller spectrum and lacking much of the violence common to films of the same genre, thus failing to keep its flimsy plot in motion. What gore was present in the Italian cut has been all but wiped out by the film's U.S. distributor. Released on video as Torso. ~ Cavett Binion, Rovi
- 1973
On March 24, 1944, in the Ardeatine Caves outside Rome, one of the most infamous atrocities of World War II occurred -- the mass execution of 330 Italians in retaliation for the deaths of 33 Germans. The book Death in Rome contends that Pope Pius XII knew of the German plan but did nothing to stop it. In this film adaptation, Richard Burton plays Col. Herbert Kappler, a Nazi officer torn between his devotion to Hitler's cause and his love for Italy when he is ordered by his superior officer, Gen. Kurt Maelzer (Leo McKern), to see that this execution is carried out. Opposing the Germans and reacting against the silence of the Pope is Vatican priest Don Antonelli (Marcello Mastroianni), who chooses to die with the Italians rather than continue to act as a middleman between the German army and the Romans. ~ Paul Brenner, Rovi
- Starring:
- Richard Burton, Marcello Mastroianni, (more)
In March of 1944 the Thied-Reich's stronghold over Europe was weakening, and the swelling resistance in Nazi-occupied Rome would spark one of the most devastating wartime atrocities in modern history. When thirty-three members of the SS military police were ambushed and gunned down by the Roman underground, an enraged German High Command ordered the death of ten Roman civilians for each of the thirty-three SS soldiers killed. A decree issued directly from the Pope states that Roman priest Pietro Antonelli (Marcello Mastroianni) must collaborate with Nazi Lieutenant Colonel Herbert Kappler (Richard Burton) in gathering 330 Roman citizens for systematic execution. Torn by his faith and devoted to pacifism, Father Antonelli must choose between defying direct orders from the highest seat in the Catholic church, or remaining true to his vows and standing by as 330 innocents are gunned down on the orders of history's most notorious dictator. ~ Jason Buchanan, Rovi
- 1973
Giordano Bruno (1548-1600) was one of the pivotal thinkers of the Renaissance. A Dominican friar in Italy, he left the order and taught widely throughout Europe. Among the ideas he taught were the inexpressibility of any ultimate truths and the complete relativity of ordinary truth. He also taught religious tolerance. For these and other deviations, he was burned at the stake by the Inquisition. This lavish Italian film takes up his story after he has returned to Venice from meetings with European heads of state and teaching sessions at the great universities. ~ Clarke Fountain, Rovi
- Starring:
- Gian Maria Volontè
- 1973
One of Roman Polanski's lesser-known films, Diary of Forbidden Dreams (also known as What?) stars Sydne Rome as an attractive young hitchhiker who, as the film opens, accepts a ride from three men in a car, who later attempt to rape her. She escapes their clutches and makes her way to a mansion owned by millionaire Joseph Noblart (Hugh Griffith), who is overseeing a decadent party. Among the guests at his home are a pair of table-tennis players, a man with a harpoon (played by Polanski himself), and a hedonistic pimp played by Marcello Mastroianni. The woman's sexually charged adventure is an homage to Alice in Wonderland. ~ Perry Seibert, Rovi
- 1972
The well-known short-story writer Ring Lardner, Jr. wrote the screenplay for La Mortadella, an Italian/French production with mostly English dialogue. The story concerns the difficulties and reactions of Madelena (Sophia Loren), an Italian visitor to New York City. She has come to the country carrying a huge mortadella sausage which she intends as a gift for her fiancé. U.S. Customs has other ideas, however, and she is detained until she hits upon the idea of sharing the offending foodstuff with the customs officers. Finally allowed entry into the U.S., she grows disenchanted with her fiancé and other men she meets and is only with difficulty able to make her escape to a more agreeable location. ~ Clarke Fountain, Rovi
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