Nino Rota Movies

Director Franco Zeffirelli's 1968 version of Shakespeare's Romeo and Juliet was touted at the time of its release (successfully, if the box-office receipts are any indication), as something of a "youth trip" movie. This is because Zeffirelli broke the long-standing tradition of casting over-aged, sometimes grey-haired players in the title roles. Seventeen-year-old Leonard Whiting plays Romeo, with 15-year-old Olivia Hussey as Juliet. The youthfulness and inexperience of the leading players works beautifully in the more passionate sequences (some of these breaking further ground by being played in the nude). Among the younger players are Michael York as Tybalt and John McEnery as Mercutio. The duel between Romeo and Tybalt starts out as a harmless, frat-boy exchange of insults, then escalates into tragedy before any of the participants are fully aware of what has happened. Photographed by Pasqualino DeSantis on various locations in Italy, Romeo and Juliet was one of the most profitable film adaptations of Shakespeare ever produced. Its most lasting legacy is its popular main theme music, composed by Nino Rota. ~ Hal Erickson, Rovi

Franco Zeffirelli's adaptation of William Shakespeare's The Taming of the Shrew is a zesty version of the classic comedy, highlighted by performances by Richard Burton and Elizabeth Taylor and Nino Rota's score. Instead of simply filming a play, Zeffirelli turned Shakespeare's text into a lively, cinematic movie, with sweeping sets and cinematography. Set in Padua, Italy in the late 1500s, the story concerns the shy Bianca (Natasha Pyne) and the mean-spirited Katarina (Elizabeth Taylor), the two daughters of a rich merchant named Baptista (Michael Hordern). Though Bianca is being courted by a number of young men, Baptista announces that she may not marry until Katarina is wed. None of the men in town are willing to marry Katarina, so Bianca remains unwed, even as more suitors--such as Lucentio (Michael York), a student who begins working as a tutor in the Hordern household just so he can be near Bianca--line up to wed the maiden. No man approaches Katarina until Petruchio (Richard Burton--a wanderer who arrived in Padua just to find a rich wife--falls in love with her. After an intense, occasionally furious, courtship, Katarina eventually agrees to marry him, and they move to Petruchio's shoddy house, which is located outside of the city. Following the wedding, Lucentio reveals that he is not a student, but instead the son of one of the most respected men in town. Lucentio gets permission to marry Bianca and a mild-mannered Katarina shows up at the wedding, giving advice to her sister on how to be a good wife. The Taming of the Shrew received Academy Award nominations for Best Art Direction and Best Costume Design, and opened the British Royal Film Festival. ~ Stephen Thomas Erlewine, Rovi

Juliet of the Spirits is a fantastical showcase for Federico Fellini's vibrant imagery, starring his wife, Giulietta Masina, as the titular leading character. Juliet is a wealthy housewife who constantly fears her husband, Giorgio (Mario Pisu), is cheating on her. While she yearns for a peaceful intimate evening on the night of their 15th anniversary, the egotistical Giorgio has forgotten about it and instead arrives home with his eccentric friends. After a trip to a séance, Juliet is haunted by images from the spirit world, including obsessions from her past involving religion and her late relatives. With her sisters and mother prying into her life, Juliet seems to be seeking an inner peace amidst all the sexual temptations surrounding her. She meets her neighbor, Suzy (Sandra Milo), a showy pleasure-seeker who lives in a sensual playhouse. It appears that all of Juliet's family, friends, and fantasies demand that she loosen up and embrace sexual freedom, yet she remains chaste and dowdy, lamenting over her unfaithful husband. The reasons for Juliet's repression are not clearly defined by the narrative, despite glimpses into her supposed imagination. Forced to endure the constant bombardment of sexually charged imaginings, the demure Juliet retreats on her own. ~ Andrea LeVasseur, Rovi

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, Rovi

In this crime comedy with heavy neorealist influence, Antonio (Alberto Sordi) is a Sicilian auto plant worker who has almost completely forsaken his southern Italian roots by marrying a fair-haired girl from the north and conceiving two children with her. As the movie opens, Antonio prepares to round up the family and take them on a vacation to his native town of Calamo, Sicily. Before he leaves, however, his boss summons him in and asks him to pass along a little gift to Don Vincenzo, a mob boss in Calamo. Antonio agrees to the plan, tentatively at first, but as the family gets closer and closer to the isle of Antonio's childhood, and shares lodging with Antonio's eccentric family, Sicilian pride and enthusiasm well up inside of this family patriarch, and he is,ultimately confronted with a request to carry out a hit for Vincenzo. Dino DeLaurentiis produced and Alberto Lattuada directed. Though the film was long forgotten, it received a U.S. theatrical release by Rialto in 2007 and netted absolutely stunning reviews. ~ Dan Pavlides, Rovi

In this military comedy, Maj. Richardson (David Niven) and Lt. Burke (Michael Wilding) are two British soldiers on a recognizance mission over Ethiopia in 1941 when their plane crashes in the desert. Capt. Blasi (Alberto Sordi), an Italian officer, finds the Englishmen and offers to help them: he'll let them go if they allow him and his men to take over an old fort nearby and stay there without being bothered. Richardson and Burke agree, and they return to their base of operations, only to discover that they've been ordered to attack the fort and capture Blasi and his men. Richardson considers himself a man of his word and doesn't care for this duty; in time, the two men become friends and exchange banter as they take turns capturing one another. Remarkably enough, Italian actor Alberto Sordi didn't speak English when he made this film, and he learned all his dialogue phonetically. ~ Mark Deming, Rovi

An impressive cast graces the 105 minutes of Ghosts of Rome. Don't let the title mislead you: the "ghosts" are not genuine wraiths, but instead a group of disenfranchised tenants in a contemporary Roman rooming house. When the house is condemned, the various residents seek out new lodgings, resulting in a rambling series of comic, tragic and even surrealistic vignettes. Among the star names in this omnibus feature are Marcello Mastroianni, Vittorio Gassman, and Belinda Lee, who died shortly after the film was completed. Ghosts of Rome was originally released in Italy as Fantasmi a Roma. ~ Hal Erickson, Rovi

In one of the most widely seen and acclaimed European movies of the 1960s, Federico Fellini featured Marcello Mastrioanni as gossip columnist Marcello Rubini. Having left his dreary provincial existence behind, Marcello wanders through an ultra-modern, ultra-sophisticated, ultra-decadent Rome. He yearns to write seriously, but his inconsequential newspaper pieces bring in more money, and he's too lazy to argue with this setup. He attaches himself to a bored socialite (Anouk Aimée), whose search for thrills brings them in contact with a bisexual prostitute. The next day, Marcello juggles a personal tragedy (the attempted suicide of his mistress (Yvonne Furneaux)) with the demands of his profession (an interview with none-too-deep film star Anita Ekberg). Throughout his adventures, Marcello's dreams, fantasies, and nightmares are mirrored by the hedonism around him. With a shrug, he concludes that, while his lifestyle is shallow and ultimately pointless, there's nothing he can do to change it and so he might as well enjoy it. Fellini's hallucinatory, circus-like depictions of modern life first earned the adjective "Felliniesque" in this celebrated movie, which also traded on the idea of Rome as a hotbed of sex and decadence. A huge worldwide success, La Dolce Vita won several awards, including a New York Film Critics CIrcle award for Best Foreign Film and the Palme d'Or at the Cannes Film Festival. ~ Hal Erickson, Rovi

Under Ten Flags is a fact-based British maritime epic set during World War II. Allied ships are being victimized by a German surface raider, which sails under friendly flags until moving in for the kill. Since so many nationalities were involved in making this film (both before and behind the cameras), it is difficult at times to determine whose side one is supposed to be on. On screen, the Germans seem the cleverest and most resourceful of all the combatants; at times, one hopes that they'll get away with their high-seas perfidy--especially since the captain is played by charismatic American actor Van Heflin. Under Ten Flags has a minimum of war action, but this didn't prevent an enterprising home-movie firm from excerpting nine minutes' worth of highlights for an 8-millimeter version--which did better business than the original 92 minute feature! ~ Hal Erickson, Rovi

Vittorio Gassman and Alberto Sordi don ill-fitting military uniforms in this anecdotal Italian service comedy. They play a couple of World War I soldiers, adept at sidestepping duty and responsibility, but courageous to the core when in a pinch. The film strives for the boisterous feel of What Price Glory, but at 118 minutes the material wears rather thin. Still, the reputation of director Mario Monicelli helped this uneven production win a Golden Lion award at the Venice Film Festival. Originally released in Italy in 1959 as La Grande Guerra, The Great War was distributed in the U.S. two years later. ~ Hal Erickson, Rovi

This engaging slice of neorealism stars Marcello Mastroianni as "Il Medico" (The Doctor) and Vittorio de Sica as "Lo Stregone" (The Healer). Setting up practice in a backward, provincial village, Mastroianni finds that he can make no headway with the superstitious townsfolk so long as faith-healer De Sica holds them in thrall. A battle of wills ensues, which at first is won by De Sica. But when a medical crisis arises, it is Mastroianni who comes out on top. The feminine angle is provided by Marisa Merlini. Thanks to the drawing power of its two male stars, Il Medico e lo Stregone was well distributed in the U.S. ~ Hal Erickson, Rovi