Giuseppe Rotunno Movies

"It's showtime!" In this part film à clef, part musical phantasmagoria, director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, not to mention ex-wife Audrey (Leland Palmer), steady girlfriend Kate (Ann Reinking), a young daughter, and various conquests. Joe cannot, however, avoid intimations of mortality from white-clad vision Angelique (Jessica Lange) that lead him to look back at his life as he heads for a near-inevitable coronary and his departure from this mortal coil with the appropriate razzle-dazzle. Taking his cue from Federico Fellini's 8 1/2 (1963), Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Following a similarly dark revisionist vein as Martin Scorsese's New York, New York (1977), Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. Critics praised Fosse's daring even as they damned his self-indulgence, while Scheider was lauded for giving the best performance of his career. Though not a disastrous failure, All That Jazz came nowhere near the popularity of 1978's Grease, as late '70s audiences increasingly turned away from "difficult" movies. For all its excesses, Fosse's fiercely personal approach turned All That Jazz into another striking work from one of the few directors able to make, and experiment with, movie musicals after the 1960s. ~ Lucia Bozzola, All Movie Guide

In this farcical look at a female detective/mystery story writer, Cathy Palmer (JoBeth Williams) is an ordinary housewife living in Ohio with a condescending husband who is far from ideal. When Cathy wins a writing contest and has the chance to go to Paris and meet the author of the romance novels she loves, her husband tries to prevent the trip. In the end, Cathy's interests prevail, though her husband still refuses to go with her. After arriving in Paris, Cathy is knocked down by a car and wakes up in the hospital with all memory of her past life erased. In its place, she believes she is Rebecca Ryan, the heroine in the romance novels she has read. Carrying her unconscious role to the hilt, she dresses in elegant clothes and meets the comically rattled Alan McMann (Tom Conti) who becomes her partner, of sorts. Little does she know that Alan is not Rebecca's secretary, but the actual ghost writer of the Ryan novels. Cathy begins to suspect that villains are lurking everywhere, and her intuition in that regard is unerring -- she has doubts about the klutzy leader of the French opposition party (Giancarlo Giannini), and it turns out her doubts are well-founded. As the plot thickens, it becomes apparent that sooner or later Cathy-cum-Rebecca will have to realize the truth about her identity, but in the meantime, much skullduggery awaits. ~ Eleanor Mannikka, All Movie Guide

In this occasionally amusing frolic, Gina Lollobrigida plays a sexy widow who returns to Italy from New York following the death of her husband. Her wealth and good looks entice all the men in her small village except for the one she really wants, the town blacksmith (Dale Robertson). Giuseppe Rotunno's warm cinematography and the irresistible Lollobrigida make this one worth seeing, while the screenplay (by Ettore Margadonna, Luciana Corda, and Joseph Stefano) manages to be clever without being smirky. Look for a funny bit by Vittorio DeSica, who supervised some scenes, as a loquacious priest. This film is also known as both Anna of Brooklyn and Fast and Sexy. ~ Robert Firsching, All Movie Guide

This Dino De Laurentiis-produced re-creation of the decisive Italian military operation top-bills Robert Mitchum as a battle-weary war correspondent. Robert Ryan and Arthur Kennedy play generals, Peter Falk is the lovable Brooklynese corporal, and Earl Holliman is the country-boy sergeant. Anzio was based on the book by Wynford Vaughan Thomas. ~ Hal Erickson, All Movie Guide

In this big-budget adaptation of Terry Southern's satiric sex farce (the sort of project that could get an immediate green light in the late 1960's and at practically no other time before or since), Ewa Aulin is Candy, a sweet young woman who doesn't seem entirely aware of the powerful sexual desire she brings out in men. While her father (John Astin) and mother (Elsa Martinelli) try to keep Candy in line, the task proves to be all but impossible, as she's seduced by a remarkable variety of men in her journeys, including a booze-addled poet (Richard Burton), a mystical guru who lives on a truck (Marlon Brando), a gardener from Mexico (Ringo Starr), a fanatical military man who refuses to leave his plane (Walter Matthau), a pair of uncomfortably high-strung doctors (John Huston and James Coburn) and even her own uncle (Astin, again). The Byrds and Steppenwolf contributed songs to the soundtrack; the screenplay was written by Buck Henry. ~ Mark Deming, All Movie Guide

"Maybe you're not supposed to like it with someone you love." With a script by satirist and cartoonist Jules Feiffer, Mike Nichols's Carnal Knowledge (1971) ruthlessly exposed the damage wrought by pre-1960s sexual mores. From their post-World War II college years at Amherst through the Vietnam era, buddies Jonathan (Jack Nicholson) and Sandy (Art Garfunkel) are a catalogue of male sexual dysfunction. Sensitive Sandy falls in love with and marries college sweetheart Susan (Candice Bergen) only to wonder years later if he missed out on finding the perfect sex/love partner. Jonathan lives for aggressive sexual conquest (starting with Sandy's Susan in college), even as he rails against female "ballbusters," finally guilt-marrying his tiredly voluptuous mistress Bobbie (Ann-Margret, in an Oscar-nominated performance) after she tries to kill herself. By the late '60s, Sandy has moved on to a hippie chick girlfriend (Carol Kane) who can raise his consciousness about the sexual revolution, and Jonathan is single again, but Sandy is a little too old for the peace-and-love generation, and Jonathan bitterly faces emasculating impotence. ~ Lucia Bozzola, All Movie Guide

In this dream-sequence film, renowned Italian director Federico Fellini expounds at length on the nature, complexities, attitudes, and hang-ups of women and how this all relates to men "hunting" sexual conquests. Snaporaz (Marcello Mastroianni) is traveling in a compartment on a train when he lapses into sleep and dreams the ensuing story. He follows a woman off the train and through a field and then loses her. Soon, as a representative of the male sex in general he finds himself in a hotel, among myriad women attending a feminist conference. Surreal episodes take him through a villa with his alter-ego Dr. Katzone (Ettore Manni, who died during filming) and references to his sexual exploits. Reunited with his former wife for a moment, he starts another sequence which reviews his past. ~ Eleanor Mannikka, All Movie Guide

In director Anna Maria Tato's shallow depiction of an equally shallow dalliance, Lucia (Fanny Ardant) is unavoidably delayed in meeting her husband in Greece and so decides to take a detour (both geographically and emotionally) to visit her hometown in the south of Italy. Once there, she enters into a brief, afternoon fling with a local man of smoldering looks -- and overcome by what she has done, she hits him on the head with an ashtray and escapes while he is out cold. Soon she is joined by a young girl also running away (from her First Communion celebrations), and the two proceed to hide out from the understandably vexed young man who has regained consciousness and is piqued about his post-coital experience. ~ Eleanor Mannikka, All Movie Guide

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, All Movie Guide

Federico Fellini makes his most decadent, undisciplined work in this free adaptation of Petronius' famous farcical chronicle of ancient Roman life. The film opens with Encolpio (Martin Potter) vying with his friend Ascilto (Hiram Keller) for the affections of a young effeminate lad named Gitone (Max Born). When the youth chooses his rival or him, Encolpio begins a journey that has him encountering Romans of every stripe and color. He drops in on an orgy thrown by Trimalchio (Mario Romagnoli), a wealth-loving ex-slave who has spurned his wife in favor of a pleasures of a young boy; he toils on a slave galley, fighting off the advances of Lichas (Alain Cuny) -- the ship's burly wall-eyed captain; he steals an albino hermaphrodite demi-god who is reputed to be able to tell the future; and fails to summon the enthusiasm to make love to a whore-priestess. Along the way, we witness a parade of prostitutes in ancient Rome's pleasure quarters; watch performance by Vernacchio (Fanfulla), an actor whose on-stage specialties include farting and public amputation; and the wonton devouring of a human corpse for financial gain. ~ Jonathan Crow, All Movie Guide

Federico Fellini was one of the leading figures of the international cinema in the 1960s, whose dreamlike images and indelible characters made La Dolce Vita, 8 1/2, and Juliet of the Spirits among the most acclaimed films of that era. Fellini himself was a character as unique as any he created for his films, an expansive and outsized visionary who could be either a pleasure or a terror to work with. Fellini: I'm a Born Liar is a documentary on Federico Fellini's life and work by filmmaker Damian Pettigrew, who combines vintage interview footage of Fellini, new conversations with those who worked with him (including actors Donald Sutherland and Terence Stamp), and excerpts from Fellini's films (some of them previously unseen outtakes) to create an insightful portrait of a remarkable creative mind. ~ Mark Deming, All Movie Guide

Fred Zinnemann's final film is a meditative examination of an illicit May-December romance, set in the mountain expanse of the Swiss Alps. Sean Connery plays Douglas, a middle-aged Scottish doctor on vacation in the Alps in 1932 with a beautiful and fresh-faced young woman, Kate (Betsy Brantley), whom he introduces as his wife. Douglas has taken Kate to the Alps to introduce her to the invigorating sport of mountain climbing. When Douglas and Kate arrive at the mountain lodge, their happiness is tempered by a knowing melancholy. Through flashbacks, it is revealed that Kate has been madly in love with Douglas since she was a little girl and that she seduced him away from another woman. The flashbacks also reveal that Kate is not his wife, but his niece. But then, in their mountain retreat, young and handsome guide Johann (Lambert Wilson) makes an entrance. Johann immediately develops an attraction for Kate. Now Kate has to worry if the feeling is mutual. ~ Paul Brenner, All Movie Guide

After discovering that his terrorist brother has committed suicide, Marco (John Savage) travels to Columbia to investigate, in this action film. ~ Jason Ankeny, All Movie Guide