Giuseppe Rotunno Movies

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

Based on the long-running comic strip created by E.C. Segar (and less on the animated cartoons created by Max Fleischer, which were decidedly different in tone and approach), Popeye follows the sailor man with the mighty arms (played by Robin Williams in his first major film role) as he arrives in the seaside community of Sweethaven in search of his long-lost father. Popeye meets and quickly falls for the slender Olive Oyl (Shelley Duvall, in the role she was born to play), but Olive's hand has already been promised to the hulking Bluto (Paul Smith), of whom Olive can say little except, well, he's large. Eventually, Popeye and Olive are brought together by Swee' Pea (Wesley Ivan Hurt), an adorable foundling, and Popeye finally meets his dad, Poopdeck Pappy (Ray Walston). Director Robert Altman in no way tempered his trademark style for this big-budget family opus, crowding the screen with a variety of characters and allowing his cast to overlap as much dialogue as they want. ~ Mark Deming, All Movie Guide

"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

Fine del Mondo nel Nostro Solito Letto in una Notte Piena di Pioggia, literally translated as "The End of the World in Our Usual Bed in a Night Full of Rain," was also released as Night Full of Rain. This film is director Lina Wertmuller's English-language film-debut. The poor critical and box-office reception to this film marked the beginning of a difficult period for director Wertmuller. In the story, Italian newsman Paolo (Giancarlo Giannini) rescues the American photojournalist Lizzy (Candice Bergen) from a brawl while she is in Italy. He also tries, less than successfully, to seduce her. When they meet again in San Francisco, the sparks between them lead to love. He is an old-guard Italian communist who wants his wife to stay at home and tend to the laundry and the cooking. Lizzy is an emerging feminist, and wants to make a contribution to that movement. Though their differences lead to some noisy confrontations, they are able to talk them through. ~ Clarke Fountain, All Movie Guide

In this slapstick comedy, almost a vaudeville revue, the Italian side of World War II is affectionately re-created, while the cream of Himmler's German troops, the dreaded Stormtroopers, consistently make fools of themselves. ~ Clarke Fountain, All Movie Guide

A beautiful woman (Laura Antonelli) is engaged to one man, but has an affair with both a young nobleman (Terence Stamp) and later his cousin (Marcello Mastroianni). This Italian production, also known as Divina Creatura, appears in both subtitled and dubbed versions. ~ John Bush, All Movie Guide

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, All Movie Guide

Federico Fellini's warmly nostalgic memory piece examines daily life in the Italian village of Rimini during the reign of Mussolini, and won the 1974 Academy Award as Best Foreign Film. The film's greatest asset is its ability to be sweet without being cloying, due in great part to Danilo Donati's surrealistic art direction and to the frequently bawdy injections of sex and politics by screenwriters Fellini and Tonino Guerra. Fellini clearly has deep affection for the people of this seaside village, warts and all, and communicates it through episodic visual anecdotes which are seen as if through the mists of a favorite dream, playfully scored by Nino Rota and lovingly photographed by Giuseppe Rotunno. ~ Robert Firsching, All Movie Guide

Dale Wasserman's long-running Broadway smash comes to the screen in this musical based on Miguel de Cervantes' classic satire Don Quixote de la Mancha. Cervantes (Peter O'Toole) is arrested and put in prison by the soldiers of the Spanish Inquisition after staging a comic performance which mocked the Spanish government. Cervantes' fellow inmates are eager to divvy up his belongings, but the author is desperate to save a manuscript of his latest work; in order to win the prisoners over, he stages, with their assistance, his latest comedy about the delusional knight Don Quixote (O'Toole). Don Quixote, with the help of his loyal manservant Sancho Panza (James Coco), is determined to battle evil, though he most often finds himself combating windmills. Don Quixote encounters the beautiful virgin Dulcinea -- personified by a jailed prostitute, Aldonza (Sophia Loren) -- and is certain he has found the love of his life. However, tragedy befalls Don Quixote when a band of savages rape Dulcinea as he sleeps, and he must decide where his greatest loyalty lies when his niece Antonia (Julie Gregg) arrives, asking Quixote to please return home to his family. In a move which was widely criticized at the time of the film's release, Peter O'Toole's singing voice was dubbed for most of his musical numbers, while Sophia Loren did all of her own vocal tracks. ~ 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 thriller, a London casino employee is imported to Lebanon ostensibly to work in a casino. He soon discovers that he is really there to attract a crime lord into the casino where a trap has been laid. ~ Sandra Brennan, 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