Pasqualino Settebellezze

English title: Seven Beauties

Also known as: Pasqualino

Genre: comedy drama

With: Giancarlo Giannini (Pasqualino Frafuso a.k.a. Settebellezze), Fernando Rey (Pedro the Anarchist), Elena Fiore (Concettina, one of Pasqualino’s seven sisters), Piero Di Iorio (Francesco, Pasqualino's comrade), Shirley Stoler (the Camp Commandant), Enzo Vitale (Don Raffaele), Roberto Herlitzka (the Socialist), Lucio Amelio (the Lawyer), Mario Conti (Totonno), Ermelinda De Felice (Pasqualino's Mother)

Director: Lina Wertmüller

Screenplay: Lina Wertmüller

Release: 1975

Studio: Medusa Distribuzione

Rating: R

MBiS score: 8.7/10 

 

Some Things I’d Rather Forget 

 

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Story-line: as he fumbles his way home after fleeing the Nazis with another Italian prisoner, Pasqualino Frafuso reflects on his life so far, recalling those happy times when he was a well-dressed hoodlum watching over his sisters but also the awful events that led him into World War II.

Pluses: a frantic, tireless and full-ranged performance by Giancarlo Giannini, fine support from Fernando Rey, Shirley Stoler and cast, professional, fast-paced direction, a colourful, jam-packed screenplay (admire that 4-minute silent scene in the courtroom!), faultless production values, amazing cinematography and a tangy musical score that captures the Felliniesque mood of the story.

Minuses: I didn’t understand every Italian reference in the movie but I won’t make a fuss over it. Some viewers may be shocked by the film’s off-colour jokes; personally, I found them cathartic. 

Comments: as a director, Lina Wertmüller (1928-2021) has always distinguished herself by her daring, fearless works that combine tragedy, humour, social comment and political criticism to great effect. The memorable and exuberant SEVEN BEAUTIES, which begins with a biting critique of Mussolini, Hitler and social mores, stands as one of her greatest achievements, an artistic triumph confirmed by four nominations at the 1977 Academy Awards and another at the Golden Globes. It also showcases one of her usual partners in crime, the ebullient Giancarlo Giannini. It’s a real treat to see Pasqualino go through circumstances he cannot control and prove to everyone − himself especially − that he is a survivor. In this sense, he may be seen as a metaphor for Italy’s struggle through the 1930s and 40s, a very turbulent period in its history. A remarkable journey! An outrageous film! Great entertainment for movie buffs!

    

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Love Story

Genre: romantic drama

With: Ali MacGraw (Jenny Cavilleri), Ryan O’Neal (Oliver Barrett IV), Ray Milland (Oliver Barrett III), Katharine Balfour (Mrs. Barrett), John Marley (Phil Cavilleri), Russell Nype (Dean Thompson)

Director: Arthur Hiller

Screenplay: Erich Segal (from his novel)

Release: 1970

Studio: Love Story Company, Paramount Pictures

Rating: PG

MBiS score: 8.4/10 

 

‟Love means never having to say you’re sorry.” 

 

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Story-line: sitting alone in an open-air stadium despite the bitter cold, Oliver reflects on his lost love Jenny. ‟What can you say about a twenty-five-year-old girl who died? That she was beautiful and brilliant? That she loved Mozart and Bach… the Beatles... and me?”

Pluses: first-grade acting by Ali MacGraw and Ryan O’Neal as two passionate, wisecracking and contrasting characters, excellent support from a charming John Marley and a stern Ray Milland, fluid and alert direction, a respectful and moving screenplay that hinges on social attitudes and family relationships in the crisis-laden early 70s, irreproachable cinematography (by Richard C. Kratina) and Francis Lai’s beautiful music.

Minuses: although nothing extraordinary happens in LOVE STORY and its ending is revealed in the opening sequence, it does its very best to be likeable and maintains interest on the strength of its very charismatic protagonists. In some ways, it equals TERMS OF ENDEARMENT among top-quality tearjerkers.

Comments: sometimes, love begins in rocky circumstances; it nurtures a fragile bond that will hopefully strengthen and last a lifetime. Notwithstanding its Hollywoodish accents, LOVE STORY is exactly what it strives to be, a blissful, painful and enriching episode in the lives of two young people destined to be together in spite of forces that should drive them apart. Arthur Hiller’s work is an undeniable success, having been nominated for 6 Oscars (Actress, Actor, Direction, Writing, Best Picture, Actor in a supporting role) besides its winning musical score. When I saw it decades ago upon its release, I genuinely felt it was better than what I expected and, oddly enough, I felt exactly the same way when I saw it again for this review. LOVE STORY may not have been a trailblazer in movie history but, thanks to its honesty, screenplay and endearing leads, it has conquered hearts and minds the world over.  

 

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