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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À bout de souffle

English title: Breathless

Genre: crime drama (in black and white)

With: Jean-Paul Belmondo (Michel Poiccard, a.k.a. Laszlo Kovacs), Jean Seberg (Patricia Franchini), Daniel Boulanger (Inspector Vital), Henri-Jacques Huet (Antonio Berrutti), Roger Hanin (Carl Zubart)

Director: Jean-Luc Godard

Screenplay: François Truffaut, Claude Chabrol and Jean-Luc Godard

Release: 1960

Studio: Les Films Impéria, Les Productions Georges de Beauregard, Société Nouvelle de Cinématographie

Rating: -

MBiS score: 8.6/10 

 

In Memory of Jean-Luc Godard (1930-2022) 

 

− Do you know William Faulkner?

− No. Who's he? Have you slept with him? 

 

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Story-line: Michel Poiccard, a hyperactive criminal, steals a car in Marseilles and heads north to meet the American girl of his dreams and collect on an old IOU.

Pluses: a strong, devil-may-care performance by Jean-Paul Belmondo, fine support from Jean Seberg (yes… Jean the film icon!), a tongue-in-cheek screenplay bursting with flippant dialogues and moments of absurdity, Jean-Luc Godard’s nervous and creative direction, lovely cinematography (Raoul Coutard), deft editing (Cécile Decugis) and a swinging jazz score by Martial Solal.

Minuses: although Godard’s works are not among my favourites − years ago, I had quit on this particular movie at the 15-minute mark − I hung on this time around and warmed up to it after a while. Sensitive viewers may be bothered by politically incorrect dialogues and events and also by Michel’s fixation with cigarettes, newspapers, sex and American cars.

Comments: while watching this film, I wondered if it wasn’t some kind of inside joke about conventional French cinema and the rise of the nouvelle vague but I’ll leave that subject to the experts. Many in moviedom have hailed À BOUT DE SOUFFLE as a masterpiece and I can’t deny its audacity, originality and stylishness. Not only does it showcase Michel’s rebellious, ‟in the moment” personality – forever portrayed by Jean-Paul Belmondo (1933-2021), one of France’s biggest stars ever – but it remains to this day a symbol of innovative filmmaking. 

 

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 Alphaville

Also known as: Alphaville, une étrange aventure de Lemmy Caution

Genre: science-fiction drama (in black and white)

With: Eddie Constantine (Lemmy Caution), Anna Karina (Natacha von Braun), Akim Tamiroff (Henri Dickson)

Director: Jean-Luc Godard

Screenplay: Jean-Luc Godard (inspired by a poem by Paul Éluard)

Release: 1965

Studio: André Michelin Productions, Filmstudio, Chaumiane

Rating: -

MBiS score: 8.4/10 

 

In Memory of Jean-Luc Godard (1930-2022)  

 

− Has no one ever fallen in love with you?

− In love? What's that?

 

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Story-line: in an unspecified future time, journalist Ivan Johnson is dispatched to another galaxy to interview a scientist. Truth be told, Ivan is really Lemmy Caution, a private detective sent to fulfill an important mission. With Lemmy as your guide, expect drama, weirdness and mayhem in the soulless, futuristic world of Alphaville.

Pluses: roguish acting by Eddie Constantine and suitably cold support from Anna Karina and cast, a tight, sketchy direction nurturing a mood of mystery and danger, a surreal screenplay that appears fluffy and nonsensical at first but gains in depth and relevance along the way, startling visuals evoking a world mostly cloaked in darkness, rinky-dink production values mixing the ultramodern and the low-tech, an effective, omnipresent musical score and a very satisfying ending.

Minuses: although some reviewers have panned ALPHAVILLE as either highbrow or boring, I found it interesting and even substantial.

Comments: in other roles as Lemmy Caution, the rugged-faced Eddie Constantine (1917-1993) has played Lemmy as a detached, smart-alecky snoop who thrives on comic-book violence. In this nightmarish, Orwell-inspired film, Eddie plays it dark and sardonic as if it was all an elaborate joke… and it really works! The odd and wonderful ALPHAVILLE − one of Jean-Luc Godard’s more accessible works − is the chilling indictment of a world that has succumbed to totalitarianism, conformism and misogyny. 

 

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Madame Butterfly

Genre: romantic drama  

With: Ying Huang (Cio-Cio-San), Richard Troxell (B.F. Pinkerton), Ning Liang (Suzuki), Richard Cowan (Sharpless), Jing Ma Fan (Goro), Christopheren Nòmura (Prince Yamadori), Constance Hauman (Kate), Kusakabe Yo (Uncle Bonze), Kamel Touati (Uncle Yakusidé)

Director: Frédéric Mitterrand

Screenplay: Frédéric Mitterrand (adapted from the libretto by Giuseppe Giacosa and Luigi Illica)

Release: 1995

Studio: Erato Films, Idéale Audience, Imalyre et al.

Rating: -

MBiS score: 8.6/10 

 

‟She's like a porcelain doll. She sets me on fire.” 

 

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Story-line: Japan, 1904. Pinkerton, an American naval officer temporarily stationed in Nagasaki, has decided – why not! – to live it up during his stay. He buys himself a house complete with servants and gets engaged to pretty Cio-Cio-San. Sharpless, the American consul who advises him, acknowledges that he is free to do whatever he chooses but urges caution anyway.

Pluses: admirable singing and acting by Ying Huang (an immensely touching Cio-Cio-San) and Richard Troxell (a dashing Pinkerton), firm support from Ning Liang, Richard Cowan and Jing Ma Fan, remarkable direction, a simple yet intense screenplay depicting memorable characters and events, breathtakingly beautiful cinematography, ravishing production values (sets, costumes, locations), a lovely musical score and a powerful ending.

Minuses: the story-line could be considered anti-American if not for the worldly Sharpless who embodies another side of ‟yankee” culture.

Comments: the very accessible MADAME BUTTERFLY is one of the best operas ever composed and Frédéric Mitterrand’s dignified version for the screen does justice to Puccini’s masterpiece. Each and every frame of this movie is purposed for beauty and filmed with dedication and respect. Even if opera isn’t your thing, you will feel fortunate to see such a spectacle of passion and tragedy. ‟Dovunque al mondo lo Yankee vagabondo…*”

 

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*‟Everywhere in the world the wandering Yankee…” - Source: www.opera-arias.com/ 

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Tommy

Genre: musical drama

With: Roger Daltrey (Tommy), Oliver Reed (Frank), Ann-Margret (Nora), Elton John (the Pinball Wizard), Eric Clapton (the Preacher), Keith Moon (Uncle Ernie), Paul Nicholas (Cousin Kevin), Jack Nicholson (the Specialist), Robert Powell (Captain Walker), John Entwistle and Pete Townshend (as themselves), Tina Turner (the Acid Queen), Barry Winch (young Tommy)

Director: Ken Russell

Screenplay: the Who and Ken Russell (based on Pete Townshend’s rock opera) with additional material from John Entwistle and Keith Moon

Release: 1975

Studio: Robert Stigwood Organisation Ltd., Hemdale

Rating: PG

MBiS score: 8.2/10 

 

The Boy Wonder, His Mother, the Abusers Around Him and His One True Hope 

 

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Story-line: when Nora Walker, the wife of an English World War II pilot, learns that her husband has died in combat, she is all alone to give birth. The war ends, Nora raises little Tommy by herself and, just as she finds happiness with a new man, Tommy witnesses an event so traumatizing that he becomes deaf, dumb and blind. Will fate always be brutal to Nora’s son?

Pluses: solid acting by Ann-Margret, Oliver Reed (as a rather scuzzy character) and Roger Daltrey (remarkable for his screen presence, physical acting and powerhouse vocals), fine support from a mix of well-known thespians and artists (Tina Turner, Keith Moon and Paul Nicholas are standouts), hectic and flamboyant direction, a logical, imaginative and sometimes outrageous screenplay built on dialogues almost entirely sung, extravagant production values (costumes, sets, choreography), striking visuals, an ambitious musical score and an ending that comes full circle.

Minuses: be warned that the Who, in their heyday, had a peculiar obsession with baked beans.

Comments: on some level, Ken Russell’s film was a precursor to music videos of the 1980s and its source material – Pete Townshend’s catchy songs from 1969 – has aged quite well, even by today’s standards. Daring, driving and rip-roaring, TOMMY pays tribute to a milestone in rock music history and amps up the entertainment for maximum viewing pleasure. ‟See me! Feel me! Touch me! Heal me!” 

 

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Boyhood

Genre: coming-of-age drama  

With: Ellar Coltrane (Mason Evans Jr.), Patricia Arquette (his mom Olivia), Lorelei Linklater (his sister Samantha), Ethan Hawke (his dad Mason), Libby Villari (Grandma), Marco Perella (Bill Welbrock), Jamie Howard (Mindy), Andrew Villarreal (Randy), Barbara Chisholm (Carol), Angela Rawna (Professor Elena Douglas), Jenni Tooley (Annie), Evie Thompson (Jill), Richard Andrew Jones (Grandpa Cliff), Karen Jones (Nana), Brad Hawkins (Jim), Tom McTigue (Mr. Turlington), Zoe Graham (Sheena), Bill Wise (Uncle Steve), Maximillian McNamara (Dalton), Jessi Mechler (Nicole)

Director: Richard Linklater

Screenplay: Richard Linklater

Release: 2014

Studio: IFC Productions, Detour Filmproduction

Rating: R

MBiS score: 8.5/10

 

 

Young People Need All That Time to Figure It Out... If They're Lucky! 

 

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Story-line: BOYHOOD follows 6-year-old Mason, his sister and their divorced parents as they go about their lives from 2002 to 2014. That’s it… there’s nothing more to this movie!

Pluses: excellent acting by Ellar Coltrane (as the free-spirited, intelligent and increasingly likeable Mason), Lorelei Linklater (his sympathetic sister), Patricia Arquette (their well-meaning but luckless mom) and an endearing Ethan Hawke, efficient direction, a sincere and lively screenplay paced by natural dialogues, consistent production values, pretty cinematography, sensible editing and a satisfying ending.

Minuses: none… but do plan ahead because this movie is 165 minutes long.

Comments: BOYHOOD tells a familiar story and holds few surprises but never loses interest because of its accuracy and simple humanity. In a few words… it rings so true! Richard Linklater’s idea to spread out the film shoot over 12 years in order to let his characters breathe, evolve and grow older was quite astute, echoing Michael Apted’s well-known UP documentaries. What makes BOYHOOD so watchable is how it allows us to know, accept and even cherish its characters while they experience triumphs and setbacks like anyone would… with optimism, disappointment, confusion or resilience. Love and relationships, family dynamics, school and work issues, mentors and bad influences are covered wisely in this modest and worthy film. Enjoy!

 

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An Education

Genre: romantic comedy drama

With: Carey Mulligan (Jenny Mellor), Alfred Molina (her father Jack), Cara Seymour (her mother Marjorie), Olivia Williams (Miss Stubbs), Peter Sarsgaard (David Goldman), Matthew Beard (Graham), Dominic Cooper (Danny), Rosamund Pike (Helen), Emma Thompson (Mrs. Walters, the Headmistress)

Director: Lone Scherfig

Screenplay: Nick Hornby (based on a memoir by Lynn Barber)

Release: 2009

Studio: BBC Films, Finola Dwyer Productions, Wildgaze Films et al.

Rating: PG

MBiS score: 8.0/10 

 

‟There’s so much I want you to see.” 

 

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Story-line: Twickenham in the 1960s. Although Jenny Mellor, a brilliant high-school student, appreciates the support she receives from her watchful father and her boyfriend Graham, what she really wants is to leave home, study at Oxford and have a life of her own… hopefully in Paris. One rainy day, after a cello rehearsal, fate offers her a ticket to freedom... David Goldman, a charming man who will pull her out of her stifling little world.     

Pluses: fine performances by Carey Mulligan and Peter Sarsgaard (showing superb chemistry as a couple), delightful support from Alfred Molina and a faultless cast, competent direction, a spiffy screenplay enlivened by truthful, well-written dialogues, lovely cinematography and attractive production values.

Minuses: the story-line may seem a tad predictable to some viewers (me included). 

Comments: I’ll be frank: AN EDUCATION is not a work of great human import but it certainly fulfills its purpose as the illustration of one girl's struggles in a confusing world. Catchy, bittersweet and very pretty, Lone Scherfig’s work will please movie buffs with a taste for romance (and we are many!).  

 

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Vampyr

Genre: horror movie (in black and white)

With: Nicolas de Gunzburg, aka Julian West (Allan Grey), Maurice Schutz (the Lord of the Manor), Rena Mandel (Gisèle), Sybille Schmitz (Léone), Jan Hieronimko (the Doctor), Henriette Gérard (Marguerite Chopin), Albert Bras (the servant)  

Director: Carl Theodor Dreyer

Screenplay: Christen Jul, Svend Rindom and Carl Theodor Dreyer (based on a book by J. Sheridan Le Fanu)

Release: 1932

Studio: Tobis Filmkunst

Rating: -

MBiS score: 8.8/10 

 

Still Creepy After All These Years* 

 

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Story-line: Allan Grey, a young man fascinated by devil worship and vampirism, stops in the village of Courtempierre and takes a room at the local inn. That evening, after hearing a strange chant and seeing a disfigured man, he goes to bed, sleeps badly and is awakened by the old Lord of the Manor who tells him ‟Quiet!... She must not die. Do you understand?”  

Pluses: fine acting all around, an efficient and eerie screenplay stoking much tension, spare dialogues complemented by a continuous stream of sinister music by Wolfgang Zeller, adept editing, artful direction, competent cinematography (by Rudolph Maté and Louis Née) and Henri Armand’s striking special effects.

Minuses: since this spellbinding movie is 90 years old, don’t expect state-of-the-art production values − for one thing, the door to Allan’s room looks like it’s made of cardboard − but such shortcomings are more than compensated by a brilliant display of imagination and strangeness. A series of mysterious events involving Allan at the one-hour mark can be explained as a dream sequence.  

Comments: for anyone not acquainted with vampires, this pioneering work by the legendary C.T. Dreyer serves as a fitting and wide-ranging introduction to their dark and nightmarish universe. In fact, VAMPYR does so much with so little − and with such potency − that I was unsure if it was a movie I was watching or some scary dream I had unwittingly stepped into. Doubtless a classic and a chilling good time for all. And just in time for Halloween...  

 

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© 2022 – All rights reserved 

*My apologies to Paul Simon, of course.

Nosferatu: Phantom der Nacht

English title: Nosferatu the Vampyre 

Also known as: Nosferatu: fantôme de la nuit

Genre: horror movie

With: Klaus Kinski (Count Dracula), Isabelle Adjani (Lucy Harker), Bruno Ganz (Jonathan Harker, Lucy’s husband), Roland Topor (Renfield, Jonathan’s boss), Walter Ladengast (Dr. Van Helsing), Dan van Husen (the Warden)

Director: Werner Herzog

Screenplay: Werner Herzog (based on Bram Stoker’s novel)

Release: 1979

Studio: Werner Herzog Filmproduktion, Gaumont, Zweiten Deutschen Fernsehen

Rating: PG

MBiS score: 8.7/10 

 

The Drinks Are On Me 

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Story-line: despite his wife’s frightful premonition, a real estate agent travels to Transylvania to meet an aristocrat interested in buying property in his area of Germany. Oddly enough, the aristocrat’s name is… uh… Dracula… count Dracula.

Pluses: fine acting by an obsessed Klaus Kinski (with bald head, eyes wide open, toothy grin and visible fangs), Isabelle Adjani, Bruno Ganz and Roland Topor, a screenplay spare in dialogues but generous in spooky sights and disturbing events, Werner Herzog’s calm and unhurried direction, pretty cinematography that lingers on its subjects, judicious production values (Old World sets and costumes, ghastly sound effects, competent makeup work) and an eclectic score combining opera, spaced-out electro and choral music.

Minuses: none I can think of.

Comments: Werner Herzog may have gone against conventions in conceiving a quiet and artistically-minded vampire movie but his NOSFERATU THE VAMPYRE delivers as many chills − if not more − than typical horror fare. Although less striking than Dreyer’s VAMPYR, this adventure in terror, which borrows elements from Herzog’s AGUIRRE, THE WRATH OF GOD, is disturbing and convincing enough to satisfy any movie buff. When I heard the nefarious one say ‟There are things more horrible than death”, I didn’t doubt him and neither will you. 

 

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