Reviews by fernando

So vital and fast and moving. Blasetti keeps their non professional in an incredible pace. Even when they rationalize and discuss and claim for understanding are in the brink of anguish. Carmela is the heart of the film,pazza d'amore, but Antonio is the body.

The best of the sketches is 'Scena al aperto', impecable, well constructed, you hace the parafernalia of a Cinecittá tournage, then everuthing is depurated to find these decadent pair, De Sica and cegani, acting all without telling the obvious. I like Delorme´s Mara,tne napolitan sketch is too Naples, nice to meet Padovani in 'Il pupo'.

Minor great film. I love Stoppa going from the light comedy of seduction to the resignation of the adventure and life next to her sister in law. He is better than Sordi because comedy is where he reaches from bad temper, Sordi goes everywhere fron high key comedy. Silvana resumes all the acceotions of bella roma (city, flesh, love, seduction, temptation).

Moreau is great. Cannes was wright giving her Palme D'or for best actress. Brook is far form theatre, taking advantage of scope, following Moreau and Belmondo walking as in a Antonioni film, la mise a scene d'un Resnais avec texte du Duras, voice in off trés francaise. But the close ups of migranious Jeanne and her final cry, are excellent.

Lang moves as fish in the water in the big scope and the conventions of adventure films with boy and rogues. Granger is great as king of smugglers with a romantic hidden past. He goes, reluctantly, for redemtion in the name of it and not just for little Jon Whiteley. Lindfors is pretty and sexy, but Liliane Montevecchi is sexier dancing flamenco.

More interesitng than the interviews, repetitive around the theme of evil and good in fantastic narration, is the ratification of DC Comics resolution (this is a documentary in the orbit of DC) to dedicate next seasons to the protagonism of supervillains. We'll have to wait 2 years for superheroes or to have faith in evil redemption.

Le plaisir de racconter. Nostalgie d'un temps imprecis, comme imprecis fut l'art inicielle du cinema et du Feuillade. Franju is even rudimentary being bright, moving being laconic. I love it.

I love the character, prisoner of her provincial frustrations, of his desires not corresponded by Noiret (¡he is excellent¡), briefly and platonically seduced by Sammy Frey, prisoner of her marriage and then prisoner of her hommicidal attempt, living again with Noiret. I was moved in the scene, near the end, in wich she confesses -voice in off- and you seen her wishing to be pardoned and correponded in emotions by Noiret. But, ironicalley, then she is free in Paris.

Algo plana pero delicada, los caracteres se van construyendo,la idea de que el artista tiene todas las prerrogativas (el desnudo por encima de todas las convenciones sociales encarnadas divertidamente por Chus Lampreave y hasta del sexo que sucede pero sim aparente importancia; por encima de la guerra pues un oficial alemán es su devoto)esta clara. Cardinale, ex modelo y hoy sabia compañera. es un caso aparte, ¿Rochefort se derrumba porque se va ella o porque se va Aida Folch?

The apparition of Vlady is a sensation. Wild creature of the beach and Revenge. Even the big 'r', there is some understanding between the trio, and the friendship of Reggiani and Vidal against fate and woman seems solid till the end. Hossein is pure enphasis (he even uses texts over the screen in the prison scenes).