Tag: Italy

Battle of the Amazons

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★★★
“This world was made for hate, not love.”

amazonsIt’s startling to think that when this came out, this merited not only a theatrical release in the United States, but a review from perhaps the most respected critic of our time, the late Roger Ebert. Needless to say, it didn’t end well for the film, but Ebert tearing apart a film is still fun to read. I particularly liked the line, “There are spears and bows and arrows and swords, which suggests early times, but then again all of the women on both sides are fresh from the hair dryer. They also exhibit impressive technical advances in the art of brassiere-design.” Yeah, welcome to The Magnificent Seven – only set in a vaguely Greco-Roman era, with a tribe of rather vicious Amazons the antagonists.

They live by raiding and plundering local villages, under Queen Eraglia (Love), but after they kill her father, local lass Valeria (Tedesco) has had enough, and rents the service of conveniently-passing bandit Zeno (Tate), to teach the village farmers how to defend themselves. However, the sexual chemstry that flies between Valeria and Zeno fail to impress her betrothed, who convinces a group of village men, that their best chance of survival is to switch sides, reveal details of the defense plans to Eraglia, and hope she sees fit to give them mercy. It turns out though, that he may not be the only snitch present in the town camp, as things proceed towards the entirely expected finale, a lengthy battle pitting the raiding women against the defending agriculturalists.

It’s actually a little darker and possibly somewhat more well-thought out than I expected: the final line of dialogue being the one atop this review, which sprinkles a nice sense of doom and futility over things, and the multiple levels of betrayal are effectively handled. I started watching this on a plane flight to New York, but I think the second topless torture scene was about where I opted to save it for another day, though there really isn’t much else here worse than PG-13 rated. Tedesco makes a good impression as the feisty heroine, and it’s a nice touch to have women effectively leading both sides, though when it comes to the actual fighting, Valeria obviously steps aside for Zeno. Sadly, the Amazons also step aside when the action kicks off, largely being unconvincingly replaced by male stunt doubles in masks and wigs. Valeria acquits herself best there as well, indeed coming to the rescue of her employee in the final face-off. I can’t honestly say I minded the dubbing as much as Roger, and the time passed briskly enough on its way to an appropriately grandiose finale. Though I’m certainly agree with him on one point: I’m not quite sure why the local men made such a fuss about getting kidnapped…

Dir: Alfonso Brescia
Star: Lincoln Tate, Paola Tedesco, Lucretia Love, Mirta Miller

Werewolf Woman

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★★★
“Hungry like the wolf”

wolfwomanWhile there have been plenty of female vampires over the year, the number of female werewolves is a lot smaller. There’s the wonderful Ginger Snaps (and its not as wonderful sequels), the forgettable Cursed, TV series Bitten, and most infamously of all, Howling II: Your Sister Is a Werewolf.  However, perhaps the closest relative here is a little off to one side: the remake of Cat People, made by Paul Schrader in 1982. It is not dissimilar in tone and approach, both taking a firm, if somewhat hysterical psychosexual tone to proceedings, and Giorgio Moroder’s musical score sounds like the synthesized one here. Both have heroines whose transformations are triggered largely by sexual excitement, and who eventually find a man happy to love them for who they are – only for that happiness to be short-lived. Of course, this one being grindhouse, the reason for its abrupt termination is her boyfriend being stabbed to death while trying to stop her from being raped, which triggers a rampage of revenge that justifies its inclusion on this site.

But I’m getting ahead of myself here. It’s also a sexual assault which triggers the psychological problems for Daniela Neseri  (Borel). The psychological trauma and Daniela’s obsession with a family legend involving an ancestor who supposedly turned into a predatory animal, form a potent combination, and she develops a deeply-held belief that she also changes into a wolf at the full moon. That doesn’t appear to be the case, but it still brings tragedy down on the family, when Daniela gets all hot and bothered after seeing her sister (Lassander) making love to her husband. The resulting carnage get her committed to a psychiatric hospital by her aristocratic father (Carraro), only for Daniela to escape after an encounter with the facility’s local nymphomaniac. After some more brutal murders, which baffle the local police, she finally meets her soulmate, who works as a stuntman. And this takes us back to where this paragraph came in.

It’s pure exploitation cinema, not skimping at all on the nudity, and with a healthy amount of gore as well – what else would you expect from a director who, the same year, gave us Deported Women of the SS Special Section? This isn’t quite as sleazy, though certainly is not family viewing, and is well enough made to make for an interesting viewing experience for broad-minded spectators. Borel has a nicely lupine quality about her, and even if the transformation sequences [most notably the opening dream sequence] leaves a bit to be desired, the various elements – the heroine, her family, the cops who gradually realize the connection between the corpses – are tied together with a script that has had more effort put into it than you might think. They truly don’t make them like this any more.

Dir: Rino Di Silvestro
Star: Annik Borel, Howard Ross, Dagmar Lassander, Tino Carraro
a.k.a. La lupa Mannara or The Legend of the Wolf Woman

Tiger of the Seven Seas

  By

★★★
“Good, for the (Spanish) Main part”

tigerofthesevenseasAnother in the flurry of Italian female pirate flicks of the sixties, this stars Canale as Consuelo, the daughter of a pirate captain. After he retires from the buccaneering business, she defeats her lover, William (Steel) in a duel to decide who takes command. Her father is killed with William’s knife a short while after, but they are attacked by the Spanish forces of Governor Inigo de Cordoba (Calindri) before her boyfriend can be hung for the crime. In the ensuing confusion, William escapes, and makes off with the ship. Consuelo and her followers, hijack another vessel and give chase. But is William the real culprit, or is this part of a plan cooked up by the Governor’s scheming wife, Anna (Spina), who seeks to get her hands on the horde of treasure which was buried in a secret location by Consuelo’s father, before his death?

The action is a bit disappointing here, with most of the sword-fights consisting of not much more than the two participants standing at arm’s-length from each other, waving their weapons. The story is also rather predictable, with few if any of the developments being unexpected. We just know William is going to be proven innocent, even if he looks like a young, piratical version of Lou Reed. ]Maybe that’s just me?] What do work, are the characters, who are an enjoyable bunch to spend time with – even the villainous Anna, who is clearly the brains of the marriage. She’s an excellent foil for Consuelo, who is equally smart and brave; she certainly makes a strong first impression, hurling a knife at William, and embedding it in the trunk of a tree by his face.

The spectacle side of things is well-integrated, though I have an idea some of the footage may have been lifted from other pirate pictures, as it doesn’t quite seem to match; it was certainly not Capuano’s sole foray into the genre. Everything builds nicely to the standard adventure film cliche, #37: the masked ball, which Consuelo infiltrates in the cunning guise of…a pirate, to rescue William, after he made an ill-advised attempt to storm the fortress and abduct the traitor. This leads to an all-out battle, perhaps most remarkable for the “raining cannons” sequence, but despite what I said about the plot having no twists, I must admit, the final conclusion is not one I saw coming, with the villainess getting off surprisingly easily, compared to other potential fates. She actually gets the treasure, though at the cost of letting Consuelo and William go. I like to imagine the sequel has them heading back to reclaim her father’s loot, and I certainly wouldn’t have minded seeing more of their adventures, and it’s a shame no such follow-up ever emerged.

Dir: Luigi Capuano
Star: Gianna Maria Canale, Anthony Steel, Maria Grazia Spina, Ernesto Calindri

Fraulein Doktor

  By

★★★½
“Germany calling…”

frauleindoctorThere’s a lot going on in this World War I spy thriller: probably a little too much, though it’s still generally interesting. The titular character – I wouldn’t go so far as to call her a heroine, for reasons that will become obvious – is a nameless German spy, whom we first see coming ashore at the British naval base of Scapa Flow. Her two male associates are captured, with Meyer (Booth) being “turned” by British intelligence officer, Colonel Foreman (More). Meyer reveals the fraulein’s mission is to find out on what boat Lord Kitchener will be leaving the base, so it can be attacked. Despite More’s desperate efforts, the plan succeeds and Kitchener is killed. That’s not the first time she has caused problems: in a flashback, we see her seducing French scientist Dr. Saforet (Capucine), in order to steal the secret of a dreadful new chemical weapon. Meyer, now a double-agent, is sent back into Germany with the aim of killing her, and appears to succeed. However, that’s just a ruse, so the not-so-good doctor can complete her biggest mission: organizing a raid on Allied headquarters to steal their defense plans, in advance of a massive German push.

It’s refreshingly grey in terms of morality. Neither side comes off as occupying the high ground, and there’s very much a sense of grubby necessity. For instance, when the agent is being presented with a medal for her role in killing Kitchener, the presenting German officer refuses to shake her hand, because he considered Kitchener a fellow officer as well as a friend, and his death was “cheating”. But they are perfectly happy to use her talents: when the idea of sending a woman in is questioned, her commander replies, “Why not a woman? She has imagination, precision, courage beyond any man on any battlefield. She has only two weaknesses: traces of pity and grains of morphine.” The latter adds an extra wrinkle in her final undercover role, as a nurse on a Red Cross train, heading to the front, and she has no reluctance in using her body to achieve her goals – whether with men or women. Kendall gives a solid performance, and I was surprised to discover this was inspired by a real person, Elsbeth Schragmüller, whose identity as “Fraulein Doktor” was not revealed until almost 30 years after the end of WW1. Details of her actions are still sketchy, offering the makers a blank canvas on which to paint: no evidence she was a bi-sexual drug-addict, for instance!

As noted, there’s too much going on here. The mission to kill Kitchener could have been an entire movie in itself, as could the theft of the chemical weapon, but instead, these are galloped through at an over-anxious pace. The finale then seems to forget about its leading lady entirely, heading off in an completely different direction, depicting the German attack, both with conventional weapons and poison gas, and the effects on the Allied troops. Shown below, it is truly a nightmarish sequence of epic proportions, enhanced by Ennio Morricone’s discordant score: I believe the Yugoslav army supplied military extras, and that ups the ante considerably. It makes for a grim, rather than rousing finale, bringing home to the fraulein, the responsibility of what she has done. I can see why it was a commercial flop and has largely been forgotten, yet despite its flaws, it deserves a better fate than obscurity.

Dir: Alberto Lattuada
Star: Suzy Kendall, Kenneth More, James Booth, Capucine

The Queen of the Pirates

  By

★★½
“Court in the act.”

queenofthepiratesSandra (Canale)  and her father fall foul of the local tyrannical Duke (Muller) after they refuse to pay his excise duty. Arrested, the arrival of the poor but noble Count of Santa Croce, Cesare (Serato), saves them from death – or a fate worse than in Sandra’s case, as the Duke has a profitable sideline, shipping local girls off to the Middle East. After escaping, they join up with a local pirate band, who agree to help target the Duke after Sandra bests their leader in sword-play. To gain the hand of the duke’s daughter, Isabella (Gabel), Cesare agrees to hunt down the “Queen of the Pirates” who has brought trade to a standstill, not knowing that his target is the same woman he helped save, and since then has had a secret longing.

Its storyline is more than slightly similar to the other Italian piratess movie we also covered here, Queen of the Seas, from the following year. This is slightly weaker, mostly because Sandra ends up taking a back seat to the heroic Cesare in the second half, though it benefits from a solid supporting performance by Gabel, who brings a genuine nastiness to her role as the spoiled heiress, who is perfectly happy to endorse Daddy’s white slavery operation, as long as it keeps her in jewels and pretty dresses. The shift in focus from Sandra is disappointing, not least because she can handle a sword pretty well – that’s clear right from the fight against the Duke’s excise-men, and reached its peak during the friendly duel against the pirate king. Really, given the era (1960) and Canale’s provenance as a former runner-up in Miss Italy, it’s genuinely impressive.

queenofthepirates2

From about the midpoint on, it is entirely predictable, and becomes much less interesting as a result, despite some efforts to suggest that Cesare might not really be smitten by the heroine – just pretending to be, in order to lure her in. There’s also some desperately unfunny attempts at comedy, courtesy of his squire, and the English dub appears to have been written by someone practicing for International Talk Like a Pirate Day, spattering every other sentence with gratuitous nautical vernacular. I can’t call it disastrous, and at 75 minutes, doesn’t outstay its welcome; there’s just too much queening and not enough pirating in this for me.

Dir: Mario Costa
Star: Gianna Maria Canale, Massimo Serato, Paul Muller, Scilla Gabel
a.k.a. La Venere dei Pirati

Le Avventure di Mary Read

  By

mary read

★★★
“Graded as a solid sea-plus.”

While best known for notorious horror film, Cannibal Ferox, director Lenzi’s career covered almost the entire gamut of genres, from spaghetti Westerns through Eurospy films and giallo, to war movies. He also did historical adventure films like this, starring Gastoni as Mary Read, a highwaywoman who takes a spot on a corsair ship run by the unfortunately-named Captain Poof (Barnes). After his demise in a sea-battle, Mary takes over the ship, leading daring raids on any and all who cross her path, on sea or land. Given Poof was working with the approval of the British crown, and supposed to be targeting only its enemies, this provokes a reaction, in the shape of Captain Peter Goodwin (Courtland), who is ordered to take care of Poof, unaware he has been replaced by Mary. However, complicating matters, he also knows her personally, having been locked up in prison with her back in England, and had a brief fling with Read at the time. Can he bring his former love to justice?

queen of the seasDespite its age – this was made in 1961 – it has stood the test of time fairly well, except for a romantic ending which is both predictable and unfortunate. This turns the heroine into exactly the subservient woman she spent the first 80 minutes not being. Up until then, it plays well ahead of its time, with Read taking no crap from anyone, and proving to be skilled both with a pistol and a sword, as well as her words. [And perhaps a needle, some of her costumes, particularly the red one, being quite spectacular] The production values are generally pretty impressive, especially in the naval sequences; they clearly had a couple of full-scale boats to work with, rather than miniatures. However, its recreation of what is supposedly “17th-century England” leaves a lot to be desired, unless the landscape and costumes of that era were a lot more, ah, Mediterranean than I was aware! I’m also rather hard pushed to swallow Read’s intermittent efforts to pass as a man: I guess eyesight was not as sharp back in the day.

Clocking in at a brisk 85 minutes, there’s not much chance to pause for breath. This helps paper over holes in the plot, such as the Governor of Florida apparently not bothering to mention to anyone, that his party was raided by a woman pirate. But I like the way Read is portrayed as smart, for example, out-thinking Goodwin and getting him to fire on a supporting ship – she wants to destroy his reputation as much as anything else. However, this makes the final resolution all the more implausible, and I’d far rather have seen her sail off into the sunset, perhaps with Ivan (Longo), the crew-mate who seems to carry a torch for her. I guess this wasn’t quite far enough ahead in its thinking.

Dir: Umberto Lenzi
Star: Lisa Gastoni, Jerome Courtland, Walter Barnes, Germano Longo
a.k.a. Queen of the Seas

Nikita – Sexy Killer

  By

★★
“French kissing… And rather more…”

[Note. This is a XXX-rated film, so while I’m being very restrained, the discussion of it is, of necessity, still for mature readers.]

nikita sexy killerI don’t have any problem with pornography, but the concept of porn with a storyline leaves me somewhat baffled: it’s a combination that doesn’t seem to make sense. Personally, I either want to watch people having sex or a movie with actual characters and a storyline; I don’t think I’ve ever been in the mood where I’ve thought, “I want 2 1/2 hours that combine hardcore pornography with more traditional elements of cinema,” but that’s what you have here. Actually, 2 1/2 hours of hardcore pornography alone, seems like serious overkill, by a factor of somewhere between five and ten. I certainly didn’t get through this in one sitting.

But I was intrigued by the concept. The porn parody has a long, disreputable history, from Skinemax fluff like Lord of the G-Strings through to hardcore entries like – and, I swear, I’m not making this up – Naporneon Dynamite. But this, dating from somewhere between 1996 and 1999, depending on which source you believe, is the first I’m aware of which was based on an action heroine. [Subsequent investigation turned up what appear to be multiple entries involving Lara Croft-alikes. I wouldn’t hold your breath waiting for reviews here] The star here, Sarah Young, got her start doing Page 3 shoots at the age of 14 (!), and transitioned to hardcore later, under the care of her future ex-husband, Hans Moser. Last I could find out, she had quit the adult industry, and was studying to be a lawyer.

Anyway. This film may simply be titled “Sexy Killer”, going by the print – this would make more sense from a “not having Luc Besson sue your ass off” front, but the IMDb begs to differ, so I’m going with that. It certainly does follow the basic storyline of Nikita, particularly early on, though the crime which gets the heroine, Sarah Lester (Young) on her journey into Nikita, is a home invasion – albeit one which turns into a group sex scene between the actual invading of the home and the cops showing up. Then, as in the original, she shoots a cop while high, but is bailed out of the resulting life sentence, by Serge (Clark), who offers her an alternative: wet work and other operations for the organization in which he works. There’s a restaurant scene where she has to assassinate another diner, and another mission involves sniping from a window, both of which will be familiar to fans. But the film does divert at the end, where – and I trust I’m not spoiling this for anyone – Nikita lifts some incriminating documents she’s supposed to be recovering, and uses this as leverage to break free from her employers. Which is actually a kinda cool idea, I have to admit. I also appreciated the cat-fight between Nikita and her mentor/colleague, Jeanette (Sartori). Besson missed a trick there, I feel. And the subsequent lesbian canoodling.

Mostly, though, it’s about the sex. Lots and lots of sex, with the ratio of that to plot being approximately 3:1. And, since the running time is 152 minutes, that is an awful lot of multiple aardvarking, as Joe Bob Briggs used to call it. As for what happens in the remaining 38 minutes (approx), you have to cut the performances some slack, given dubbing where the voice actors are far more enthusiastic with regard to moaning and groaning, than the actual dialogue. But, actually, the actors aren’t bad: in particular, Clark is spot-on, as the world-weary agent tasked with keeping his rebellious underlings in line, and a good equivalent to Tchéky Karyo (or Gabriel Byrne, if you prefer the remake). But the action scenes are perfunctory, and little more than a token gesture – admittedly, it’s an entirely different kind of action in which the makers are interested, so criticizing them for this seems irrelevant. It is possible to make films that mesh hardcore sex with narrative in an interesting way: Caligula is perhaps the best-known example, and Lars Von Trier’s Nymphomaniac, by reports, also does so. Here? Not so much, and it’s probably of interest only to Nikita completists.

Dir: Mario Bianchi (as “Nicholas Moore”)
Star: Sarah Young, Christoph Clark, Stefania Sartori

Lady Dynamite

  By

★★
“La donna è mobile”

la padrinaThe tenth wedding anniversary of Donna Costanza (Alfonsi) in New Jersey is rudely interrupted when her husband is gunned down during the party. For he was a Mafia boss who, it appears, had crossed the wrong person. Before dying, he whispers to his wife, “Giarratana from Palermo,” apparently fingering the man behind the hit. Seeking revenge, Madam Costanza flies to Sicily, and meets up with a loyal family employee, soliciting his help to plan the death of the local boss fingered by her husband’s last words. But things are considerably more murky than they seem, as Costanza has wandered into the middle of some shenanigans involving a corrupt local official, a police investigation and an arms deal, which are all leaving a trail of corpses in their wake. And someone wants Donna to join the dead bodies, first trying to blow up her plane, then sabotaging the brakes on her car. When a supposedly blind man guns down her contact in the street, it’s getting too warm for comfort.

I can see where this is aiming, coming out the year after The Godfather, and aiming to add an extra layer of Italian authenticity – while, of course, keeping a canny eye on the American market. However, by trying to cram everything into little more than 90 minutes, the net result is more confusing mess than epic drama, and particularly in the middle third, poor Donna is left little more than a minor supporting actress in her own movie. Things are not helped by a soundtrack and costumes which appear not so much stuck in the seventies, as repeatedly nail-gunned to the floor of the decade. Things get a bit more interesting when Donna finally meets the man responsible – he actually pays her a visit, doesn’t deny his role in proceedings, calmly explains he was basically doing what was best for business, and then invites her to join him, as the only way to keep the Costanza name at the top of the food chain. It’s a neat twist, further muddying the lines between organized crime and (semi-)legitimate business which have been blurred by the movie, almost since she arrived in Sicily.

So, will Donna take a pragmatic approach and bury the hatchet for the sake of her family’s future? Or will she follow through with vengeance on behalf of her husband? It’s somewhat diverting, while the ending is both decisive, and offers a nice commentary on life in 70’s Sicily, where Death apparently was an everyday occurrence. But getting there involves sitting through an awful lot of mobsters sitting around doing mob things, and Vari is definitely not Coppola.

Dir: Giuseppe Vari.
Star: Lidia Alfonsi, Venantino Venantini, Mario Danieli, Orchidea de Santis
a.k.a. La Padrina

Nina: Crazy Suicide Girl

  By

★★
“Well, it’s certainly different. Note: different, not necessarily good”

NinaPosterThis micro-budget Italian offering seems to go about things almost entirely in reverse. Rather than establishing the characters, then dropping them into a scenario, this starts with Nina investigating a missing girl, Anna. The disappearee seems to have some connection to the dodgy “Xstasy” video company, fronted by Cesare Mazza (Guerra), and behind that, an apparent Satanic cult under the leadership of Marcus (Visconti), who is actually a woman. Apparently, they take the offcasts of illegal Eastern Europeans from the porn shoots, and sacrifice them to their demonic master.

But what’s never really addressed in any real detail is Nina. Is she a cop? A private detective? An assassin for hire? And what exactly did she do to merit the title of, and I quote, “Crazy suicide girl.” Must have been something pretty cool and interesting, right? We never learn. She does point a revolver at her temple and pull the trigger, but since we have no clue if it’s loaded or not, I’m finding myself underwhelmed there. She does torture someone with a blowtorch to extract information from them. But I had just finished watching 24: Live Another Day, and let’s be honest, that isn’t enough to turn Nina into Jack Bauer in a dress.

I did quite like the heroine, who has an off-center attitude to her and a look which is not conventionally pretty. But the film probably needs to decide what it wants to be, and stick with it, rather than trying to combine aspects of the hard-boiled detective thriller, Dennis Wheatley adaptation, soft-porn and action heroine genres. Because, the scripts doesn’t handle any of them particularly well. For instance, the “detecting” aspects are so conveniently simplistic as to be an embarrassment, right from when Nina discovers a porn DVD in Anna’s bedroom. Another problem is an almost total lack of motivation for anyone involved here, from Nina through Cesare and up to ‘Marcus’: they seem to exist purely because the plot demands they do.

There’s no shortage of nudity and the gore effects are fairly plentiful, if characterized more by enthusiasm than quality. But it’s only at the very end, which hints at a sequel with the potential to be more interesting than this film, that you get some idea of what this was trying to accomplish. It’s a shame there wasn’t less of a gap between intent and execution, pun not intended.

Dir: Christian Arioli
Star: Irene Giordano, Mauro Cipriani, Gabriele Guerra, Stefania Visconti

Blonde in Black Leather

  By

★★★½
“Girls on a Motorcycle”

“What if we free everyone? Everyone who wants to come with us, not just children.  We could make a gang that even Butch would be proud of.  Stop by all the laundrettes, tell them all to come with us. And if they don’t want to come, it’s their loss.”

blondeinblackleatherClaudia (Cardinale) has a humdrum life working in a laundrette, with a sleazy husband and no hope of anything more exciting in her future. Into the laundrette storms the titular woman, Miele (Vitti), whose devil-may-care attitude enthralls Claudia, and gives her the courage to throw away her staid existence and follow the blonde on the road. Miele is initially resistant to the idea of a travelling companion, but rides to the rescue, driving her bike through the railway station where Claudia is being harassed. Miele must make a mysterious appointment in Northern Italy with her lover, but that’s okay, as Claudia has a cousin, on the way, in Naples. However, as the two make their way, it gradually becomes clear that Miele could give Baron Munchausen a run for his money, when it comes to spinning tall tales, and both her mouth and impetuous actions, are as likely to get the pair into trouble as out if it.

It plays kinda like a pre-make (since it came out in 1975) of Thelma and Louise, directed by Stephen Chow, because it has the same mo lei tau (or “makes no sense”) approach. For instance, at one point, while Miele is re-enacting one of her alleged escapades. the bike careers off the road, with Miele left dangling from a tree. Several minutes later, after Claudia helps her down, in the background, you see the motor-cycle, still going, driving itself into the sea. Or later on, after they mistake a policeman for a criminal, they’re chased out the back of a train, and the film switches into b&w slapstick mode, with deliberately bad rear-projection, etc. No-one bats an eyelid at any of this. While the plot is flimsy, to say the least, it relies heavily on the charm of its leading ladies, and that aspect is a roaring success, right from the moment Vitti strides into the laundrette. Co-writers Barbara Alberti & Amedeo Pagani, who penned the script along with Di Palma, had just come off the similarly fetishistic The Night Porter, and Di Palma shoots proceedings with the eye of someone who was a cinematographer first (he was a frequent DP for Woody Allen in the eighties and nineties).

It’s a generally frothy confection, light in aim and intent, though has occasionally surprising moments of poignancy, and the reason behind Miele’s fantasies is impeccable. There is also a surprisingly impressive brawl (below), after the pair clean out a casino, in which Cardinale kicks ass thanks to some rather good staging. Considering Italy in the seventies was hardly a bastion of feminism, this is particularly impressive, and providing you aren’t looking for anything particularly meaningful – or even logical – has survived the forty years which have passed, much better than many of its era.

Dir: Carlo Di Palma
Star: Monica Vitti, Claudia Cardinale
a.k.a. Qui Comincia l’Avventura [“Here Begins the Adventure”]