Four directors tell tales of Eros fit for a 1970s Decameron. Working-class lovers, Renzo and Luciana, marry but must hide it from her employer; plus, they need a room of their own. A ... See full summary »
Six separate episodes: would-be suicides discuss their despair. A provincial dance hall. An investigative reporter posing as a husband-to-be. A young unwed mother. Girl-watching techniques of Italian men. A glimpse into prostitution.
Cinecitta, the huge movie studio outside Rome, is 50 years old and Fellini is interviewed by a Japanese TV crew about the films he has made there over the years as he begins production on ... See full summary »
Amelia and Pippo are reunited after several decades to perform their old music-hall act (imitating Fred Astaire and Ginger Rogers) on a TV variety show. It's both a touchingly nostalgic ... See full summary »
Four directors tell tales of Eros fit for a 1970s Decameron. Working-class lovers, Renzo and Luciana, marry but must hide it from her employer; plus, they need a room of their own. A billboard of Anita Ekberg provocatively selling milk gives a prudish crusader for public decency more than he can handle. The wife of a count whose escapades with call girls make the front page of the papers decides to work to prove her independence, but what is she qualified to do? A buxom carnival-booth manager who owes back taxes offers herself for one night in a lottery: a nerdy sacristan and a jealous cowboy make for a lovers' triangle. In each, women take charge, but not always happily. Written by
When Mario Monicelli's segment, "Renzo e Luciana", was cut, producer Carlo Ponti offered to finance Monicelli's film as a full-length feature on its own. This was never made. This segment was apparently cut because Monicelli had promised to deliver a "major American star" but failed. See more »
I've seen "Boccaccio" just few days ago and so I can express my fresh opinion of it. And I have seen FOUR segments of it - including "Renzo e Luciana" of Monicelli which is quite good. It puts some accent on social criticism and tells about young consorts that due to their poverty and constrained conditions have to bear many difficulties in their family life. The second of Fellini I almost forced myself to look to the end - I'm not fond of big bust and hips like ones of Ekberg. This segment seemed to me too flashy and tasteless (just imagine the plump Cupidon with the silky wings and nuns in the paper burlesque frock)though it's main idea concerning with the sexual complexes that obsess the most convinced moralists is very clear. I regret to write this as I didn't expect such a disappointment from Fellini whom I esteem much for his wonderful "Le notti di Cabiria". The third segment - 'Il Lavoro" ( The job) - is the most exquisite, thoughtful, plastic and stylish. Here Visconti tried to subject to his rigorous analysis the question of what lies in the base of a modern marriage. It's also the story of a young well-off little woman ( Romy Schneider) that one day faces the necessity of earning money by her own (thanks to her light-minded husband's behavior) and understand that she has nothing to offer in this men's world except her body. Romy dressed up by Chanel is very sexual (but when I use this word it means something very far from vulgar, something surrounded with the mist of secret and desire) and touching; after the number of the roles of cheerful ingenuous girls she for the first time found the image suiting her real abilities and qualities. The forth segment is "La riffa" (The raffle) be de Sica. De Sica made some good film in the time of realism but then yielded to the commercial cinema and seemed to be unable for the more or less significant criticism. Thus his segment is very light and benevolent with a lot of spicy humor and a lot of Loren
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