The Night of San Lorenzo, the night of the shooting stars, is the night when dreams come true in Italian folklore. In 1944, a group of Italians flee their town after hearing rumours that ... See full summary »
Three orphaned sisters under the custody of their stern aunt and their handicapped grandmother, will have to acclimatize to the new conditions of their shared life, overcome life's constant impediments and eventually, grow up.
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 »
Sentenced to life imprisonment for illegal activities, Italian International member Giulio Manieri holds on to his political ideals while struggling against madness in the loneliness of his... See full summary »
Political activist Salvatore returns to his native Sicily and stirs up trouble among the peasants, urging them to confront the Mafia and demand the right to plough their own fields. The ... See full summary »
An old woman finds a baby among the cauliflowers in her garden. She takes care of the orphan, and calls him Totò. When she dies, he is sent to an orphanage, which he leaves as a teenager. ... See full summary »
Vittorio De Sica
The novel (1809) by Johann Wolfgang von Goethe. The marriage of Edward and Charlotte gets worse with the arrival at the castle Young Ottilia, grandson of Carlotta, and Brass. Edward is ... See full summary »
This film relates several disparate storylines, each representing a different type of lifestyle within Italian society at the time, through their common impersonal relationship to a social ... See full summary »
Maria Cumani Quasimodo,
Ferruccio De Ceresa
While travelling to visit their grandfather, two children are told the story of a family curse that has lasted two hundred years. During Napoleon's Italian invasion, Elisabetta Benedetti ... See full summary »
Two segments: In the first one Felice, a baritone who has had to give up his career because of a heart condition and now works as an accountant at the Opera, inexplicably spends his nights ... See full summary »
A devastating volcanic eruption on a remote island, forces the remaining islanders to flee to the safety of the mainland, far away from the seismic epicentre. Cast ashore in a strange and unknown place, deprived of food, water and shelter, the small group of survivors must rapidly seek for nourishment as well as for a new location to call home once again. Inevitably, their search will bring them up against the mainlanders, who are not quite willing to abandon their homes for a new beginning with the newcomers. Alas, a conflict is brewing and the fine balance of life is bound to be disturbed with unknown results... Written by
The Tavianis clunk up an interesting "Lost" premise
In recent years many brother acts, ranging from the Maysles, Coens, Farrellys, Wheats, Quays and Hugheses to the Pates have been directing movies, but for me the all-time greats are the Taviani Bros. With UNDER THE SIGN OF SCORPIO they lose plenty of brownie points, but I'm welling to write this misfire off. (The only sisters I know of are in the porn field, the cutely named "de Neuve" girls who directed in the mid-'70s.)
Set-up parable is apocalyptic, falling somewhere between the strange sagas associated with Werner Herzog (like "Heart of Glass") to an episode midway during the run of TV's "Lost". An island has been decimated by a volcanic eruption and the few survivors escape to a nearby island. Led by Giulio Brogi, they know that their new home is equally susceptible to such a catastrophe via its own volcano, but they are unable to convince the current inhabitants of Island #2 to flee with them to a mainland.
That is essentially the entire plot for a series of blackout vignettes that are sometimes interesting but often banal or merely pointless. Early in their estimable career the Tavianis are experimenting with the cinematic form and I, for one, was unimpressed with the results.
One of the problems is a disinterest in conventional acting or credible human behavior, much in the manner pioneered around this time by Pasolini. Though top talent is employed (Brogi for one clan, and the brilliant Gian Maria Volonte and Lucia Bose as patriarch and matriarch on Island #2), they are instructed to perform amateurishly. In an effort at forced primitivism, the protagonists' actions oddly come off as much phonier and postured than if Volonte (for example) were giving one of his usual flamboyant, theatrical turns (see: INVESTIGATION OF A CITIZEN for example).
There is plenty of sex and violence in the stew, leading to extremely cryptic sequences later in the film. The barbarian-seeming denizens from Island #1 take to dressing up in cowbells and prancing around all night long in militant stomp fashion to annoy and perplex Island #2 folk, when latter don't take kindly to their insistence that everybody flee the place immediately. (I thought I'd wandered into a recent East Village off-Broadway show at this point.) Later they kidnap most of the women and hogtie them in bondage, cueing brutal violence as Islanders #2 don't take kindly to this action.
Film's open ending is sudden and cryptic, as if the Tavianis were purposely dumping the entire narrative in the viewer's lap instead of attempting to tie up any plot or thematic threads themselves. I shudder to think what fans of similar material (like LORD OF THE FLIES) will think should they have the temerity to sit through this failure, as I had to being a completist. Next up for me (gulp!) is 3-1/2 hours of Laetitia Casta pretending to be an actress rather than a supermodel as the TV star of the Tavianis' LUISA SAN FELICE, crudely dubbed into English no less. Ah, the joys of movie masochism.
5 of 9 people found this review helpful.
Was this review helpful to you?