The Sunday Woman
(1975)
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The Sunday Woman
(1975)
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| Cast overview, first billed only: | |||
| Marcello Mastroianni | ... | ||
| Jacqueline Bisset | ... |
Anna Carla Dosio
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| Jean-Louis Trintignant | ... |
Massimo Campi
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Aldo Reggiani | ... |
Lello Riviera
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Maria Teresa Albani | ... |
Virginia Tabusso
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Omero Antonutti | ... |
Benito
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Gigi Ballista | ... |
Vollero
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Fortunato Cecilia | ... |
Nicosia
(as Renato Cecilia)
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Claudio Gora | ... |
Garrone
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Franco Nebbia | ... |
Bonetto
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Lina Volonghi | ... |
Ines Tabusso
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Pino Caruso | ... |
Police Commissioner De Palma
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Mario Ferrero | ... |
Vittorio Dosio
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Giuseppe Anatrelli | ... |
The Chief of Police
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Antonio Orlando | ... |
The Barber
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Police commissioner Santamaria is investigating the murdering of the ambiguous architect Mr. Garrone. The investigations soon drive him into the Torino's high society. Santamaria suspect Anna Carla and at the same time falls in love for her. Lello is the lover of Massimo, a homosexual platonic friend of Anna Carla. He is following another direction in order to find out the truth, and his results are confusing the Policeman. But another murdering happens... Written by 1felco
"Sunday Woman" is a stylish and ribald whodunnit that has plenty of things to hold your attention when you're frankly not particularly interested in who did it or why. The murder victim is a lewd, leering, seedy old architect who makes obscene gestures at women, like a character out of Fellini's "Satyricon." His body is found bludgeoned to death by means of a large ceramic phallus. "Those who live by the sword shall die by the sword," a character in the film comments. The inspector on the case is a bemused but persistent Marcello Mastroianni. His investigations bring him in contact with some of Turin's high society: Jacqueline Bisset, the bored wife of an industrialist, and her platonic friend Jean-Louis Trintignant, a wealthy homosexual. Trintignant is himself in love with Aldo Reggiani, a records clerk who does his own investigation which leads to his own murder. The film has a nice rhythm, some well-written dialog, and makes use of fascinating Piedmontese locales in and around Turin. Mastroianni, as always, is very effective. The director, Luigi Comencini, gained a substantial reputation in the past with films like "Bread, Love and Dreams" and "Everybody Go Home!"