list http://www.spout.com/ Recent community activity around Boccaccio '70 on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Boccaccio_70/3945/default.aspx Title: Boccaccio '70
Year: 1962
Director: Federico Fellini, Vittorio De Sica, Mario Monicelli, Luchino Visconti
Plot: Released in the US by 20th Century-Fox, Boccaccio '70 is a compendium of short subjects directed by three of Italy's top filmmakers. Each story is written in the style of the famed Italian essayist Boccaccio, albeit told in contemporary terms. First up is "The Raffle", written by Cesare Zavattini and directed by Vittorio De Sica: Sophia Loren (wife of Boccaccio '70 producer Carlo Ponti) plays the sexy operator of a shooting gallery, who offers herself as first prize to the best shot. In "The Job", written by Suso Cecchi D'Amico and directed by Luchino Visconti, Romy Schneider carries a torch for her philandering boss Tomas Milian. The final segment is "The Temptation of Dr. Antonio", directed by Federico Fellini and scripted by Fellini, Ennio Flaiano and Tullio Pinelli; in this one, Anita Ekberg is an image on a poster who comes to life for the benefit of a drooling middle-aged professor (Peppino De Filippo). A fourth episode, "Renzo and Luciana", directed by Mario Monicelli, was cut from U.S. release. ~ Hal Erickson, All Movie Guide
Times Tagged: 1
Number of Lists: 1
Number of blog posts: 3
SpoutRating: 2
]]>Fri, 22 Aug 2008 17:01:33 GMTBoccaccio '701962Federico Fellini, Vittorio De Sica, Mario Monicelli, Luchino ViscontiReleased in the US by 20th Century-Fox, Boccaccio '70 is a compendium of short subjects directed by three of Italy's top filmmakers. Each story is written in the style of the famed Italian essayist Boccaccio, albeit told in contemporary terms. First up is "The Raffle", written by <a href="/players/P___117861/default.aspx" style='text-decoration:underline'>Cesare Zavattini</a> and directed by <a href="/players/P____87213/default.aspx" style='text-decoration:underline'>Vittorio De Sica</a>: <a href="/players/P____43272/default.aspx" style='text-decoration:underline'>Sophia Loren</a> (wife of Boccaccio '70 producer <a href="/players/P___106824/default.aspx" style='text-decoration:underline'>Carlo Ponti</a>) plays the sexy operator of a shooting gallery, who offers herself as first prize to the best shot. In "The Job", written by <a href="/players/P____86498/default.aspx" style='text-decoration:underline'>Suso Cecchi D'Amico</a> and directed by <a href="/players/P___115512/default.aspx" style='text-decoration:underline'>Luchino Visconti</a>, <a href="/players/P____63764/default.aspx" style='text-decoration:underline'>Romy Schneider</a> carries a torch for her philandering boss <a href="/players/P____49071/default.aspx" style='text-decoration:underline'>Tomas Milian</a>. The final segment is "The Temptation of Dr. Antonio", directed by <a href="/players/P____89547/default.aspx" style='text-decoration:underline'>Federico Fellini</a> and scripted by Fellini, <a href="/players/P____89938/default.aspx" style='text-decoration:underline'>Ennio Flaiano</a> and <a href="/players/P___106525/default.aspx" style='text-decoration:underline'>Tullio Pinelli</a>; in this one, <a href="/players/P____21423/default.aspx" style='text-decoration:underline'>Anita Ekberg</a> is an image on a poster who comes to life for the benefit of a drooling middle-aged professor (Peppino De Filippo). A fourth episode, "Renzo and Luciana", directed by <a href="/players/P___103270/default.aspx" style='text-decoration:underline'>Mario Monicelli</a>, was cut from U.S. release. ~ Hal Erickson, All Movie Guide1Slightly Tagged (1-5)132http://www.spout.com/ProductImages/t59566on9be.jpghttp://www.spout.com/films/Boccaccio_70/3945/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/8/22/34265.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/22/2008 1:01:33 PM
Body: “Yo, Steve, you got any movies, my dude?” One of the youngbloods, a relatively new arrival here at the halfway house, is standing by my bunk with a look of desperation. It’s Sunday afternoon and he’s too broke to do anything but languish in here with us old timers. I slide my pile of Brooklyn Public Library DVD’s over for his perusal. After scanning the titles for a moment, he grimaces sadly and says, “I meant good movies.” “There’s some good movies in there.” He squinted at one box: “McCabe and Mister Miller? 1971? Man, I was born in 1983. Why would I wanna watch some wild west crazy shit made when I wasn’t even around?” “Movies ain’t newspapers, youngblood. You’re missing out.” “The old black and white Casablanca stuff y’all watch… nah, man, thanks, I’ll pass.” I returned to the portable DVD player on my lap, to Carnival of Souls. I didn’t mean to lie to the young man– movies are newspapers, produced in a frenetic daily grind, stuffed with advertising, distributed in a blitz as far and wide as fiscally possible, then cast aside, forgotten the next day. But I figure asserting the notion of movies as something other than disposable infotainment would give him food for thought. Late one night, Big Biswas, who is actually a medium height, slightly chubby man around my age with an endearing bulldog face, visits my bunk. I don’t even pull off my headphones, just direct him to the DVD stack. Peripherally noticing him still standing there after while, I look up from Boccaccio ‘70 to find the bulldog looking hangdog. “Nothing?” I ask. “Come on, man. Just try one. I know they look sorta weird and old, but what’s to lose by trying?” “Na,” he says. Then his eyes go wide. He is looking at my LCD screen. Sophia Loren is bouncing around silently in a tight red dress, in front of several grubby, horny rural yokels. “What you watching?” “Boccaccio ‘70.” “Oh, one a those old school pornos.” “No. Well, sorta. Look at this.” I rewind to a scene where Sophia, as a carnival worker offered as the prize in a lottery, causes a frenzy by bending over to pick something up in from of the nasty men. A moment later, a bull breaks loose and starts to charge at her crimson dress until she strips down to her lingerie and tosses the dress aside. “See?” I said. “She’s built like Buffie the Body, right?” “Like Melyssa Ford.” “Gloria Velez.” “Esther Baxter.” “Like Ice-T’s wife.” “Which one?” “All of ‘em.” Big Biswas is grinning harder than the yokels as Sophia teases and pouts and struts across my ten inch screen. I got him. “You wanna borrow this one, don’t you, man?” He takes a moment, freeing his eyes from the screen only when Vittorio De Sica cuts away from Sophia. “Nah, that’s okay,” he says. “I like the new pornos better.” To each his own. I never push too hard, not wanting to become as obnoxious as the nostalgic village squire in Powell and Pressvurger’s A Canterbury Tale–another library disc treated like a leper round here. “You sound mighty condescending,” says a critic colleague of mine when I complain that, as starved as my floormates at the house are for cine-nutrition, the mainstream films they digest provide little more than carbs and sodium. The critic protests, “Let folks see what they wanna see. These are the movies they chose to watch.” “Well, I feel it’s more like the movies are choosing them.” “Not everybody needs to watch Renoir, Welles and Mizoguchi.” “Now who’s condescending? Why should Renoir, Welles and Mizoguchi be VIP-only? Those are some of the most accessible movies ever made. Why don’t we have Renoir, Welles and Mizoguchi type filmmakers turning out Dark Knights and Tropic Thunders?” “Don’t hold your breath.” I’m holding my breath, but not my tongue: These movies are killing us in the stealthy manner of mercury-laden toothpaste, hypothermia and deep fried sugar wings. Taste buds massaged, body benumbed, poisons working silently into the bloodstream until death starts to feel like sweet slumber. The politics of it all: When the town well is poisoned, the poorest and weakest drop first. The ones who can afford expensive treatments manage to live through the ailment, scarred but not destroyed. Originally posted on:SpoutBlog
]]>Fri, 22 Aug 2008 17:01:33 GMTSpoutBlogSpoutBlog on spout.com8/22/2008 1:01:33 PM “Yo, Steve, you got any movies, my dude?” One of the youngbloods, a relatively new arrival here at the halfway house, is standing by my bunk with a look of desperation. It’s Sunday afternoon and he’s too broke to do anything but languish in here with us old timers. I slide my pile of Brooklyn Public Library DVD’s over for his perusal. After scanning the titles for a moment, he grimaces sadly and says, “I meant good movies.” “There’s some good movies in there.” He squinted at one box: “McCabe and Mister Miller? 1971? Man, I was born in 1983. Why would I wanna watch some wild west crazy shit made when I wasn’t even around?” “Movies ain’t newspapers, youngblood. You’re missing out.” “The old black and white Casablanca stuff y’all watch… nah, man, thanks, I’ll pass.” I returned to the portable DVD player on my lap, to Carnival of Souls. I didn’t mean to lie to the young man– movies are newspapers, produced in a frenetic daily grind, stuffed with advertising, distributed in a blitz as far and wide as fiscally possible, then cast aside, forgotten the next day. But I figure asserting the notion of movies as something other than disposable infotainment would give him food for thought. Late one night, Big Biswas, who is actually a medium height, slightly chubby man around my age with an endearing bulldog face, visits my bunk. I don’t even pull off my headphones, just direct him to the DVD stack. Peripherally noticing him still standing there after while, I look up from Boccaccio ‘70 to find the bulldog looking hangdog. “Nothing?” I ask. “Come on, man. Just try one. I know they look sorta weird and old, but what’s to lose by trying?” “Na,” he says. Then his eyes go wide. He is looking at my LCD screen. Sophia Loren is bouncing around silently in a tight red dress, in front of several grubby, horny rural yokels. “What you watching?” “Boccaccio ‘70.” “Oh, one a those old school pornos.” “No. Well, sorta. Look at this.” I rewind to a scene where Sophia, as a carnival worker offered as the prize in a lottery, causes a frenzy by bending over to pick something up in from of the nasty men. A moment later, a bull breaks loose and starts to charge at her crimson dress until she strips down to her lingerie and tosses the dress aside. “See?” I said. “She’s built like Buffie the Body, right?” “Like Melyssa Ford.” “Gloria Velez.” “Esther Baxter.” “Like Ice-T’s wife.” “Which one?” “All of ‘em.” Big Biswas is grinning harder than the yokels as Sophia teases and pouts and struts across my ten inch screen. I got him. “You wanna borrow this one, don’t you, man?” He takes a moment, freeing his eyes from the screen only when Vittorio De Sica cuts away from Sophia. “Nah, that’s okay,” he says. “I like the new pornos better.” To each his own. I never push too hard, not wanting to become as obnoxious as the nostalgic village squire in Powell and Pressvurger’s A Canterbury Tale–another library disc treated like a leper round here. “You sound mighty condescending,” says a critic colleague of mine when I complain that, as starved as my floormates at the house are for cine-nutrition, the mainstream films they digest provide little more than carbs and sodium. The critic protests, “Let folks see what they wanna see. These are the movies they chose to watch.” “Well, I feel it’s more like the movies are choosing them.” “Not everybody needs to watch Renoir, Welles and Mizoguchi.” “Now who’s condescending? Why should Renoir, Welles and Mizoguchi be VIP-only? Those are some of the most accessible movies ever made. Why don’t we have Renoir, Welles and Mizoguchi type filmmakers turning out Dark Knights and Tropic Thunders?” “Don’t hold your breath.” I’m holding my breath, but not my tongue: These movies are killing us in the stealthy manner of mercury-laden toothpaste, hypothermia and deep fried sugar wings. Taste buds massaged, body benumbed, poisons working silently into the bloodstream until death starts to feel like sweet slumber. The politics of it all: When the town well is poisoned, the poorest and weakest drop first. The ones who can afford expensive treatments manage to live through the ailment, scarred but not destroyed. Originally posted on:SpoutBlog http://www.spout.com/blogs/kristen/archive/2008/5/16/29334.aspx Post By: kristen
Post To: kristen Blog
Post Date: 5/16/2008 8:24:24 PM
Body: Renzo & Luciana (1962)- the first “short” film of Boccacio 70 Director- Mario Monticelli The cinematography of Renzo & Luciana is impressive. Colors, camera movement, and framing describe the director's cinematic intelligence. The plot is less impressive than the cinematography, but it is not a bad plot. The story follows a hastily married couple who struggle with financial difficulties. Work is scarce, and the marriage puts them at risk of losing their jobs. The marriage does not solve problems; it is difficult to raise money for a house, etc. The couple struggles through, and ends on a depressing note of years of financial debt and conflicting job hours. The two will have to work for years without seeing each other in order to manage the finances. It is bad that the two will never enjoy their love when money gets in the way, and this message may wish to change the work force to better enable married couples to enjoy themselves, but the film is not powerful enough to bring about social change. It is more a look at the two characters. The characters could be stronger, but the end is moving nonetheless. The Temptation of Doctor Antonio (1962)- the second “short” film of Boccacio 70 Director- Federico Fellini This Fellini film is most like his surreal/ absurd flick Juliet of the Spirits, so yes, that means it rocks. People say Fellini always makes the same movie, even Fellini admits that, but every one of his films is the same only in that Fellini lives in each of his films (which is different from other auteurs who leave their stamp with running themes (visual and textual)). The Temptation of Doctor Antonio is not so much autobiographical; this film is mainly about being funny and looking cool, but it has Fellini philosophies. Here Fellini masterfully pulls off a surreal look, and haunting images against a religious nut. I feel like people do not and should not trust my opinion on Fellini, because I laugh with all of his jokes and fall in love with all of his films. But, I can say that if you like his more absurd, cool looking comedies similar to Juliet of the Spirits and Fellini Satyricon, you do not want to miss this film. The images are haunting and comical at the same time. This is the dream that you want to have. The Job (1962)- the third “short” film of Boccacio 70 Director- Luchino Visconti It is hard to follow the story at first, but after five minutes, things work themselves out. This is the story of a marriage of convenience and an obsession with money. The Job runs into marital problems, though neither partner loves the other. The wife knew that she would be lonely when she married, and admits to marrying only to marry their estates. The tension in their marriage then comes from the wife's mood swings (climaxed in horrible poetry) and her desire to be an average, middle-class working woman rather than an upper-class aristocrat enjoying money. She says that she respects money so much that she is now going to earn it. Her husband loves erotic joys, and his liaisons may have some thing to do with her mood swings, though they agree to an open marriage. The obsession with money and sexual freedom is disheartening. One might see the end coming, but it is still disturbing. This is a good little piece, but one of the weaker of the four. The Raffle (1962)- the fourth and final “short” film of Boccacio 70 Director- Vittorio De Sica The Raffle is the most surprising film of the Boccacio 70 series. Clearly made after Vittorio De Sica abandoned Neorealism, The Raffle tells an absurd little carnival story where men enter a raffle to sleep with a beautiful woman. The story may not be profound, or political, but the jokes are hilarious and the look is lively. De Sica captures a carnivalesque feeling of life. The Raffle is whimsical and happy, a complete change from the Neorealist films The Bicycle Thieves and Umberto D. This is by no means a shallow piece. The woman is strong and kind. She wishes to make money to help friends, and herself but she does not accept the vulgar comments men toss at her. She is beautiful, but she demands men wipe the drool and give her proper respect. She does have her attractions as well. When a cute man swings by her booth, she falls for his looks (they really do not have time to talk), but she is not so easy. Yes, she is willing to sell herself, but human nature is complex with both admirable and disgraceful traits. I laughed out loud when the bull gets loose, the van drives off, and the watermelon looms. These moments are comedic magic. It was odd for me to see the realist make a film so absurd, so I figure that I should watch his later stuff. This film is a gem. ~Kristen Gorlitz
]]>Sat, 17 May 2008 00:24:24 GMTkristenkristen Blog5/16/2008 8:24:24 PMRenzo &amp; Luciana (1962)- the first &ldquo;short&rdquo; film of Boccacio 70 Director- Mario Monticelli The cinematography of Renzo &amp; Luciana is impressive. Colors, camera movement, and framing describe the director's cinematic intelligence. The plot is less impressive than the cinematography, but it is not a bad plot. The story follows a hastily married couple who struggle with financial difficulties. Work is scarce, and the marriage puts them at risk of losing their jobs. The marriage does not solve problems; it is difficult to raise money for a house, etc. The couple struggles through, and ends on a depressing note of years of financial debt and conflicting job hours. The two will have to work for years without seeing each other in order to manage the finances. It is bad that the two will never enjoy their love when money gets in the way, and this message may wish to change the work force to better enable married couples to enjoy themselves, but the film is not powerful enough to bring about social change. It is more a look at the two characters. The characters could be stronger, but the end is moving nonetheless. The Temptation of Doctor Antonio (1962)- the second &ldquo;short&rdquo; film of Boccacio 70 Director- Federico Fellini This Fellini film is most like his surreal/ absurd flick Juliet of the Spirits, so yes, that means it rocks. People say Fellini always makes the same movie, even Fellini admits that, but every one of his films is the same only in that Fellini lives in each of his films (which is different from other auteurs who leave their stamp with running themes (visual and textual)). The Temptation of Doctor Antonio is not so much autobiographical; this film is mainly about being funny and looking cool, but it has Fellini philosophies. Here Fellini masterfully pulls off a surreal look, and haunting images against a religious nut. I feel like people do not and should not trust my opinion on Fellini, because I laugh with all of his jokes and fall in love with all of his films. But, I can say that if you like his more absurd, cool looking comedies similar to Juliet of the Spirits and Fellini Satyricon, you do not want to miss this film. The images are haunting and comical at the same time. This is the dream that you want to have. The Job (1962)- the third &ldquo;short&rdquo; film of Boccacio 70 Director- Luchino Visconti It is hard to follow the story at first, but after five minutes, things work themselves out. This is the story of a marriage of convenience and an obsession with money. The Job runs into marital problems, though neither partner loves the other. The wife knew that she would be lonely when she married, and admits to marrying only to marry their estates. The tension in their marriage then comes from the wife's mood swings (climaxed in horrible poetry) and her desire to be an average, middle-class working woman rather than an upper-class aristocrat enjoying money. She says that she respects money so much that she is now going to earn it. Her husband loves erotic joys, and his liaisons may have some thing to do with her mood swings, though they agree to an open marriage. The obsession with money and sexual freedom is disheartening. One might see the end coming, but it is still disturbing. This is a good little piece, but one of the weaker of the four. The Raffle (1962)- the fourth and final &ldquo;short&rdquo; film of Boccacio 70 Director- Vittorio De Sica The Raffle is the most surprising film of the Boccacio 70 series. Clearly made after Vittorio De Sica abandoned Neorealism, The Raffle tells an absurd little carnival story where men enter a raffle to sleep with a beautiful woman. The story may not be profound, or political, but the jokes are hilarious and the look is lively. De Sica captures a carnivalesque feeling of life. The Raffle is whimsical and happy, a complete change from the Neorealist films The Bicycle Thieves and Umberto D. This is by no means a shallow piece. The woman is strong and kind. She wishes to make money to help friends, and herself but she does not accept the vulgar comments men toss at her. She is beautiful, but she demands men wipe the drool and give her proper respect. She does have her attractions as well. When a cute man swings by her booth, she falls for his looks (they really do not have time to talk), but she is not so easy. Yes, she is willing to sell herself, but human nature is complex with both admirable and disgraceful traits. I laughed out loud when the bull gets loose, the van drives off, and the watermelon looms. These moments are comedic magic. It was odd for me to see the realist make a film so absurd, so I figure that I should watch his later stuff. This film is a gem. ~Kristen Gorlitz http://www.spout.com/blogs/cinemarian/archive/2008/5/13/29048.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/13/2008 9:58:15 PM
Body: This is a huge, four hour anthology film that became the hightest grossing film in Italy's history. It united three acclaimed Italian filmmakers (Fellini, Visconti and De Sica) and one promosing newcommer with a hit under his belt (Mario Monicelli). The link between all the segments is that they are all comedies based on short stories by the 14th century writer Giovanni Bocaccio, although Kristen and I couldn't figure out what the seventy refers to as the film is not seventy minuets long, was not made in 1970, and that number has no special signifance in the film. The other common thread is that all of the segments have been updated to the present. "Renzo and Luciana" by Mario Monicelli *** This cute segment stars Marisa Solinas and Gemano Giloili as a couple who fell in love at work, but are hiding there relationship from Luciana's parents and her employer. There's not much substance here but it's a slightly charming most of the way, although I sure didn't need those shots of the fat guy in the speedo. This segment was removed from all relaeses of the film outside of Italy, supposedly to make the film shorter, I think that it should have been left in. "The Temptation of Doctor Antonio" by Federico Fellini *** This is the best segment of the film, and a transitional one for Fellini, his first foray into surrealism after years of relitve naturalism. The story involves a puratinical Dr. Antonio (Peppino De Filippo) who annoys everyone with his holier-that-thou attitude. He flips out when a billboard of Anita Ekberg is erected outside of his apparement building and it becomes his personal obsession to remove it, despite the fact is not that racy. He goes off the deep end and has some truly weird and kinky hallucinations. I liked the film mostly for its stunning visual. It's only moderatly funny, and isn't that deep, but it looks so interesting you don't really mind. It's certainly not in the class of And the Ship Sails On in terms of surrealist comedy, but it's a good start. "The Job" by Lucino Visconti ** This is the only one I couldn't really get behind, it's rather boring and not that interesting. A rich guy (Tomas Milan) is having problems with his new German wife (Romy Schnieder). Most of the film is them talking in with boring, too clever by a half dialouge. It's not bad, but really uninteresting. If one segment had to be removed, it should have been this one instead of "Renzo and Luciana". In fairness, I will say that the movie is so dialouge heavy that the fact I don't speak Italian and had to read the subitles, and thus missed the actors faces, may have hurt the experince of watching it for me. "The Raffle" *** by Vittorio De Sica Kristen raved about this segment and liked it a lot more than I did. I was surprised at this, because I am a much bigger fan of De Sica than she is. This segment, is not his best work by any means, but it's an okay short and the deepest of the four. It's about a bunch of guys who are obssessed with winning a raffle "date" with carnival operator Zoe (Sophia Loren). A dweeb ends up winning and Zoe doesn't want to have sex with him. I think this film is princibly about how really shallow people are when it comes to sex. Neither the men or Zoe are interested in anyone for any reason other than the physical- the dweeb and Zoe might have at least been friends if they had bothered to try. I liked how the film condemend men and women equally for this, although I think it went on rather long and could have been shortened. Despite the fact that I liked 3/4 of this film, overall I feel that I can't totally reccomenend as a whole. I was fond of saying to my friend Ruben that an good film at ninty minuets usually becomes an average film at three hours, and an average film at ninety minuets usually becomes a bad film at three hour. The Monicelli, Fellini and De Sica segments are good, but some how I don't think that they have quiet the weight or interest quality they need to pass the three hour mark. Add to that the Visconti segment that doesn't go anywhere, and you have a four-hour movie that is certinly interesting but not quite worth the ride. However, anyone with any interest in any of the four directors will want to see it, if only for their fave's segment alone, so this is a kind of film that is a great on DVD. Overall though, I would have to give the overall experince two and half stars, although it is a close call. Boccaccio '70 (1962)
]]>Wed, 14 May 2008 01:58:15 GMTCinemaRianCinemaRian Blog5/13/2008 9:58:15 PMThis is a huge, four hour anthology film that became the hightest grossing film in Italy's history. It united three acclaimed Italian filmmakers (Fellini, Visconti and De Sica) and one promosing newcommer with a hit under his belt (Mario Monicelli). The link between all the segments is that they are all comedies based on short stories by the 14th century writer Giovanni Bocaccio, although Kristen and I couldn't figure out what the seventy refers to as the film is not seventy minuets long, was not made in 1970, and that number has no special signifance in the film. The other common thread is that all of the segments have been updated to the present. "Renzo and Luciana" by Mario Monicelli *** This cute segment stars Marisa Solinas and Gemano Giloili as a couple who fell in love at work, but are hiding there relationship from Luciana's parents and her employer. There's not much substance here but it's a slightly charming most of the way, although I sure didn't need those shots of the fat guy in the speedo. This segment was removed from all relaeses of the film outside of Italy, supposedly to make the film shorter, I think that it should have been left in. "The Temptation of Doctor Antonio" by Federico Fellini *** This is the best segment of the film, and a transitional one for Fellini, his first foray into surrealism after years of relitve naturalism. The story involves a puratinical Dr. Antonio (Peppino De Filippo) who annoys everyone with his holier-that-thou attitude. He flips out when a billboard of Anita Ekberg is erected outside of his apparement building and it becomes his personal obsession to remove it, despite the fact is not that racy. He goes off the deep end and has some truly weird and kinky hallucinations. I liked the film mostly for its stunning visual. It's only moderatly funny, and isn't that deep, but it looks so interesting you don't really mind. It's certainly not in the class of And the Ship Sails On in terms of surrealist comedy, but it's a good start. "The Job" by Lucino Visconti ** This is the only one I couldn't really get behind, it's rather boring and not that interesting. A rich guy (Tomas Milan) is having problems with his new German wife (Romy Schnieder). Most of the film is them talking in with boring, too clever by a half dialouge. It's not bad, but really uninteresting. If one segment had to be removed, it should have been this one instead of "Renzo and Luciana". In fairness, I will say that the movie is so dialouge heavy that the fact I don't speak Italian and had to read the subitles, and thus missed the actors faces, may have hurt the experince of watching it for me. "The Raffle" *** by Vittorio De Sica Kristen raved about this segment and liked it a lot more than I did. I was surprised at this, because I am a much bigger fan of De Sica than she is. This segment, is not his best work by any means, but it's an okay short and the deepest of the four. It's about a bunch of guys who are obssessed with winning a raffle "date" with carnival operator Zoe (Sophia Loren). A dweeb ends up winning and Zoe doesn't want to have sex with him. I think this film is princibly about how really shallow people are when it comes to sex. Neither the men or Zoe are interested in anyone for any reason other than the physical- the dweeb and Zoe might have at least been friends if they had bothered to try. I liked how the film condemend men and women equally for this, although I think it went on rather long and could have been shortened. Despite the fact that I liked 3/4 of this film, overall I feel that I can't totally reccomenend as a whole. I was fond of saying to my friend Ruben that an good film at ninty minuets usually becomes an average film at three hours, and an average film at ninety minuets usually becomes a bad film at three hour. The Monicelli, Fellini and De Sica segments are good, but some how I don't think that they have quiet the weight or interest quality they need to pass the three hour mark. Add to that the Visconti segment that doesn't go anywhere, and you have a four-hour movie that is certinly interesting but not quite worth the ride. However, anyone with any interest in any of the four directors will want to see it, if only for their fave's segment alone, so this is a kind of film that is a great on DVD. Overall though, I would have to give the overall experince two and half stars, although it is a close call. Boccaccio '70 (1962) http://www.spout.com/members/0/tags/sex/MemberTagFilms.aspxsex
Number of films tagged: 2414

Number of people who tagged: 126

Number of times used: 549

]]>Sun, 20 Dec 2009 18:42:22 GMT2414126549Tag http://www.spout.com/members/0/tags/escape/MemberTagFilms.aspxescape
Number of films tagged: 2868

Number of people who tagged: 76

Number of times used: 279

]]>Tue, 01 Dec 2009 19:51:44 GMT286876279Tag http://www.spout.com/members/0/tags/prison/MemberTagFilms.aspxprison
Number of films tagged: 2437

Number of people who tagged: 62

Number of times used: 167

]]>Tue, 01 Dec 2009 19:02:27 GMT243762167Tag http://www.spout.com/members/0/tags/dream/MemberTagFilms.aspxdream
Number of films tagged: 414

Number of people who tagged: 35

Number of times used: 49

]]>Mon, 30 Nov 2009 19:54:25 GMT4143549Tag http://www.spout.com/members/0/tags/foreign/MemberTagFilms.aspxforeign
Number of films tagged: 491

Number of people who tagged: 30

Number of times used: 421

]]>Thu, 12 Nov 2009 19:41:30 GMT49130421Tag http://www.spout.com/members/0/tags/morality/MemberTagFilms.aspxmorality
Number of films tagged: 277

Number of people who tagged: 15

Number of times used: 25

]]>Wed, 23 Sep 2009 22:40:47 GMT2771525Tag http://www.spout.com/members/0/tags/temptation/MemberTagFilms.aspxtemptation
Number of films tagged: 162

Number of people who tagged: 14

Number of times used: 19

]]>Wed, 12 Aug 2009 13:02:59 GMT1621419Tag http://www.spout.com/members/0/tags/reputation/MemberTagFilms.aspxreputation
Number of films tagged: 242

Number of people who tagged: 13

Number of times used: 17

]]>Thu, 03 Sep 2009 21:26:42 GMT2421317Tag http://www.spout.com/members/0/tags/falseaccusation/MemberTagFilms.aspxfalseaccusation
Number of films tagged: 2361

Number of people who tagged: 8

Number of times used: 10

]]>Tue, 28 Jul 2009 13:02:37 GMT2361810Tag http://www.spout.com/members/0/tags/secretary/MemberTagFilms.aspxsecretary
Number of films tagged: 435

Number of people who tagged: 8

Number of times used: 9

]]>Fri, 20 Nov 2009 19:00:02 GMT43589Tag http://www.spout.com/members/0/tags/prostituteprostitution/MemberTagFilms.aspxprostituteprostitution
Number of films tagged: 1655

Number of people who tagged: 7

Number of times used: 8

]]>Fri, 17 Jul 2009 13:02:52 GMT165578Tag http://www.spout.com/members/0/tags/mask-disguise/MemberTagFilms.aspxmask-disguise
Number of films tagged: 209

Number of people who tagged: 6

Number of times used: 6

]]>Fri, 03 Apr 2009 13:02:14 GMT20966Tag http://www.spout.com/members/0/tags/homemaker/MemberTagFilms.aspxhomemaker
Number of films tagged: 217

Number of people who tagged: 4

Number of times used: 4

]]>Fri, 12 Dec 2008 14:02:06 GMT21744Tag http://www.spout.com/members/0/tags/employment/MemberTagFilms.aspxemployment
Number of films tagged: 1237

Number of people who tagged: 3

Number of times used: 3

]]>Fri, 08 May 2009 00:21:41 GMT123733Tag http://www.spout.com/members/0/tags/loot/MemberTagFilms.aspxloot
Number of films tagged: 1274

Number of people who tagged: 3

Number of times used: 3

]]>Tue, 23 Sep 2008 13:02:29 GMT127433Tag