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LA TUA VALUTAZIONE
Uno sguardo agli anni '60 dell'Italia, un'era di crescita economica e grandi cambiamenti culturali, piena di sesso, amore e seduzione.Uno sguardo agli anni '60 dell'Italia, un'era di crescita economica e grandi cambiamenti culturali, piena di sesso, amore e seduzione.Uno sguardo agli anni '60 dell'Italia, un'era di crescita economica e grandi cambiamenti culturali, piena di sesso, amore e seduzione.
- Premi
- 1 candidatura
Tomas Milian
- Conte Ottavio (segment "Il lavoro")
- (as Thomas Milian)
Antonio Acqua
- Commendatore La Pappa (segment "Le tentazioni del dottor Antonio")
- (non citato nei titoli originali)
Nando Angelini
- Man Winning a Bottle (segment "La riffa")
- (non citato nei titoli originali)
Silvio Bagolini
- Secretary of Monsignore (segment "Le tentazioni del dottor Antonio")
- (non citato nei titoli originali)
Ciccio Barbi
- Engineer in the Car (segment "Le tentazioni del dottor Antonio")
- (non citato nei titoli originali)
Lars Bloch
- Red Priest (segment "Le tentazioni del dottor Antonio")
- (non citato nei titoli originali)
Suso Cecchi D'Amico
- (segment "Renzo e Luciana")
- (non citato nei titoli originali)
Ermelinda De Felice
- Donna che balla di sera sotto il manifesto della ekberg
- (non citato nei titoli originali)
Donatella Della Nora
- Donatella - Mazzuolo's Sister (segment "Le tentazioni del dottor Antonio")
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizFederico Fellini's segment, "Le Tentazioni del Dottor Antonio", was his first work in colour.
- Citazioni
Anita (segment "Le tentazioni del dottor Antonio"): When I move my hips, convents shake.
- Versioni alternativeThe original Italian version had four segments and was 210 minutes long. The segment "Renzo e Luciana" directed by Mario Monicelli was removed in the US version.
- ConnessioniFeatured in Buscando a Sophia (2004)
Recensione in evidenza
A quartet mini-features from the 4 most prestigious Italian directors must be a rare treat for aficionados, but since shorts sometimes has been designed to experiment maestro's more daring or outlandish innovation, so a 1+1<2 formula is well acceptable for the viewers at least.
Act 1, Monicelli's amiable modern tale of a pair of young newlyweds working in the same factory while conceiving their nuptial facts since it breaches the unfeeling regulation. Monicelli's devotion and affection to the general mass is ubiquitous, the camera follows intimately to record the lovebirds' daily work, diversion and quagmire, and the bittersweet ending is unerringly sanguine which should be the bloodline runs inside the Italian lineage.
Act 2, Fellini's ever-first colour endeavour, surrealistic, sumptuous and luscious fantasy of a moral watchdog's eventual relinquishment towards a sexy bomb (an enormous 50 feet-tall Anita Ekberg), a female-exploitation gag which is constantly overplayed (not inclusively) in Fellini's canon. But visually, Fellini's manoeuvre of projecting different proportioned characters (creates two identical settings with different sizes) is quite nimble without exposing any shoddy clues (except the forged beasts, which is a buzzkill).
Act3, Visconti's pleonastic noble Count whose brothel scandal evokes a major crisis with his wealthy but vindictive wife, a higher-tier pastiche ends up with a sloppy reference of a disparaging stinking rich's gauche prostitute fetish. At any rate Romy Schneider is the best thing in it, pairs with a well-suited Tomas Milian, presents a paragon of bourgeois vulnerability and emptiness.
Act 4, another "prostitute" farce in a rural background, De Sica seduces the world with Sophia Loren's vulgar and crude beauty, a sultry whore will spend one night with the man who guess right of the lottery number, but it turns out to be a mental masturbation joke, quite tedious and a bit offensive.
Apparently this is another patchy miscellany doesn't live up to the test of the time, Monicelli's neo-realistic part (which suspiciously is taken out completely in the original US release) is the standout and quite a pity it didn't make up to a feature-length piece of work which producer Carlo Ponti had promised then.
Act 1, Monicelli's amiable modern tale of a pair of young newlyweds working in the same factory while conceiving their nuptial facts since it breaches the unfeeling regulation. Monicelli's devotion and affection to the general mass is ubiquitous, the camera follows intimately to record the lovebirds' daily work, diversion and quagmire, and the bittersweet ending is unerringly sanguine which should be the bloodline runs inside the Italian lineage.
Act 2, Fellini's ever-first colour endeavour, surrealistic, sumptuous and luscious fantasy of a moral watchdog's eventual relinquishment towards a sexy bomb (an enormous 50 feet-tall Anita Ekberg), a female-exploitation gag which is constantly overplayed (not inclusively) in Fellini's canon. But visually, Fellini's manoeuvre of projecting different proportioned characters (creates two identical settings with different sizes) is quite nimble without exposing any shoddy clues (except the forged beasts, which is a buzzkill).
Act3, Visconti's pleonastic noble Count whose brothel scandal evokes a major crisis with his wealthy but vindictive wife, a higher-tier pastiche ends up with a sloppy reference of a disparaging stinking rich's gauche prostitute fetish. At any rate Romy Schneider is the best thing in it, pairs with a well-suited Tomas Milian, presents a paragon of bourgeois vulnerability and emptiness.
Act 4, another "prostitute" farce in a rural background, De Sica seduces the world with Sophia Loren's vulgar and crude beauty, a sultry whore will spend one night with the man who guess right of the lottery number, but it turns out to be a mental masturbation joke, quite tedious and a bit offensive.
Apparently this is another patchy miscellany doesn't live up to the test of the time, Monicelli's neo-realistic part (which suspiciously is taken out completely in the original US release) is the standout and quite a pity it didn't make up to a feature-length piece of work which producer Carlo Ponti had promised then.
- lasttimeisaw
- 5 dic 2012
- Permalink
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Dettagli
Botteghino
- Lordo in tutto il mondo
- 10.641 USD
- Tempo di esecuzione3 ore 25 minuti
- Mix di suoni
- Proporzioni
- 1.66 : 1
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By what name was Boccaccio '70 (1962) officially released in India in English?
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