Nadie engaña a una mujer

As a decent but not great anthology movie, some parts of The Witches were not very good. A couple of segments I forgot while they were still going, with #2 and #4 feeling particularly lazy, and kind of unfinished. Segment #1 wasn't as bad, but it was a little boring.

The Pasolini-directed segment came third, and that one made me laugh a couple of times. It was absurd and silly, and some side characters in it felt like they predicated Super Mario Bros.

But it's the Clint Eastwood segment - the final one - that I came to The Witches for, and it made the whole thing worth watching. They get him to do some ridiculous things in this, and I don't know how. There's something that verges on a fantasy/musical section and he just looks so awkward and grumpy; smiling through the pain. I feel like someone had dirt on him and blackmail might've been involved, but it was neat seeing him play someone very different from his usual stuff (and I'm not just saying that because he was dubbed into Italian, but that is like a whole other level of crazy).

Surreal, absurdist (kind of), very Italian, very 60s. You should definitely see this movie if you like a) 60's clothes, b) 60's movie sets, c) weird movies, d) Silvana Mangano, and e) obscure Clint Eastwood titles (yes, he's in it, too), among other things.

Mangano, the wife of famed producer Dino de Laurentiis, gets a royal showcase here, portraying five different women in five short films, each directed by a noted Italian director. In the first (and lengthiest) one, she is a beleaguered movie star who hides away in the large ski chalet of an acquaintance and is promptly pursued by the men and nearly deconstructed by the women. This film has some interesting camera placement and some intriguing aspects, but isn't particularly revelatory or surprising. One ridiculous scene has her talking into a telephone in which her husband is screaming incoherently nonstop into the other end. An impossibly young and attractive Berger has a small role as a servant. Also, viewers could possibly die from the secondhand smoke emitted from the performers! Next Mangano plays a well-dressed woman whose car is stopped at the site of an accident. She picks up an injured man and speeds through the city waving a white handkerchief, but passes various first aid stations and hospitals along the way. The man mutters unintelligibly while he ponders why she is doing this. In the third short film, she is a green-haired deaf-mute who becomes the wife of a lonely widower who has been searching the country for a bride (and a step-mother for his son.) This is by far the most unusual of the stories and is told with much bizarre imagery, whimsy and surrealism. This will make it hard to take for some people, but it has value as an exercise in oddity and metaphor. Next up, Mangano plays a fiery Sicilian woman who has been wronged. When she expresses her shame to her father, it kicks off a whole chain of assassinations. Finally, she is a bored and unappreciated housewife married to Eastwood (of all people!) who complains to him about the mundane existence they share all the while fantasizing about what their life was once like and could be again with a little imagination. This one probably holds the most interest of the five because of the presence of a boyishly young Eastwood (who is quite game for the various shenanigans in the piece) and the myriad of striking costume and hairstyle changes that occur on Mangano throughout. It is a must-see for fans of the over-the-top "What a Way to Go!"-esque clothes of the time. Why didn't anyone ever make this lady a Bond villainess? One section has her being courted by a gaggle of sexy comic book characters like Flash Gordon and Batman. All but the last film suffer from the dreaded English dubbing, but some amount of entertainment value manages to come through. The title sequence is unusual and interesting. This melange of stories will not appeal to everyone, but most viewers will at least get a slight kick out of the last one if only for the sight of pup Eastwood and the way-out clothes in the fantasy sequences.

Visconti's sketch is the best; he always did well in elegant surroundings and Mangano is at her best here. De Sica has Eastwood before he became a star and forgot how to act; it's a pretty good look at a marriage gone stale. The other three sketches are pretty much useless.

I once caught 15 minutes on Italian tv of Pasolini's contribution and was completely fascinated by it. Having now also seen his film "Uccellacci e uccellini," made the same year as "Le Streghe" and in much the same absurdist style, I understand even more fully the political commentary being made in both films. The social and political commentary in Pasolini's work is delivered obliquely and with great humor but is nonetheless vital to an understanding of both the style and content of his films. Even after having lived in Italy for some time, speaking the language fluently and learning as much as I could about the complicated political events of the fifties, sixties and seventies, I am aware that as a foreigner I am still at a disadvantage to fully "getting" the point that's being made in these two films. I would think it would be nearly impossible to find them anything other than strange and disconnected without some familiarity with the Italian political milieu of that period. However, that said, I think the beauty of the stylization - successfully realized and united on every level, design, costumes, cinematography and most particularly, acting - works irregardless and is entertaining in and of itself. It's especially interesting to see a comic performer as beloved and mainstream as Toto was at that time, so willingly and completely giving himself over to a director as completely experimental and also so controversial in an extremely volatile political climate as was Pasolini. My only negative comment about "Le streghe" is that I wish it weren't so impossible to get hold of as I would love to see this very beautiful film in its entirety.