La mujer del domingo

A hidden gem of a comedy, The Sunday Woman is not what you think it is. A delightful cast of characters where everyone is innocent and guilty of something, the movie is full of hidden comedic moments with its unique storytelling and subtle jabs from each of its characters. The movie wins you over with several situations that do not attempt to be funny, but makes you laugh. Marcello Mastroianni leads an interesting cast of characters alongside a drop-dead gorgeous Jacqueline Bisset who entertains her audience for being both smart and sexy. Very key to detail, this movie is a great example of why you need to watch movies twice. The second time around, you will notice a lot of detail on what is happening with all the suspects.

Marcello's carefully folded pants next to his bed towards the end of the movie speaks volume to his character along with his unique personality as the Commissioner. Each character brings a theme to the story that needs to be dissected. It's this richness that makes this movie a winner.

Yes, the story is fun but the cast of characters is even better.

Mr. Garrone , an old architect and skirt chaser has been killed in his apartment: somebody hit him with a stone phallus. The commissioner Salvatore Santamaria, who comes from Rome , is in charge of this investigation. His superior tells him to be very carefull with the high society of Turin. The commissioner will meet a wealthy businessman ,Massimo Campi and Anna Carla Dosio, a rich and bored woman.

The description of this high society which is complaining about the criminality, trying to speak in English , speaking about their holidays and sending their children to Switzerland for their education is quite fine and maybe more interesting that the investigation itself.

I enjoyed the performances of Marcello Mastrioanni, Jean-Louis Trintignant , Aldo Reggiani, Jacqueline Bisset and Claudio Gora.

Lightweight, afternoon tea-like Giallo with subtle humour and a nice performance by Marcello Mastrioanni. A kind of Marks and Spencer

giallo.

In Turin, dirty old man/architect Garrone goes about his daily business of looking up woman's skirts, making optimistic passes at young waitresses, and ruining high class are exhibitions. Meanwhile, bored housewife Anna is tuning out her older husband ramblings and thinking about a pointless argument she's having with her possible lover Massimo (Jean-Luis Trintigant). They are arguing about how to pronounce the word Boston, by the way, and this architect Garrone has stuck his nib in about it. Clearly venting, Anna writes a letter where she thinks Massimo and herself should kill Garrone.

Garrone ends up being beaten to death by a giant stone phallus and Anna regrets writing that letter as her two newly-fired house staff take the letter to the police. The man in charge of the case is Marcello Mastrioanni and he's a bit uncomfortable with this whole upper class thing. The bored Anna and the even more bored Massimo start treating the whole thing like a game and start doing their own investigations.

Complicating things further is the revelation that Massimo isn't Anna's lover, as he's in a turbulent gay relationship Lello. While it's refreshing to see an actual gay relationship in an Italian movie from this era, rather than a man in drag battering policeman with a handbag and screaming that he's all woman, these two bicker like fiends and you wonder what Lello is thinking when he also starts his own investigation into the murder to save his relationship with Massimo.

The more Marcello digs, the more dirt he finds as it seems that no one has an alibi and everyone seems to be up to something. He now also has to contend with two eccentric sisters who have trouble with hooker using their garden for business, a mysterious car that's following people around and a stonemason business that specializes in stone phalluses

There's not a great deal of murder here but plenty of mystery, and Marcello Mastrioanni's laid back, bemused cop wanders through a world he doesn't understand, with a few sidekicks, many, many meals, and plenty of discussion about Sicilians, Sardinians, and Piedmontians. It's quite a long film for a giallo and even though it's trash free, my mind didn't wander at all while watching it.

Nice Ennio Morricone soundtrack too - but do i have to say that?

The Sunday Woman is a dramatic comedy with a murder mystery, but sadly the humor is quaint and childish, focused on phallic statues and pillows in the shape of a butt. I guess this was considered risque to the most conservative or older audiences in 1975 but La donna della domenica FEELS even older than that.

Jacqueline Bisset (yes, that Jacqueline Bisset) plays a wealthy wife of an aristocrat whose philandering husband ignores her nightly, and despite their young daughter, she's quite bored with her life since there are servants and nannies to meet her every whim. Anna Carla in true Mid-Century socialite fashion is besties with a gay man, Massimo, and they ingratiate themselves into a murder mystery that accidentally involves them due to a misinterpreted letter by two recently fired servants.

Bisset is decked out like it's 1955 with carefully curled short hair and tailored dresses, which sets the tone for the entire story. It's one of the most boring mysteries I've seen to come out of Italy from the time period, likely due to its attempts to mimic Hollywood films from a good 15-20 years prior.

"La donna della domenica" is an outstanding film, but one that is unlikely to be fully appreciated by non-Italians, most of whom might see it as a whodunnit of sorts. Its strength lies, instead, not just with its excellent cast, but also with the caustic way in which it describes Turin's high society: full of characters that, behind their apparent stylishness and elegance, betray a penchant for hypocrisy and an inability to look further than the conventional way in which they live.

It looks more like a comedy, and a well-written, witty one at that.