Recensioni di RodrigAndrisan

I don't usually write reviews for such films, my favorite films being the films of Federico Fellini, Sergio Leone, Marco Ferreri, Pier Paolo Pasolini, Bernardo Bertolucci, Luis Bunuel, Ingmar Bergman, Akira Kurosawa, Jean-Pierre Melville, Jean-Luc Godard, Stanley Kubrick, and a few more like them. This "Armageddon" is a real "armageddon" from a cinematic point of view, a long waste of time of 2 hours and 31 minutes. I saw it for the first time in the cinema shortly after it was made and I had to watch it again on TV, having nothing better to do, being stuck in a hotel room in Porthmadog, Wales due to the continuous rain. All the actors give an awkward performance, the story is puerile, explosions after explosions, super annoying, the standard face of Bruce Willis in all the scenes, frame after frame, the same in all the films, playing himself, like many other "actors". I made a much better short film in 2013, also with an asteroid about to impact planet Earth, without explosions and without awkward scenes, one after another, "Solitary" is the title, only 5 minutes long, with believable characters and situations, like in real life, it can be seen on YouTube if you write the title, "Solitary" and my name, Rodrig Andrisan. Back to Michael Bay's "Armageddon", the only ones more natural and believable are Billy Bob Thornton and the actress who plays the woman who comes to ask for a divorce in her husband's astronomical observatory. The fact that the film was nominated for 4 Oscars shows, once again, how irrelevant the Oscars are. The film also won some awards and the well-deserved ones are those won at the Razzie Awards and The Stinkers Bad Movie Awards, i.e. The "awards" for the worst film and the worst performances from all those involved.

Ingrid Bergman at 55, is still a very beautiful and desirable woman. As Anthony Quinn, one of the giants of world cinema and one of my favorite actors, also thinks. I liked Anthony Quinn in all his films, even the less good ones. I especially liked him in LA STRADA, ZORBA THE GREEK, THE 25TH HOUR, THE HUNCHBACK OF NOTRE DAME. I didn't like Ingrid Bergman in INDISCREET (read my review), but she is extraordinary in films like NOTORIOUS and ARCH OF TRIUMPH. Here, in A WALK IN THE SPRING RAIN, she does a decent, not great, role as a woman who is a grandmother and falls in love with a married man, not at all handsome, who is Anthony Quinn. The story is banal, the film is rather static, except for the scene when Anthony Quinn, with just one punch, kills his own son. Fritz Weaver is dull and, I am convinced, that is how it was supposed to be. Virginia Gregg stands out as the neglected wife of Anthony Quinn. I am convinced that with other actors in the roles played by Ingrid Bergman and Anthony Quinn, the film would have had no charm. Only their unique personalities give value to this film and make it worth watching. Ten stars only because I love Bergman and Quinn in other films. Miscast or not, I think that both Quinn and Bergman tried to be as natural, believable and convincing as possible. Who did it better? Obviously Bergman, but Quinn is also believable, despite the character's pure American name from Tennessee, the actor being a mixture of Mexican and something else mysterious.

Cary Grant is not one of my favorite actors, just like Robert De Niro and many others, he plays himself in all his movies. That doesn't mean that the movies are bad. For example, this NOTORIOUS, is a very good movie. And it's the movie in which I like Cary Grant the most, because of the role he plays. But there are also some questionable aspects. Staying with Cary Grant, it is not at all clear how he, an American agent, ended up among Alicia Huberman's (Ingrid Bergman) guests in her house at the beginning of the film. It would have been natural for Devlin, Cary Grant's character, and Alicia to meet anywhere else, so by chance. Then, Alicia falls in love with Devlin much too quickly. Maybe some women are like her? Anyway, Ingrid Bergman, at 31, looks 21, and is so beautiful that there are no words to describe her. As for her acting talent, she is absolutely overwhelming, a being from a completely different world, unique, gorgeous, super charming, super delicious, you can't help but fall in love with her, she simply shines like a human sun. Despite the above and the fact that 99% of the scenes take place indoors, which makes it a bit static, the film is captivating. If Ingrid Bergman hadn't been in it, it would have been super boring. The other actors are all exceptional, especially Madame Konstantin (Leopoldine Konstantin), who does a great job as Alexander Sebastian's (Claude Rains) mother. There would be a problem here too, it is striking that Madame Konstantin, only 3 years older than Claude Rains, and Claude Rains looking very old, both of them do not give the impression of mother and son at all. Either Hitchcock should have chosen a much younger actor, or another very, very old actress. Hitchcock probably really liked Ingrid Bergman and Claude Rains in CASABLANCA, and wanted to have them both together in his film. Another extraordinary presence is the actor Ivan Triesault. The coolest scene in the movie: when Ingrid Bergman kisses Cary Grant while he's on the phone. The less cool scene: when Alicia/Ingrid gets married too quickly and totally against her feelings to Sebastian/Rains, and the fact that she asks permission from the American secret agents, and, at their suggestion, accepts the marriage, seems childish if not downright stupid to me. Ten stars just for Ingrid Bergman's work and unique charm!

Two beautiful ugly ones, or two ugly beautiful ones, a perfect couple on the screen. Neither Belmondo nor Jeanne Moreau were beauties, they had an immense personal charm that made them likeable. Plus a great talent in expressing with terrible ease what thousands of other actors struggle in vain to express. Both, Moreau and Belmondo, did not even need words, they could convey enormously just by their presence, just by a look. Two geniuses of cinematography who delighted my childhood in particular and my adult life, I saw almost all their films, only this "Moderato Cantabile" was missing because, made in 1960, I was too young, I was less than 2 years old at the time and I don't even know if it was in the cinemas in Bucharest. I found it on YouTube now in March 2025 and watched it with great interest, although I was very tired, with many hours of sleep minus. A very delicate film that is worth seeing. However, knowing the extremely low intellectual level of today, it will only be of interest to those who know who Moreau and Belmondo were.

But that's not the reason why I declare this film as the best melodrama, but because I identify with the character Salvatore. Yes, this film is the best European melodrama I've seen, even the best in the world, much better than the Indian ones with Raj Kapoor. I'll have to watch a few other melodramas I saw as a child and compare, but from what I can judge now as an adult, it's the strongest. I'm thinking of other films like the English "Our Mother's House" (1967), the French "The Adventures of Remi" Original title: Sans famille (1958), the Greek "The Shoe-Shine Boy" Original title: O loustrakos (1962) and another Italian "Misunderstood" Original title: Incompreso (Vita col figlio) (1966). The child Edoardo Nevola is extraordinary in the role of the orphan looking for his mother, and the director Glauco Pellegrini shows a very good knowledge of the human soul. Alida Valli is convincing in the role of the mother who abandoned her son, and Francisco Rabal is very good in the role of the man who wants a son. I saw the prolific Spanish actor Francisco Rabal in important films, true masterpieces, such as "Viridiana" (1961), "L'Eclisse (1962), "Belle de Jour" (1967), "The Desert of the Tartars" (1976). "Since I've been here in Rome I've always felt the need to steal and it's the atmosphere that's to blame", is a nice line at minute 58.30, said by the orphan boy Salvatore, to the thief played by Memmo Carotenuto. And the scene in which Salvatore provides a marionette-voice for a mother pining for her lost son, alongside marionette-theatre operator Gennaro, played by Eduardo De Filippo, it's extremely moving.

A film with annoying characters, the most annoying being the Scotland Yard inspector who comes to solve the mystery of the murders. Then, annoying is the young man who stages murders before the actual murders. Then, annoying is the mother of the young man who stages murders. Then, the rest of the characters. Seeing the names of Michele Lupo and Gastone Moschin, who worked together to make the excellent "Seven Times Seven" Original title: Sette volte sette (1969), I hoped that I would see a comedy at least as successful. I was sorely mistaken, this production is a total cretinous nonsense. The glaring mistake: after the Scotland Yard inspector together with the policeman played by Gastone Moschin completely demolish the door behind which one of the victims had just "committed suicide", the door is intact. With the exception of Gastone Moschin, an excellent actor in many other films, here having a stupid, ridiculous role, Michele Lupo used 14th-rate actors. It's not a comedy, it's a poorly written drama around an inheritance. Another mistake, at the beginning of the film, the policeman played by Gastone Moschin, an Italian actor, says "Good Morning Padre" to the priest, instead of "Good Morning Father", the action is somewhere in England, with English characters (padre means priest in Italian, it also means father), but the director and almost all the other actors are Italian... The only one who has written another real, honest, sincere review is "wmschoell". Zero stars from me, exactly as it deserves.

Even if there is no sex. Isn't it? Well, that's pretty much what happens in the film. Until Eugenia, the character played by the unique beauty that was Laura Antonelli, meets Silvano, the character played by Michele Placido. What a beauty of a woman this Laura Antonelli is, I consider her the most beautiful woman in the world, more beautiful than all the beautiful actresses, like other Italians I have been in love with more or less, Virna Lisi, Monica Vitti, Sylva Koscina, Silvana Mangano, Anonella Lualdi, Rossana Podestà, Sophia Loren, Monica Bellucci, Claudia Cardinale, Gina Lollobrigida, Ornella Muti, Stefania Sandrelli. The film is worth seeing just for her. A little for Michele Placido and Jean Rochefort too. Alberto Lionello's acting is too exaggerated. The talented director Luigi Comencini also delighted me with other films such as: "The Scopone Game Original title: Lo scopone scientifico (1972) and "Misunderstood" Original title: Incompreso (Vita col figlio) (1966). The 10 stars are less for the film than for Laura Antonaz, known as Antonelli.

The first episode is interesting and nothing more. It's considered a comedy but nothing is funny and there's no funny moment, no funny scene. Franca Valeri is an actress who's not exactly beautiful, but she's talented. Her dwarf driver who doesn't say anything the whole movie is a unique, original presence. Vittorio Caprioli, the film's director, who has a cameo towards the end, Franca Valeri's husband in real life, is a comic actor in many other movies, but not in this one. The second episode is a bit more interesting, more consistent and that's not necessarily due to the presence of Nino Manfredi, but the story itself is much more captivating, more spicy, especially considering the character played by Norma Bengell, whose occupation is the oldest profession in the world.

But very boring because it does not have a smart script, which will captivate you. Considering what we see, it is obvious that it was not a cheap production, they had a lot at their disposal, such as a helicopter, expensive cars, a palace-like house where some scenes were filmed, a swimming pool, etc. Marilyn Chambers was an extremely attractive woman when she was young and it is clear that she loved having sex. But that is precisely the problem, throughout the film we see her having sex with several men, and with another woman in the pool, in different positions, scenes repeated endlessly, boring. If they had had an intelligent script, the film would have been much more interesting. There are pornographic films that did not have Marilyn Chambers' budget, which are much more successful. One such example is "My Mother... My Brother... and I" from 1973, directed by Mark Brock. There is a funny scene in which Marilyn Chambers picks up the young man on the highway in her convertible and takes him and sucks his dick.

Yes, I also agree with the one who signs one of the reviews with the name heystevesteinberg, the mother in the movie is a very attractive, sexy woman, plus she knows her job, she knows how to make a man feel really good, as we see in the movie. I will not tell exactly what happens in the movie, I never do that. I will only add that the young Carol, played by Lynn Nelson, the alleged daughter of the experienced mother, is also very sexy, she has a great body. The bathroom scene between Carol and her brother is very sweet, like in a normal love movie, a little more explicit. The two actresses were not big porn stars like Marilyn Chambers or Traci Lords, but they did a very good job with a very small budget, all the action taking place in a typical modest American house.

Great acting lesson with the chameleon Nino Manfredi in this "Let's Talk About Men" Original title: Questa volta parliamo di uomini (1965). I've seen Manfredi in many films, I knew he was capable of making himself unrecognizable but not quite like that, here he surpassed himself, both in the way he looks, makeup, wigs, and the way he speaks, with different accents. The film is excellent and we see three actresses, also seen in many other films, here, doing some exceptional roles: Luciana Paluzzi in the best role I've seen her, also speaking with a super-comic accent, Margaret Lee, in a small but very convincing role as a stupid blonde, and the sweet Milena Vukotic, doing a character somehow in the spirit of Giulietta Masina from "La Strada". I suppose the knife-throwing episode was inspired by "La Strada", Manfredi's character reminds me of Anthony Quinn's Zampano. Lina Wertmuller proves that she is a great director. Back to Milena Vukotic, who is absolutely delicious in this film, she has worked with great directors such as Federico Fellini, Luis Buñuel, Franco Zeffirelli, Mario Monicelli, Andrei Tarkovsky, in extraordinary films like "The Discreet Charm of the Bourgeoisie" Original title: Le charme discret de la bourgeoisie (1972), "That Obscure Object of Desire" Original title: Cet obscur objet du désir (1977), "Amici miei" (1975), "Nostalghia" (1983) plus the "Fantozzi" series with the one and only Paolo Villaggio.

First, great story. Then, great direction and great acting, by all the actors. Nino Manfredi in one of his best roles. He is absolutely amazing in all the scenes. Emma Penella, who looks like a slightly plumper Claudia Cardinale, is delicious in the role of Carmen, the daughter of the old executioner. José Isbert, impeccable in the role of the old executioner. José Luis López Vázquez, an actor I have seen in several Spanish films, very good in the role of José Luis Rodríguez's brother, the character played by Nino Manfredi. Likewise María Luisa Ponte, in the role of Estefanía, José Luis Rodríguez's sister-in-law, Guido Alberti, in the role of the prison warden, etc. Luis García Berlanga, together with Luis Buñuel, are the best Spanish film directors. Ennio Flaiano, co-author of the script, is a close collaborator of the great Federico Fellini, known for "8½" (1963), "La Dolce Vita" (1960), "The White Sheik" (1952), "Nights of Cabiria" (1957), "I Vitelloni" (1958) and, the best film of all time, "La Strada" (1954), directed by the same giant Federico Fellini. And the film's cinematography is signed by Tonino Delli Colli, a collaborator of another Italian giant, Sergio Leone, plus Federico Fellini and Pier Paolo Pasolini. "The Executioner" is a comedy, a dark comedy, don't expect to laugh out loud, because the message is very bitter. I saw it twice, several years apart, and I would watch it again anytime with great pleasure.

I wanted to see the film because of the presence of Gian Maria Volontè. And Lucia Bosè, a beauty from several love dramas from the '50s, was another reason, I was curious to see how good an actress she is. I knew Gian Maria Volontè well from so many films, he is an excellent actor in: "Investigation of a Citizen Above Suspicion" Original title: Indagine su un cittadino al di sopra di ogni sospetto (1970), "The Red Circle" Original title: Le cercle rouge (1970), "Sacco & Vanzetti" Original title: Sacco e Vanzetti (1971), "The Working Class Goes to Heaven" Original title: La classe operaia va in paradiso (1971), "A Bullet for the General" Original title: Quién sabe? (1967), "We Still Kill the Old Way" Original title: A ciascuno il suo (1967), "Wake Up and Die" Original title: Svegliati e uccidi (1966), "L'armata Brancaleone" (1966), " A Fistful of Dollars" Original title: Per un pugno di dollari (1964), "For a Few Dollars More" Original title: Per qualche dollaro in più (1965) and others. But the film turned out to be a big disappointment, a waste of time. Many men who talk all the time about how to leave the volcanic island they are on, to go somewhere else, on the mainland. A very boring topic. Minutes in a row there are scenes with many men performing an extremely annoying dance having on them cowbells. Gian Maria Volontè shouldn't have accepted this role but I suppose he didn't have any other source of income and he had to eat too, pay some rent maybe. And the beauty from the '50s, Lucia Bosè, is no longer a beauty, even Volontè tells her so in the film, that she is an old woman, and due to the stupid script, you can't tell how good or bad an actress she is, she appears very little and it's more silent, she doesn't say anything. All the films I've seen made by the Taviani brothers, "Allonsanfan" Original title: Allonsanfàn (1974), "Good Morning Babylon" Original title: Good morning Babilonia (1987), "Kaos" (1984), "The Night of the Shooting Stars" Original title: La notte di San Lorenzo (1982) and especially the "great success" "Padre Padrone" (1977), are very static and extremely boring films. Gian Maria Volontè worked in his great films with real super amazing directors such as Sergio Leone, Damiano Damiani, Elio Petri, Jean-Pierre Melville, Carlo Lizzani, Mario Monicelli.

After Alberto Sordi and Ugo Tognazzi, the greatest Italian and not only Italian comic actors, comes Nino Manfredi. Or in other words, all three, together with Vittorio Gassman, form the four aces of classic Italian cinematographic comedy. We have seven sketches here, all with Manfredi, one better than the other. Manfredi plays seven different characters, not just Cacopardo as he is credited right here on IMDb. The best sketch is the 4th, in which Manfredi is a guy who comes to a young lady's house to fix the phone and looks exactly like the serial killer monster whose picture is in the newspapers. Until the end of the episode we won't know if he is the monster or not.

The 2nd best is the one in which Manfredi, almost unrecognizable, cross-eyed, plays a rather stupid, scoundrel peasant who raped a chicken. Dino Risi was an excellent Italian director who delighted me with great films such as "The Treasure of San Gennaro" Original title: Operazione San Gennaro (1966), with the same super talented Manfredi and another super talented guy named Mario Adorf, "Straziami ma di baci saziami" (1968), also with Manfredi and the huge Ugo Tognazzi, "The Widower" Original title: Il vedovo (1959), with the one and only great Alberto Sordi and, especially, "The Monsters" Original title: I mostri (1963), in my opinion, together with "The Party" (1968), with Peter Sellers, and "Some Like It Hot" (1959), the three best comedies of all time.

A film whose message is always valid for planet earth, especially now in 2024, considering the explosive situation we find ourselves in, whenever there is the possibility of triggering the 3rd world war, very possibly the last, in case many nuclear bombs are used, by those possessing superpowers. A paradox and a hypocritical gesture is that the film is a US production, the most warlike country on the planet, the possessor of the most atomic warheads. OK, the film was not made by politicians but, considering the political status quo in the USA, they controlled, supervised, approved what we see in the film, especially in 1951, when their cinematographic censorship was fully functioning. About the film itself I can say that it is alert, very good special effects for the year 1951, the actors are all convincing, Michael Rennie is very believable as the alien from another planet, excellent music by Bernard Herrmann, especially at the beginning of the film, intelligent direction. Robert Wise was an exceptional director who delighted my cinematic thirst with superb films such as "The Sound of Music", "West Side Story", "The Andromeda Strain", "Two for the Seesaw", "Somebody Up There Likes Me", "Helen of Troy". Ringo Starr liked "The Day the Earth Stood Still" so much that he used the emblematic image with Klaatu, Gort and the flying saucer as the cover for his album "Goodnight Vienna". I would give it 10 stars but I have to give it 9 because when the power goes out and it is daylight in Washington, it should have been dark in other countries around the world.

This is neither "The Sicilian Clan" (1969), "Diamonds Are Forever" (1971), "Snatch" (2000), "Topkapi" (1964), "Diamonds" (1975) with Robert Shaw, nor "Diamonds" (1999) with Kirk Douglas, nor "Blood and Diamonds" Original title: Diamanti sporchi di sangue (1977), "7 uomini d'oro" (1965) or one of many other films with diamond or gold thefts. This is a miserable film with one of the worst actors of all time, Brad Harris, embarrassing in all the films I've seen him in (all those with Tony Kendall from the Commissioner X series), in a stupid story (idea stolen from other films), poorly interpreted by a handful of other embarrassing actors. Nothing special, nothing spectacular, nothing worthy of any interest. As filler, two scenes in which two songs from the '60s fashion are sung. The diamond is stolen, found, and stolen again, the film could have continued like this endlessly.

The film somehow resembles another film made by Jean Delannoy, "Action Man" Original title: Le soleil des voyous 1967, in both films there is a well elaborated hold-up. If in "Action Man" the protagonists were Jean Gabin and Robert Stack, in "Le Majordome" the heroes are played by Paul Meurisse and Paul Hubschmid. In fact, the whole film is "a recital" by Paul Meurisse, the talented actor "stealing" the film with his extraordinary performance. The beautiful and talented Geneviève Page shines in the role of Agnès des Vallières alias Lieutenant Planchon from the judicial police. At the end of the film, a surprise appearance, extremely pleasant, but only for a few seconds, the incomparable, unique Bourvil, who is not even credited.

Western town decorations like in "A Fistful of Dollars" and "For a Few Dollars More", very beautiful horses and Nico Fidenco's very beautiful music, in the spirit of Ennio Morricone but different, original. But the story is a bit stupid, two men, good friends, come into conflict because one of them loves the other's daughter and they almost kill themselves for it. Many villains around, as in most spaghetti westerns, hungry for money and fertile land, killing people until they are killed in turn by the two male friends, but who are separated by the daughter conflict. My opinion is that the three authors of the script, Giovanni Grimaldi (as Gianni Grimaldi, who is also the director of the film), Aldo Barni and Aldo Luxardo found inspiration in "A Fistful of Dollars" made a year before, there are too many similar things. The actor José Calvo, Silvanito from "A Fistful of Dollars" is here in "In a Colt's Shadow" the sheriff. Steve (the character played by Stephen Forsyth), has a white horse that is the greatest asset of the whole movie, a beautiful, smart, very well trained horse.

It is not a masterpiece, the script is not great, it is very predictable and risks becoming very boring for those who do not have patience until the end, because about 70 - 80% of the film are long scenes in which Robert Cunningham, the character played by Frederick Stafford, plays games of chance, poker, roulette at the casino and, with one exception, always loses and drinks a lot of alcohol until he gets drunk and becomes irresponsible. Also many scenes with the same Robert Cunningham, in fact the same scene always, in which he tries to remember where the suitcase with money is and fails. Anyway, Stafford is a very good actor and is believable and convincing in all scenes. Nathalie Delon and Marcel Bozzuffi are just as good, credible and convincing. And Alberto de Mendoza is good in the role of Ashley. The only one who is not credible is Enrico Maria Salerno, an excellent actor in many other films, in which he always played positive heroes. Here, with his face of a good man, he does not convince in the final scene that in fact he was the scoundrel all along who stole the money stolen by the bandits. The first scene in the film, the attack on the van with money, is clearly superior to the rest of the film, it is extremely dynamic, it almost seems real, true, and Bozzuffi demonstrates how expert he was in such roles.

Antonioni's favorite, Monica Vitti, and Wajda's favorite, Daniel Olbrychski, in the same waste of time, because I cannot call this "The Pacifist" Original title: La pacifista - Smetti di piovere (1970) a film or a cinematographic production. If they agreed to film, I hope they did it for a lot of money, but I doubt it. I hope they filmed without a written script and that this Miklós Jancsó told them along the way what to do. I also doubt this because three names appear as screenwriters, Giovanna Gagliardo (story and screenplay), Guido Leoni (dialogue) and Silvia Silvani (dialogue collaboration). What stupidity of a movie, what huge stupidity, the maximum of idiocy! And this Pierre Clémenti is the most annoying presence on the screen, because I can't call him an actor.

It's hard to write a review for such a production, you don't really have anything to say. Extremely boring and chaotic, a film without any meaning. Long, almost three hours of spinning on the seashore of some crazy characters, who talk, talk, never stopping to add words that convey nothing. I will quote the actor from minute 1.20.21: "I carry my own space in me." I am convinced that Andrzej Zulawski, with this "On the Silver Globe" Original title: Na srebrnym globie 1988, carries his own space in which he stuffed his own crazy obsessions, the same in all his films. I will quote the same actor further: "I am carrying it to an absurd country at an absurd time." It only defines the film, absurd, in an absurd Poland, in an absurd time: the communist period when films were banned and/or censored (in all ex-communist countries being the same, see Romania, Hungary, Czechoslovakia, Bulgaria, etc.) One star for the beauty of the locations, another star for the costumes and another star for the make-up, that's all it deserves, unfortunately.

Senta Berger is a beautiful and talented actress, whom I admired in films such as "The Terror of Doctor Mabuse" Original title: Das Testament des Dr. Mabuse (1962), "Lange Beine - lange Finger" (1966), " The Quiller Memorandum" (1966), "The Treasure of San Gennaro" Original title: Operazione San Gennaro (1966), "The Ambushers" (1967), "Istanbul Express" (1968), "If It's Tuesday, This Must Be Belgium" (1969), "Les étrangers" (1969), "Roma bene" (1971), "Secrets of a Nurse" Original title: Bisturi, la white mafia (1973), "Cross of Iron" (1977). I was not in love with her, but I liked her especially in the role of Eva in "Cross of Iron" where she appears naked, the film being the best in which she acted, being the only film I saw in which Germans are presented as positive heroes. In 1978, when I was 20 years old, I would get to know my first girlfriend intimately as an adult man, a woman who looked a lot like Senta Berger.

I saw Enrico Maria Salerno as an actor in "I Knew Her Well" Original title: Io la conoscevo bene (1965), "Il grande colpo dei 7 uomini d'oro" (1966), "L'armata Brancaleone" (1966), "The Queens" Original title: Le fate (1966), the excellent "Candy" (1968), "La violenza: Quinto potere" (1972), "Execution Squad" Original title: La polizia ringzaria (1972), "The Assassination of Trotsky" (1972), "Secrets of a Nurse" Original title: Bisturi, la mafia bianca (1973), "No, the Case Is Happily Resolved" Original title: No il caso è felicemente risolto (1973), "The Police Serve the Citizens?" Original title: La polizia è al servizio del cittadino? (1973). As a director, I saw his films "The Anonymous Venetian" Original title: Anonimo veneziano (1970) and "Cari Genitori" (1973), both with the beautiful and talented Florinda Bolkan.

Together, Senta Berger and Enrico Maria Salerno also played in "Secrets of a Nurse" Original title: Bisturi, la mafia bianca (1973). This "Brogliaccio d'amore" is not their best film, it is a dialogue film only, boring for many, recommended only to those who love the two actors.

What a surprise to see the names of Elke Sommer and Sylva Koscina, together, in another film. But my high expectations were shattered, this "The House of Exorcism", also known as "Lisa and the Devil" Original title: Lisa e il diavolo, is not "Deadlier Than the Male", in which both were full of charm, beautiful, attractive, in a captivating eurospy film. This "horror" called "The House of Exorcism" is nothing but a waste of time, everything is bad, the script, the way it is filmed, the direction, the acting, everything. Sylva Koscina is no longer the beauty from 1967 in "Deadlier Than the Male", and her role is embarrassing, as are the other actors, Telly Savalas, Alida Valli, Eduardo Fajardo, Gabriele Tinti and, above all, Olassio Orano, who is the most embarrassing and a total anti-talent. Shame on Telly Savalas, excellent actor in many other films and shame on Alida Valli, talented and beautiful in several films from her youth. There are still two exceptions even in this huge failure, Robert Alda, is convincing and believable as a priest, and Elke Sommer, in the exorcism scenes, when she plays the total madwoman possessed by the devil, is super excellent, incredibly extraordinary, even much better than Linda Blair in the masterpiece "The Exorcist". The stars are for them, 1 star for Robert Alda and 2 stars for Elke Sommer, 3 in total, just for the two of them.

It's exactly the kind of movie you forget as soon as you've seen it, it's so "memorable". Being a writer and filmmaker myself, I know how difficult it is to produce a valuable script, a masterpiece. This film is far from that, it is just a boring string of dialogues between the same characters, four in number, minus one who is eliminated at the beginning, plus a policeman who appears after the elimination. The policeman is none other than the legendary Fernando Rey, my main reason for wanting to see this movie. Very prolific and brilliant in Luis Buñuel's films, "Viridiana", "Tristana", "The Discreet Charm of the Bourgeoisie" Original title: Le charme discret de la bourgeoisie, "That Obscure Object of Desire" Original title: Cet obscur objet du désir, plus the excellent "The French Connection", Fernando Rey, having a beautiful wife, Mabel Karr, actress and not very well paid, and having to eat as well as support two children with the actress, he agreed to play in many 14th-rate films, for money, as the case of this "The Two Faces of Fear" Original title: Coartada en disco rojo, and many others. He is also the best actor in the film, the others trying hard to seem believable and convincing in an embarrassing story.

I wanted to see this "The Man Without a Face" Original title: L'homme sans visage, because I think all Georges Franju's films are worth seeing, and this is especially due to "Judex", which is, in my opinion, his best film and one of my favorite films of all time. I managed to see only three episodes on YouTube and 2 more fragments (these are on YouTube, there are no more). General impression: interesting, a lot of talking and less suspense, nothing surreal like in the masterpiece "Judex". When it comes to the acting, it is not very convincing and I am referring here to Gayle Hunnicutt who has a 90% mute presence, and Jacques Champreux in the role of L'Homme sans visage has a red mask on his face all the time and nobody can evaluate his acting performance. Clément Harari in the role of Dr. Dutreuil is annoying and exasperating, he has long interminable appearances in which he repeats the same phrases over and over. The most effective and the best actor in the entire cast is the German Gert Fröbe in the role of Police Commissioner Sorbier, a role exactly in the manner of Police Commissioner Lohmann played by him in the films with Dr. Mabuse. The music is very special and avant-garde for the year when the film was made.