A Fúria da Carne

Anthony Quinn, (Gino) plays the role as a Italian/American sheep rancher who loses his wife and he decides to send for his dead wife's sister, Giola, (Anna Magnani) from Italy. When Giola arrives Gino gives her all kinds of presents, but is not close to her and always calls her by his dead wife's name. As the months go by, Giola becomes unhappy and feels neglected and still remains unmarried even though Gino calls her his wife. Bene, (Anthony Franciosa) is Gino's son and he becomes romantically involved with Giola and they have some very torrid love scenes. In one scene you see a sheep giving birth which adds a great deal to the reality of this very down to earth film which was directed by the famous director, George Cukor. Anna Magnani gave an outstanding performance and was nominated for an Acamedy Award for her great role. Enjoy.

1976:I've just bought the new Bowie album "Station to station" and there's a track I find quite intriguing;it 's called "Wild is the wind" .Bowie gives a grandiose overblown rendition which I love from the first listening.The authors are Tiomkin/Washington;at the time I did not know them at all,and I must confess I barely knew Cukor (I'd seen "gaslight" and that was all).For thirty years ,I've been hoping to have the opportunity to see the movie whose song I've been playing for years (still am)

2005:After watching most of Cukor's filmography ,I finally saw "Wild is the wind" today.I was eagerly waiting for the song and there's more suspense cause the movie does not begin with the cast and credits.After the five-minute prologue that's it!Well it's terribly different.It's sung by Johnny Mathis (not Nina Simone)and I must admit...it's not what I expected.It's typically fifties melodrama song .

Now the movie.A movie which features Anna Magnani cannot be bad but I must say she's better in her native Italy (with Rossellini,Visconti,Pasolini et al).The Anthonys - Quinn the Eskimo and Anthony the Method - are good thespians and the story is interesting.An aging Italian whose wife passed away has her sister fly from Italy to marry her.And he begins to shape her personality, to break her as he does for the wild horse,in a nutshell,to make her a brand new Rosetta her first beloved wife.Symbolism is a bit overdone,ponderous (the horse,the ewe)but the actors can get away with it with gusto.Anna Magnani's metamorphosis during the movie is stunning,from a rather ugly gauche little woman with bags under her eyes to a bright Mediterranean beauty.Clint Eastwood might have remembered the lesson when he filmed Meryl Streep in his celebrated "bridges of Madison County" ,a return to the glorious fifties melodrama.

Not a great Cukor,but a must for fans of melodramas and/or Magnani.

A fantastic film, that I have tried to see again for years. Unfortunately, it has been impossible to find. If any one can assist, I would appreciate it. This film Wild is the Wind, has a great script, filled with forceful characters, clearly defined, but developed with such precision that I would think of it as a model of what a dramatic characterization should be. The choice of cast was perfect with each actor having a talent that matched the dimension necessary to make this movie a mixture of drama and powerful social content. The movie has many layers of reasoning that should be enjoyable for any movie buff. Anthony Quinn is at his best, always in character. He delivered one of the best performances of his career. It is sad that it is a performance so rarely mentioned, not even in his biography. But such a find for those who appreciate his strong and insightful performances. Anna Magdalena did only a couple of American films. Most remembered for the Rose Tattoo. I would love to see some of her Italian films, she is a very dynamic actress. Her talent as a dramatic leading lady is worth watching the movie. If you appreciated the strong character and wonderful performance of Meryl Streep in Madison County, you will enjoy this character. Anna Magdalena was incredible. The film was unfortunately, ahead of its time by American norms in the film industry, at the time of its presentation. If released today, imagine the reception. Films such as this were definitely an influence on the American film industry, the success and need to expand a film past a current film formula script, was then only in its infancy. So, if you want to see it for history, social moral content, dramatic performances, its fantastic artful presentation or the sheer enjoyment of a great story, well done, by the most talented artists of our time, see it.

Its not enough to say that Johnny Mathis sings the title song over the opening credits.With Cukor directing this grand meeting of Anthony Quinn and Anna Magnani thats says enough.

The plot has its melodramatic moments for sure and its another film with the wonderful Dolores Hart who only a few years alter would become a nun.This also has the merits of Anthony Franciosca really playing his best role for many years in films.

Franciosca, falls for Magnani in a lustful way while Quinn is away from the ranch.Its really the sweeping scenes and the acting of Quinn and Magnani that moves the film.

Looking back , it would have been a treasure to see Magnani act in more US Films ( The Rose Tattoo) but that didn't happen. Finally , in her eyes we see how she made " Open City" ( Rosselini) a memorable film. Produced by the best...Hal Wallis CP

This "women's director" was also no slouch with men, and he helps Anthony Quinn to perhaps his best performance. Quinn often overacted, and here, as a hearty, swaggering, brutish sheep rancher who brings his dead wife's sister (Anna Magnani) over from Italy to marry, he easily could have resorted to his usual bluster. But it's a very shaded portrayal, with seemingly conflicting elements of roughness and tenderness that make sense in the end. Magnani is predictably great, even singing well, and Tony Franciosa, as Quinn's adopted son who forms an O'Neill-like triangle (it does feel like "Desire Under the Elms," as another commenter noted), is excellent. The outdoorsiness and earthiness (you even see a lamb born, before your boggled eyes) are un-Cukorlike, but he handles them confidently; and while the symbolism gets a little heavy and Dmitri Tiomkin's music is a bit intrusive, it's an effective family melodrama with a beautifully underplayed fadeout.