Um Lugar Para os Amantes

... is a rather odd and thankless task. I never dreamt of thinking about the likes of Vittorio De Sica, Faye Dunaway and Marcello Mastroianni without using the highest of praise, but this uninteresting, plodding 1969 film provided me with a chance to do so.

This film is proof that the unthinkable, what we judge to be impossible and beyond imagination, can happen.

Dunaway is Julia, a peculiar, to say the least, american woman who makes a living out of designing gowns, who has an affair with Valerio, a married italian engineer working on the development of the airbag.

They're rich, they're glamorous, they're beautiful, they're in love... nothing could part them. Except Julia is suffering from a terminal illness, and is bound to die in a matter of days.

Sticking to the basic rules of screenwriting as I know them, this movie is irritatingly plodding. We only discover that Julia is dying towards the end, and we never know whose is the main dilemma - Julia's or Valerio's. Should they stick together and face bravely Julia's last days on Earth? is the main query, I guess. The only problem is that this query, this dilemma, is presented to the audience in the last twenty minutes of film, and resolved - better yet, unresolved - in the last five. The other 70 minutes or so of film are spent as they stay together and play amusing little games with each other. A time in which the five writers of the film could easily delve into their main characters psyches - if anything else - is wasted. Julia's just plain weird and depressed, and Valerio seems terribly cold and unfeeling.

It also clearly aspires to be profound. It aims at being something lyric, but, trapped inside it's own pretentious attitude, it becomes a schmaltzy tearjerker.

The acting is not bad at all, though. But the script provides Dunaway and Mastroianni with little chance to showcase their many talents. Also, the set designs are gorgeous, as mentioned by the first reviewer, and the soundtrack is lovely. The title song, written by Manuel De Sica - hail, nepotism! - is sung by none other than Ella Fitzgerald.

Well, all in all, this movie is a bizarre one, but it is worth viewing nevertheless, mainly as existing proof that nothing - I mean, nothing - is impossible. :)

To be honest, I am a fan of this type of Italian movie and I have been to the Villa in outside of florence where the opening was shot.There is a certain feeling for this type of Late 60's Italian movie that one has to feel good about. I adored the soundtrack and If anyone know of any disk that "Ella" sang that title song, Please let me know

A beginning entirely from the pen of Hollywood, with a Hollywood star and Hollywood sounds. Take a look at this Faye Dunaway if you want to know what was being talked about, or better still raved about, at the time. In terms of content, however, we are not in the American New World, but in old Italy and the director is also an old Italian. A late work for Vittorio De Sica and obviously another cinematic experiment. Neorealism meets New Hollywood? Not at all, most likely contemporary European. A dramatic romance, at least on paper, but in its realisation it's quite offbeat. Enter Marcelo Mastroianni, the contrast is complete. In the course of the film, the viewer is certainly also confused. No wonder with such an inconsistent tone. Love. Illness. Happiness. Misfortune. Hope, so far, so good. But then there's jazz droning, loads of bizarre scenes, overacting and, despite the exaggerated emotions, somehow undercooled melancholy. To the point, it gets silly in places and consistently erratic, which can be seen as a warning or a promise, depending on your expectations. You should leave them where they are anyway and just try to let the special atmosphere, the great images and the two icons work their magic. Dunaway and Mastroianni don't go together? Apparently they do, in real life they had an affair, one alongside their marriage. And in the film, well, one looks good, one plays well, in a way a complement. The chemistry was right, see the aforementioned gossip. I'm noticeably not quite as critical of the film as the public was at the time, because I could feel what I was seeing, not something special, but unusual, somehow intoxicating. I also really wanted to know how this hot-blooded love would end, or not. An interest in the film that the film first has to create.

Love made Faye Dunaway an exquisitely beautiful woman. She and her costar of A Place for Lovers, Marcello Mastroianni, had a years-long affair during and after the filming. While this is a love story, and you could argue that she was merely acting, we've seen her in other love stories. She's never looked at anyone the way she looked at Marcello. Although Faye endured great pain, you can clearly see from this film that her love ran very deep. This was one of the rare performances of her career that wasn't a "Faye Dunaway performance." She wasn't cool, collected, and reserved. She was warm, vulnerable, and wearing her heart on her sleeve. Was her Chinatown typecast all a façade? Could she have had a completely different career if she were allowed to take on more roles like this and Hurry Sundown, her film debut from the previous year?

The plot of this film is extremely similar to 1977's Bobby Deerfield, but I've never read that the latter was a direct remake. Perhaps it was a coincidence, or, like when Buono Sera, Mrs. Campbell got turned into Mamma Mia!, the original never got credit. Marcello is a racecar driver, and Faye is terminally ill. She summons him to her chalet for a brief affair without telling him why she wants one last chance at passion or why it has to be cut short. Obviously, this is a tearjerker, and all the more so when you watch it now, knowing that Marcello didn't leave his wife in real life and run off with Faye. They certainly make a beautiful couple, and it just goes to show you that love can transform a person's appearance. In the following year's The Arrangement, Faye was paired with Kirk Douglas, whom she couldn't care less about. It was one of those detached performances, and she didn't look very attractive. In A Place for Lovers, she looked downright beautiful.

I am so lucky and happy to finally have seen this rare film!!!! It's been released on DVD in Sweden!!!! It's been impossible to see this film. Has it been shown anywhere since its initial release in 1968?

The film was in that infamous book "50 Worst Films" by the Medved brothers. It's not bad at all, quite gripping actually if you like tragic romance on film. It's well made with good direction by de Sica and good acting by Faye Dunaway and Marcello Mastroianni.

It IS very much a European film from the 1960's. A bit too trendy for most and that means people will think it is dated. It's a nice document of its time. I do wonder why it wasn't a hit back then, since the film has two big stars and a well known director. Perhaps it's too stilted. I am a great Faye Dunaway fan so for me it was a HUGE pleasure to see this film. I also LOVE films from the sixties high on style.

It's strange that the plot is very similar to the huge hit Love Story from 1970, yet Amanti is completely forgotten. Maybe the story of two jetset people in luxurious environments became a bit tired after a while. The plot is rather thin with very little background explanation. The film also borrows a lot of elements from other films: two beautiful adults in a love affair (A Man and a Woman), a woman seeing shocking news on TV (Persona), beautiful decadent rich people (La Dolce Vita), rich people stealing in a shop (Breakfast at Tiffany's)...

Faye also reminds me of Monica Vitti walking around full of stylish angst in Antonioni movies. (Nothing wrong with that!) She even acts kooky like Vitti in some scenes! It's lovely to see Faye so relaxed on the screen. She seems to be genuinely enjoying herself and is absolutely luminous. Maybe it's because she fell in love with Marcello during filming. She gives a very sensitive performance as Julie.