Esposamante

I was very pleasantly surprised by this film which I just watched. From the title and cover description, I was expecting a typical raunchy sex flick which I'd have to turn off after 5 minutes.

But, ... from the very first note of the introductory musical piece, I was engrossed. The story was very real with an emotional pull and the musical score was excellent, complimenting the beautifully photographed film. The story itself is an interesting reflection of society in that time and leaves the viewer thinking after the film has ended.

Don't hesitate to see this one if you want something beyond the typical dribble of today.!

Being old, 66, I have seen thousands of movies and films. (My mom was a true film buff. On Sundays, we often went to two or three movies - each at a different theater!) Out of all the films I have seen, this is my favorite. If you are looking for an action film, this is not it. It runs to slow and thoughtful. It also is a bit of a 'woman's film'; even a film of women's equality (without being blatant or giving any lectures on the subject). It is a film for romantics and. .. those who love Italy. Just thinking of the scenes makes me want to return. I have never been to the little town/ village or the countryside where it was filmed, and I still want to go there. Perhaps next year. ..?

Laura Antonelli is perfect in the leading part, as is Marcello. I do not understand how this film "SLIPPED THRU THE CRACKS". The acting, photography and direction are all exceptionally fantastic. I am going to hook up my old tape player and watch it again tonight! If you can find it - watch it. It is a true sorrow that it has it NOT been released on CD!! IT SHOULD BE!!

~Charon

After „Divina Creatura" (1975) and „L'Innocente" (1976), 1977's „Mogliamante" was Laura Antonelli's next step in the world of auteur cinema. Perhaps even her best performance, although the movie is – unfortunately - kind of obscure.

A small town in the Veneto, the winter of 1912: Traveling wine merchant Luigi de Angelis (Marcello Mastroianni) is witness to the murder of a business associate. Although innocent, he realizes he would be the prime suspect and therefore decides to fake his own death. But from his new hideout, he can see directly into the rooms of his home. He sees his wife Antonia, a rich heiress. Their dysfunctional marriage has tormented the beautiful woman for years, has even confined her to bed due to delusional illnesses. When she hears about Luigis death, she seizes her chance to break out of the cage. She follows Luigis itinerary and discovers all he had hidden from her for years. His works, his ways, his hobbies, his vices. And she learns all what was kept from her – love, sexuality, self-awareness. Luigi has to silently witness the awakening of his wife, mirroring his former life, and the more she blossoms, the more he suffers...

This is an outstanding movie in every respect. Most praise must go to the finely balanced, sensitive screenplay. The circumstances around Luigi's suspicion of murder and his injury are a little bit too constructed, but this is just a small nit given the unique and fascinating premise that unfolds. Everything that Antonia does is seen by Luigi (or is reported to him). And the more of his secrets she uncovers, the more is he embarrassed. At some point Antonia realizes that her husband is very alive and watching her, and from then, she will hurt him by living out his vices directly under his eyes. The scenes when Antonia is watching over to Luigis hideout, knowing he's there in the dark, are breathtaking. While the empathy of the viewer is clearly with Antonia, the screenplay carefully manages to shed a different light on the (initially cruel and self-righteous) Luigi. This is just excellent, and you will wonder where and how far this will go for the two. The story is also very complex, not just covering the awakening of Antonia, but providing sub-plots and multi-layered social criticism as well.

The beautiful landscape of the Veneto in winter adds a lot of atmosphere, be it the town square, the vineyards, the pompous villas and residences, or just the romantic mill in a valley. The wonderful score even tops that, with an incredibly charming, bittersweet main theme that will reappear frequently. Highly memorable.

Marcello Mastroianni is excellent as always and it is also thanks to his personality that in the end you can feel sorry for Luigi, knowing what he has done (and has not done). But it is the performance of Laura Antonelli what makes the movie so special. Her Antonia evolves from a allegedly frigid, mistreated hypochondriac, into a self-confident, strong woman. Step by step, subtle nuances. This is fascinating to watch, and is played perfectly by Laura in all her outstanding beauty, sensibility and fragility, leaving the old „sexy comedy" clichés way behind her.

Overall, this is an accessible „arthouse" period drama with erotic touches, full of emotions, tragedy, tears, but also dreams, fullfilment, hope. A feel-good-movie with an unique storyline and outstanding actors, marvellous to behold and to listen to. A shame it's comparably unknown in both Antonelli's and Mastroianni's filmographies.

If you foreign movie buffs have not seen this one, rent it immediately. It is amazingly well done, definitely memorable, and it's hard to believe that I am only the third person to comment. A young "frail" married girl who is loved but protected by those around her discovers herself and her passionate nature upon the disappearance of her husband. Determined to discover what happened to her husband she sets off in his horse and buggy to cover his route. Luckily for her, the horse is well versed in the stops her husband made along the way. Unwittingly she learns about her husband's many sensual encounters and finds that the knowledge is causing her own passionate nature to stir. As her paradigm shifts, she opens her arms to new experiences, each one taking her a closer step toward womanhood and a full understanding of what a man and woman can mean to each other. Wait! That's just one story in this film. The overlying story is about the husband who has gone into hiding immediately across the street from his own home and desperately watches his wife's transformation from the slats of a boarded window. The story is well weaved together and it is beautiful to watch. The cobblestone roads, the clothing, the landscape, the church and just about everything in this movie makes it a masterpiece. There is even a side storyline that has a bit of shock value - you will know it when you see it! Go see this film and then come back and tell me what you thought!

I too was thrilled to discover this gem. The voyeurism, Laura's innocent eroticism so obvious in Malizia comes through and is just right for a story of sexual awakening. The idea of a woman following her husband's sexual escapades and taking revenge by initiating her own shows that a woman's liberation from the morays of her time was possible even in the 19th Century.

The use of Albinioni's Adagio is very appropriate as it imparts a sadness and languorous aura that fits the story particularly Marcello's longing and resignation. This how you make an erotic film that tops the soft porno of the Emmanuelle series.