WordPress Family Award

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Wordpress Family Award

I would like to announce that I’ve just received the WordPress Family Award from That EJ of Whimsical Eclecticist. If you haven’t checked out his blog you most certainly should. It is such an honor to receive an award like this from a fellow blogger.

I would like to take the time to nominate ten other blogs to be part of the WordPress Family.

Marked Movies

Keith & the Movies

Ccpopculture

Cinematic

Cindy Bruchman

50 Year Project

Dan the Man’s Movie Reviews

Where The Wild Things Are

Riding the High Country

Tranquil Dreams

If you haven’t seen these blogs, check them out as they are all unique and highly amazing in equal measure. And again I would like to extend my gratitude to That EJ for giving me the award.

Resident Evil: Apocalypse

Tags

2000's, Action, Alexander Witt, Horror, Jared Harris, Mike Epps, Milla Jovovich, Oded Fehr, Resident Evil Film Series, Resident Evil: Apocalypse, Science Fiction, Sienna Guillory, Thomas Kretschmann

Film Title

Resident Evil: Apocalypse

Director

Alexander Witt

Starring

• Milla Jovovich as Alice
• Sienna Guillory as Jill Valentine
• Oded Fehr as Carlos Olivera
• Thomas Kretschmann as Timothy Cain
• Jared Harris as Dr Charles Ashford
• Mike Epps as L.J.

Like its predecessor, Resident Evil: Apocalypse is not a film of originality, character development or thought provocation. What it succeeds on is its non-stop action, fierce battles and Milla Jovovich back as the vengeful, kick ass Alice. It is for lack of a better word, a great popcorn movie. 

Days after the infection of the Hive, the Umbrella Corporation decides to send in a research team. As soon as it is opened, the many ravenous zombies inside escape, killing the crew and beginning to spreading disease round Racoon City. The city is turned into a death-riddled necropolis as a result. Alice, the heroine from the previous venture, has survived as well. After being captured by the corrupt Umbrella Corporation, she was experimented on, giving her superhuman reflexes and agility. She finds the city empty and arms herself. After an outbreak of disease at the only point of reaching safety is released, Umbrella forces the citizens to fend for themselves as they have a plan of their own. Banding together with tough Jill Valentine and renegade Umbrella soldier Carlos, they attempt to survive the ensuring carnage and bring down the corrupt Umbrella. Meanwhile, they must also rescue a young girl, who is the daughter of a prominent worker of Umbrella who is starting to rebel. Prepare for shoot-em-up battles, fierce babes and kinetic editing, as the race for survival swings into motion.

On the negative side, the pacing could have been handled a little better in comparison with the last movie. The action also takes a little too long to start, but when it begins, it really delivers. Also, the main villain of the film, Timothy Cain is not really used well enough to make him appear evil. When the film hits the action heights, the positives come thick and fast. Firstly, we have Milla Jovovich back as the warrior Alice, now better equipped and capable of almost anything. Sienna Guillory adds to the kick-ass females as the highly skilled Jill, who reluctantly teams with Alice despite initial misgivings. Oded Fehr makes his character more interesting than he could have been and Mike Epps adds comic relief as the wise-cracking L.J. In a small role, Jared Harris is the scientist who helps guide this band of survivors through dangerous ground, corruption and ravenous carnage.

The battle scenes are well-executed and very much in touch with the video game roots of the series. Special effects are cleverly used on the zombies and a particularly creepy monster, with a personal link to Alice. Although not as visually impressive as the first one, many scenes stick in the memory. This includes a particularly eerie hideout scene in a church with zombies attempting entry and genetically modified creatures stalking the walls. Also, Alice being targeted by soldiers and running through a highly armed compound as her flexible moves evade the guards.

For bullet-ridden, blood soaked action/horror, you can’t go wrong with this offering from first time director Alexander Witt . It may not be my favourite, but it’s still an action packed, unadulterated way to spend a few hours.

What are your favourite vacations in the movies?

Tags

Movie Vacations, Spring Breakers

After recently watching Spring Breakers, that focused on four college girls experiencing a very eventful spring break vacation, it had me thinking abot vacations in the movies. Vacations can cross the genres, from horror to soul-searching dramas to romances. So the question today is, What are your favourite movies involving vacations? Is it a blood-soaked horror vacation? Or a touching, soul-searching voyage? Or something completely different from those previously mentioned? What ever your choice, please give it.

The Addams Family

Tags

1990's, Anjelica Huston, Barry Sonnenfeld, Christina Ricci, Christopher Lloyd, Comedy, Dan Hedaya, Elizabeth Wilson, Horror, Jimmy Workman, Judith Malina, Raúl Juliá, The Addams Family

Film Title

The Addams Family

Director

Barry Sonnenfeld

Starring

• Anjelica Huston as Morticia Addams
• Raúl Juliá as Gomez Addams
• Christopher Lloyd as Uncle Fester/Gordon Craven
• Dan Hedaya as Tully Alford
• Elizabeth Wilson as Abigail Craven
• Christina Ricci as Wednesday Addams
• Jimmy Workman as Pugsley Addams
• Judith Malina as Grandmama

Ideally cast and brimming with dark humour throughout, The Addams Family retains the dark edge of the original cartoons and incorporates some of the madcap moments from the original series. Focusing on a plot to extort the macabre clan out of money by an imposter posing as Uncle Fester, it is a devilish delight for all who watch.

The eponymous clan is a macabre extended family interested in all things dark and mysterious. They consist of the debonair Gomez and his morbidly elegant wife Morticia; their two mischievous children, Wednesday and Pugsley, old Grandmama; zombie like servant Lurch and disembodied hand Thing. For 25 years, Uncle Fester has been missing and Gomez is starting to suspect that his brother may truly be lost. Into the family’s delightfully ghoulish mansion comes Tully Alford, the lawyer who owes a debt to loan sharks. He wants Gomez to invest money as he knows he is worth a fortune, but the head of the family won’t budge. Whilst reporting back to the loan sharks, Abigail Craven and her brutish son Gordon, he notices that Gordon bears a striking resemblance to the long-lost Fester. Seeing the opportunity in this, they disguise him as Uncle Fester so he can infiltrate the Addams gold vault. Although he is welcomed back into the family, Wednesday is the one who begins to suspect that he is not really her Uncle. Gordon himself even comes to question whether he really is Fester as he feels a kinship towards the clan. Cue for ghoulish laughs, Gothic surroundings and the original kooky family.

The first thing to praise in the film is the overall visual look, capturing the gloomy atmosphere that the eponymous family enjoy so much. The mansion in which they live is cleverly constructed, consisting of long corridors, cobweb laden basements and spooky methods of transport. The lively music score perfectly compliments the macabre yet playful activities the family enjoys on a daily basis. One of the biggest assets of the picture is the script, that is laced with a dark humour and sinister joy. Morbidly humorous exchanges provide the most laughs such as when Morticia helps Fester unpack and finds cyanide. Her response “Fester, as if we’d run out”. It’s moments like this that keep the devilish film rolling on along with the many eccentric characters that abound.

The cast assembled for The Addams Family all fill their roles with comic glee and individuality. Raúl Juliá is suitably debonair and romantic as Gomez, he also has dark and lustful chemistry with Anjelica Huston. Huston embodies the role of Morticia, showing a loving mother and a cadaverous yet glamorous vamp, who can flirt like mad when needed and is a dab hand at sinister one liners.  Christopher Lloyd seems born to play the role of Fester, and is particularly convincing as his character begins to wonder whether he is Fester after all. A young Christina Ricci perfectly plays Wednesday with a morbid and severe personality, whilst showing a twisted side to her as she experiments on her brother in startling ways. Jimmy Workman excellently plays of Ricci as Pugsley, who although many times is the one used in experiments, he also manages to repay the favour in his own ghoulish way. In the supporting cast, Dan Hedaya and Elizabeth Wilson stand out as scheming con artists with only money on the mind. Judith Malina also makes an impression as the ragamuffin Grandma, who brings a whole new meaning to the word home cooking.

Even if the plot about the imposter doesn’t interest you, it shouldn’t detract from the humorous exploits of the creepy family and the glee that arises from them. Laced with dark humour and brought to life by Barry Sonnenfeld, The Addams Family is creepy yet fun to watch.

Spring Breakers

Tags

2010's, Ashley Benson, Crime, Drama, Harmony Korine, James Franco, Rachel Korine, Selena Gomez, Spring Breakers, Vanessa Hudgens

Film Title

Spring Breakers

Director

Harmony Korine

Starring

• James Franco as Alien
• Selena Gomez as Faith
• Vanessa Hudgens as Candy
• Ashley Benson as Brit
• Rachel Korine as Cotty
• Gucci Mane as Big Arch

Spring Breakers is a film that will certainly divide opinion. It’s already ran the gamut of critical consensus from exploitative trash to audacious study of the American Dream gone awry. Both arguments can be aimed at the film but it emerges as an experience that will be hard to forget after the credits begin to roll.

Faith, Candy, Brit and Cotty are four female college students bored with life on campus as everyone else has gone away for spring break. Suffering from a lack of money to fund a trip, Candy and Brit come up with an idea to get some cash. Using water guns that look very real, they don ski masks and rob a local restaurant, Cotty aids them as the getaway driver. Picking up Faith, the most innocent of the group, they head for Florida, where they indulge in debauchery, drug taking and wild partying.It seems to be the best spring break experience they have ever had, until they are busted for being caught with cocaine at a party. Facing time in a holding cell, they are suddenly bailed out by an unexpected presence. His name is Alien, a local gangster/rapper who specialises in arms dealing. He convinces the quartet to spend time with him and his lifestyle. But slowly but surely, the ugly side of the lifestyle begins to raise its head and as the girls descend into violence and drugs, they are left questioning whether the lifestyle is as seductive and hypnotic as it first appears.

Although it will definitely polarize people’s views, there is no denying the visual style that Harmony Korine brings to the film. Bathing scenes in neon and voyeuristically showing debauchery, he doesn’t shy away from anything and leaves little to the imagination. It can be argued that the nudity and excessive drug use don’t stand for anything, but the repeated use of them hints at the way in which society has become desensitized from these things due to a constant influx of them in the media. Scenes are repeated and overlap in a very hypnotic way, that first shows the allure of the lifestyle but then shows the dark undercurrent that surges through. Voiceovers play an important part as well, the words “Spring Break Forever” becoming a strange mantra for the girls but also a warning of the dire consequences that may indeed follow. Sonically, Spring Breakers puts you in a an almost dreamscape environment with trance music accompanied with ambient noises. Particularly effective is Korine’s use of dichotomy such as the sound of Britney’s heartfelt “Everytime” counteracted by scenes of Alien and the girls robbing people and the religious Faith praying whilst another girl swigs whisky from a gun.

James Franco contributes a crazy as hell, barely recognisable performance as the charismatic yet extremely dangerous Alien. He promises the girls so much, highlighted by the scene in which he flaunts his wealth in a vulgar and almost ridiculous manner. It is a performance that lingers in the memory for sure. Out of the four girls gone bad, Faith is given the most individuality. Played with sincerity by Disney Princess Selena Gomez, she emerges as a girl torn between the shady lifestyle of Alien and her church roots. The rest of the girls have personalities that interchange a lot of the time but still turn in credible performances, especially Vanessa Hudgens as the one who is most drawn to what Alien promises her.

Whether you see it as nothing but trash or nightmarish examination of society’s flaws, Spring Breakers is most definitely a film that is inventive and uncomfortable in equal measure.

Topkapi

Tags

1960's, Caper, Comedy, Crime, Gilles Ségal, Jules Dassin, Maximilian Schell, Melina Mercouri, Peter Ustinov, Robert Morley, Topkapi

Film Title

Topkapi

Director

Jules Dassin

Starring

• Melina Mercouri as Elizabeth Lipp
• Peter Ustinov as Arthur Simon Simpson
• Maximilian Schell as Walter Harper
• Robert Morley as Cedric Page
• Gilles Ségal as Giulio

Jules Dassin excellently sends up his previous heist movie Rififi with the comedy caper Topkapi. Boasting eccentric characters, an ingenious plan to steal a heavily guarded object from an exotic location and some genuinely nail-biting suspense, it is not a film to be missed for fans of comedic capers and suspense alike.

Elizabeth Lipp is an accomplished and seductive thief who has her eye set on obtaining the emerald encrusted dagger owned by a former sultan in the Topkapi Palace, Istanbul. In order to carry out this daring theft of extreme danger and precision, she enlists the help of intelligent and suave Walter Harper, also an expert in the thief business. He decides to form a crew of amateurs, so it will be harder for the police to track if something goes wrong. He enlists the help of Cedric Page, a British expert in all things mechanical and Giulio, a mute acrobat known as “The Human Fly”. Travelling to another destination, they employ the unwitting Arthur Simon Simpson, a bumbling con artist to drive a car through Turkish customs, which unbeknownst to him is filled with explosives and weapons for the master plan. All seems to be going well until Simpson is stopped at customs and the weapons are discovered. Rather than charging him, the police recruit him to spy on Elizabeth and Walter as they mistakenly believe they are planning an attack on National Security. What ensures is a nail-biting, tongue in cheek movie that keeps you laughing but leaves you on the very edge of your seat.

The direction of Jules Dassin should be praised for raising what could have been a run of the mill heist mill and adding his own, satiric and tension-laden spin on it. The luxurious and eye-catching sets are stunningly mounted, especially the treasury that contains the desired dagger. Only sometimes, such as the blinding opening does the colourful atmosphere distract from the plot, but for the most part the visual style is controlled admirably. The costume design, particularly for Mercouri’s character is outstanding, capturing her enthusiasm for extravagance.

The success of Topkapi is benefited by a cracking script that gives the actors interesting and eclectic characters to play. As the female lead, Melina Mercouri is the seductive Elizabeth, who utilises her sexy appearance and husky voice to great effect when manipulating the men into taking part in the scheme. Peter Ustinov deservedly won a Best Supporting Actor Oscar for his performance of the hapless Simpson, his many mishaps and inept ventures both funny and endearing to the audience. Maximilian Schell is the smooth-talking brains of the operation who knows the danger yet is excited by the prospect of it. As the other member of the heist, Robert Morely adds humour as the electric expert Cedric and Gilles Ségal adds athleticism and daring quality to his acrobatic character. As mentioned prior, Dassin creates some excellently suspenseful scenes, especially in the almost wordless attempt to retrieve the dagger. Making great use of silence, close-ups and the athletic Giulio hanging by a rope harness whilst trying to evade the censor filled floor, he creates a masterful heist sequence that leaves you panicking as to whether it will all eventually work.

If it’s an old-school crime caper with eccentric characters, stunning locations and a humorous script to boot that you want to watch, I don’t think you can go wrong wit Topkapi.

Houseboat

Tags

1950's, Cary Grant, Charles Herbert, Harry Guardino, Houseboat, Martha Hyer, Melville Shavelson, Mimi Gibson, Paul Petersen, Romantic Comedy, Sophia Loren

Film Title

Houseboat

Director

Melville Shavelson

Starring

• Cary Grant as Tom Winters
• Sophia Loren as Cinzia Zaccardi
• Martha Hyer as Carolyn Gibson
• Paul Petersen as David Winters
• Charles Herbert as Robert Winters
• Mimi Gibson as Elizabeth Winters
• Harry Guardino as Angelo Donatello

At first glance, Houseboat appears to be the same old romantic comedy you’ve seen a million times. But in the hands of Melville Shavelson and benefiting from the star pairing of Cary Grant and Sophia Loren, it emerges as a delightful and warm romantic comedy drama. If this doesn’t put a smile on your face, I don’t know what will.

Tom Winters, a worker at the US State Department, has been estranged from his three young children and wife for many years. He returns from Europe to the news that his wife has died. Although his children; David, Robert and Elizabeth want to stay in the country with the wealthy Aunt Carolyn, Tom takes them to live with him in Washington DC. He finds assuming the position of being a real father a hard job as the children resent him for not being there for them. One day after attending a concert, young Robert runs away. He is later found by Cinzia Zaccardi, an Italian woman and daughter of a prominent conductor. She is trying to escape the cloistered world of her father’s touring and the people he surrounds himself with. Robert immediately takes a shine to Cinzia and she brings him home to Tom. After meeting his children, Cinzia has a positive effect on the youngsters, who insist she become their maid. She eventually agrees to this and Tom takes them to live in an old country house owned by Aunt Carolyn. Unfortunately the house is ruined when the driver, the wolfish Angelo, flirts a little too much with Cinzia and the moving house is wrecked by a train. Angelo, out of kindness, offers them his old houseboat, which is in need of repair to say the least. After moving in, we witness and Cinzia’s warm presence helps the children eventually come to terms with their long-absent father and how she eventually falls for her employer. So prepare for comical mishaps before the Tom and Cinzia realise their feelings for each other, reconciliations and how the presence of one person can influence a whole household.

Although clichéd and a little sentimental, Houseboat still manages to entertain in a comical and touching way. Part of this is down to the script that presents the characters and the influence each has on the other, especially the children as they come around to the idea of Tom as their father. Melville Shavelson employs gorgeous Technicolor to highlight the brightening of lives and the kind of romantic feelings that only Old Hollywood can supply. The musical adds to the feelings of a growing relationship, especially when Cinzia and Tom dance and you can see as they gaze into each other’s eyes that they truly care for one another. The glamorous pairing of Cary Grant and Sophia also helps lift the film from the usual romantic comedy route. Their interactions and undeniable chemistry are especially palpable, as we see them eventually warm to one another after searching for answers.

Cary Grant embodies the debonair personality of Tom, yet also lets us to glimpse his fear and eventual love of responsibility for his children. Sophia Loren provides vivacious beauty and kindness as Cinzia, but shows how this young woman will not back down from her opinions as Tom realises how much good she has done with his offspring. The child actors all provide pugnacious yet adorable performances as their lives are changed and they come to see the good in their father after missing him for so long. Charles Herbert is a particular stand out as the lonely, harmonica loving Robert, who begins to warm to his family as a result of Cinzia. Martha Hyer plays the small role of Aunt Carolyn, who has always carried a torch for Tom and tries to undermine the growing affection between him and the loving Cinzia. Stealing all of the scenes he is in is Harry Guardino as the strutting, skirt-chasing handyman Angelo. His scene when he is supposed to take Cinzia dancing and he refuses because he feels she is a threat to his bachelor status is quite hysterical in its execution.

Warm, witty and cosy, Houseboat may be formulaic but when you’ve got chemistry like Grant and Loren, superb writing and stunning music, who really cares?

Arabesque

Tags

1960's, Alan Badel, Arabesque, Gregory Peck, Kieron Moore, Sophia Loren, Spy, Stanley Donen, Thriller

Film Title

Arabesque

Director

Stanley Donen

Starring

• Gregory Peck as David Pollock
• Sophia Loren as Yasmin Azir
• Alan Badel as Beshraavi
• Kieron Moore as Yussef Kasim
• Carl Duering as Hassan Jena
• John Merivale as Sloane

Arabesque may not quite meet the heights of its predecessor Charade, but it is still an enjoyable, stylish spy yarn with a great cast. Backed by an ever reliable Henry Mancini score and some stunning camerawork, Arabesque is exciting and thrilling to watch.

Professor David Pollock is a an expert lecturer in hieroglyphics and is teaching in London. Out of nowhere he is contacted by Hassan Jena, a Middle Eastern Prime Minister who believes his life is in danger. Initially unsure and very reluctant, David Pollock accepts as the key to the mystery seems to lie in a hieroglyphic code. He infiltrates the organisation of Beshraavi, a wealthy man believed to be the ringleader of the plot against the Prime Minister. The mystery continues to enthrall as David tries to crack the code whilst under the villainous eye of Beshraavi, who has a pet hawk that is prone to attacking when someone disobeys the master. The plot becomes even more complicated because of Yasmin Azir, Beshraavi’s lover whose motives are enigmatic to say the least. So kick back and enjoy as the stylish, tongue-in-cheek espionage tale as it twists and turns like a serpent and sends the ordinary hero into an extraordinary web of international intrigue.

From the opening credits of geometric shapes and patterns designed by Maurice Binder, you know you’re going to get a very visually arresting film. And that’s just right as Stanley Donen employs his camera in inventive angles and makes incredible use of reflection and distortion. Nowhere is this more apparent than in David and Yasmin’s thrilling escape and subsequent chase through London Zoo, whilst being pursued by killers. The usage of reflection, cages and varying surfaces adds to the tense atmosphere as the two characters try to evade being found, whilst the reflections play havoc with the killer’s eyes. Only in one scene in which David is drugged and ends up in a psychedelic stupor does the film show it’s age, but for the most part the visual look is immensely spellbinding. Although comic in many aspects of the film, Donen still manages to crank up the suspense as mentioned prior and in later scenes. A tense Ascot sequence in which David attempts to regain the inscription whilst other men aim for it is reminiscent of Hitchcock. And a pursuit through a viaduct is also perfectly executed. Although it may become a little too complicated at times, Arabesque still retains a fun and enthralling edge as David finds himself in increasingly bizarre situations.

The other main asset to the film is the cast, led by Gregory Peck who excellently embodies the unlikely hero thrust into intriguing circumstances as a result of his gift for cracking codes. He has a sparkling chemistry with Sophia Loren, as we watch them suss whether the other is lying in the tangled web of intrigue. A particular highlight of this is when David is forced to hide in her shower and Yasmin playfully and seductively tries to get the code whilst Beshraavi prowls in search of her. Sophia Loren exudes exotic glamour and enigmatic splendor as Yasmin, looking ravishing in Christian Dior gowns while constantly testing David with her dubious methods. Fleshing out the supporting cast is Alan Badel as the sunglasses sporting, hawk loving slime ball Beshraavi, he cleverly emits oily charm as he puts his nefarious plot into motion. Keiron Moore is another enigmatic presence in the tangled web of lies and deception. John Merivale emerges as the most memorable of the many henchman in the film, enduring the put upon deeds and suffering when he doesn’t do the job properly.

If its international espionage with glamour, exotic characters and red herrings a plenty, Arabesque is a must watch for you.

The Pride and the Passion

Tags

1950's, Adventure, Cary Grant, Frank Sinatra, Sophia Loren, Stanley Kramer, The Pride and the Passion, Theodore Bikel, War

Film Title

The Pride and the Passion

Director

Stanley Kramer

Starring

• Cary Grant as Capt. Anthony Trumbull
• Frank Sinatra as Miguel
• Sophia Loren as Juana
• Theodore Bikel as General Jouvet

Much castigated in its day, The Pride and the Passion still holds up as a thrilling war/adventure film with an eye-catching cast and top-notch production values. Yes it has its flaws but one can’t help but be swept under the epic spell the film casts under the direction of Stanley Kramer.

1810, Napoleon’s forces have invaded Spain. A large cannon belonging to the Spanish has been abandoned in the countryside and the French army are searching for it. Captain Anthony Trumbull, of the Royal Navy and Spain’s ally in fighting Napoleon’s forces arrives in Spain to ensure that the cannon is handed to British forces. Expecting to meet another Captain, Anthony is met with Miguel, the leader of a guerrilla band. The two men take an instant dislike to each other. Trumbull wants Miguel to help him shift the large cannon to British forces, Miguel agrees only if the Captain helps make the arduous journey to Avila, which is now occupied by the French with the intent on charging it. Trumbull reluctantly agrees with Miguel and they set off on the long, agonizing journey with the guerrilla band and Juana, Miguel’s seductive lover. Together the band endures harsh weather, enemy attack and pain to ensure the cannon arrives at its destination. Conflict also arises between Miguel and Anthony as Juana begins to fall for the British captain. Prepare for exciting and thrilling viewing as The Pride and the Passion takes you on the perilous journey as the band moves the enormous cannon ever close to Avila.

I think I’ll get the flaws of the film out the way first, as I do believe that the positives outweigh the negatives in this film. Firstly, the film does run for a bit longer than it should, perhaps if it had focused solely on the journey it may have resolved quicker. Also, the main villain a French army commander played by Theodore Bikel is supposed to be threatening but we see so little of him that his presence is rather wasted within the framework of the film. If he had been featured more and given a better story, his character may have been more interesting than he is in the final product.

Now onto the positives of the picture. The cast is the major draw of this, especially the central trio. Cary Grant, although it isn’t his best role, manages to inject his law-abiding and buttoned-up character with a charm and wit, that is present in many of his scenes with Frank Sinatra. Much of the criticism of the film centred on Sinatra’s Spanish accent, which although not perfect is quite convincing and not as bad as people make out. Sinatra manages to capture a dynamic and hot-headed edge within his character of Miguel, who although he despises the Captain, he eventually comes to respect him. This conflict is neatly executed as we watch two different men accustomed to different ways eventually realise that they’re not actually that different. Sophia Loren adds sex appeal to her character Juana, and she has sizzling chemistry with both Sinatra and Grant. She is also able to show the deep-seated pain within her character, the reasons why she is risking her life in this daring mission and how she is torn between Miguel and the captain. Perhaps the biggest star of the picture is the production values which are second to none. The luscious cinematography captures the natural beauty of Spain’s countryside and the danger as it is invaded. Many scenes linger in the memory; the raising of the cannon, Juana’s sensual flamenco dance, the perilous journey through enemy quarters and the final battle at Avila. The adventurous music score is unbeatable at conveying the many perils that face the characters as they near Avila. Although not known for directing adventure movies, Stanley Kramer certainly acquits himself well with The Pride and the Passion.

Tense, dramatic and thrilling, The Pride and the Passion may not be the best epic to emerge from Hollywood, but it is certainly worth a look because of its credentials and excellent cast.

Yesterday, Today and Tomorrow

Tags

1960's, Comedy, Drama, Foreign Language Film, Italy, Marcello Mastroianni, Portmanteau, Sophia Loren, Vittorio De Sica, Yesterday Today and Tomorrow

Film Title

Yesterday, Today and Tomorrow

Director

Vittorio De Sica

Starring

• Sophia Loren as Adelina Sbaratti/Anna/Mara
• Marcello Mastroianni as Carmine Sbaratti/Renzo/Augusto Rusconi
• Aldo Giuffrè as Pasquale
• Gianni Ridolfi as Umberto
• Tina Pica as Grandmother

Yesterday, Today and Tomorrow is three tales of comedy and drama directed by Vittorio De Sica, best known for his work in neo-realism. Starring Sophia Loren and Marcello Mastroianni in three tales of the power of sexuality and how people use it, this portmanteau film is a comedic gem with humour to burn and excellent performances.

In Adelina, the first and longest segment, the eponymous character lives in Naples with her unemployed husband Carmine. To make ends meet in their poverty-stricken lives, she sells cigarettes on the black market. One day, she is caught doing this and is threatened with this. After consulting a lawyer, Adelina finds that according to Italian law, a women who is pregnant can’t be imprisoned as well as sixth months after giving birth. This sets in motion Adelina’s scheming, in order to avoid prison she will keep on having children. After seven children, Carmine is exhausted and Adelina must face the possibility of going to prison for her crimes or having a child with her husband’s best friend Pasquale. In the middle segment Anna, a wealthy businessman’s wife is having an affair with Renzo. Whilst her husband is away, she goes for a drive with Renzo in her Rolls Royce through Milan. Anna is selfish and seems devoid of feeling, this makes Renzo question whether she is the right women for him. His decision is further called into question when Anna nearly runs over a young boy, and shows hardly any remorse. And in the last and most sexy story Mara, a high-class prostitute living in Rome. She is well aware of her beauty and knows exactly how to play men. One of her most prominent clients is the neurotic but randy Augusto. In the apartment next door to Mara’s lives an old women, her husband and for a time Umberto, a young man studying for priesthood. The minute he meets the gorgeous Mara he falls for her and begins to question the vows he will take soon. This incurs the wrath of his Grandma, who reluctantly enlists Mara’s help in helping him make the right decision. Prepare for a troika of sexy, witty and well-executed stories boasting excellent chemistry between Loren and Mastroianni.

Vittorio De Sica takes a break from his serious dramas to show his gift for comedy, and directs with a natural ability with his actors of choice. Sophia Loren, surely one of the most beautiful women to grace the screen, is at her peak as three different characters wielding sexual power. She cleverly and naturally invests each character she portrays with a sexy, warm and comic flair and she is greatly supported by Marcello Mastroianni. Mastroianni exudes humour and his expressive face is utilized to great effect throughout the three tales. They are surrounded by many fine and eccentric characters, but it is their film all the way through. Like any portmanteau film, not every part is perfect. The second story is too short and we don’t really get to know the characters that well. The only really purpose of it is to act as an interlude between the other chapters, but it is too short to be interesting. Whereas, the other two stories are excellently played and keep you watching, Adelina being the highlight. Watching as she schemes to avoid prison in a new way and Mastroianni exhausted after seven children is comically scripted, especially when he is castigated by a row of black market women about his reluctance to have any more children. Mara, was the part of the film that garnered the most headlines, in part due to Sophia Loren’s striptease. It may seem tame by today’s standards, but it still is a very sexy highlight to a cheeky film. The other thing to praise except the wonderfully flinty chemistry and performances is the music, which gives the film a mischievous and playful quality.

The winner of the Best Foreign Language Film Oscar, Yesterday, Today and Tomorrow is a hysterically funny and realised trio of sexy comedy. Even if you don’t get the film or enjoy it, Sophia Loren and Marcello Mastroianni will most certainly grab the attention with their well-played performances and unbeatable chemistry.