Word: antonellis
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...Laura Antonelli is such a straightforward and cheerful girl, neither brazen nor falsely modest when called upon to shed her clothes, the high point, of course, of all her movies. So it seems a shame to place her in the lugubrious context of a picture like The Divine Nymph. The film is yet another period piece, this time set in Italy during the 1920s. One be gins to wonder if the people who produce Antonelli's movies are under the impression that so lush a lady simply cannot be accepted in a contemporary context. Or it may be that...
...message is that private preoccupations of the sort described here made Mussolini's triumph easy. But Director Griffi is more interested in art deco interiors than he is in that or any other theme. The result is an irritating and so porific film. Those in need of an Antonelli fix are advised to see Till Marriage Do Us Part a second time - at least it's funny about decadence...
...Cecil Cooper, Bernie Carbo, Dwight Evans, Juan Beniquez; 2. Bobby Richardson; 3. Johnny Podres; 4. Joe Black, John Wyatt, Jim Grant, Bob Gibson, Luis Tiant, John Odom; 5. Dale Mitchell batting for Sal Maglie; 6. Jim Mason; 7. Tom Matchick, Ray Oyler, Dick Tracewski, Mickey Stanley; 8. John Antonelli; 9. Jose Santiago; 10. Corrected question reads: who were the only two Mets to allow earned runs. Answer: Jerry Koosman and Tom Seaver; 11. Bruce Kison; 12. Whitey Ford; 13. Ken Brett; 14. Moe Drabowsky; 15. Howard Ehmke; 16. Bill Wambsganss; 17. Nippy Jones; 18. Lou Brock; 19. Denis Menke...
Through a crack in a shutter, he can look directly into the bedroom of his wife Antonia, a lovely, pale, sexless creature (Antonelli again) who suffers from hysterical paralysis. What does he see? Antonia bounds out of bed and, thinking that her husband is dead, bravely undertakes to continue his wine business. As she does this, she discovers both his idealism and his mistresses, neither of which she knew of before. She takes up sex and pamphleteering, and soon, under Luigi's flabbergasted eyes, is rolling about with an as sortment of lovers, male and female...
This is amusing, but not howlingly funny. A couple of reasons suggest themselves. One is that Antonelli has none of the fire in her eyes that might be expected of a revenge-bound wife in a farce. She plays her scenes as if they were high drama. Another is that Mastroianni, though not quite so sober, lets us see too much of the pain that an actual man would feel under such circumstances...