Word: antonellis
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...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...
...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...
...Laura Antonelli's cold beauty is on view-every single square centimeter of it-in two opulent and languidly erotic Italian films just released in the U.S. Curiously enough, not only does each production star Antonelli, but each is a turn-of-the-century costume drama dealing ironically with the torment of a philandering husband cuckolded by a young wife whom he assumes to be hopelessly frigid. Naturally, given these similarities, it is the differences between the films that are most interesting...
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...