Word: giancarlo
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...volcanoes," says Giancarlo Giannini, star of Seven Beauties (TIME, Jan. 26). "In terms of my work, she is the woman of my life. We are the same. Indefatigable. Slightly crazy. We exist for each other." Director Lina...
...moment in Seven Beauties which epitomizes this harmony of vision and execution comes precisely when Wertmuller confronts her central theme: the moral and emotional impact of Nazi concentration camps on their victims. When Pasquale (Giancarlo Giannini) and his companion Francesco, deserters from the Italian army, are captured by the Germans and taken to a concentration camp, the greens and browns of the lush German countryside give way abruptly to stark grey and black. The camera pans chains of shell-shocked, pajama-clad prisoners, herded through this labyrinth of death by expressionless guards with drawn sub-machine guns and attack dogs...
Pasqualino (Giancarlo Giannini) is a survivor, and Lina Wertmuller's smashing new movie concerns both the ways he stays alive and the price he pays. Seven Beauties is a death-house comedy, brutal, audacious, liberating. As previous films like Love and Anarchy, The Seduction of Mimi and Swept Away demonstrate, Wertmuller takes a ringmaster's glee in barraging an audience with tawdry splendors and keeping it dazzled. She knows how to make us laugh, hard and long, even while we question ourselves for doing it. It is from the persistence of this questioning that Wertmuller gives...
...Giancarlo Giannini is the storm center of the movie, and he acts Pasqual ino with sulfurous splendor. Giannini, with eyes of stinging intensity, has been leading man for Wertmuller in all her movies released in America. Like her, Giannini knows how to work right at the taproot of his character. There has been no one quite like him since Mastroianni, but Giannini shows an even wider range, not just of roles, but of spirit...
Wertmuller's fundamental lack of sympathy with feminist ideas parallels her conception of the relation between politics and love. In each of her films, Wertmuller shows men whose political ideas are contradicted by their emotional and sexual behavior: in Love and Anarchy Giancarlo Giannini fails to shoot Mussolini because he falls in love; in the Seduction of Mimi his machismo belies his communism and ultimately forces him to collaborate with the Mafia; in Swept Away he forsakes his peasant wife and children for the socialite Raffaella. Though Wertmuller sees herself as a political filmmaker, the emotional message of her films...