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Word: mastroianni (lookup in dictionary) (lookup stats)
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...pages of a book, my eyes close. I can't even read the newspaper. I don't feel at ease with American women. They're too perfect; their paradise of honesty doesn't excite me a bit. It's good only for unisex." Mastroianni is equally hard on Italian men: "We bore women with our insistence, our enthusiasm, our generosity. Except we get exhausted very soon...

Author: /time Magazine | Title: People, Aug. 30, 1971 | 8/30/1971 | See Source »

...burned-out pop singer, Valeria Billi (Sophia Loren) has enough troubles for a group. One more cataclysm cannot matter-so she falls in love with a priest, Don Mario (Marcello Mastroianni). These are the '70s, and married priests are not unheard of. But this is also provincial Padua, and the residue of two millenniums bows the Father's shoulders. Should he yield to his passions or to tradition? In The Priest's Wife he accommodates both, thereby demonstrating that sin beloved by Italian film makers: hypocrisy within the cloth...

Author: /time Magazine | Title: Cinema: Unwed Father | 3/15/1971 | See Source »

...editorial is out of keeping with the film's farcical style. The jests are painfully arch (says a prelate to a Vatican telephone operator: "I'd like to speak to St. Paul. Minnesota, that is"). But the jesters-ah, that is another story. It always is when Mastroianni and Loren combine...

Author: /time Magazine | Title: Cinema: Unwed Father | 3/15/1971 | See Source »

...suicidal female pop singer find happiness in the arms of a Roman Catholic priest? Sophia Loren finds out. So does the padre assigned to straighten out Sophia, Marcello Mastroianni, who eventually discovers that he needs some straightening out himself. It all happens in the new movie The Priest's Wife, which Producer Carlo Ponti decided to make without counting on any plugs from the Vatican's Osservatore Romano...

Author: /time Magazine | Title: People: Nov. 23, 1970 | 11/23/1970 | See Source »

...Marcello Mastroianni plays an aristocratic weakling (Franco Nero having been an aristocratic obsessive, and both being typical heroes for narrative films) confined to his opulent family mansion at the end of a dead-end street, watches people on the street through a pocket telescope. This utterly point-of-view technique separates him from the film's dramatic action and makes him a moral observer, murmuring "do it" or "no, no" as the blacks who inhabit the rest of the street perform the actions...

Author: By Mike Prokosch, | Title: More Bourgeois Films A Quiet Place in the Country and Leo the Last premiering at the Central Square Cinema | 11/12/1970 | See Source »

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