Word: mimi
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Dates: during 1970-1979
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...wild, coarse humor and high feeling. Unlike Bertolucci she is not a cinematic visionary. Her roots are more traditional. In Love and Anarchy, Wertmuller considered the short-fused political passion of a peasant (played by Giannini) who had come to Rome to assassinate Mussolini. In The Seduction of Mimi, she observed how a laborer (Giannini again) allowed his socialist politics to be bought off by employers and mobsters. Swept Away concerned a helplessly aggressive sailor (yes, Giannini) shipwrecked on a desert island with a wealthy woman (Melato...
...best traditions of show business, such controversy has only added a certain sinister luster to a reputation that has been growing wildly since the American release, in 1974, of Love and Anarchy. Earlier movies like The Seduction of Mimi and All Screwed Up found their way to theaters and attracted a tenacious following. It all may have to do with the brashness and ambition of Wertmuller's work, the interdependence of its energy and coarseness. Her movies stand in brazen contrast to the homogenized complacency of most Hollywood films. Seven Beauties has pulled down more than...
Actor and director thrashed out the script for Seven Beauties just the way they worked on Love and Anarchy and The Seduction of Mimi: in stormy, all-night sessions joined by Wertmuller's husband, Artist-Sculptor Enrico...
...directed under the name "George Brown." Two years later, Giannini starred in a Wertmuller play he had brought to Zeffirelli's attention. Zeffirelli staged it, Enrico Job did the sets and costumes. Wertmuller wound up married to the designer and working, again with Giannini, on The Seduction of Mimi...
Giannini still studies his parts in the same dogged way he used to crack his engineering books. "Details, details, details," he laments. "Perfection. I go too far." For Mimi, he spent weeks in Sicily armed with tape recorders and cameras, studying local speech and mannerisms. "Once I've formed an idea of a character," Giannini reports, "I confront him from the outside. I start with the spinal cord, which is basic to his carriage, his entire nervous system. I must decide how he stands and carries himself in the world. Next, his arms-how does he reveal himself through...