Word: sandrelli
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...lunar eclipse of a dark comedy, which followed his Divorce Italian Style, suggests Preston Sturges run riot in Sicily. In this lunatic 1964 retooling of The Miracle of Morgan's Creek (unwanted pregnancy, frantic attempt to get the girl married, small town in an uproar), Botticelli-beautiful Stefania Sandrelli is Agnese, a lamb led to the slaughter of her ideals by a father, a family and a society that values honor (status) over honesty. Germi's tireless cinematic inventiveness matches his furious pace in a magnificent satire that leaves the viewer exhausted, angry and grateful...
...whole package: swan neck, laughing voice, a poise and perfect posture rare among tall women and, not least, the gift to inhabit any role, serious or silly, as if she'd been born there. For me, Loren was Italian cinema incarnate - until Claudia Cardinale came along, and then Stefania Sandrelli. The Italian-actress assembly line just kept producing masterpieces...
...when Sophia Loren (his partner in 13 films) strips for him in Yesterday, Today and Tomorrow (1963). As the Sicilian aristocrat in Pietro Germi's wonderfully malicious Divorce Italian Style (1962), he is a creature of tics and slouches, plotting his wife's death and stalking the seraphic Stefania Sandrelli with the gait of a mopey Groucho. He made informed fun not only of these familiar Italian comic figures but also of his own star machismo. At the end of a guest stint on Laugh-In, TV's vaudeville for the Nixon years, he stared moonily into the camera, then...
...Bernardo Bertolucci assembled an all-star cast (Robert De Niro, Gerard Depardieu, Burt Lancaster, Stefania Sandrelli) for a history of 20th century Italy that played like a Marxist Gone With the Wind. Now the full version -- all 5 hr. 11 min. -- is premiering in the U.S. Don't miss the grandest folly of a great director...
...Conformist. Last Tango in Paris is pure Bertolucci, written without a source, and it too gives us a sense of death. But in that film there was a fervent impression of life set apart from a dying culture outside. Partner gives no importance to life at all. Stefania Sandrelli and Tina Amount, the two women in the film, are never treated as people by Bertolucci. The women seem glossed over as insignificant in this film, rather than abused as in Last Tango in Paris. Verbal images of life and death in Partner are almost as ridiculous as in Last Tango...