Word: satyr
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Dates: during 1960-1969
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...Adventurers' international-jet-set subjects would confound a Zola. In the hands of Robbins they become like the projections of CinemaScope: highly colored, nine times larger than life, and relentlessly two-dimensional. One of the projections is Diogenes ("Dax") Xenos, diplomat, soldier, businessman, patriot, politician, international satyr and unintentional satire. Dax is to women what Dash is to washing machines: he makes them feel ten feet tall. His sometime pals, a French playboy and a White Russian con man, are not far behind in their technique: one of them receives a gold cigarette case from a female admirer inscribed...
...France. Curtis, faced by a crisis when a new line of jets with extra thrust brings all his airchicks to earth at once, sweats over a role that only suavity could save. He inevitably brings to mind the rather blunt question that one might ask about a fortyish satyr-about-town: not how he does it, but why. As a colleague who drops by to ogle Curtis' girls, Jerry Lewis gives, for him, an unusually restrained performance. Parents who mistake Boeing Boeing for a routine Jerry Lewis kid comedy will find, to their regret, that this is a show...
...psychiatrist's villa, where the young man is easily persuaded to fall in love with a beautiful young woman who may or may not be a ghost. A few pages later she turns into the goddess Diana, and with her crescent bow and shining arrow slaughters a satyr who comes galloping along. All at once, the young man is captured by a troop of German soldiers and forced to witness the brutalization of some partisans they have captured. A little later, just as he is about to make love to the gorgeous ghost, he is seized by a powerful...
Individual owners added original touches, too, and a tour of the homes jammed into the triangle of Old Town would turn up hand-carved wooden doors, airy fretwork porticos and everywhere gardens-gardens with roses, gardens with grinning stone cherubs, gardens with piping-satyr fountains...
...occasionally creaks like a piece of stage machinery, Director De Sica cunningly transforms its back street romance into an earthy, exuberant paean to virtue. Mastroianni's vain, middle-aged gallan-checking the coxcomb at every mirror, sneaking into a little dance of smug self-satisfaction -smacks of the satyr that most men yearn to be when the moon is right. And Sophia has become far too perceptive an actress to squander her talents as a mere prostitute-with-a-heart-of-gold. Now wild, now touchingly woebegone, now coolly indomitable, she is Everywoman, Italian style...