Word: wife
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Dates: during 1970-1979
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...tortured sensibility of the hero, Tullio, a wealthy, thirtyish landowner, that gets most of the attention. Tullio, played with exactly the right touch of smoldering arrogance by Giancarlo Giannini, Lina Wertmuller's man of all movies, has long since transferred his sexual interest from his exquisite wife Giuliana to his mistress, a fiery countess named Teresa (Jennifer O'Neill). Tullio tells Giuliana that he loves her as he would a sister, but that his passion belongs to Teresa...
Through a crack in a shutter, he can look directly into the bedroom of his wife Antonia, a lovely, pale, sexless creature (Antonelli again) who suffers from hysterical paralysis. What does he see? Antonia bounds out of bed and, thinking that her husband is dead, bravely undertakes to continue his wine business. As she does this, she discovers both his idealism and his mistresses, neither of which she knew of before. She takes up sex and pamphleteering, and soon, under Luigi's flabbergasted eyes, is rolling about with an as sortment of lovers, male and female...
This is amusing, but not howlingly funny. A couple of reasons suggest themselves. One is that Antonelli has none of the fire in her eyes that might be expected of a revenge-bound wife in a farce. She plays her scenes as if they were high drama. Another is that Mastroianni, though not quite so sober, lets us see too much of the pain that an actual man would feel under such circumstances...
...captain sets out to break Chilly's power in order to establish his own rule. In the conflict, both Gasolino and a con named Juleson (John Heard) die as Chilly struggles to hang on. Juleson's characterization is interesting: he is a quiet, fairly bright middle-class wife killer who doesn't fit in the underclass prison society. One of the better scenes takes place in a group therapy session, in which the other cons (most of them actually inmates at the Rockview State Correctional Facility in Pennsylvania, where the film was shot) goad Juleson into talking...
Back in New York, he started as a lowly flack, a pressagent. But he worked his way up so fast that, before the end of the Depression, he and his wife Hilda were able to move into the house on Gramercy Park, which for years had been subdivided into poky flats. No. 19 had been built in 1845, rebuilt in the 1860s and finally remodeled in the 1880s by Stanford White. It had fallen into disuse, and the Sonnenbergs, sensing their ideal domestic theater in it, began the long work of restoration, accumulating the furniture (Sheraton and Chippendale-pattern credenzas...