If you weren’t around at the time, it’s hard to communicate just what a splashy, dominating place the Italian filmmaker Lina Wertmüller occupied during the 1970s. Wertmüller, who died on Thursday at 93, was far from the first celebrated woman director — just think of Agnès Varda, Shirley Clarke, Elaine May, Lois Weber, Ida Lupino, Dorothy Arzner, or Barbara Loden. But apart from the infamous Leni Riefenstahl, it’s fair to say that Wertmüller was the first woman filmmaker to become a household name. She was the first to receive an Academy Award nomination for best director, the first to adorn the cover of major magazines, the first to rule and own the zeitgeist.
And rule it she did. “Swept Away,” Wertmüller’s controversial 1974 drama about a wealthy snob (Mariangela Melato) and one of her lowly yacht crew members (Giancarlo Giannini), who wind up swapping roles after the two are stranded on a desert island,...
And rule it she did. “Swept Away,” Wertmüller’s controversial 1974 drama about a wealthy snob (Mariangela Melato) and one of her lowly yacht crew members (Giancarlo Giannini), who wind up swapping roles after the two are stranded on a desert island,...
- 12/10/2021
- by Owen Gleiberman
- Variety Film + TV
“A Dash Of Unusual Brilliance Behind A Face With White Glasses”
By Raymond Benson
The somewhat snobbish critic John Simon has said that the only “great” female film directors are Leni Riefenstahl and Lina Wertmüller. I’m sure we can all take issue with such a sexist comment, but he is correct that both women were indeed “great,” even though the former is known for Nazi propaganda films of the 1930s. Wertmüller, on the other hand, made different kinds of scandalous pictures—but at least ones that were, and still are, entertaining. (They also sometimes had whimsically long titles, such as The End of the World in Our Usual Bed on a Night Full of Rain.)
In the early to mid-1970s, Wertmüller was the face of a daring new Italian cinema. When her movies were imported to America and the U.K, she was dubbed the “Female Fellini.” In fact,...
By Raymond Benson
The somewhat snobbish critic John Simon has said that the only “great” female film directors are Leni Riefenstahl and Lina Wertmüller. I’m sure we can all take issue with such a sexist comment, but he is correct that both women were indeed “great,” even though the former is known for Nazi propaganda films of the 1930s. Wertmüller, on the other hand, made different kinds of scandalous pictures—but at least ones that were, and still are, entertaining. (They also sometimes had whimsically long titles, such as The End of the World in Our Usual Bed on a Night Full of Rain.)
In the early to mid-1970s, Wertmüller was the face of a daring new Italian cinema. When her movies were imported to America and the U.K, she was dubbed the “Female Fellini.” In fact,...
- 11/7/2017
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Stars: Shirley Stoler, Tony Lo Bianco, Mary Jane Higby, Doris Roberts, Kip McArdle, Marilyn Chris, Dortha Duckworth, Barbara Cason, Ann Harris, Mary Breen | Written and Directed by Leonard Kastle
Based on the notorious “Lonely Hearts” killers Martha Beck (Shirley Stoler) and Raymond Fernandez (Tony Lo Bionco) it tells the tale of two lovers who made a living by conning lonely women out of their savings. At first Martha was to be one of his victims before Raymond fell in love with her instead. Agreeing to let Raymond continue his manipulation of other women, Martha’s only rule was that she had to be a part of the plots, which eventually led to murder when her jealousy became too strong.
The pairing of Martha and Raymond is interesting because and works on-screen because their characters seem to be a perfect match. Both selfish and impulsive they are almost like children in...
Based on the notorious “Lonely Hearts” killers Martha Beck (Shirley Stoler) and Raymond Fernandez (Tony Lo Bionco) it tells the tale of two lovers who made a living by conning lonely women out of their savings. At first Martha was to be one of his victims before Raymond fell in love with her instead. Agreeing to let Raymond continue his manipulation of other women, Martha’s only rule was that she had to be a part of the plots, which eventually led to murder when her jealousy became too strong.
The pairing of Martha and Raymond is interesting because and works on-screen because their characters seem to be a perfect match. Both selfish and impulsive they are almost like children in...
- 11/20/2015
- by Paul Metcalf
- Nerdly
The advertising promised a surfeit of sleaze -- but the film is a superior thriller about a real-life, low-rent serial killers from back in the late 1940s. Tony Lo Bianco and the great Shirley Stoler are Ray and Martha, mixed-up lovers running a Merry Widow racket through the personals ads in romance magazines. Leonard Kastle's film is dramatically and psychologically sound, while the disc extras detail the true crime story, which is far, far, sleazier. The Honeymoon Killers Blu-ray The Criterion Collection 200 1969 / B&W / 1:85 widescreen / 107 min. / available through The Criterion Collection / Street Date September 29, 2015 / 39.95 Starring Shirley Stoler, Tony Lo Bianco, Mary Jane Higby, Doris Roberts, Kip McArdle, Marilyn Chris, Dortha Duckworth, Barbara Cason, Ann Harris Cinematography Oliver Wood Film Editor Richard Brophy, Stanley Warnow Music Gustav Mahler Produced by Warren Steibel Written and Directed by Leonard Kastle
Reviewed by Glenn Erickson
The ad campaign for this crime shocker...
Reviewed by Glenn Erickson
The ad campaign for this crime shocker...
- 9/29/2015
- by Glenn Erickson
- Trailers from Hell
To watch "Pee-wee's Playhouse," which debuted on CBS in 1986, is to find oneself tossed headlong into wonder. An amalgam of allusions, textures, and styles, creator and star Paul Reubens' cracked vision registers as both nostalgic and ahead of its time -- the bridge between the children's television of midcentury ("The Rocky and Bullwinkle Show," "Captain Kangaroo," "Howdy Doody") and the new millennium ("Spongebob Squarepants," "Phineas and Ferb," "Adventure Time"). "This place is a madhouse!" the haughty, snooping Mrs. Steve (Shirley Stoler) proclaims in the series premiere, and she's right. "Pee-wee's Playhouse" asks viewers to hole up in their imaginations and throw away the key. Though I'm old enough to remember sitting on the floor in front of the television each Saturday morning, enveloped by "Playhouse," "Land of the Lost," and candlepin bowling as I sipped my...
- 12/18/2014
- by Matt Brennan
- Thompson on Hollywood
The Academy Award nominations have been announced and cinephiles are scrambling to catch up on the Best Picture honorees before the big ceremony. Not everyone is a fan of Oscar, though. Perhaps you are already sick of hearing about the Wolf of Wall Street controversy or Matthew McConaughey's weight loss. If you prefer something a little more scary, silly, and/or gory than what the Academy Awards has to offer, here are nine comparable alternatives for horror fans.
Instead of: Gravity
Watch: Europa Report (2013)
While Alfonso Cuarón's Gravity is arguably a horror movie itself (and a gorgeous one at that), it was not the only critically-acclaimed space-terror film of last year. Sebastián Cordero directed an international cast of actors in this tense sci-fi/horror about a space crew seeking alien life on Jupiter's moon. Just when we were all sick of found footage, Europa Report proved there is still life in the subgenre.
Instead of: Gravity
Watch: Europa Report (2013)
While Alfonso Cuarón's Gravity is arguably a horror movie itself (and a gorgeous one at that), it was not the only critically-acclaimed space-terror film of last year. Sebastián Cordero directed an international cast of actors in this tense sci-fi/horror about a space crew seeking alien life on Jupiter's moon. Just when we were all sick of found footage, Europa Report proved there is still life in the subgenre.
- 1/20/2014
- by Heather Seebach
- FEARnet
If you have the desire to play Russian roulette and remember being introduced to Meryl Streep then you probably recall The Deer Hunter. It probably didn.t hurt that it won best picture as well. In Clairton, Pennsylvania, Michael (Robert De Niro), Steve (John Savage), and Nick (Christopher Walken) are best pals and hunting buddies with Stan (John Cazale), Axel (Chuck Aspegren), and John (George Dzundza). All of the friends are happily celebrating Steve.s marriage to Angela (Rutanya Alda) although Steve.s mother (Shirley Stoler) isn.t pleased that he is marrying her but her growing stomach seems like the reason for their nuptials. Nick.s girlfriend Linda (Meryl Streep) is one of the bridesmaids and she.s also ready to move...
- 3/5/2012
- by Jeff Swindoll
- Monsters and Critics
Updated through 5/23.
"Leonard Kastle, writer-director of 1969 film The Honeymoon Killers, which became a cult classic, died May 18 in Westerlo, NY," reports Carmel Dagan in Variety. "He was 82. The Honeymoon Killers starred Shirley Stoler and Tony Lo Bianco in the true story of notorious 'lonely hearts killers' Martha Beck and Ray Hernandez, who lured a series of lovelorn women, robbed them and murdered them in the late 1940s." He also notes, as everyone must, that "François Truffaut called it 'his favorite American film.'"
"Leonard Kastle seized the tabloid case of plug-ugly criminals as a rebuke to Bonnie and Clyde's sham lyricism, and his vehement denunciation of 'beautiful' shots — more Frederick Wiseman than Diane Arbus — is bracing." Fernando F Croce: "Kastle is a born filmmaker with an uncanny feeling for the startling close-up and the excruciating long-take, Edgar G Ulmer would have applauded his mise en scène of light bulbs and cellar burials.
"Leonard Kastle, writer-director of 1969 film The Honeymoon Killers, which became a cult classic, died May 18 in Westerlo, NY," reports Carmel Dagan in Variety. "He was 82. The Honeymoon Killers starred Shirley Stoler and Tony Lo Bianco in the true story of notorious 'lonely hearts killers' Martha Beck and Ray Hernandez, who lured a series of lovelorn women, robbed them and murdered them in the late 1940s." He also notes, as everyone must, that "François Truffaut called it 'his favorite American film.'"
"Leonard Kastle seized the tabloid case of plug-ugly criminals as a rebuke to Bonnie and Clyde's sham lyricism, and his vehement denunciation of 'beautiful' shots — more Frederick Wiseman than Diane Arbus — is bracing." Fernando F Croce: "Kastle is a born filmmaker with an uncanny feeling for the startling close-up and the excruciating long-take, Edgar G Ulmer would have applauded his mise en scène of light bulbs and cellar burials.
- 5/23/2011
- MUBI
Actor Paul Reubens is bringing his trademark character, Pee-wee Herman, and his playhouse full of friends back to their roots. Unfortunately, unless you live in Southern California, you may not be able to see them.
The Pee-wee Herman Show was a Los Angeles stage show in the early 1980s. It resembled the Saturday morning kids show that followed but the original concept was more of an adult parody of classic children's programming. Following appearances on late-night TV, Reubens' Pee-wee character became so popular that he was given his own family-friendly feature film, Pee-wee's Big Adventure.
The success of the movie paved the way for the Pee-wee's Playhouse TV series. Budgeted at $325,000 an episode, the show garnered 22 Emmy Awards during its five year run. Aside from Reubens, the series features Phil Hartman, Laurence Fishburne, S. Epatha Merkerson, Shirley Stoler, George McGrath, Alison...
The Pee-wee Herman Show was a Los Angeles stage show in the early 1980s. It resembled the Saturday morning kids show that followed but the original concept was more of an adult parody of classic children's programming. Following appearances on late-night TV, Reubens' Pee-wee character became so popular that he was given his own family-friendly feature film, Pee-wee's Big Adventure.
The success of the movie paved the way for the Pee-wee's Playhouse TV series. Budgeted at $325,000 an episode, the show garnered 22 Emmy Awards during its five year run. Aside from Reubens, the series features Phil Hartman, Laurence Fishburne, S. Epatha Merkerson, Shirley Stoler, George McGrath, Alison...
- 8/11/2009
- by TVSeriesFinale.com
- TVSeriesFinale.com
Actor Paul Reubens is bringing his trademark character, Pee-wee Herman, and his playhouse full of friends back to their roots. Unfortunately, unless you live in Southern California, you may not be able to see them.
The Pee-wee Herman Show was a Los Angeles stage show in the early 1980s. It resembled the Saturday morning kids show that followed but the original concept was more of an adult parody of classic children's programming. Following appearances on late-night TV, Reubens' Pee-wee character became so popular that he was given his own family-friendly feature film, Pee-wee's Big Adventure.
The success of the movie paved the way for the Pee-wee's Playhouse TV series. Budgeted at $325,000 an episode, the show garnered 22 Emmy Awards during its five year run. Aside from Reubens, the series features Phil Hartman, Laurence Fishburne, S. Epatha Merkerson, Shirley Stoler, George McGrath, Alison Mork, John Paragon, William Marshall, Suzanne Kent, Lynne Marie Stewart,...
The Pee-wee Herman Show was a Los Angeles stage show in the early 1980s. It resembled the Saturday morning kids show that followed but the original concept was more of an adult parody of classic children's programming. Following appearances on late-night TV, Reubens' Pee-wee character became so popular that he was given his own family-friendly feature film, Pee-wee's Big Adventure.
The success of the movie paved the way for the Pee-wee's Playhouse TV series. Budgeted at $325,000 an episode, the show garnered 22 Emmy Awards during its five year run. Aside from Reubens, the series features Phil Hartman, Laurence Fishburne, S. Epatha Merkerson, Shirley Stoler, George McGrath, Alison Mork, John Paragon, William Marshall, Suzanne Kent, Lynne Marie Stewart,...
- 8/11/2009
- by TVSeriesFinale.com
- TVSeriesFinale.com
FORT LAUDERDALE, Fla. -- "The Deli", which serves up a thick and not particularly appetizing slice of New York life, is the kind of laid-back comedy that will leaves audiences hungry for more.
Presenting a colorful cast of New York actors in the ramshackle tale of a delicatessen owner struggling to pay his gambling debts while dealing with myriad eccentric friends, relatives and customers, its minor charms won't get it much attention in a commercial environment. Inexplicably given a recommendation by the National Board of Review, it was showcased recently at the Fort Lauderdale International Film Festival.
John Gallagher's feature does give a welcome opportunity for heavy-set chararcter actor Mike Starr to shine in a starring role. He plays Johnny Amico, a deli owner whose gambling habit has put him in jeopardy with the neighborhood mobsters. To make things worse, his mother's number has just come in, but Johnny, although he's taken her money, hasn't placed a bet on it in years.
A lot of familiar faces pass through the deli, including Iceas a meat delivery man; Chris Noth as a trash man; David Johanson as a rambunctious cabbie; and the model Iman (which could account for the inclusion of some David Bowie songs on the soundtrack) as a woman searching for an avocado, etc.
Also showing up in tiny roles are figures such as veteran rapper Heavy D, Heather Matarazzo ("Welcome to the Dollhouse"), Michael Imperioli, Debi Mazar, William McNamara, Jerry Stiller, Shirley Stoler and Burt Young as the neighborhood gangster. Clearly, the filmmakers were able to call in some debts of their own.
Gallagher and John Dorian's anecdotal screenplay is short on true wit or resonance and doesn't add up to very much, but it does offer the opportunity for the colorful cast to provide some amusing moments, and the film manages to present a vivid and authentic depiction of an Italian working-class neighborhood.
Further adding to the atmosphere is the canny use of music from Rome-based CAM Original Soundtracks, including classic themes from composers such as Nino Rota and Ennio Morricone.
THE DELI
Golden Monkey Pictures
Director: John Gallagher
Screenplay: John Dorian, John Gallagher
Producer: Sylvia Caminer
Executive producer: John Dorrian
Director of photography: Robert Lechterman
Editor: Sue Blainey
Original score: Ernie Mannix
Color/stereo
Cast:
Johnny: Mike Starr
Andy: Matt Keeslar
Mrs. Amico: Judith Malina
Pinky: Brian Vincent
Eric the Soda Man: Michael Badalucco
Bo: Heavy D
Phil the Meat Man: Ice
Running time -- 98 minutes
No MPAA rating...
Presenting a colorful cast of New York actors in the ramshackle tale of a delicatessen owner struggling to pay his gambling debts while dealing with myriad eccentric friends, relatives and customers, its minor charms won't get it much attention in a commercial environment. Inexplicably given a recommendation by the National Board of Review, it was showcased recently at the Fort Lauderdale International Film Festival.
John Gallagher's feature does give a welcome opportunity for heavy-set chararcter actor Mike Starr to shine in a starring role. He plays Johnny Amico, a deli owner whose gambling habit has put him in jeopardy with the neighborhood mobsters. To make things worse, his mother's number has just come in, but Johnny, although he's taken her money, hasn't placed a bet on it in years.
A lot of familiar faces pass through the deli, including Iceas a meat delivery man; Chris Noth as a trash man; David Johanson as a rambunctious cabbie; and the model Iman (which could account for the inclusion of some David Bowie songs on the soundtrack) as a woman searching for an avocado, etc.
Also showing up in tiny roles are figures such as veteran rapper Heavy D, Heather Matarazzo ("Welcome to the Dollhouse"), Michael Imperioli, Debi Mazar, William McNamara, Jerry Stiller, Shirley Stoler and Burt Young as the neighborhood gangster. Clearly, the filmmakers were able to call in some debts of their own.
Gallagher and John Dorian's anecdotal screenplay is short on true wit or resonance and doesn't add up to very much, but it does offer the opportunity for the colorful cast to provide some amusing moments, and the film manages to present a vivid and authentic depiction of an Italian working-class neighborhood.
Further adding to the atmosphere is the canny use of music from Rome-based CAM Original Soundtracks, including classic themes from composers such as Nino Rota and Ennio Morricone.
THE DELI
Golden Monkey Pictures
Director: John Gallagher
Screenplay: John Dorian, John Gallagher
Producer: Sylvia Caminer
Executive producer: John Dorrian
Director of photography: Robert Lechterman
Editor: Sue Blainey
Original score: Ernie Mannix
Color/stereo
Cast:
Johnny: Mike Starr
Andy: Matt Keeslar
Mrs. Amico: Judith Malina
Pinky: Brian Vincent
Eric the Soda Man: Michael Badalucco
Bo: Heavy D
Phil the Meat Man: Ice
Running time -- 98 minutes
No MPAA rating...
- 11/19/1997
- The Hollywood Reporter - Movie News
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