Yesterday, Today and Tomorrow/Ieri, Oggi, Domani (1963) - De Sica and stars triumph with sexy smash

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Gorgeously painted and colored situations from the film are highlighted on this delightful poster for Vittorio De Sica's Yesterday, Today and Tomorrow

A three-story anthology: A Neapolitan mother is to be imprisoned, if she won't stop birthing children. A rich and superficial star. And a passionate couple nearly steer a young man into decline.

 

Yesterday, Today and Tomorrow is written by Eduardo De Filippo (Frisky/Pane, Amore e Gelosia (1954)), Isabella Quarantotti (Kiss the Other Sheek/Oggi, Domani, Dopodomani (1965)), Billa Billa (Ragazze d'Oggi (1955, actor)) and Cesare Zavattini (Woman Times Seven (1967)), with one segment adapting a novel by Alberto Moravia (Il Disprezzo/Contempt (1954)), and directed by Italian master filmmaker Vittorio De Sica (Rose Scarlatte (1940)), whose 18th feature it was. The title is a literal translation of the original Italian title.

Giuseppe Rotunno's (Red Sonja (1985)) photography dwells on the Italian beauty in three stories that are a perfect combination of sweetness, bittersweetness and desire. Sophia Loren (Io Sono il Capataz (1951)) and Marcello Mastroianni (I Grandi Peccatori (L'Eterna Catena) (1952)) are ravishing and seem as divinely meant for each other. - The film is a far cry from the corset of neorealism that De Sica championed in his earlier masterworks such as Bicycle Thieves/Ladri di Biciclette (1948), the ultimate one.

Armando Trovajoli's (Mario, Maria e Mario (1993)) music is beautiful and flirtatious. Is the film a bit dated? Perhaps. And a non-Catholic may also object to the salvaging of the young man in the third story, through his joining the cloth and thereby (stifling, potentially dangerous) celibacy. But these are minor reservations to a glorious film.

 

Related posts:

 

Vittorio De Sica: The Garden of the Finzi-Continis/Il Giardino dei Finzi-Contini (1970) - An exquisite, painful De Sica WWII love drama

A Farewell to Arms (1957) or, Love in Spite! (co-star)

 

 

Watch a trailer for the film here

 

Cost: Unknown, projected 1.5 mil. $

Box office: In excess of 21.75 mil. $ (North America, France, Germany and Italy alone)

= Uncertain but likely a mega-hit (projected return of at least 16.66 times its cost)

[Yesterday, Today and Tomorrow was released 21 December (Italy) and runs 118 minutes. Loren was reportedly paid 500k $ for her performance. Shooting took place in Italy, including in Rome. It is listed as having sold 13.39 mil. tickets across France, Germany and Italy, coming to approximately 12.45 mil. $. Together with its impressive North-American gross of 9.3 mil. $, it should have cleared 21.75 mil. $ in these markets alone. Likely its total gross exceeds 25 and perhaps even 30 mil. $. The film won the Best Foreign Language Film Oscar, a BAFTA, 3 David di Donatello award, 1/2 Golden Globe nominations and a National Board of Review award, among other honors. De Sica returned with Marriage Italian Style/Matrimonio all'Italiana (1964). Loren returned first in The Fall of the Roman Empire (1964), and then with Mastroianni in his return also, Marriage Italian Style. 10k+ IMDb users have given Yesterday, Today and Tomorrow a 7.2/10 average rating.]

 

What do you think of Yesterday, Today and Tomorrow?

Ready to Wear/Prêt-à-Porter (1994) - The Paris fashion week through the Altman lens

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Danish supermodel Helene Christensen sells the film with her beauty but goes uncredited on this poster for Robert Altman's Ready to Wear

Fashion week in Paris: Kitty is a TV personality there to cover the stories: A hated fashion boss suffocates in a sandwich, - but the press screams that it must be murder. Meanwhile the shows take place, the magazine editors schmooze over an Irish photographer, and two foreigners share a room in an over-booked hotel.

 

Ready to Wear is written by Barbara Shulgasser and co-writer/producer/director, Missourian master filmmaker Robert Altman (The Delinquents (1957)), whose 29th feature it was. The North-American title is a literal translation of the French fashion term that was the title in most of the rest of the world.

Though widely discarded critically, this scathing Altman look at the fashion world is an urbane, bubbly, light dish filled with great clothes and beautiful people. There's fun with cinema icons Sophia Loren (Arabesque (1966)) and Marcello Mastroianni (8½ (1963)) among loads of other stuff in this star-stuffed film that features plenty of slaps and appropriately shallow cheek kisses to the fashion industry.

 

Related posts:

Robert Altman: The Company (2003) - Campbell, Turner and Altman's fine ballet picture  

Gosford Park (2001) - Smith triumphs in Altman & Fellowes' exquisite whodunit 

 

Watch a trailer for the film here

 

Cost: 18 mil. $

Box office: 46.8 mil. $

= Box office success (returned 2.6 times its cost)

[Ready to Wear premiered 23 December (New York) and runs 133 minutes. Altman had the idea for the film after attending a Sonia Rykiel fashion show in Paris in 1984 with his wife, commenting: "I couldn't believe what I saw. It was such a circus. It was just too theatrical not to want to film". Shooting took place from March - May 1994 in the US, Paris, France and in Moscow, Russia. The film opened #14 to a 2 mil. $ first weekend in North America, where it peaked the following weekend at #13, grossing 11.3 mil. $ (24.1 % of the total gross). It was nominated for 2 Golden Globes and won a National Board of Review award, among other honors. Roger Ebert gave it a 2.5/4 star review, translating to a notch under this one. Altman returned with Kansas City (1996). Mastroianni returned in One Hundred and One Nights/Les Cent et Une Nuits de Simon Cinéma (1995); Loren in Grumpier Old Men (1995). Ready to Wear is rotten at 24 % with a 4.70/10 critical average at Rotten Tomatoes.]

What do you think of Ready to Wear?

La Dolce Vita (1960) - Fellini's immortal masterpiece

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One of the fabulous, glamorous posters for Federico Fellini's La Dolce Vita

QUICK REVIEW:

A Roman journalist spends a week chasing women, partying, interviewing a Swedish movie star, covering a religious mass hysteria and reconnecting with his father.

The 7th feature by Italian master filmmaker Federico Fellini (La Strada (1955)) is a true masterpiece and a multi-faceted salute to beauty and the myriads of variety in life; to eroticism, the woman, the city and the night.
Anouk Aimée (8½ (1963)), Marcello Mastroianni (What?/Che? (1972)) and Anita Ekberg (The French Sex Murders/Casa d'Appuntamento (1972)) are equally splendid in the film, which also has one of the most fantastic and memorable beginnings and endings in cinema history.
La Dolce Vita [which translates to 'the sweet life'] is written by Fellini, Ennio Flaiano (The Tenth Victim/La Decima Vittima (1965)), Tullio Pinelli (8½) and Brunello Rondi (Sex Life in a Women's Prison/Prigione di Donne (1974)), with uncredited work done by great Italian filmmaker Pier Paolo Passolini (The Gospel According to St. Matthew/Il Vangelo Secondo Matteo (1964)). - Don't miss this magical piece of cinema history!

Related posts:

Federico Fellini: Top 10: The best B/W movies reviewed by Film Excess to date
8½ (1963) or, Vive la Cinema!
Nights of Cabiria/Le Notti di Cabiria ((1957) - Fellini serves private infatuation as incredible masterpiece 

Anita Ekberg in Rome's Trevi fountain in Federico Fellini's La Dolce Vita

Marcello Mastroianni on the beach in Federico Fellini's La Dolce Vita

Here's a trailer for the film

Cost: Unknown
Box office: 19.5 mil. $ (North America only)
= Unknown (likely a big to huge hit)
[La Dolce Vita was released February 5 (Italy) and runs ca. 180 minutes. The film was mostly shot in Rome's Cinecittà studio, where more than 80 sets were reportedly created, making it a very costly film to mount. The Trevi fountain scene was, however, shot in the actual fountain, either in January or March, (sources differ), - but the water was definitely so freezing that Mastroianni had to wear a wetsuit under his costume (and chug vodka), while Ekberg completed it in just her gown. La Dolce Vita is also famous for coining the term 'paparazzi', which is the name of a tabloid character in the film. The film became a target for censorship: It was condemned by the Vatican newspaper L'Osservatore Romano and banned in Spain for 15 years. But it was also hailed by scores of critics; it won the Palme d'Or in Cannes and the Best Costume Design Oscar and is recognized as one of the finest films ever. It was also nominated for direction, screenplay and art direction, which it lost to Robert Wise and Jerome Robbins for West Side Story, William Inge for Splendour in the Grass and The Hustler, respectively. A cost or world total for the film is not to be found online, but there seems little doubt that the film was a hit, probably a big or huge hit. La Dolce Vita is certified fresh at 96 % with a 9.1 critical average on Rotten Tomatoes.]

What do you think of La Dolce Vita?

8½/Otto e Mezzo (1963) or, Vive la Cinema!

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An appropriately eclectic poster for Federico Fellini's highly eclectic 8½

8½ is Italian master filmmaker Federico Fellini's (La Dolce Vita (1960)) highly subjective film about filmmaking, and possibly also the best film about filmmaking ever made. 

Marcello Mastroianni (The Night/La Notte (1961)) plays film director Guido, who has forgotten what his next film will be about, and who has the habit of losing himself in reveries and dreams in the time leading up to the film's production.

8½'s structure and narrative remains as refreshing, modern, and fragmented today as it ever was. The film still stuns with its extraordinary language, sound and music. It is a colorful (figuratively meant, because it is in black and white), funny, chilling at one point and erotic at another, vivacious film above all.
The only thing I can say against 8½ is that I think it runs a bit long.
Fellini co-wrote the screenplay with Ennio Flaiano (La Dolce Vita), Tullio Pinelli (La Strada (1954)) and Brunello Rondi (Fellini Satyricon (1969)).

Related post:

Top 10: The best B/W movies reviewed by Film Excess to date  

Watch BFI's excellent, restored trailer for the film with English subtitles here

Cost: Unknown
Box office: 3.5 mil. $ (rentals)
= Uncertain (but likely a big hit)
[8½ premiered 13 February (Rome, Italy) and runs 138 minutes. It was shot in Italy, including Rome, from May - October 1962. It was screened out of competition in Cannes (because its premiere was set at the Moscow International Film Festival, where it won the Grand Prize and was met with applause from its 8,000 audiences in the Kremlin's conference hall, worrying the Soviet authorities, who reportedly interpreted the hoopla as "a cry for freedom".) The film won 2 Oscars, for Best Foreign Film and Best Costume Design B/W, and lost Best Set/Art Direction B/W to America America, Best Director to Tony Richardson for Tom Jones and Best Original Screenplay to James R. Webb for How the West Was Won. It was also nominated for a BAFTA and won 2 National Board of Review awards, among other honors. Roger Ebert gave the film a 4/4 star review, translating to a notch better than this one. Was the film made for an at the time in Italy lavish 1 mil. $, it would count as a big hit. Fellini returned with Juliet of the Spirits/Giulietta degli Spiriti (1965). Mastroianni returned in The Organizer/I Compagni (1963), Claudia Cardinale (Brigands/Li Chiamarono... Briganti! (1999)) in masterpiece The Leopard/Il Gattopardo (1963), Anouk Aimée (Les Marmottes (1993)) in The Shortest Day/Il Giorno Più Corto (1963). 8½ is certified fresh at 98 % with an 8.5 critical average on Rotten Tomatoes.]

What do you think of 8½?