Supelice Dreadfully Boring

Borgarkeri A bit overrated, but still an amazing film

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

mirkobozic Lina Wertmüller, the brilliant director who had her masterpiece Swept Away famously ravaged by Madonna,seems to have an approach to her actors like a woman to a great couture dress: if it works great, wear it again. And this she did-just like in Swept Away, we have Giancarlo Giannini and Maria Mellato in the leading roles, playing a country boy coming to Rome to avenge his friend's assassination by the Fascists through murdering Mussolini. Though Fascicsm may be the motif driving the story, the center stage for this juicy treat of a film is a Roman brothel where Giannini's character finds refuge, and gets drawn into the miniature universe of prostitutes and Madames varying from obnoxiously ugly to attractive, but each one loud-mouthed and bursting with passion regarding everything they do or say. Giannini created a masterpiece with his leading role, a man tortured both spiritually and visually, but we still can see the beauty of his piercing blue eyes underneath all that dirt and scars. Melato turned the prostitute stereotype into a whole new direction with the twist in the end where we see that even though she'd never admit it, it's not always about the money, but about the heart. Lina Wermtüller's movies usually revolve around male-female stories put into some sort of an extreme environment(a deserted island, fascist Rome), which makes her stories essentially much smaller in scale, at least when it comes to the core, a cat-and-mouse play between two equally passionate people. Of course, you have all your Italian stereotypes neatly arranged here as if it were on a shelf: curvy,beautiful girls, lots of smoking, cursing and alcohol, a bit of politics and a love story. As they would say: bravissimo.

Joan Garvan I saw this movie in the 1980s but it remains an all time favourite. It is a terrific story with a range of characters who demonstrate extremes of character. The women are sexy and smart and they are critical to the story. The music by Nino Rota is wonderful and delicately placed within the story. There are many memorable scenes. The stars Giancarlo Giannini, Mariangela Melato, and Lina Polito are perfect for their roles and there are many other notables including Eros Pagni who is the brute given charge of the black shirts. I've watched this film at least a dozen times and I plan to watch it many more before I return to the earth. I commend Love and Anarchy to you.

aimless-46 Rather than contend for film with the longest title, "Film of Love and Anarchy (or At Ten o'clock This Morning in Via dei Fiori in the Infamous House of Prostitution)" is better known by the more manageable "Love and Anarchy". This 1973 Lina Wertmüller thriller is a hard first watch because there is no suspense to grab the viewer and hook them into the story. I was only able to handle about 30 minutes at a time, not because it was unpleasant but because I was too uninvolved in the story to ignore distractions and interruptions. But while it withholds most of its appeal from the initial viewing, it yields something new each time it is viewed."Love and Anarchy" is more an expressionistic opera than a realistic thriller. Imagine "Cabaret" starring Charlie Chaplin's "Little Tramp" and you will have a good idea of its style. It's main theme sneaks up and surprises you. U.S. viewers, dimly aware of the great depression and World War Two, suffer a complete cultural disconnect regarding the continuing legacy of fascism in Italy and Germany. Meaning that anti-fascist political messages are embedded in almost all post-war Italian cinema. But Wertmüller's "Love and Anarchy" has the broader theme of anti-extremism, taking shots at those who make major sacrifices out of perverted idealism and a lack historical perspective. The film begins with its main character Tonino (Giancarlo Giannini) at a turning point in his life, the execution of an older relative for political subversion. After viewing the body on display in what would otherwise by an idyllic rural setting, Torino is inspired to take over what he perceives as his relative's mission, the assassination of Benito Mussolini. Tonino goes to Rome and links up with his anarchist contact, a highly sought after call girl named Salomè (another Wertmuller regular Mariangela Melato), her brothel is popular with the Fascists and Mussolini's head of security, an arrogant blow-hard named Spatoletti (Eros Pagni), is especially fond of Salomè. Tonino and young call girl Tripolina (Lina Polito) soon fall in love which serves to greatly complicate his mission.I watched the widescreen version of the film on the Fox Lorber DVD, and contrary to several other comments I found no problems with the film transfer. My guess is that these refer to the variation in color tone as the film cuts between characters, but this is a deliberate effect by Wertmüller's. She lights each face differently to convey the character's motivation. The uncomplicated Torino is given natural lighting, the political Salomè is tinted red, and the disillusioned Tripolina is in shadow. These combine with bold colors, a surreal score, and acute camera angles that exaggerate elements and play with scale in many of the frames. The everyday scenes in the brothel are especially good, combining the audacious with the darkly comic. The best is a carnival-like montage to music showcasing the start of a busy day of business for the prostitutes and their eager customers. In almost any other film Pagni would steal the whole thing with his overplayed performance but Melato matches him line for line. This contrasts nicely with the more subtle and nuanced performances of Giannini and Polito. Polito is very effective when Wertmüller makes use of her eyes in several close-ups.There is much overwrought melodrama as Wertmüller uses a farcical tone to illustrate that the Fascists and their opposition are linked by a common hypocrisy and a shared perversion of idealism. Ironically the film is at its best during its quiet scenes such as Tornio and Tripolina's stroll through the plazas of the city. This is an important film with an original message, fine performances from the entire ensemble, and really slick film-making techniques.Then again, what do I know? I'm only a child.

cindycita76 I loved, loved, loved this film. This is Wertmuller's best film in my opinion.SPOILERS Tunin is a poor farmer from the south who decides he must take over the role of Mussolini's assassin after his older, anarchist friend is killed by the fascists in his attempt to assassinate Mussolini.Tunin meets his conspiratorial contact in a brothel, where she works undercover, so to speak. He also meets another prostitute with whom he falls in love. Wertmuller does a very good job with the romantic storyline as well.Although Tunin's first reason for assassinating Mussolini was that he "hates tyrants," he also was doing it to get revenge for his friend, but also he hoped that in this act he would "beome" someone. This story had a more universal theme of how people try to become "someone" when they feel like a "no one," and it also makes you wonder how many people there are that were like Tunin, trying to change things and failing to the point that no one even knew they had tried in the first place. Sadly, in the end, Tunin remains an unknown, and it is so sad, yet the ending is so well done, and I really think the original title is much more powerful than just "Love and Anarchy" because of the ending. At 10 o'clock in the morning, in via dei Fiori, in a well-known brothel... he is no one. I love Giancarlo Giannini, and he does a really good job in this film playing a different character than his usual Wertmuller characters.