Alberto Sordi

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Mafioso Review


Essential
Alberto Lattuada's Mafioso has the look and feel of an archived piece of dust-washed stone being hunted by Indiana Jones. Its black-and-white photography (pristine and peerless by any standards) and its leading man, the incomparable Alberto Sordi, are timestamps of a bygone era where style was a matter of pride. Yet, besides a brief run in the early '60s, no one has heard of Mafioso and little is known of its proficient director.

Due mostly to lack of access on DVD or reappraisal, Lattuada has become a cinematic specter; the kind of mythological beast of burden that is known for his capacity for brilliance but is unavailable to anyone interested enough to look him up. To date, Lattuada's only film to reach a Region 1 disc is Variety Lights, and that's only because his co-director happened to be some yutz named Fellini. With the re-release of this seminal work, however, Lattuada's recognition might just be raised from purgatory.

Continue reading: Mafioso Review

Mafioso Review


Essential
Alberto Lattuada's Mafioso has the look and feel of an archived piece of dust-washed stone being hunted by Indiana Jones. Its black-and-white photography (pristine and peerless by any standards) and its leading man, the incomparable Alberto Sordi, are timestamps of a bygone era where style was a matter of pride. Yet, besides a brief run in the early '60s, no one has heard of Mafioso and little is known of its proficient director.

Due mostly to lack of access on DVD or reappraisal, Lattuada has become a cinematic specter; the kind of mythological beast of burden that is known for his capacity for brilliance but is unavailable to anyone interested enough to look him up. To date, Lattuada's only film to reach a Region 1 disc is Variety Lights, and that's only because his co-director happened to be some yutz named Fellini. With the re-release of this seminal work, however, Lattuada's recognition might just be raised from purgatory.

Continue reading: Mafioso Review

The White Sheik Review


Very Good
The White Sheik is one of Federico Fellini's most overlooked films. When it came out in 1951, The White Sheik was a direct contrast to the Italian Neorealist films that were made at the same time. Where most Neorealist films dealt with the genuine struggles of lower class Italians, The White Sheik was a light comedy about a well-to-do couple involved in a somewhat trivial episode in their lives.

A recently married couple Ivan (Leopoldo Trieste) and Wendy (Brunella Bovo) come to Rome from a small village to take place in a ceremony with the Pope to legitimize their marriage vows. Ivan, a comically serious businessman, has a strict itinerary that they are supposed to follow over the next couple of days, but Wendy, an impulsive, wide-eyed small town woman, has other plans.

Continue reading: The White Sheik Review

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