The Nurse – Shameless Films (Blu-ray)

Theatrical Release Date: Italy, 1975
Director: Nello Rossati
Writers: Claudia Florio, Roberto Gianviti, Nello Rossati, Paolo Vidali
Cast: Ursula Andress, Duilio Del Prete, Mario Pisu, Luciana Paluzzi, Jack Palance

Release Date: February 26th, 2024
Approximate Running Time: 105 Minutes 27 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 18 (UK)
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English
Region Coding: Region Free
Retail Price: £19.99 (UK)

"Screen legend Jack Palance (City Slickers) plays an American tycoon aiming to buy a vineyard in the beautiful Italian Veneto. But the hitch is that the aging owner won’t sign, despite his madcap family’s eagerness to sell and get rich.

The old man, recovering from a bonk-induced heart attack, is a randy lecher. So, the family’s outrageous stratagem is to hire Nurse Andress, not to cure the old boy, but for her to… ahem… undress and, hopefully, induce another – this time fatal – cardiac arrest." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "Complete and Uncut, restored from 2K scan."

The Nurse comes on a 50 GB dual layer Blu-ray.

Disc Size: 37.7 GB

Feature: 29.4 GB

Though the bulk of this transfer looks excellent, there are a few very minor source imperfections that remain. Flesh tones look healthy, colors look great, and image clarity and black levels are solid. Also, compression is very good, and the image always looks organic.

Audio: 4.5/5 (DTS-HD Mono Italian, DTS-HD Mono English)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. Both audio tracks are in great shape; dialog comes through clearly, and everything sounds balanced. Range-wise, the differences between these two audio tracks are minimal. Included are removable English subtitles for the Italian-language track.

Extras:

Extras for this release include an archival interview with director Nello Rossati and set & costume designer Toni Rossati titled Calling the Nurse (24 minutes 1 second, LPCM stereo Italian with removable English subtitles), reversible cover art, and a slipcover (limited to the first pressing).

Other extras include trailers for Slave of the Cannibal God, Viva, and The Frightened Woman.

Summary:

Directed by Nello Rossati, whose other notable films are Django Strikes Again and Top Line.

When a wealthy widower with an insatiable sexual drive nearly dies from a heart attack, his greedy family members quickly swoop in, hoping to collect his wealth. Unfortunately, for them, his will to live is too strong, so they hire a sexy nurse to get his blood flowing in the hope that it will bring about his demise.

The Nurse is part of a collection of Italian films from the 1970s known as Commedia sexy all'italiana. These films are a subgenre of Commedia all'italiana that upped the ante when it came to female nudity and onscreen softcore erotica in a comedy setting.

The Nurse brings together former James Bond girls Ursula Andress (Dr. No) and Luciana Paluzzi (Thunderball). Ursula Andress portrays Anna, the title character, and Luciana Paluzzi in a minor but extremely effective performance as Jole Scarpa, one of the dying man’s relatives. And though Ursula Andress’ character does not appear until the end of the first act, ultimately the narrative is built up around her character. Also, her performance should be based solely on her physical presence, since it is her more than ample assets that are often on display throughout.

The Nurse is filled with colorful characters, such as the alcoholic butler, the housekeeper who is the object of everyone's amorous advances, and a character whose arousal issues can only be resolved by the sounds of war. When it comes to the performances, the cast is all very good, especially Jack Palance (Shane), who makes an all-too-brief appearance as the sleazy businessman Mr. Kitch. Also, Luciana Paluzzi makes full use of her limited screen time as she plays a sexually repressed woman who is on the verge of a nervous breakdown if she has to wait much longer to satisfy her sex drive.

Besides being blessed with a great cast, whose comedic timing is impeccable, The Nurse has many comedic moments that are overflowing with sexual innuendos. One of the main jokes revolves around the dying uncle character, who only says the word pussy over and over. Though this type of humor has its limit, it is perfectly executed in The Nurse. 

From a production standpoint, The Nurse is a film that maximizes its resources. The narrative pacing does a great job maintaining momentum, and the finale provides one final joke that brings everything that preceded to a head. Outside of a few moments, Nello Rossati's direction is often low-key, as he lets the material and performances speak for themselves. Ultimately, The Nurse is a solid example of Commedia sexy all'italiana.

The Nurse gets a first-rate release from Shameless Films that comes with a solid audio/video presentation and an insightful interview, highly recommended.

Written by Michael Den Boer

The Witches (Le streghe) – Arrow Academy (Blu-ray)

Theatrical Release Date: Italy/France, 1967
Directors: Luchino Visconti, Mauro Bolognini, Pier Paolo Pasolini, Franco Rossi, Vittorio De Sica
Writers: Mauro Bolognini, Fabio Carpi, Roberto Gianviti, Agenore Incrocci, Luigi Magni, Enzo Muzii, Pier Paolo Pasolini, Giuseppe Patroni Griffi, Franco Rossi, Furio Scarpelli, Bernardino Zapponi, Cesare Zavattini
Cast: Silvana Mangano, Marilù Tolo, Helmut Berger, Alberto Sordi, Totò, Laura Betti, Clint Eastwood

Release Date: January 8th, 2018 (UK), January 30th, 2018 (USA)
Approximate running times: 111 Minutes 8 Seconds (Italian Language Version), 104 Minutes 14 Seconds (English Language Version)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: 15 (UK), NR (USA)
Sound: DTS-HD Mono Italian (Italian Language Version), DTS-HD Mono English (English Language Version)
Subtitles: English (Italian Language Version), English SDH (English Language Version)
Region Coding: Region A,B
Retail Price: OOP

"In the mid-sixties, famed producer Dino De Laurentiis brought together the talents of five celebrated Italian directors for an anthology film. Their brief was simple: to direct an episode in which Silvana Mangano (Bitter Rice, Ludwig) plays a witch.

Luchino Visconti (Ossessione, Death in Venice) and screenwriter Cesare Zavattini (Bicycle Thieves) open the film with The Witch Burned Alive, about a famous actress and a drunken evening that leads to unpleasant revelations. Civic Sense is a lightly comic interlude from Mauro Bolognini (The Lady of the Camelias) with a dark conclusion, and The Earth as Seen from the Moon sees Italian comedy legend Totò team up with Pier Paolo Pasolini (Theorem) for the first time for a tale of matrimony and a red-headed father and son. Franco Rosso (The Woman in the Painting) concocts a story of revenge in The Sicilian s Wife, while Vittorio De Sica (Shoeshine) casts Clint Eastwood as Mangano s estranged husband in An Evening Like the Others, concluding The Witches with a stunning homage to Italian comic books." - synopsis provided by the distributor

Video: 4.25/5 (Italian Language Version), 4/5 (English Language Version)

Here’s the information provided about this release's transfer, "The original 35mm interpositive was scanned in 2K resolution on a Lasergraphics Director Scanner at EFilm, Burbank. Picture grading and restoration was completed at Pinewood. The grading was completed on a DaVinci Resolve and picture restoration was performed using PFClean software. Thousands of instances of dirt, debris, scratches and other instances of film wear were repaired or removed through a combination of digital restoration tools and techniques. Image stability was also improved. Separate interpositive elements were sourced for the English language sections of the film. In some shots there were instances of heavy scratches at the far edge of the image which necessitated minor repositioning of the frame.

All materials were provided by MGM.” 

The Witches (Le streghe) comes on a 50 GB dual layer Blu-ray.

Disc Size: 40.6 GB

Feature: 26.5 GB

The sources for both versions are in great shape, with the Italian-language version looking in some areas stronger than the English-language version. Flesh tones look healthy, colors are nicely saturated, image clarity and black levels are strong, compression is solid, and the image always looks organic. This release uses seamless branching for the two versions.

Audio: 4/5 (DTS-HD Mono Italian, DTS-HD Mono English)

The Italian-language version comes with one audio option, a DTS-HD mono mix in Italian with removable English subtitles. The English-language version comes with one audio option, a DTS-HD mono mix in English with removable English SDH. Both audio tracks sound clean, clear, and balanced. Range-wise, both tracks are satisfactory, as they do a good job handling ambient sounds and the score.

Extras:

Extras for this release include the English language version of The Witches (Le streghe), an audio commentary with film critic and novelist Tim Lucas for the Italian language version, reversible cover art and a 32-page booklet (limited to first pressing) with cast & crew information, an essay titled Omnibus Films, Italian Style written by Pasquale Lannone, an essay titled The Manifestation of Dreams and Desires: Commedia all’ Italiana The Witches and the Female Perspective written by Kat Ellinger, and information about the restoration.

Summary:

The Witches (Le streghe) is an anthology film that consists of five segments, and all of these segments prominently feature Silvana Mangano. Produced by Dino De Laurentiis, whose diverse filmography includes The Nights of Cabiria, Danger: Diabolik, Barbarella, Attraction, The Valachi Papers, Death Wish, Manhunter, and Blue Velvet

There are five segments; the directors are Luchino Visconti (The Witch Burned Alive), Mauro Bolognini (Civic Sense), Pier Paolo Pasolini (The Earth as Seen from the Moon), Franco Rossi (The Sicilian Belle), and Vittorio De Sica (An Evening Like the Others).

And though The Witches (Le streghe) features a variety of distinctively different filmmakers, there was more cohesion when it came to the crews working on these five segments. Notable crew members include cinematographer Giuseppe Rotunno (The Leopard, The Stendhal Syndrome) and composer Piero Piccioni (The 10th Victim). It should be noted that Pier Paolo Pasolini’s segment, The Earth as Seen from the Moon, was not composed by Piero Piccioni. And that this segment was composed by the legendary Ennio Morricone.

The Witch Burned Alive: A vain actress’ imperfections are exposed after she gets drunk at a party.

Civic Sense: Trapped in a traffic jam, a woman poses as a good Samaritan. Desperate to get to her destination, she offers to give a gravely injured man a ride to the hospital.

The Earth as Seen from The Moon: Shortly after mourning the loss of his wife, a father enlists the help of his son to find him a new wife. This gives them a renewed purpose that fuels their frantic search for the perfect wife. And just when they have all but given up hope of ever achieving their goal, fate intervenes when their paths cross with a deaf woman who agrees to their proposition.

The Sicilian Belle: When a daughter reveals to her father that someone has impugned her reputation, He retaliates by killing the violator and all of his family members.

An Evening Like The Others: A bored housewife conjures fantasies that depict her husband in a wide variety of roles.

For many, the main draw will be seeing Clint Eastwood in a role that is in direct contrast with the persona he has created over the years. That said, his comedic timing in An Evening Like the Others is impeccable.

The most memorable performance is Totò (The Hawks and the Sparrows) in the role of the grieving widower who searches for a new wife with his son. Another notable performance is by Alberto Sordi (Mafioso) in the role of Elio Ferocci. He portrays a gravely injured man who is picked up by a good Sarmatian.

Other notable cast members include Helmut Berger (Conversation Piece), Laura Betti (Hatchet for the Honeymoon), and Marilù Tolo (My Dear Killer).

The lengths of these five segments vary. The shortest segments are Civic Sense and The Sicilian Belle. It should be noted that these two segments are very brief. This does not take away from their overall impact. And nowhere is this more evident than in regards to their use of dark humor to wrap up the events that have just unfolded.

And out of these five segments, The Earth as Seen from the Moon is by far and away the most entertaining. The tone of this segment is on the opposite end of the spectrum from the much darker humor that is prevalent in the other segments. It should be noted that the English-language version omits two characters from this segment that are featured in the Italian-language version.

From a production standpoint, the narratives are well constructed, and all of these segments play to their respective directors’ strengths. Ultimately, The Witches (Le streghe) is a highly entertaining film that fans of Commedia all’italiana should thoroughly enjoy.

The Witches (Le streghe) gets a first-rate release from Arrow Academy that comes with a strong audio/video presentation and informative extras, recommended.

Written by Michael Den Boer

Casanova ’70 – Kino Lorber (Blu-ray)

Theatrical Release Date: Italy, 1965
Director: Mario Monicelli
Writers: Agenore Incrocci, Furio Scarpelli, Mario Monicelli, Tonino Guerra, Giorgio Salvioni, Suso Cecchi D’Amico
Cast: Marcello Mastroianni, Virna Lisi, Marisa Mell, Michèle Mercier, Enrico Maria Salerno, Liana Orfei, Guido Alberti, Beba Loncar, Moira Orfei, Margaret Lee, Rosemary Dexter, Jolanda Modio, Seyna Seyn, Luciana Paoli, Marco Ferreri

Release Date: October 11th, 2011
Approximate running time: 115 Minutes 21 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Italian
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

"Directed by Italian comedy legend Mario Monicelli (Big Deal on Madonna Street), it finds army officer Andrea (Mastroianni) dealing with a particularly strange case of impotence: his libido only gets aroused in the middle of near-death experiences. So while candle-lit dinners leave him cold, a female lion tamer or a General's wife expand his lust to dangerous proportions. After a visit to a psychoanalyst, he fears his vice will lead to an early grave, so he attempts to live as a celibate with the virginal beauty Gigliola (Virna Lisi), but he is only delaying his inevitable descent back into sin." - synopsis provided by the distributor

Video: 3.5/5

Casanova ’70 comes on a 25 GB single layer Blu-ray.

Disc Size: 18.8 GB

Feature: 16.3 GB

No information is provided about the source; any source debris is minor. Flesh tones look healthy, colors are very good, the image generally looks crisp, black levels fare well, and any compression issues are minor.

Audio: 3.75/5

This release comes with one audio option, a DTS-HD mono mix in Italian with removable English subtitles. The audio sounds clean, clear, and balanced. Range-wise, this track is satisfactory.

Extras:

Extras for this release include a stills gallery and a theatrical trailer for Casanova ’70 (2 minutes 17 seconds, Dolby Digital mono with English text).

Other extras are trailers for Boccaccio ’70, Yesterday, Today and Tomorrow, Sunflower, and Marriage Italian Style.

Summary:

Directed by Mario Monicelli, whose other notable films include The Great War, Big Deal on Madonna Street, and For Love and Gold.

The narrator is an impotent womanizer who can only get aroused when in danger, so he goes to great extremes to overcome his most unusual case of impotency. The narrative is primarily told via flashbacks, in which the protagonist recounts his various romantic mishaps with a psychiatrist. Also, these flashbacks do a superb job with everyone’s backstories.

A few standout moments include a scene in which the protagonist character is at a restaurant in Sicily and is waiting to be served. He overhears that the restaurant owner's daughter’s fiancée refuses to marry her because she is impure. Somehow he convinces them that he is a doctor, and shortly thereafter he sleeps with her while everyone awaits his verdict in the other room. After he has done the deed, he opens the door disheveled-looking and proclaims, ‘She’s pure'. Unfortunately for him, the real doctor has arrived, and he is then relentlessly pursued by the young woman’s family. Another standout moment involves a cursed prostitute that the locals are afraid to sleep with. Fortunately for the protagonist, he needs a sense of danger to be aroused.

Who better to portray the ‘Latin lover’ persona than Marcello Mastroianni (8 1/2), who made a career out of playing such characters? And to this film's credit, they have him portraying a character that is in direct contrast to the aforementioned type of character that he was most known for. And while he most certainly fits the role of the ‘Casanova’ from a psychical standpoint, the greatest strength of his performances lies less in his attractiveness and more in his pitch-perfect comedic timing.

Casanova ’70 is about a man who is having trouble getting aroused. It should not come as a surprise that there is an ample amount of eye candy on display throughout. Some of the more notable female cast members include Margaret Lee (Venus in Furs), Rosemary Dexter (Marquis de Sade: Justine), Michèle Mercier (Black Sabbath: ‘The Telephone’ segment), Marisa Mell (Danger: Diabolik), and Virna Lisi (How to Murder Your Wife). Another performance of note is by Enrico Maria Salerno (The Bird With the Crystal Plumage) in the role of the protagonist's psychiatrist.

Sometimes less is more, and that is most definitely the case with Casanova ’70, a film built around a simple premise: its lead character’s inability to get aroused. And while such a simplistic premise could have worn itself out very quickly, it actually becomes more humorous as the story progresses and the more tormented the protagonists become.

Kino Lorber gives Casanova ’70 a good audio/video presentation.

Written by Michael Den Boer

Boccaccio '70 – Cult Films (Blu-ray)

Theatrical Release Date: Italy, 1962
Directors: Vittorio De Sica, Federico Fellini, Mario Monicelli, Luchino Visconti
Writers: Giovanni Arpino, Italo Calvino, Suso Cecchi d’Amico, Federico Fellini, Ennio Flaiano, Mario Monicelli, Goffredo Parise, Tullio Pinelli, Brunello Rondi, Luchino Visconti, Cesare Zavattini
Cast: Marisa Solinas, Germano Gilioli, Anita Ekberg, Peppino De Filippo, Romy Schneider, Tomas Milian, Romolo Valli, Sophia Loren, Luigi Giuliani, Alfio Vita

Release Date: June 26th, 2017
Approximate running time: 3 Hours 23 Minutes 55 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English
Region Coding: Region B
Retail Price: £12.50 (UK)

"A sensuous pin up on a gigantic poster comes to life to haunt a puritan, a married woman finds a way of dealing with her husband’s passion for gambling and call-girls, a sacristan wins a night with a beautiful fairground woman in a village lottery and a married couple’s mishap enables them to buy their own house." - synopsis provided by the distributor

Video: 4.25/5

Boccaccio '70 comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.3 GB

Feature: 38 GB

No information is provided about the source. It appears that this transfer uses the source that Kino Lorber used for their 2011 Blu-ray release. That said, the source is in great shape, and any source debris is very minor. Flesh tones look correct, colors are nicely saturated, image clarity and black levels are strong, and there are no compression-related issues. When compared to Kino Lorber’s Blu-ray’s transfer, though there are many areas where this transfer is comparable, I would still give a slight edge to Cult Films transfer.

Audio: 4.25/5 (LPCM Mono Italian, LPCM Mono English)

This release comes with two audio options, an LPCM mono mix in Italian and an LPCM mono mix in English. It should be noted that the English language track is for all the segments except Renzo and Luciana; this segment is only in Italian. Both audio tracks are in great shape. Dialog comes through clearly, and everything sounds balanced. Range-wise, both tracks sound very good. Included are removable English subtitles for the English language track and a second removable English subtitle track for the Renzo and Luciana segments when watching with the English language track.

Extras:

Extras for this release include reversible cover art, and a documentary titled Sophia Loren: Yesterday, Today and Tomorrow (54 minutes 3 seconds, LPCM stereo Italian and English with removable English subtitles).

Other extras include trailers for Django, Keoma, A Bullet for the General, Salon Kitty, Suspiria, La Dolce Vita, 8 ½, Sunflower, Battle of Algiers, Umberto D. and Massacre in Rome.

Summary:

Boccaccio ’70 is the brainchild of Italian producer Carlo Ponti (Sophia Loren’s husband) and independent U.S. producer Joseph E. Levine, who released many Italian sword and sandal films, including Hercules, in America. The four stories contained in Boccaccio ’70 are loosely based on and inspired by a book written by Giovanni Boccaccio, the author of The Decameron.

Segment #1, ‘The Temptation of Doctor Antonio’

Doctor Antonio (Peppino De Filippo) is only interested in the purists’ things in life, and he will stop at nothing to eradicate the world of perverse temptations that corrupt mankind. While attending a Boy Scout award ceremony, which is interrupted when a construction crew puts up a billboard of a voluptuous Anita Ekberg across the street from where he lives, Doctor Antonio thus starts his crusade against this indecent billboard as he tries to persuade the public and the local government to take it down. After some persuasion, the billboard is finally covered up, but the problem doesn’t end for Doctor Antonio. The woman on the billboard isn’t willing to give up without a fight, as she tauntingly calls to Doctor Antonio before ultimately coming to life.

The opening moments of The Temptation of Doctor Antonio are undeniable Fellini as he shows Rome all of her beauty, and he fills the background with some of the most interesting faces. Anita Ekberg is charming, as she is essentially playing the same character she played in La Dolce Vita. The real star of the show is Peppino De Filippo, whose brilliant performance as Doctor Antonio steals every scene he is in. He never fully goes over the top in his performance event, though at times he is teetering on the end of insanity.

Nino Rota’s exuberant score perfectly complements Fellini’s imagery. This film is filled with many images and themes that Fellini would go on to explore in his later films, like making the unbelievable believable. The Temptation of Doctor Antonio was the first time Fellini used color in a film. His vivid captures tones and textures that heighten films dreams like tapestries. The Temptation of Doctor Antonio is a playful farce that has all the trademarks we have come to expect from the cinema of Federico Fellini.

Segment #2, ‘The Job’

Conte Ottavio (Tomas Milian) returns from his trip-filled debauchery only to find out that all the tabloids have caught him red-handed. Upon his arrival, all of the lawyers are waiting for him so that they can form a plan to combat this bad publicity. His wife, Pupe (Romy Schneider), has been missing since yesterday afternoon, when she left the house for her appointment at the hairdresser. Ottavio and his lawyers search frantically for his lost wife, and just as they are about to call the police, one of the servants announces that she is resting in her room. Will Ottavio be able to save his marriage, or has he lost her forever?

Luchino Visconti early on establishes his reality through his lush set and his eye for details. Like many of his other films, The Job is filled with decadent behavior that ultimately leads to one's downfall. Romy Schneider and Tomas Milian are wonderful together as the decaying couple, as they perfectly capture the essence of their characters. The main theme that runs through the film is a marriage without love and more for convenience. Ottavio’s infidelity would have been the breaking point in the marriage if his wife cared more about his mistreatment. She is more concerned with getting a job and gaining independence that neither her father nor Ottavio could ever give her. Nina Rota's sexy score adds to Pupe’s melancholy state of mind, which ultimately makes her the most vulnerable character in the film. Ultimately, The Job is a fascinating look into relationships bent on self-destruction.

Segment #3, ‘The Raffle’

Zoe (Sophia Loren) is a voluptuous woman who works at a shooting gallery at the local carnival. Her sister Vilma is pregnant, and she might lose her shooting gallery booth if she doesn’t pay the government the back taxes she owes. The two sisters and Vilma’s husband concoct a plan to run a raffle where the winner gets to spend one night with Zoe. The horny townsmen buy tickets at a record speed for a chance to keep a piece of the lovely Zoe. While working at the shooting gallery one day, Zoe meets a young man whom she falls for, which could lead to her not fulfilling her end of the raffle.

The Raffle is a star vehicle for Sophia Loren that exploits to the fullest her ample assets. Vittorio De Sica, who has worked with Loren many times, gets another wonderful performance out of her. His direction is low-key and, at times, subdued when compared to the other director’s work contained in Boccaccio ’70. The main focus of this segment is Zoe’s choice of helping her sister or following her feelings for the young man she has fallen for. This segment also offers the most comic relief of the four, with most of the laughs coming at the expense of the townsmen as they buy tickets for the raffle and then try to bribe the winning ticket holder. Ultimately, The Raffle is a lighthearted piece about sacrifice and finding true love.

Segment #4, ‘Renzo and Luciana’

Renzo (Germano Gilioli) and Luciana (Marisa Solinas) are two young lovers who work at a factory together. They are madly in love with each other and want to get married. There is one problem: Luciana’s job as a secretary prevents her from getting married, or she will be fired. So the two, one day after leaving work, decide to secretly get married. Luciana’s lecherous boss is constantly making unwanted advances towards her, which only makes Renzo jealous, putting a strain on their marriage. How far will Renzo and Luciana go to hide their marriage, and will it, in the end, destroy their love for each other?

The main focus of this segment is the ups and downs of marriage. The actor who plays Luciana’s boss is delightfully sleazy, especially during a scene at a swimming pool where he proudly parades around in a Speedo. The dynamics of their relationship are also tested outside of work because they are forced to live with Luciana’s parents and siblings, leading to yet another place where they can’t find time to be alone. Mario Monicelli’s direction is solid, and the film's pacing is perfectly arched, giving all the characters room to grow. Ultimately, the two leads give nicely balanced performances that are offset by some of the supporting cast's more flamboyant performances.

Ultimately, Boccaccio '70 is a solid example of Commedia all'italiana.

Boccaccio '70 gets a first-rate release from Cult Films that comes with a strong audio/video presentation and two excellent documentaries, recommended.

 Written by Michael Den Boer

Yesterday, Today and Tomorrow – Cult Films (Blu-ray)

Theatrical Release Date: Italy/France, 1963
Director: Vittorio De Sica
Writers: Eduardo De Filippo, Isabella Quarantotti, Alberto Moravia, Cesare Zavattini, Billa Billa, Cesare Zavattini
Cast: Sophia Loren, Marcello Mastroianni, Aldo Giuffrè, Agostino Salvietti, Lino Mattera, Tecla Scarano, Silvia Monelli, Carlo Croccolo, Pasquale Cennamo, Tonino Cianci, Armando Trovajoli, Tina Pica, Gianni Ridolfi, Gennaro Di Gregorio

Release Date: August 21st, 2017
Approximate running time: 118 Minutes 38 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English
Region Coding: Region B
Retail Price: £12.50 (UK)

"In Naples, Adelina sells cigarettes on the black market whilst avoiding prison thanks to a long string of pregnancies!

In Milan, rich Anna tries to escape boredom through escapades with a struggling journalist – until he prangs her Rolls!

And in Rome “tart with a heart” Mara tackles a young priest’s infatuation with hilarious consequences." - synopsis provided by the distributor

Video: 4.25/5

Yesterday, Today and Tomorrow comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.2 GB

Feature: 23.7 GB

No information is provided about the source. It appears that this transfer uses the source that Kino Lorber used for their 2011 Blu-ray release. That said, the source is in great shape, and any source debris is very minor. Flesh tones look correct, colors are nicely saturated, image clarity and black levels are strong, and there are no compression-related issues. When compared to Kino Lorber’s Blu-ray’s transfer, though there are many areas where this transfer is comparable, I would still give a slight edge to Cult Films transfer.

Audio: 4.25/5 (LPCM Mono Italian), 3.75/5 (LPCM Mono English)

This release comes with two audio options, an LPCM mono mix in Italian and an LPCM mono mix in English. Though both audio tracks sound clean, clear, and balanced, range-wise, the Italian language track is noticeably fuller than the English language track. Included are removable English subtitles for the Italian-language track.

Extras:

Extras for this release include reversible cover art, a documentary titled Sophia Loren: Yesterday, Today and Tomorrow (54 minutes 3 seconds, LPCM stereo Italian and English with removable English subtitles), and a documentary about Vittorio De Sica titled Vittorio D (95 minutes 16 seconds, LPCM stereo Italian and English with removable English subtitles).

Other extras include trailers for Django, Keoma, A Bullet for the General, Salon Kitty, Suspiria, La Dolce Vita, 8 ½, Sunflower, Battle of Algiers, Umberto D. and Massacre in Rome.

Summary:

Directed by Vittorio De Sica, a versatile Italian filmmaker who is most known for his neorealist films like The Bicycle Thief and Umberto D.

Yesterday, Today, and Tomorrow is a trio of stories that all feature Sophia Loren and Marcello Mastroianni. In 1964, this film would take home the Best Foreign Film Oscar. Director Vittorio De Sica frequently cast Loren and Mastroianni in many of his films, including a trio of films in which they would star together. Yesterday, Today, and Tomorrow is a more lighthearted affair than your typical Vittorio De Sica film.

Segment #1: ‘Adelina’

Carmine Sbaratti (Marcello Mastroianni) owes back taxes. The tax man arrives to collect his possessions to pay for the debt, only to walk into an empty house. Carmine and his friends hid the contents of the house before the tax man arrived, and it appears that their little game of deception could land his wife Adelina Sbaratti (Sophia Loren) in jail. Carmine is unemployed and hasn’t worked in a while. Adelina sells cigarettes on the black market, and the families hope for income. They soon learn of a way to keep Adelina out of jail; all she has to do is remain pregnant, and she won’t have to go to jail.

This first segment, Adelina, is the longest of the three segments. The performances of the two leads and the whimsical nature of this tale add to its broad comedic canvas. The premise is simple: every time Adelina gives birth, she must then get pregnant right away to avoid jail. By the time the couple gets to their seventh child, he is worn out mentally and physically. Vittorio De Sica's direction, along with the film's use of natural locations, adds to its realistic look.

Segment #2, ‘Anna’

Anna Molteni (Sophia Loren) is having an affair with Renzo (Marcello Mastroianni). She is the wife of a rich businessman, and he is a poor writer. They meet one morning at a discreet location before going on a road trip together. Things start to go wrong after Renzo crashes Anna’s Mercedes into a tractor. This leads to them bickering, which ends up pushing them farther apart.

Anna is the shortest of the three segments. Most of the action takes place in the Mercedes. These shots inside and around the car are beautifully composed and add to the film's building tension. Overall, I found the two lead characters in this story to be too one-dimensional and inaccessible.

Segment #3, ‘Mara’

Mara (Sophia Loren) is a prostitute who lives next door to a young man who is about to enter the priesthood. Augusto Rusconi (Marcello Mastroianni) is one of Mara’s clients who is infatuated with her, and he has just arrived in town on business. Things start to unravel when Mara befriends Umberto, a young man who wants to be a priest. In order to correct the damage she has caused, Mara promises God (via prayer) not to have sex for a week if he helps her convince Umberto that the priesthood is his calling. While all of this is happening, Augusto Rusconi has spent the last two days getting all hot and bothered by Mara’s teasing, with no relief in sight.

The final segment, Mara, is the best of the three included in this anthology. In this segment, we get to see Sophia Loren at her best as she seduces men with her undeniable charm. Marcello Mastroianni gives one of his most physical performances since Federico Fellini’s 8 ½ as he shows his mastery of slapstick comedy. My favorite moment in the segment is shortly after we are introduced to Mastroianni’s character, and he tells Loren’s character to put on a schoolgirl's outfit because it reminds him of his niece. From this moment on, he has cemented his character's motivations and desires. The relationship between Mara and the young man who wants to become a priest is playful at best, and it never verges on vulgar. This final segment also features Sophia Loren’s infamous strip tease. I can only imagine the furor it caused back then since it is as sensual as ever, and Loren looks drop-dead gorgeous.

Ultimately, if you are a fan of comedy laced with sexual innuendos that has an Italian flavor to it, I recommend you check out Yesterday, Today, and Tomorrow.

Yesterday, Today, and Tomorrow gets a first-rate release from Cult Films that comes with a strong audio/video presentation and two excellent documentaries, recommended.

Written by Michael Den Boer

Marriage Italian Style – Cult Films (Blu-ray)

Theatrical Release Date: Italy, 1964
Director: Vittorio De Sica
Writers: Renato Castellani, Tonino Guerra, Leonardo Benvenuti, Piero De Bernardi
Cast: Sophia Loren, Marcello Mastroianni, Aldo Puglisi, Tecla Scarano, Marilù Tolo, Gianni Ridolfi, Generoso Cortini, Vito Moricone, Rita Piccione

Release Date: July 10th, 2017
Approximate running time: 101 Minutes 48 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English
Region Coding: Region B
Retail Price: £12.50 (UK)

"Filumena is the lifetime mistress of a wealthy playboy who is planning to leave her and marry another woman.  She will do anything in her power to stop this and marry her instead, including revealing that she’s had three children that she kept hidden from him and one of them is his.  But which one?" - synopsis provided by the distributor

Video: 3.75/5

Marriage Italian Style comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.3 GB

Feature: 23.3 GB

No information is provided about the source. That said, this transfer is slightly windowboxed, just like Kino Lorber’s 2011 Blu-ray, which leads me to believe that they come from the same source. When it comes to source-related debris, it is very minor. Though colors and flesh generally look very good, there are moments where they fluctuate. Also, the image generally looks crisp, black levels fare well, and there are no compression-related issues. When compared to Kino Lorber’s Blu-ray’s transfer, though there are many areas where this transfer is comparable, I would still give a slight edge to Cult Films transfer.

Audio: 4.25/5 (LPCM Mono Italian, LPCM Mono English)

This release comes with two audio options, an LPCM mono mix in Italian and an LPCM mono mix in English. Both audio tracks are in very good shape; there are no issues with distortion or background hiss. Dialog comes through clearly, and everything sounds balanced. Range-wise, both of these tracks do a good job when it comes to ambient sounds and the score. Also, the differences between these two tracks are minimal. Included are removable English subtitles for the Italian-language track.

Extras:

Extras for this release include reversible cover art, a documentary titled Sophia Loren: Yesterday, Today and Tomorrow (54 minutes 3 seconds, LPCM stereo Italian and English with removable English subtitles), and a documentary about Vittorio De Sica titled Vittorio D (95 minutes 16 seconds, LPCM stereo Italian and English with removable English subtitles).

Other extras include trailers for Django, Keoma, A Bullet for the General, Salon Kitty, Suspiria, La Dolce Vita, 8 ½, Sunflower, Battle of Algiers, Umberto D. and Massacre in Rome.

Summary:

Directed by Vittorio De Sica, a versatile Italian filmmaker who is most known for his neorealist films like The Bicycle Thief and Umberto D. The screenplay for Marriage Italian Style was adapted from a play that was written by Eduardo De Filippo, who also directed his own version in 1951 under the title Filumena Marturano.

After learning that the man to whom she has devoted the last twenty years of her life is planning on leaving her and marrying another woman, The mistress of a wealthy playboy concocts a plot that will finally force him to marry her. Unfortunately, he quickly gets wise to her scheme and throws her out on the street. Not willing to give up just yet, she reveals that she has had a total of three children over the time that they were together. And to further complicate the situation, only one of these three children is his, but which one?

Marriage Italian Style, Vittorio De Sica would re-team actors Marcello Mastroianni (8 1/2) and Sophia Loren (Two Women) after working with them a year before on Yesterday, Today, and Tomorrow (winner of the 1965 Academy Award for Best Foreign Language Film). In all, he would work with Marcello Mastroianni and Sophia Loren a total of three times: Yesterday, Today and Tomorrow, Marriage Italian Style, and Sunflower.

Troubled love affairs have been the basis for countless films throughout history. And yet few, if any, come close to capturing the highs and lows of a relationship like Marriage Italian Style does. The narrative is told primarily via flashbacks that do a superb job setting up and explaining who everyone is and what their motivations are. Another one of Marriage Italian Style’s strengths is how the narrative leads you in one direction and then takes an abrupt turn that leads the viewer down another path. It is also these plots' twists that offer up some of Marriage Italian Style’s most sublime comedic moments. With Marriage Italian Style, the greatest revelation is, of course, saved for its finale.

Though the evolution of its two main characters relationships is perfectly laid out, one must not overlook or underestimate the contributions of the two lead actors, Marcello Mastroianni in the role of a womanizer named Domenico Soriano and Sophia Loren in the role of a former prostitute named Filumena Marturano, who has been pining for Domenico’s wife for twenty years. The slight edge goes to Sophia Loren, who often, in Marriage Italian Style, transcends the sexual persona that she is most known for portraying. This is not to say that marriage Italian style does not play up her more than ample assets. They are just used in moderation. Her most compelling moments are the scenes in which her characters more maternal instincts are explored. On the flip side, Marcello Mastroianni’s performance offers up the majority of this film's strongest comedic moments. Just take a look at his character's facial expressions every time Filumena, his mistress, tricks him into doing something he clearly does not want to be a part of.

A few of the more memorable moments include the scene where Domenico Soriano and Filumena Marturano meet for the first time during an air raid at a whore house. Other standout moments include a scene where Filumena Marturano struts down the street in a brand new dress and the scene in which Domenico Soriano learns that he has been duped into marrying Filumena Marturano, whom he thought was dead in bed. Ultimately, Marriage Italian Style is a satisfying mix of melodrama and humor.

Marriage Italian Style gets a first-rate release from Cult Films that comes with a strong audio/video presentation and two excellent documentaries, recommended.

Written by Michael Den Boer