Valli, Romolo

1900 (Special Collector's Edition)

1900 is one of Bernardo Bertolucci's adventures in epic filmmaking that never found the reception he had hoped for. Originally more than six hours long, it was chopped down to four hours for its U.S. release and as a result looked, well, choppy. Eventually, he restored it to five hours--but one wonders at all the effort on behalf of this alternately muddled and stunning story. The film, with a decidedly socialist agenda, examines two lives that begin the same year in rural Italy: the weak-willed son of the aristocracy (Robert De Niro) and the hardy, courageous son of peasants (Gerard Depardieu). They grow up as best friends on the same estate, until class differences pull them apart and then the era's fascist politics divide them for good. Despite strong performances by both leads, as well as Sterling Hayden, Donald Sutherland, Dominique Sanda, and Burt Lancaster, this one is strictly for Bertolucci's most avid fans. --Marshall Fine

Bernardo Bertolucci's massive epic, a history of Italy from 1900 to 1945 as reflected through the friendship of two men across class lines, is one of the most fascinating, if little seen, of his films. After beginning with Robert DeNiro as wealthy landowner Alfredo, and Gerard Depardieu as labor leader Olmo, the film returns to 1900 with the death of composer Giuseppi Verdi and the birth of the two friends. The opposing class interests of their grandfathers, padrone Burt Lancaster, and laborer Sterling Hayden, is quickly established in the enmity between the characters. As they grow, the boys become friends, mystified by the tensions that separate their families. But as time passes and Alfredo assumes the role of padrone, while Olmo works the land, their relationship becomes strained. With the rise of fascism, the director spells out its complicity with business interests, as the diffident Alfredo falls under the spell of a vicious and degraded fascist farm manager played by Donald Su

Duck, You Sucker (aka A Fistful of Dynamite) (2-Disc Collector's Edition)

A different sort of Sergio Leone Western, this one takes place during the Mexican Revolution, with more politics than usual. But there's still plenty of action, with Rod Steiger as a cigar-chomping peasant who robs banks to liberate political prisoners, and James Coburn as an Irish terrorist trying to flee from his bitter past. They team up to thwart a sadistic officer and help the cause; redemption for the more subdued Coburn provides added depth. This contains the longer uncut version (released in Italy) known as Duck, You Sucker, featuring more flashbacks, more politics, and a more unsavory Steiger. But it's terrific fun, with Ennio Morricone's moody score and Coburn's most underrated performance. --Bill Desowitz

Death in Venice

Abroad on a rest holiday composer Gustav Aschenbach (Dick Bogarde) is to all the world reserved and civilized. But when he glimpses someone who inspires him to give way to a secret passion it foreshadows his doom. Director Luchino Visconti (Rocco and His Brothers The Damned) transforms Thomas Mann's classic novel into "a masterwork of power and beauty" (William Wolf Cue). Like Aschenbach Visconti is an artist obsessed: his movies are awash in mood period detail and seething emotions beneath placid surfaces. Earning its maker a Cannes Film Festival Special 25th Anniversary Prize Death in Venice - with a soundtrack feast of Gustav Mahler music and a haunting Bogarde performance-is Visconti at his best.Running Time: 130 min.Format: DVD MOVIE Genre: DRAMA UPC: 085392888122

Luchino Visconti's adaptation of the Thomas Mann novel is the very definition of sumptuous: the costumes and sets, the special geography of Venice, and the breathtaking cinematography combine to form a heady experience. At the center of this gorgeousness is Aschenbach (Dirk Bogarde in a meticulous performance), a controlled intellectual who unexpectedly finds himself obsessed by the vision of a 14-year-old boy while on a convalescent vacation in 1911. Visconti has turned Aschenbach into a composer, which accounts for the lush excerpts from Mahler on the soundtrack (Bogarde is meant to look like Mahler, too). Even if it tends to hit the nail on the head a little too forcefully, and even if Visconti can test one's patience with lingering looks at crowds at the beach and hotel dining rooms, Death in Venice creates a lushness rare in movies. For some viewers, that will be enough. --Robert Horton

The Garden Of The Finzi Continis

Set in northern Italy's Ferrara community at the outbreak of World War II, this classic film by Vittorio De Sica concerns an old, aristocratic Jewish family, the Finzi-Continis, who maintain their isolated, idyllic ways within the stone walls of their lush estate while Mussolini imprisons Jews outside. The story's central figure, young Giorgio (Lino Capolicchio), is a middle-class Jew who has always found perfect sanctuary within the Finzi-Continis' walls and who is in love with his childhood friend from that family, Micol (Dominique Sanda). Micol, however, is sexually restless and fit to burst for want of experiences impossible under government oppression. As Giorgio suffers his estrangement from her, De Sica traces the disintegration of a lost and beautiful way of life, slowly turning his focus from the privileged refuge of tennis courts and private libraries to police barriers and rooms where Jews await transport to concentration camps. This powerful work of memory tragically captures a loss of innocence on both the most personal and historical stages. --Tom Keogh

Bobby Deerfield

Al Pacino's character in the first two Godfather films was a man increasingly drawn into himself, pulling an entire family history and legacy along with him into a personal oblivion. Pacino's performance as the titular race car driver in Sydney Pollack's Bobby Deerfield also suggests a fellow adrift in his own company, his very profession underscoring isolation behind the wheel at top speeds. Living with his French lover (Anny Duperey), Deerfield's solipsism (perfectly captured in a dream sequences in which he appears almost autistic) begins to crack when he meets and falls for a dying woman (Marthe Keller). Emerging from his shell just as she is fading away, both the irony of the situation and Deerfield's first experience with real love wake our hero from his spiritual slumber. Pollack's attempt at a mainstream art-house movie didn't entirely work, and critics have been brutal on both its serious aspirations and Pacino's locked-down performance. But there is something in the film that convincingly suggests a yearning for passion and experience even at the great cost of loss, and Pacino's portrayal of a man who steps out of his car and onto the collective bus of ordinary sorrow is rather moving. --Tom Keogh

A racing car champion falls in love with a freewheeling lady who is suffering from an incurable disease. Based on the novel "Heaven Has No Favorites" by Eric Maria Remarque.

Boccaccio '70 (Remastered Edition)

A summit meeting of great Italian directors of the era, Boccaccio '70 is an antipasto platter of vintage sex symbols and naughty material. Cooked up and bankrolled by Carlo Ponti and American producer Joseph E. Levine, the four-part film was meant to tap the international smash of Federico Fellini's La Dolce Vita, which gave audiences some refreshingly, you know, "mature" subject matter. Four directors were hired to create segments ostensibly based on the tales of Boccaccio: Fellini himself (in the lull between La Dolce Vita and 8-1/2), Luchino Visconti, Vittorio De Sica, and Mario Monicelli.

Monicelli's story, Renzo and Luciana, is an agreeable tale, full of everyday Roman life: an office worker (Marisa Solinas) must marry her boyfriend when she gets pregnant--although marriage is against company rules. Fellini's segment, The Temptation of Dr. Antonio, is fantastical and big-scaled. It tells of a censorious bluenose (Peppino de Filippo) who becomes incensed at the presence of a billboard featuring a sexy portrait of Anita Ekberg (selling milk)--a portrait that comes to life. For this bizarre escapade, Nino Rota composed an advertising jingle that will stick in your mind whether you want it to or not.

Visconti's The Job is the best segment, tracking the emotional chess game between a playboy (Thomas Milian) and his wife (Romy Schneider at her most gorgeous) after he is publicly exposed in a sex scandal. Finally, the De Sica piece (The Raffle) is a fairly broad romp that uses Sophia Loren as the reward in a raffle. Sophia's delicious, needless to say.

The finished product weighed in at a whopping 208 minutes, and Monicelli's segment was lopped off before the film showed at the Cannes Film Festival. It has never been restored, until this DVD release. All the segments are frankly too long, and none qualifies as an essential gem, but they do give the flavor of Italy's best at an especially exciting cinematic moment. --Robert Horton

Four complete segments, each directed by a master filmmaker and starring an extraordinary cast of international stars: "Renzo & Luciana", directed by Mario Monicelli (BIG DEAL ON MADONNA STREET) was cut to shorten the film for its international release and it's shown here for the first time ever in America. "The Temptation of Doctor Antonio" directed by Federico Fellini (LA DOLCE VITA, 8 1/2) and starring Anita Ekberg (LA DOLCE VITA), enlighten by a dreamy humoristic touch, it's considered by many to be the best Fellini's work ever! "The Job", directed by Luchino Visconti (THE LOEPARD, ROCCO AND HIS BROTHERS) stars Romy Schneider (WHAT'S NEW, PUSSYCAT) and future genre icon Tomas Milian (TRAFFIC, ALMOST HUMAN). A witty contemplation of marriage with an attention to details was the trademark of the Visconti's incomparable style. Finally, "The Raffle", an earthy comic romp directed by Vittorio De Sica (THE BICYCLE THIEF, TWO WOMEN) and starring Sophia Loren (YESTERDAY, TODAY AND TOMORROW, TWO WOMEN) as a woman who causes all sorts of problems for herself when she offers her favors as the prize in a lottery.

BOCCACCIO '70 is presented in a widescreen anamorphic digital transfer, loaded with never seen before extras, including a rare behind-the-scene archival footage

Duck, You Sucker aka A Fistful of Dynamite

Girl With a Suitcase

Conversation Piece [Region 2]

The Leopard [Region 2]

With this magnificent Criterion DVD release, Luchino Visconti's 1963 historical drama The Leopard will finally earn widespread recognition as one of the most beautiful epics ever produced. In adapting the popular novel by Giuseppe Tomassi di Lampedusa (an Italian equivalent to Gone with the Wind, set during the tumultuous Garibaldi revolution of 1860-62), Visconti was initially reluctant to cast Burt Lancaster as the melancholy Prince of Salina--the aging aristocrat "leopard" of the title--who accepts change as inevitable during the struggle for a unified Italy. But Lancaster (even with his voice dubbed in the fully restored Italian release) delivered one of his finest performances, modeled after Visconti himself, and reacting to political and familial upheavals with the wisdom and whimsy of a man who knows that his way of life--and all he holds dear--must change with the times. You won't find a more intimate epic, and Giusseppe Rotunno's masterful cinematography represents the pinnacle of painterly beauty, matched only by the authentic splendor of the film's impeccable production design. The climactic hourlong ballroom scene--which even the hard-to-please Pauline Kael called "one of the greatest of all passages in movies"--is utterly breathtaking. Anchored by Lancaster's performance and the romantic pairing of Alain Delon and Claudia Cardinale, The Leopard is sheer perfection, fully restored to its 185-minute glory. --Jeff Shannon