◎译　　名　女巫 / The Witches
◎片　　名　Le streghe
◎年　　代　1967
◎产　　地　意大利 / 法国
◎类　　别　剧情 / 喜剧 / 爱情
◎语　　言　意大利语 / 英语
◎上映日期　1967-02-22(意大利)
◎豆瓣链接　https://movie.douban.com/subject/1764808/
◎片　　长　111分钟
◎导　　演　莫洛·鲍罗尼尼 Mauro Bolognini / 维托里奥·德西卡 Vittorio De Sica / 皮埃尔·保罗·帕索里尼 Pier Paolo Pasolini / 佛朗哥·罗西 Franco Rossi / 卢基诺·维斯康蒂 Luchino Visconti
◎编　　剧　朱塞佩·帕特罗尼·格里菲 Giuseppe Patroni Griffi / 切萨雷·扎瓦蒂尼 Cesare Zavattini / 阿杰诺雷·因克罗奇 Agenore Incrocci / 富里奥·斯卡佩利 Furio Scarpelli / 贝纳迪诺·扎波尼 Bernardino Zapponi / 皮埃尔·保罗·帕索里尼 Pier Paolo Pasolini / 法比奥·卡尔皮 Fabio Carpi / Enzo Muzii
◎主　　演　西尔瓦娜·曼加诺 Silvana Mangano
　　　　　  安妮·吉拉尔多 Annie Girardot
　　　　　  弗朗西斯科·拉瓦尔 Francisco Rabal
　　　　　  马西莫·吉洛蒂 Massimo Girotti
　　　　　  维罗尼卡·旺代勒 Véronique Vendell
　　　　　  埃尔莎·阿尔巴尼 Elsa Albani
　　　　　  克拉拉·卡拉马伊 Clara Calamai
　　　　　  玛丽卢·托洛 Marilù Tolo
　　　　　  诺拉·里奇 Nora Ricci
　　　　　  迪诺·梅莱 Dino Mele
　　　　　  赫尔穆特·贝格 Helmut Berger
　　　　　  布鲁诺·菲利皮尼 Bruno Filippini
　　　　　  莱斯利·弗伦奇 Leslie French
　　　　　  阿尔贝托·索尔迪 Alberto Sordi
　　　　　  托托 Totò
　　　　　  尼内托·达沃利 Ninetto Davoli
　　　　　  劳拉·贝蒂 Laura Betti
　　　　　  克林特·伊斯特伍德 Clint Eastwood
　　　　　  Valentino Macchi
　　　　　  Pietro Torrisi
　　　　　  马里奥·西普利亚尼 Mario Cipriani
　　　　　  彼得罗·托尔迪 Pietro Tordi


◎标　　签　意大利 | 维斯康蒂 | 帕索里尼 | Luchino_Visconti | Pier_Paolo_Pasolini | Vittorio_De_Sica | LuchinoVisconti | 1960s

◎简　　介  

　　"The Witch Burnt Alive"
　　After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous.
　　"Community Spirit"
　　Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through.
　　"The Earth Seen from the Moon"
　　The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific.
　　"The Sicilian"
　　Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories.
　　"A Night Like Any Other"
　　Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.