Collected at the age of two, under extreme conditions, by a company of Gypsies, Jolly grew up among them, together with the man who accompanied her.

Oppressed by her husband, her lover, and her obsessive mother, a bourgeois woman is reunited with a childhood companion at the central train station in Milan. Throughout 24 hours there, she will experience her particular descent into hell.

Study of 1960s Milanese social life and its glamorous depravity, as seen through the story of the working class Mario who dreams of social climbing.

A story where the Cristero Rebellion creates a story of love, passion, and betrayal. When the Federal Rosas and his lover arrive in a town, a local woman feels strangely attracted to him. The woman will surrender under the pretext that the population is liberated when in reality she wants to consummate the passion that ignites her.

Before the three feature films, Mario Schifano directs the camera towards the people around him to create real film diaries. His friends, his time partner and the artists he frequented are portrayed in their everyday life or object of the mechanical gaze of the camera, a filter through which to look at the outside world.

The Provence, somewhere in the 1950's. Paul Verdier, traveling salesman, leaves his home and his quarrelsome wife for his weekly round. On the train he meets a young woman, Marie, who looks a little lost. No wonder. Marie is pregnant but lacks the customary husband. She's returning to her village but is not exactly looking forward to the confrontation with her parents and the villagers, all pretty conservative people. After getting to know Paul a little better (for which there is ample time during the trip by train and bus) Marie decides to ask Paul to act as her husband, just to allay the suspicions of her family. After some hesitating Paul accepts, charmed by the girl and unaware of the complications such is bound to cause to his own life.

Alberto Moretti arrives in Cortina D'Ampezzo, with daughter Marcella,who has just won a TV contest, the prize of which is a free stay in a luxury hotel.

1963 film by Ugo Gregoretti

An impressionable young woman's relationship with an aging prostitute leads to a job as a maid at a brothel.

Raffaele, a Neapolitan student, get the news that his beloved grandmother Sabella is dying. He immediately goes to Pollena to be beside her.

Samuel finances his participation in a card game by stealing parts from a jeep. He cheats at cards, and has his hands broken as a consequence.

Alfredo and Antonio are recruited to join a Special Force for the police dedicated to fighting the Rome underworld using any tactics they think appropriate. Trying to chase down top mobster Pasquini, they pick on his nymphomaniac sister and literally pump her for information. Their attentions don’t escape Pasquini’s notice and he plans to put them out of commission. Live like a Cop was hugely successful and it isn’t hard to see why. The film begins with an extended motorbike chase at full tilt through Rome which includes a mugger’s victim being dragged behind one bike and a guide dog being run over whilst it’s blind owner is left in the middle of a traffic crossing. When our two hunk heroes capture the muggers, the one still living is “helped” by Alfredo breaking his neck. Porel and Lovelock look gorgeous in this film and their relationship is a very odd one. They travel anywhere sharing one bike, sleep in the same bedroom and share women. This film is almost their romance! Fernando Di Leo provides the script and Deodato has done it justice with flashes of sharp wit, black humour and sassy dialogue balanced along great fights, torture and explosions when needed. The opening bike chase is a little overstated and almost silly by it’s conclusion, but the casual brutality of the violent cops is well done with Adolfo Celi doing well as their Police Captain who tears them off a strip only to ignore their excesses. The film is immensely enjoyable but not in the top rank of great Euro crime as the drama seems a bit scattergun and the amorality a little wearing. Still, it’s a great watch for Euro Crime fans.

Pirates take over a lighthouse on a rocky island. They then execute a devious plan to cause ships to run aground, pillaging their wrecks. A lone member of the lighthouse crew survives, and he deperately fights their plot. A shipwrecked maiden that avoids the pirates slaughter soon complicates the situation.

After years of poverty, Carrier, a repairman, inherits a large sum of money upon his brother's death in an accident. Now rich, he decides it is time to make his mark and be known at any cost. Becoming more and more mentally unstable, he begins to threaten police and the government signing his tracts, "Armaguedon". A detective from Interpol heads the investigation and prepares a trap at an international conference of world leaders in Paris.

Three beautiful seamstresses from one of the fashionable dress salons near the Piazza de Spagna in Rome gather on the steps of the square to eat lunch and talk of their love lives. Marisa, the oldest in a large family, is engaged to a truck driver; Elena lives with her widowed mother and is in love with an opportunist, Alberto, who is also romancing the boss's daughter; Lucia lives on the outskirts of Rome, where a small-in-stature jockey worships her but, she, however has eyes for only tall men, and keeps many of those on a string.

1959 film by Mario Soldati

In Athens a collection of emeralds is successfully stolen by a team of robbers, led by safe-cracker Azad. Things go smoothly until they miss the ship by which they planned their escape; a police chief pursues Azad while he waits for the next ship to set off.

Reviewed By: David Stanners Margherita is an Italian diva caught in a ménage a trios plus one. That'll be a ménage a quatre then? Something like that. It sounds so promising, but Ferreri's little Italian romp is neither funny nor meaningful. As one may expect, though, being Italian it does manage to knock out a fair bit of style, with a rather sultry, suave female lead (Caroll Baker) playing devious seductress, Margherita. Spoilt for choice, she is unable to decide on which of her three lovers she really wants. On a whim she takes off to visit her friend Mario (William Berger) in Croatia, who persuades her to invite all three over together so she can pick her favourite. First up there's Gianni (Gastone Moschin), a sugar daddy with deep pockets and good connections. Recently dumped when he tries to tie the knot with Margherita, he is in direct competition with Mike (Michel Le Royer), a somewhat younger, ruggedly handsome, blonde-bearded wild card of a man with an eye patch and a leopard for a pet. Last and probably least is lover No.3, Gaetano (Renato Salvatori), bespectacled and squarest of all but best dressed, suited and booted in Italy's finest. Slowly Margherita plays one off against the other with some tried and tested female mind games, causing below the belt punches and high elbows in the boys camp. First turning on Mario for colluding with her in setting them up, as each believed they had been invited alone. As the testosterone drives the fight, they turn on each other, competing hammer and tongs for her warped affection. But poco a poco, having being pushed beyond their limits, she tires them out. Scratching their heads at their naive stupidity, they make a U-turn and devise a cunning plan of retribution for the queen of cock tease. Shot in 1967, around the time the French had made the ménage a trois theme as common as breakfast the morning after, Marco Ferreri makes light of the business of female sexual promiscuity. Bordering on the farcical, The Harem doesn't have enough to sustain it as a decent sexual romp. With next to no plot, it's up to the characters to lead from the front, and although Caroll Baker is perfectly cast, since Ferreri has gone for romp instead of the heavy set script of say Jules et Jim -to make a distant analogy - his characters resemble cartoon strips without the hilarity. Imagine the Carry On films without the smutty humour. Eh, I don't think so. Style is nothing without substance, and The Harem is just that. While the ending is just and fair, the transporting vehicle is a Ferrari with a Fiat engine.

1962 film by Franco Rossi