导演：
莫洛·鲍罗尼尼 维托里奥·德西卡 皮埃尔·保罗·帕索里尼 佛朗哥·罗西 卢基诺·维斯康蒂
主演：
西尔瓦娜·曼加诺 安妮·吉拉尔多 弗朗西斯科·拉瓦尔 马西莫·吉洛蒂 维罗尼卡·旺代勒 埃尔莎·阿尔巴尼 克拉拉·卡拉马伊 玛丽卢·托洛 诺拉·里奇 迪诺·梅莱 赫尔穆特·贝格 布鲁诺·菲利皮尼 莱斯利·弗伦奇 阿尔贝托·索尔迪 托托 尼内托·达沃利 劳拉·贝蒂 克林特·伊斯特伍德 Valentino Macchi Pietro Torrisi 马里奥·西普利亚尼 彼得罗·托尔迪
关键词：
《女巫1967》拍摄于1967年，所属题材类型：剧情 喜剧 爱情 ，是一部西尔瓦娜·曼加诺 安妮·吉拉尔多 弗朗西斯科·拉瓦尔 马西莫·吉洛蒂 维罗尼卡·旺代勒 埃尔莎·阿尔巴尼 克拉拉·卡拉马伊 玛丽卢·托洛 诺拉·里奇 迪诺·梅莱 赫尔穆特·贝格 布鲁诺·菲利皮尼 莱斯利·弗伦奇 阿尔贝托·索尔迪 托托 尼内托·达沃利 劳拉·贝蒂 克林特·伊斯特伍德 Valentino Macchi Pietro Torrisi 马里奥·西普利亚尼 彼得罗·托尔迪 主演的中国大陆综艺，影片的导演是莫洛·鲍罗尼尼 维托里奥·德西卡 皮埃尔·保罗·帕索里尼 佛朗哥·罗西 卢基诺·维斯康蒂 。
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《女巫1967》拍摄于1967年，所属题材类型：剧情 喜剧 爱情 ，是一部西尔瓦娜·曼加诺 安妮·吉拉尔多 弗朗西斯科·拉瓦尔 马西莫·吉洛蒂 维罗尼卡·旺代勒 埃尔莎·阿尔巴尼 克拉拉·卡拉马伊 玛丽卢·托洛 诺拉·里奇 迪诺·梅莱 赫尔穆特·贝格 布鲁诺·菲利皮尼 莱斯利·弗伦奇 阿尔贝托·索尔迪 托托 尼内托·达沃利 劳拉·贝蒂 克林特·伊斯特伍德 Valentino Macchi Pietro Torrisi 马里奥·西普利亚尼 彼得罗·托尔迪 主演的中国大陆综艺，影片的导演是莫洛·鲍罗尼尼 维托里奥·德西卡 皮埃尔·保罗·帕索里尼 佛朗哥·罗西 卢基诺·维斯康蒂 。
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"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 films 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. Its 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"
Bologninis piece isnt really a story. Its 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 wont give away the punchline here, but it succeeds in being amusing, even if its 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, its probably the most appealing of Manganos 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. Its violent, but easily the least satisfying of the five stories.
"A Night Like Any Other"
Eastwoods appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. Its 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 couples past romantic interludes, and dreams of how their lives should be.
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