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Seduced and Abandoned (1964) (บรรยายอังกฤษ)

 

Directer: Pietro Germi

Writter: Pietro Germi dialogue, Agenore Incrocci dialogue (as Age), Furio Scarpelli dialogue (as Scarpelli), Luciano Vincenzoni story and screenplay

Running time: 115 min

Country: Italy | France

Language: Italian
Genre: Comedy, Drama

Subtitle: English
Starring: Saro Urzì, Stefania Sandrelli and Aldo Puglisi

 

ควรค่าน่าดูตรงที่นี่คือภาพยนตร์รางวัลนักแสดงชายยอดเยี่ยมจากเทศกาลหนังเมืองคานน์ปี 1964 และถูกเสนอชื่อเข้าชิงปาร์มทองของปีนั้น และเป็นหนังคอมเมดี้แห่งปีจากอิตาลี


 

 

 

 

Storyline:
Agnese a 15-year-old Sicilian girl is seduced and impregnated by Peppino, her sister''s Matilde fiancé;. Soon Vincenzo, Agnese''s father, discovers everything and after had hit like hell his daughter run to Peppino house and did the same. He also oblige Peppino to marry the ''dishonored'' Agnese instead than Matilde.Peppino run away and Vincenzo send his son Antonio to kill him!! At this point Agnese go to the police to try to stop the events. They all are taken to the court. But the events couldn''t be stop, there is still space for a fake kidnapping! An happy end is still possible.


Review:
Shotgun weddings, kidnapping, attempted murder, emergency dental work—the things Don Vincenzo will do to restore his family’s honor! Pietro Germi’s Seduced and Abandoned was the follow-up to his international sensation Divorce Italian Style, and in many ways it’s even more audacious-a rollicking yet raw series of escalating comic calamities that ensue in a small village when sixteen-year-old Agnese (the beautiful Stefania Sandrelli) loses her virginity at the hands of her sister’s lascivious fiance. Merciless and mirthful, Seduced and Abandoned skewers Sicilian social customs and pompous patriarchies with a sly, devilish grin.

 


A young woman dressed in somber clothing named Agnese (Stefania Sandrelli) impassively, but determinedly, navigates her way through a provincial Sicilian town on her way to confession trailed by a lumbering, but accommodating chaperone (Rosetta Urzì). A less than nurturing audience with the attending priest at the confessional soon reveals the reason for her seeming haste to unburden her troubled soul, as a flashback shows members of the Ascalone family taking an afternoon nap as the houseguest, Agnese''s older sister Matilde''s (Paola Biggio) fiancé, Peppino Califano (Aldo Puglisi), seizes the opportunity to distract Agnese away from her studies through transparent orations of poetry and efficiently whisks her into the kitchen where he promptly - and unrelentingly - begins to seduce the reluctant and unsuspecting young woman.



Castigated by the priest for yielding to Peppino''s sexual advances and left with little direction beyond an indiscreetly audible order to keep praying, the guilt-ridden Agnese embarks on her own tacit, makeshift penance of self-mortification, incessantly praying the rosary throughout the evening and sleeping with rocks underneath the bedcovers until one day when her mother discovers a torn scrap of paper left from an impulsive, thwarted letter to the timid and cowardly Peppino that had been flushed down the toilet.
 


 

Fretting over the potential social scandal over his daughter''s apparent deflowering by a secret lover, Don Vincenzo (Saro Urzì) scuttles a midwife from a neighboring town after dark in order to perform a discreet (albeit uproariously farcical) examination. With his suspicions confirmed, Don Vincenzo has little recourse but to force the Califano family''s hand and demand that Peppino marry Agnese immediately in order to stave off the inevitable town gossip over the young woman''s impending motherhood. However, when Peppino refuses to assent to the coerced marriage proposal under the hypocritical claims of being denied the right to marry a virgin wife, Don Vincenzo uses his tangential familial connections with a prominent judge to devise an elaborate (and ridiculously convoluted) plot to save the family''s honor.
 


 

Pietro Germi creates an incisive and wickedly irreverent satire on manners, duty, honor, and socially cultivated machismo in Seduced and Abandoned. From the extended, nearly wordless opening sequence that juxtaposes Agnese''s clerical censure (note the prominent placement of an oversized cross in the town square) against transitional images of the slumbering Ascalone family - and in particular, the comical form of the shirtless, rotund patriarch audibly snoring - as the mustachioed cad awkwardly forces his affection, Germi presents a surreal, grotesque, exaggerated portrait of human behavior that has been distorted through the repressive (and hypocritically biased) prism of prevailing social etiquette and moral values: Don Vincenzo''s association with the penniless (and toothless), suicidal Baron Rizieri (Leopoldo Trieste) in order to maintain an appearance of class mobility; the serendipitously timed mine explosion as Don Vincenzo storms off after learning of Peppino''s refusal to consent to marriage from the visiting local priest; the extreme close-up shots of people mocking the family outside the courthouse that elliptically transforms into Agnese''s haunted nightmare (note Don Vincenzo''s corresponding change in wardrobe from light to dark colored suits as his family''s honor becomes increasingly at stake).
 


 

It is through this caricatured exposition of fostered, obsolete elitism and amoral opportunism that the film serves as a relevant, contemporary portrait of Sicily''s (then) socio-economic climate: an absurd and insidiously entrenched cultural dichotomy borne of hollow honor, perverted justice, and coercive, irretractable obligation.
Strictly Film School
 


 

It is so rare to watch a funny masterpiece with so many insights! Sicily in the 50''s appears obsessed with a twisted concept of honor, or, better, of an impeccable APPARENT reputation. No other movie I have seen is able to give such a vivid idea of the double morality for men and women that ails the "cultura machista". The character I love most in the movie is the extremely naive sister of the protagonist, who lives in her romantic world and does not realize what kind of tragicomic events are happening around her. In a word, truly a masterpiece.
IMDB Reviewer


Awards:8 wins & 5 nominations

Cannes Film Festival
Year Result Award Category/Recipient(s)
1964 Won Best Actor Saro Urzì 
Tied with Antal Páger for _Pacsirta (1963)_ .
Nominated Palme d''Or Pietro Germi 
 
David di Donatello Awards
Year Result Award Category/Recipient(s)
1964 Won David Best Director (Migliore Regista)
Pietro Germi 
Best Production (Migliore Produzione)
Franco Cristaldi 
Also for La ragazza di Bube (1963). 
Tied with 
Ieri, oggi, domani (1963).
 
Italian National Syndicate of Film Journalists
Year Result Award Category/Recipient(s)
1965 Won Silver Ribbon Best Actor (Migliore Attore Protagonista)
Saro Urzì 
Best Screenplay (Migliore Sceneggiatura)
Pietro Germi 
Luciano Vincenzoni 
Agenore Incrocci 
Furio Scarpelli 
Best Supporting Actor (Migliore Attore Non Protagonista)
Leopoldo Trieste 
Nominated Silver Ribbon Best Cinematography, B/W (Migliore Fotografia in Bianco e Nero)
Aiace Parolin 
Best Costume Design (Migliori Costumi)
Carlo Egidi 
Best Director (Regista del Miglior Film)
Pietro Germi 
Best Original Story (Migliore Soggetto Originale)
Luciano Vincenzoni 
Pietro Germi 
 
National Board of Review, USA
Year Result Award Category/Recipient(s)
1964 Won NBR Award Top Foreign Films
 
New York Film Critics Circle Awards
Year Result Award Category/Recipient(s)
1964 2nd place NYFCC Award Best Foreign Language Film
Italy.
 

 

 



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ภาพยนตร์เรื่องนี้อยู่ในประเภท: classic: recommend



หนัง classicเรื่องอื่นๆที่น่าสนใจ..ลองเข้าไปดูซิครับ