Word: stefania
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...heat when Sophia Loren (his partner in 13 films) strips for him in Yesterday, Today and Tomorrow (1963). As the Sicilian aristocrat in Pietro Germi's wonderfully malicious Divorce Italian Style (1962), he is a creature of tics and slouches, plotting his wife's death and stalking the seraphic Stefania Sandrelli with the gait of a mopey Groucho. He made informed fun not only of these familiar Italian comic figures but also of his own star machismo. At the end of a guest stint on Laugh-In, TV's vaudeville for the Nixon years, he stared moonily into the camera...
...Bernardo Bertolucci assembled an all-star cast (Robert De Niro, Gerard Depardieu, Burt Lancaster, Stefania Sandrelli) for a history of 20th century Italy that played like a Marxist Gone With the Wind. Now the full version -- all 5 hr. 11 min. -- is premiering in the U.S. Don't miss the grandest folly of a great director...
...Stefania Follini could be forgiven for losing track of time. On Jan. 13 the 27-year-old Italian interior designer descended into a cave near Carlsbad, N. Mex., where she was to live for more than four months as part of an experiment aimed at examining how the stresses of long-term isolation could affect space $ travel. Pioneer Frontier Explorations, an Italian research foundation, had selected Follini, one of 20 volunteers for the assignment, because she was judged to have inner strength and stamina. For 131 days she dwelled alone in a 20-ft. by 12-ft. Plexiglas module sealed...
...more difficult pianissimo that Verdi called for in the score. Elsewhere, Pavarotti's eyes clung to the safety of the prompter's box and the conductor's baton, leaving most of the acting to Soprano Margaret Price (battling a bronchial infection but singing well nonetheless) and Stefania Toczyska, a sultry Polish mezzo and a star of the future, whose Amneris blazed with passionate fury...
...Conformist. Last Tango in Paris is pure Bertolucci, written without a source, and it too gives us a sense of death. But in that film there was a fervent impression of life set apart from a dying culture outside. Partner gives no importance to life at all. Stefania Sandrelli and Tina Amount, the two women in the film, are never treated as people by Bertolucci. The women seem glossed over as insignificant in this film, rather than abused as in Last Tango in Paris. Verbal images of life and death in Partner are almost as ridiculous as in Last Tango...