片名：女巫1967

别名：女巫1967免费在线播放

电影类别:喜剧片

发行年份：1967

首映地区：其它

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

演员：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

更新时间：2023-11-23 14:08

《女巫1967》该片自上映后，口碑爆棚，能否成为年度最佳喜剧片？

《女巫1967》该片自上映后，口碑爆棚，能成为年度最佳喜剧片。《女巫1967》往往可以变成在今年的电影中用户评价有名的电影，直接原因是《女巫1967》整部著作自身足够好，不论是艺人西尔瓦娜·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·托尔迪的呈现、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·维斯康蒂拍摄技巧，或是电影情节和现实感，全是非常出众的，取得好口碑：4.0分其实也很正常。《女巫1967》的艺人西尔瓦娜·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·托尔迪尽管说不是非常有名，但是西尔瓦娜·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·托尔迪的表演很好，可以把观众们带到到小故事中来，让粉丝有一种窒息的感觉，相比这些帅哥的表演西尔瓦娜·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·托尔迪的表演真是能够称之为高手，因此大家喜欢这部喜剧片。

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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 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.