Oceny, recenzje, obsada, dyskusje wiadomości, zwiastuny, ciekawostki oraz galeria. It is based on Stendhal's 1829 novella of the same name. Was this review helpful to you? 11 of 13 people found this review helpful. A wealthy woman becomes obsessed with humanitarianism when her young son dies after committing suicide. Paola, a Milan call girl, returns home to her village in an attempt to go straight. For even more, visit our Family Entertainment Guide. 127. Vanina Vanini (1961) - informacje o filmie w bazie Filmweb.pl. How Italy's historic national hero Giuseppe Garibaldi led a military campaign known as Expedition of the Thousand in 1860 and conquered Sicily and Naples. Vanina Vanini, a bored, spoiled Roman countess, falls in love with a dedicated young patriot who is in Rome to assassinate a traitor to the brotherhood of the Free Masons. Vanina Vanini also known as The Betrayer is a 1961 Italian drama film directed by Roberto Rossellini. A man with a past gets married and it seems that he will be able to start a new life, but an unexpected inheritance gets in the way and deteriorates the relationship with his wife. With Sandra Milo, Laurent Terzieff, Martine Carol, Isabelle Corey. Vanina Vanini. A demon bestows on a self-righteous working photographer's camera the power to smite from the Earth "evil-doers". Drama. Several stories depicting the landscapes and fauna of India are mixed with documentary footage. Irene Wagner, the wife of prominent scientist Albert Wagner, finds herself blackmailed about her affair by her lover's jealous ex-girlfriend. Choose an adventure below and discover your next favorite movie or TV show. Directed by. What to Watch if You Miss the "Game of Thrones" Cast, Saverio Pontini Vanina Vanini The plot, an experiment in causing fear, drives her into a rage. Oceny, recenzje, obsada, dyskusje wiadomości, zwiastuny, ciekawostki oraz galeria. Looking for something to watch? Synopsis. (1961). When I was a child ,I saw the trailer: it was the story of a princess in love with a shepherd in my child's mind.And of course I did not know who Rossellini was.I had to wait twenty years or so to have the opportunity to see the film.The precedent user is completely right and his comment is more than useful: Martine Carol's part was reduced to nothing or almost nothing.She only appears at the beginning of the movie then she disappears after two or three scenes,leaving the lion's share to co-star Sandra Milo.The first thirty minutes are very hard to follow and the story really begins when Vanina visits Pietro,a Carbonaro who was injured after his escape from San Angelo Castle and taken in by her father whose motives remain a bit obscure (the precedent user wrote that thirty minutes were cut and that they were essential to understand them).After a muddled beginning,the film hits its stride and remains absorbing till the very end.Rossellini is one of my favorite Italian directors and even when he was sub-par,he was better than most of his colleagues.The most original thing in Rossellini's work is his great interest in history and in Christianity.From the Fascist years ( "l'Uomo della Croce" )to the birth of Neorealism ("Roma Città Aperta" ,"Germania Anno zero" ) and from the Bergman years ("Giovanna d'Arco al Rogo" and "Europa 51" ) to the final years ("la Presa del Potere di Luigi XIV" is the best film about the Sun King I know).History and Christianity are both present in "Vanina Vanini": Vanina is an aristocrat of the past,she cannot feel History move ,she 's always a prisoner of a decadent religion,which is still firmly entrenched in thegood/bad conflict and she's still afraid of sin and damnation.In direct contrast to her,we have Pietro ,an educated carbonaro who was influenced by the French Revolution "which was not made by the populace but by enlightened minds " .Between Vanina's faith and Pietro's solidarity with his companions there is no room for a love as burning as theirs.Based on a short story by Stendhal,this is probably the most overlooked of all Rossellini's works .Laurent Terzieff is a very gifted actor: although the most "Nouvelle Vague" of all the thespians of the era (late fifties/early sixties),he was never hired by Godard and his clique and found his best parts with "old" brilliant directors (Marcel Carné,Henri-Georges Clouzot,Claude Autant-Lara).