BAMBOLE (THE DOLLS)

Italy, 1965, 107 minutes, Black and white.
Gina Lollobrigida, Nino Manfredi, Akim Tamiroff, Monica Vitti, Elke Sommer, Jean Sorel.
Directed by Mauro Bolognini, Luigi Comencini, Franco Rossi, Dino Risi.

One of many portmanteau Italian films of the mid-sixties. Though very popular, with such examples as Boccaccio 70,. Yesterday, Today and Tomorrow, The Witches, Rogopag, they gave many prominent directors a chance to make short features on particular themes.

There was a preoccupation with sex - it was the time of Vatican II (featured in this collection) and a reappraisal of morality within the context of Italian society and traditions. Italy has a long satirical tradition as regards society, morals, hypocrisy. Boccaeo is the leading example - and his story forms the basis of Monsieur Cupid, the last story in this film. The directors are serious directors: Mauro Bolognini and Dino Risi. The other directors, Luigi Comencini and Franco Rossi generally made lighter films. This kind of film, besides being a showcase for the directors, is also a showcase for the actresses. In this film four prominent continental actresses have a chance to display some flair, especially Monica Vitti and Virna Lisi. There is a good supporting performance by Akim Tamiroff as a bishop going to Vatican II.

The films are particularly Italian, echo the attitudes and questions of the sixties - they are a bit too particular for a universal audience but are of interest for the work of the directors and the cast.


1. The atmosphere of the sixties, the popularity of films with short stories, showcases for directors and stars? the quality of this collection?

2. The title and the focus on women, sexuality? women as dolls? The credit sequence? The place of' women in society? Italian women, before marriage, after marriage? The dominance of men? Religious tradition? The interaction of men and women? how realistic, how satirical?

3. Black and white photography, atmosphere of realism? The styles of photography for each director? editing and pace? The musical score and the light touch?

4. The seriocomic approach to the stories? How much insight through the serious presentation of themes, how much insight from satire and parody? How exploitive were the stories and their treatment?

5. a) The Phone Call: The tradition of the short play with one of the protagonists on the phone? The skills required for acting with a phone only? Virna Lisi’s tour-de-force by speaking for the whole film on the phone? The subordinate role of her husband? The ironic picture of marriage, sexual relationships? The husband and his attitude towards his wife, wanting some sexual activity, looking at the provocative woman across the balcony? the way his wife was dressed, provocatively? The irony of her reading a book, keeping him waiting, answering the phone? Her incessant prattle? The range of subjects talked about? fine irony that the woman spent so much time talking and arguing with her mother? The discussion about the sexual relationship, her marriage? Her assessment of her husband and her mistaking him? Talk about food, visits, etc.? The range of contents of the call? The husband going to the woman across the way? The wife being oblivious? The points made about Italian men, women, mothers, marriage?

(b) A Treatise on Eugenics: the satire on science and reality? The heroine as a scientific type, seeking a guide, her sizing up of all the potential fathers? The range of ordinary and extraordinary men? The observations on marriage, husbands, fatherhood? The perfect child? The irony of the marriage and the range of children? the anchoring of theory with realism? How obvious the point made? and how well?

c) The Soup: the ironic and ugly picture of marriage, the husband and his age, manner at the table, soup, and' beans? His young wife, her needs, antagonism towards her husband? her watching him? her plan to murder him? The irony of his straightforwardness, of her approaching the old man to run over him, her approach to the gang? The irony or his survival and finding her each time? her friend? The irony of the song and its lyrics commenting on her behaviour? The point of this comment on Italian marriages? The blend of the serious and the comic?

d) Monsieur Cupid: the religious background of the story, the Vatican Council and what it stood for? Its atmosphere, the arrival of the bishops? The character of the bishop and his highhandedness, Vincenzo as his assistant and secretary, his care about his nephew, the uproar about the rooms, etc.? The contrasts with Vincenzo as so naive, quiet, oblivious? Beatrice and her husband? Gino Lollobrigida and her reputation? Her eyes for Vincenzo? her failure to seduce him? The irony of her going to the bishop, his listening attentively, his failing into the trap? Vincenzo following her to the room and the irony of her husband being there? The further complications and Vincenzo becoming aware, following the message, the liaison with Beatrice? With the bishop's blessing? A Boccaccio-type story? Hypocrisy? Manners, morals? Italian sex comedy and the point about morality?