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Piero Umiliani La Schiava Io Ce LHo E Tu No


Whoever dubbed Catherine did a good job; at times the voice sounds a lot like hers. Basic talent is there but steady stream of oversexed roles is leading to status shrinkage. Catherine is lovely surprise, surprise with long, flowing, reddish hair. The merit of the incredible level of writing and arrangements of the Maestro, which here really touches one of its compositional summits. Demetrio's friends are enamored with the situation, but Rosalba and Elena are not at all happy. Out of stock. To further complicate matters, Rosalba decides that she wants Madrugada The Nightly Disease have children, pronto.

My Wishlist All of your favorites, in one place. Wishlist 0. Cart 0. Out of stock. There are no tracklisting associated with this item. You Viewed. To further complicate matters, Rosalba decides that she wants to have children, pronto.

After she brings home a group of what appear to be "challenged" orphans, Demetrio has had enough and leaves Rosalba. He is convinced that he wants to go to South America to purchase a female slave that will be obedient and submissive to him, unlike Rosalba and Elena or any "modern" women for that matter.

In South America, he acquires Manua Veronica Merin , a young, beautiful and topless tribal woman that he "cleans up" and brings back to Palermo to show off to everyone. Demetrio's friends are enamored with the situation, but Rosalba and Elena are not at all happy. Things seem to be going well for Demetrio with the beautiful, submissive, and obedient Manua, until he has her pull him through the streets of Palermo in a rickshaw, which causes a furor to erupt amongst the townspeople.

As things spin out of control for Demetrio, Manua is being deported back to South America, and Demetrio is frantically trying to get appropriate papers for her so that she can stay with him. She gets to stay, and the film ends with Demetrio having been married to her for seven years, content that she is submissively and obediently by his side trying to always make him happy.

Where to start commenting on this one? If Edwige Fenech was the queen of 's Italian sex comedies, then Lando Buzzanca must surely have been the king although in the 's he had worked in higher-caliber films, such as Divorce Italian Style and Seduced and Abandoned.

It seems like he appeared in dozens of these sex comedies. I am far from an expert on the genre, but my guess is that this one ranks in the middle of the pack, both for Buzzanca and the genre in general.

It is not as good as Buzzanca's Homo Eroticus in , and it is not as good as some of Fenech's better work. With that said, I have certainly seen a few of these films that are worse than My Darling Slave.

The film's musical score seems pedestrian for this type of film, as does Giorgio Capitani's direction. The nudity and sex-scene factors are actually rather subdued for the film, with a bit of toplessness from Merin and Asti. This is not the kind of film that holds up well after 40 years for an American viewer, in part because it is so politically incorrect by current standards. I can only cringe at the thought of what a modern American feminist activist would have to say about this film.

Demetrio has his buddies over for dinner in one scene, and Manua serves it to them topless before patiently sitting on the floor next to Demetrio's chair! The entire film seems to have what I assume is a very macho, Italian-male tone, and I presume that was the target audience. It's hard to know at this point just how tongue-in-cheek this film was intended to be in its time. Catherine is lovely surprise, surprise with long, flowing, reddish hair.

Her performance seems average for her, perhaps not great because of the material , but certainly not bad. I don't know that the material really allowed her to highlight her comedic abilities. Asti gives a sufficiently wacky performance, and Veronica Merin is lovely in her only film role which is all that was really required for her part.

Buzzanca's performance is typical for him. It would be interesting to hear Catherine's thoughts on her involvement with this project. My sense is that Catherine became somewhat of a vocal proponent of womens' rights issues in Italy during the 's and 's, and I have heard her use the term "misogyny" in several interviews.

That makes me wonder if she wishes that she had not done this film, although her character is the strongest female in the film even if it is part of the masculine view of her as a "ball-breaker". I have viewed both an English-dubbed VHS version with Spanish subtitles running at minutes under the title My Darling Slave and an Italian-language version running at approximately 96 minutes although no differences jumped out at me from a quick review of the Italian print.

The color in the English version was significantly washed-out, so my presumption is that a nice print could have only helped my enjoyment of the film.



His music is the quintessence of the brilliant 70s Italian comedy sound: an unmistakable flavor now carved into our imagination, between samba-bossa rhythms, funk chitarrine, arcs with airy and dynamic melodies, but above all those super-light and always functional choral chases to the tone of the film performed by the inevitable Cantori Moderni of Alessandroni , who here play an absolute leading role , which together with the sensual vocalisms of Edda Dell'Orso truly represent the identity card of a whole genre.

The release of this double LP makes us really proud, not only because one of Piero Umiliani's coolest and most recent soundtracks is unearthed, but also because, thanks to a long and patient research work, we were able to trace the original master tapes of the complete recording sessions of the soundtrack, from which we could extrapolate, in addition to the songs already presented on the original LP, 23 completely unpublished tracks, which highlight the eclecticism of Umiliani's writing, able to range from jazz sounds to funk stamps, from easy listening entertainment to symphonic music.

Enrich the edition the personal memories of the daughters of Piero, Alessandra and Elisabetta, who contributed to the cover notes giving us a familiar and internal point of view to the life of the composer.

My Wishlist All of your favorites, in one place. Wishlist 0. Cart 0. After she brings home a group of what appear to be "challenged" orphans, Demetrio has had enough and leaves Rosalba. He is convinced that he wants to go to South America to purchase a female slave that will be obedient and submissive to him, unlike Rosalba and Elena or any "modern" women for that matter. In South America, he acquires Manua Veronica Merin , a young, beautiful and topless tribal woman that he "cleans up" and brings back to Palermo to show off to everyone.

Demetrio's friends are enamored with the situation, but Rosalba and Elena are not at all happy. Things seem to be going well for Demetrio with the beautiful, submissive, and obedient Manua, until he has her pull him through the streets of Palermo in a rickshaw, which causes a furor to erupt amongst the townspeople. As things spin out of control for Demetrio, Manua is being deported back to South America, and Demetrio is frantically trying to get appropriate papers for her so that she can stay with him.

She gets to stay, and the film ends with Demetrio having been married to her for seven years, content that she is submissively and obediently by his side trying to always make him happy.

Where to start commenting on this one? If Edwige Fenech was the queen of 's Italian sex comedies, then Lando Buzzanca must surely have been the king although in the 's he had worked in higher-caliber films, such as Divorce Italian Style and Seduced and Abandoned.

It seems like he appeared in dozens of these sex comedies. I am far from an expert on the genre, but my guess is that this one ranks in the middle of the pack, both for Buzzanca and the genre in general. It is not as good as Buzzanca's Homo Eroticus in , and it is not as good as some of Fenech's better work.

With that said, I have certainly seen a few of these films that are worse than My Darling Slave. The film's musical score seems pedestrian for this type of film, as does Giorgio Capitani's direction. The nudity and sex-scene factors are actually rather subdued for the film, with a bit of toplessness from Merin and Asti. This is not the kind of film that holds up well after 40 years for an American viewer, in part because it is so politically incorrect by current standards.

I can only cringe at the thought of what a modern American feminist activist would have to say about this film. Demetrio has his buddies over for dinner in one scene, and Manua serves it to them topless before patiently sitting on the floor next to Demetrio's chair! The entire film seems to have what I assume is a very macho, Italian-male tone, and I presume that was the target audience.

It's hard to know at this point just how tongue-in-cheek this film was intended to be in its time. Catherine is lovely surprise, surprise with long, flowing, reddish hair. Her performance seems average for her, perhaps not great because of the material , but certainly not bad.

I don't know that the material really allowed her to highlight her comedic abilities. Asti gives a sufficiently wacky performance, and Veronica Merin is lovely in her only film role which is all that was really required for her part. Buzzanca's performance is typical for him. It would be interesting to hear Catherine's thoughts on her involvement with this project. My sense is that Catherine became somewhat of a vocal proponent of womens' rights issues in Italy during the 's and 's, and I have heard her use the term "misogyny" in several interviews.

That makes me wonder if she wishes that she had not done this film, although her character is the strongest female in the film even if it is part of the masculine view of her as a "ball-breaker".

I have viewed both an English-dubbed VHS version with Spanish subtitles running at minutes under the title My Darling Slave and an Italian-language version running at approximately 96 minutes although no differences jumped out at me from a quick review of the Italian print.

The color in the English version was significantly washed-out, so my presumption is that a nice print could have only helped my enjoyment of the film. The English dubbing, as is often the case in such films, can be hard to understand at times.



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View credits, reviews, tracks and shop for the Vinyl release of La Schiava Io Ce L'Ho E Tu No on Discogs/5(6). Piero Umiliani - La Schiava Io Ce L'ho E Tu - Vinyl 2LP - - EU - Original kaufen im Online Music Store von HHV - Neuheiten & Topseller auf Vinyl, CD & Tape - Versandkostenfrei bestellen ab 80€! EN) La schiava io ce l'ho e tu no, su Internet Movie Database, ziggysbeachbar.com (EN, ES) La schiava io ce l'ho e tu no, su FilmAffinity. Portale Cinema: accedi alle voci di Wikipedia che trattano di Cinema.