Alberto Lattuada is a director and screenwriter who together with Luigi Magni and Stefano Strucchi have brought Machiavelli's delightfully cynical and bawdy play "The Mandrake" to screens. Produced by Alfredo Bini, the 1965 production starred Rosanna Schiaffino and Romolo Valli as the infertile married couple and Philippe Leroy and Jean-Claude Briarly as well as the great Toto to the major roles of the scheme to have the handsome suitor (Leroy) substituted as the husband through an elaborate scheme involving a notorious herb, "The Mandrake," ordered by the physician (really the suitor) and helped orchestrated, for money, including by the clergy (Toto). The cinematography by Tonino Delli Colli and film editing by Nino Baragli are extraordinary and, the film was nominated for a much deserved Oscar nomination for its costume design by Danilo Donati. Although Briarly and Toto seem to be perfectly cast, Schiaffino and Leroy have the burden of the picture and are adequate, but one wonders what could have been brought to the story if Lattuada and the other screenwriters would have been a bit more inventive with the material. Sciaffino was well served by director Mauro Bolognini in his masterpiece, "La Corruption" and Damiano Damiani in his film "The Witch In Love." Romolo Valli plays the duped husband perfectly and also important is Nilla Pizi as the girl's mother. All in all, an entertaining and well done film that most definitely had a path to greatness. Lattuada would later bring us "The Cricket."
6 Reviews
Machiavelli's cynical lampoon
bazarov2423 August 2006
Warning: Spoilers
THE passage of time has vitiated "Mandragola," Machiavelli's cynical lampoon of 16th-century Florentine morality and the fabulous fertility attributes of the mandrake root. As presented in the Italian period comedy, the satire and the legend, which is as ancient as the Book of Genesis and credulous human beings, are relayed with the approximate subtlety of jokes at a bachelor dinner. The critical thrusts at a dissolute, often irresponsible society that made "Mandragola" a classic of Italian literature are all too rare in this energetic, if obvious and broadly played farce.
Since Machiavelli, like Chaucer and Boccaccio before him, appreciated the historic, universal appeal of the boudoir and cuckoldry as well as love, he cannot be faulted for using these indestructible elements to set up his gibes and laughs. But Alberto Lattuada, the director known for such fine films as "The Overcoat" and "Mafioso," who collaborated on the script of "Mandragola," appears to have forgotten that Renassiance plotting can become dated.
His screenplay, though convoluted, telegraphs its punches. We are introduced to the handsome, aristocratic Philippe Leroy, who hurries to Florence from France to check on the fabled beauty of Rosanna Schiaffino, the very proper wife of the doltish, rich notary, Romolo Valli. Our hero is smitten and vows to conquer his virtuous quarry. His Peeping Tom view of her bathing hardly cools his ardor.
Her husband, on the other hand, is determined to father an heir and has resorted to all sorts of medieval nostrums to bring on this happy state, to no avail. So it is not entirely unexpected that he falls for a scheme concocted by his con man associate, Jean Claude Brialy, in collusion with our suitor, a money-hungry friar (Toto), and other plotters.
Their idea is to have Mr. Leroy, posing as a famed French physician, prescribe mandrake root and a lover, who under the legendary rules is supposed to die after the mating. Naturally, our disguised hero is the lover, a role he is destined to play at length when Miss Schiaffino discovers he is an honest romantic who amorously exposes his intrigue and devotion during their intimacy.
Glimpses of the cutting satire of the Machiavellian original are to be seen in these bedroom exchanges, and in such scenes as the placing of hot stones on the harried heroine's midriff, hot baths and similar tortures designed to foster fecundity, epitomizing the medical quackery of the day. Also in evidence are his acid comments on an avaricious clergy as personalized by the unctuous friar, who is ready to condone sin for a quick ducat, and a seeming contempt for life when a man is killed as an almost casual incident in the plot to nab a "lover." One gets his comic opinion of paying Peeping Toms, including Mr. Leroy, who crash into the private bathing area they are surreptitiously scanning. But they shouldn't be criticized too much since the brunette Miss Schiaffino, although no Eleonora Duse, is, nevertheless, a voyeur's vision. Mr. Leroy, who is no Hamlet, is sincere and handsome enough to turn even her logical head, especially when her husband is adequately played as a gross simpleton by Mr. Valli, and Mr. Brialy, Toto and Nilla Pizzi, as her anxious mother, make properly athletic, if uninspired conspirators.
Mr. Lattuada's direction is brisk but his spoof, which is only mildly sexy rather than strikingly satirical, merely shows its age, without bringing the story alive.
Since Machiavelli, like Chaucer and Boccaccio before him, appreciated the historic, universal appeal of the boudoir and cuckoldry as well as love, he cannot be faulted for using these indestructible elements to set up his gibes and laughs. But Alberto Lattuada, the director known for such fine films as "The Overcoat" and "Mafioso," who collaborated on the script of "Mandragola," appears to have forgotten that Renassiance plotting can become dated.
His screenplay, though convoluted, telegraphs its punches. We are introduced to the handsome, aristocratic Philippe Leroy, who hurries to Florence from France to check on the fabled beauty of Rosanna Schiaffino, the very proper wife of the doltish, rich notary, Romolo Valli. Our hero is smitten and vows to conquer his virtuous quarry. His Peeping Tom view of her bathing hardly cools his ardor.
Her husband, on the other hand, is determined to father an heir and has resorted to all sorts of medieval nostrums to bring on this happy state, to no avail. So it is not entirely unexpected that he falls for a scheme concocted by his con man associate, Jean Claude Brialy, in collusion with our suitor, a money-hungry friar (Toto), and other plotters.
Their idea is to have Mr. Leroy, posing as a famed French physician, prescribe mandrake root and a lover, who under the legendary rules is supposed to die after the mating. Naturally, our disguised hero is the lover, a role he is destined to play at length when Miss Schiaffino discovers he is an honest romantic who amorously exposes his intrigue and devotion during their intimacy.
Glimpses of the cutting satire of the Machiavellian original are to be seen in these bedroom exchanges, and in such scenes as the placing of hot stones on the harried heroine's midriff, hot baths and similar tortures designed to foster fecundity, epitomizing the medical quackery of the day. Also in evidence are his acid comments on an avaricious clergy as personalized by the unctuous friar, who is ready to condone sin for a quick ducat, and a seeming contempt for life when a man is killed as an almost casual incident in the plot to nab a "lover." One gets his comic opinion of paying Peeping Toms, including Mr. Leroy, who crash into the private bathing area they are surreptitiously scanning. But they shouldn't be criticized too much since the brunette Miss Schiaffino, although no Eleonora Duse, is, nevertheless, a voyeur's vision. Mr. Leroy, who is no Hamlet, is sincere and handsome enough to turn even her logical head, especially when her husband is adequately played as a gross simpleton by Mr. Valli, and Mr. Brialy, Toto and Nilla Pizzi, as her anxious mother, make properly athletic, if uninspired conspirators.
Mr. Lattuada's direction is brisk but his spoof, which is only mildly sexy rather than strikingly satirical, merely shows its age, without bringing the story alive.
Magical Mandrake
brogmiller25 October 2019
This brilliant satire of Nicolo Machiavelli is beautifully realised here by Alberto Lattuarda and a tremendous cast. Producer Alfredo Blini's wife, the stunning Rosanna Schiaffino, plays Lucrezia who is pursuaded to take an infusion of Mandrake so as to cure her supposed barrenness when in fact it is her older husband who is sterile. This enables the lusty Calimaco of Philippe Leroy, posing as a doctor, to sleep with her disguised as a beggar...... Romola Valli is the dupe of a husband and Nilla Pizzi the scheming mother. Toto turns up as a priest and is on screen for just long enough! Ligurio, played by Jean-Claude Brialy, speaks for conmen throughout history when he observes: "People want to be deceived. The good Lord made this world for those like us". Splendid production values and superb camerawork by Tonino delli Colli. I generally find Lattuarda's films to be workmanlike but here he has surpassed himself. Bawdy and irreverent fun.
Machiavelli's caustic humor is alive thanks to Lattuada
figueroafernando20 October 2021
Warning: Spoilers
Superb! They will need the mandrake (an herb that makes witches invisible as an ointment and as a drink gives women fertility) to get closer to the beauty because Machiavelli believed that it was honest rather than superticious to reach the favors of a beautiful woman through "the filters" and metaphysical supports, read with a drug, than by the charms alone of a gentleman of dubious intentions and -by the way, also- predicaments. Indeed, to dispense the love of a woman who is not even known is Ligurio's first great virtue in this comedy, as long as he has some benefit of material preference apart from the feasts. There is only one role carried out by Jean Claude Brialy that I love more than that of Donjuan, that of alcafar and celestino -apparently- of little time, but yes, an opportunist without comparison like here. "La Mandragola", a spicy and recalcitrant comedy; the first for noble causes that clearly show that the weaker sex is the strong, that is, the ladies; the second, to mature the cryptic politics, the one that ostracized geniuses like Machiavelli, must be initiated, if anything, by the customs of those who choose at the highest risk of the ad populum fallacy. Machiavelli's caustic humor is alive thanks to Lattuada who, as we already know, was interested in more than two or three classic texts, and now it is the turn of the author of The Prince. Sneaking between the baths, even knocking down the wall with the other males in order to warm up, seeing the bare back of a commoner, dodging an accident of death by walking indolently on the yew trees, Callimaco with his servant Siro has scrutinized among the confidences of Lucrecia Calfucci, the one who loves or thinks she loves, verbigratia, hot stones and Lucca oil to supposedly get pregnant (without success though), determined to conquer her, here is romanticism for its own sake, or free romanticism for the pure art of flirting brought to the level of purpose. It is not the only and much less the first case (remember Romeo and Juliet) where the Christian curia works as a bailiff, sold to the highest bidder, -in this case not hesitating to quote Job, having relations with his daughter- and being the friar manipulated by Ligurio to impersonate a doctor and thus allow Callimaco to enter the conjugal bed with Lucrecia without Nicio the husband noticing. The refreshing comedy closes with the question: And to Paris when we return? In a sarcastic tone, the servant to the master Callimaco after not only having managed to spend the night with the beautiful lady, but after having obtained the congratulations of the same husband who has done it. Invited to eat.
"Do you remember the story of Beauty and the Beast?"
morrison-dylan-fan2 December 2015
Warning: Spoilers
Spotting a poll coming up on IMDbs Classic Film board for the best movies of 1965,I started to look around for overlooked titles from that year.With having known Niccolò Machiavelli's name for his novel The Prince,I was happy to stumble upon an adaptation of a non-Prince Machiavelli work,which led to me getting ready to uncover the mandrake root.
The plot-
Florence 1500:
Returning from studying in Paris, Callimaco tries to spread everything he learnt in France onto the streets of Florence.As he rubs shoulders with the locals, Callimaco gets a tantalising glimpse of royal Lucrezia.Desperate to get her in his arms, Callimaco is horrified to find out that Lucrezia is actually married.
Catching Callimaco looking downcast,a wheeler dealer called Ligurio decides to offer Callimaco his local knowledge in order for Callimaco to get his hands on Lucrezia,in exchange for paying Ligurio a good fee. Arranging a deal with Ligurio where will get paid once he has gotten Lucrezia to go with him.Trusting Callimaco,Ligurio reveals that Lucrezia and her husband have been having trouble conceiving a child.Choosing Lucrezia's husband as a weak target,Callimaco and Ligurio begin making plans in gaining his trust,and finally getting Callimaco into bed with Lucrezia.
View on the film:
Keeping the title away from being a skin show,co-writer/(along with Luigi Magni and Stefano Strucchi)director Alberto Lattuada & cinematographer Tonino Delli Colli (who also worked with Sergio Leone) wrap the title in a sensual,erotic atmosphere by limiting the viewer to brief,suggestive shots of Lucrezia,which allows the audience to make an image of Lucrezia's full beauty in their own mind.Taking place in the 1500's, Lattuada creates two contrasting versions of Florence which gradually cross over,as Lucrezia has to leave the dazzling wealth behind and experiment with the myths and old wives tales that are whispered round the poor outskirts of Florence.
For an adaptation of a play by one of the most famous masters of realpolitik,the writers give the movie a surprisingly sweet,sexy comedic focus,with Callimaco & Ligurio's attempts to get into Lucrezia's bedroom leading to very funny set pieces which go from the duo coming up with fake medicines,to Callimaco making himself look like a crazed monster.Whilst the satirical element is not placed at the main centre of the title,the writers do playfully unveil how gullible and back handers happy those in power and in the church can be.Joined by a wonderfully devious Philippe Leroy as Callimaco,the stunning Rosanna Schiaffino gives a great performance as Lucrezia,thanks to Schiaffino keeping Lucrezia's stiff upper lips regal whilst being engaged in slippery slap-stick,as Callimaco reveals his mandrake root.
The plot-
Florence 1500:
Returning from studying in Paris, Callimaco tries to spread everything he learnt in France onto the streets of Florence.As he rubs shoulders with the locals, Callimaco gets a tantalising glimpse of royal Lucrezia.Desperate to get her in his arms, Callimaco is horrified to find out that Lucrezia is actually married.
Catching Callimaco looking downcast,a wheeler dealer called Ligurio decides to offer Callimaco his local knowledge in order for Callimaco to get his hands on Lucrezia,in exchange for paying Ligurio a good fee. Arranging a deal with Ligurio where will get paid once he has gotten Lucrezia to go with him.Trusting Callimaco,Ligurio reveals that Lucrezia and her husband have been having trouble conceiving a child.Choosing Lucrezia's husband as a weak target,Callimaco and Ligurio begin making plans in gaining his trust,and finally getting Callimaco into bed with Lucrezia.
View on the film:
Keeping the title away from being a skin show,co-writer/(along with Luigi Magni and Stefano Strucchi)director Alberto Lattuada & cinematographer Tonino Delli Colli (who also worked with Sergio Leone) wrap the title in a sensual,erotic atmosphere by limiting the viewer to brief,suggestive shots of Lucrezia,which allows the audience to make an image of Lucrezia's full beauty in their own mind.Taking place in the 1500's, Lattuada creates two contrasting versions of Florence which gradually cross over,as Lucrezia has to leave the dazzling wealth behind and experiment with the myths and old wives tales that are whispered round the poor outskirts of Florence.
For an adaptation of a play by one of the most famous masters of realpolitik,the writers give the movie a surprisingly sweet,sexy comedic focus,with Callimaco & Ligurio's attempts to get into Lucrezia's bedroom leading to very funny set pieces which go from the duo coming up with fake medicines,to Callimaco making himself look like a crazed monster.Whilst the satirical element is not placed at the main centre of the title,the writers do playfully unveil how gullible and back handers happy those in power and in the church can be.Joined by a wonderfully devious Philippe Leroy as Callimaco,the stunning Rosanna Schiaffino gives a great performance as Lucrezia,thanks to Schiaffino keeping Lucrezia's stiff upper lips regal whilst being engaged in slippery slap-stick,as Callimaco reveals his mandrake root.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
