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IMDbPro

La donna della domenica

  • 1975
  • T
  • 1h 49min
VALUTAZIONE IMDb
6,5/10
1422
LA TUA VALUTAZIONE
Marcello Mastroianni, Jacqueline Bisset, Jean-Louis Trintignant, and Roberto Infascelli in La donna della domenica (1975)
ComedyCrimeMystery

Il commissario di polizia Santamaria sta indagando sull'assassinio dell'ambiguo architetto Garrone. Le indagini lo portano presto verso l'alta società torinese ma i risultati sono poco chiar... Leggi tuttoIl commissario di polizia Santamaria sta indagando sull'assassinio dell'ambiguo architetto Garrone. Le indagini lo portano presto verso l'alta società torinese ma i risultati sono poco chiari, e succede un altro omicidio.Il commissario di polizia Santamaria sta indagando sull'assassinio dell'ambiguo architetto Garrone. Le indagini lo portano presto verso l'alta società torinese ma i risultati sono poco chiari, e succede un altro omicidio.

  • Regia
    • Luigi Comencini
  • Sceneggiatura
    • Carlo Fruttero
    • Franco Lucentini
    • Agenore Incrocci
  • Star
    • Marcello Mastroianni
    • Jacqueline Bisset
    • Jean-Louis Trintignant
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,5/10
    1422
    LA TUA VALUTAZIONE
    • Regia
      • Luigi Comencini
    • Sceneggiatura
      • Carlo Fruttero
      • Franco Lucentini
      • Agenore Incrocci
    • Star
      • Marcello Mastroianni
      • Jacqueline Bisset
      • Jean-Louis Trintignant
    • 17Recensioni degli utenti
    • 22Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 2 vittorie totali

    Foto72

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    Interpreti principali29

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    Marcello Mastroianni
    Marcello Mastroianni
    • Commissioner Salvatore Santamaria
    Jacqueline Bisset
    Jacqueline Bisset
    • Anna Carla Dosio
    Jean-Louis Trintignant
    Jean-Louis Trintignant
    • Massimo Campi
    Aldo Reggiani
    Aldo Reggiani
    • Lello Riviera
    Maria Teresa Albani
    • Virginia Tabusso
    Omero Antonutti
    Omero Antonutti
    • Benito
    Gigi Ballista
    • Vollero
    Fortunato Cecilia
    • Nicosia
    • (as Renato Cecilia)
    Claudio Gora
    Claudio Gora
    • Garrone
    Franco Nebbia
    Franco Nebbia
    • Bonetto
    Lina Volonghi
    • Ines Tabusso
    Pino Caruso
    Pino Caruso
    • Police Commissioner De Palma
    Mario Ferrero
    • Vittorio Dosio
    Giuseppe Anatrelli
    • The Chief of Police
    Antonio Orlando
    • The Barber
    Ginette Marcelle Bron
      Jean-Claude Clément
        Antonino Faà di Bruno
        Antonino Faà di Bruno
        • Paolo Campi
        • (as Antonino Faa' di Bruno)
        • Regia
          • Luigi Comencini
        • Sceneggiatura
          • Carlo Fruttero
          • Franco Lucentini
          • Agenore Incrocci
        • Tutti gli interpreti e le troupe
        • Produzione, botteghino e altro su IMDbPro

        Recensioni degli utenti17

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        Recensioni in evidenza

        8caspian1978

        An Italian Comedy / Murder Mystery

        A hidden gem of a comedy, The Sunday Woman is not what you think it is. A delightful cast of characters where everyone is innocent and guilty of something, the movie is full of hidden comedic moments with its unique storytelling and subtle jabs from each of its characters. The movie wins you over with several situations that do not attempt to be funny, but makes you laugh. Marcello Mastroianni leads an interesting cast of characters alongside a drop-dead gorgeous Jacqueline Bisset who entertains her audience for being both smart and sexy. Very key to detail, this movie is a great example of why you need to watch movies twice. The second time around, you will notice a lot of detail on what is happening with all the suspects.

        Marcello's carefully folded pants next to his bed towards the end of the movie speaks volume to his character along with his unique personality as the Commissioner. Each character brings a theme to the story that needs to be dissected. It's this richness that makes this movie a winner.

        Yes, the story is fun but the cast of characters is even better.
        8stefano1488

        A little masterpiece

        "La donna della domenica" is an outstanding film, but one that is unlikely to be fully appreciated by non-Italians, most of whom might see it as a whodunnit of sorts. Its strength lies, instead, not just with its excellent cast, but also with the caustic way in which it describes Turin's high society: full of characters that, behind their apparent stylishness and elegance, betray a penchant for hypocrisy and an inability to look further than the conventional way in which they live.

        It looks more like a comedy, and a well-written, witty one at that.
        7Red-Barracuda

        A compelling Italian mystery with some bizarre moments

        Well I can safely say that I never thought I would ever see Marcello Mastroianni - star of several important Federico Fellini and Michaelangelo Antonioni art films - appear in a room full of giant ceramic penises. It's certainly a defining feature of sorts to have the number one Italian actor of the 60's New Wave find himself in this sort of scenario. But to be fair, aside from these giant phalluses having an important part in the plot, The Sunday Woman is a fairly restrained bit of Italian cinema. It certainly, partially at least, falls under the giallo sub-genre but it has the feeling more of an Agatha Christie style whodunit than of a typical Italian murder-mystery. The reason for this is that the story revolves around a very unlikable murder victim whose behaviour ensures that there are plenty of suspects, while the overall emphasis of the film is squarely on the mystery side of the story with very little thriller aspects at all.

        The murders are committed off-screen and there is a distinct lack of suspense scenes. This sets it apart from the usual giallo conventions. To be perfectly honest though, if the movie had added more of that sort of stuff it would be even better and might have entered the upper bracket of its genre. As it is, it's a much less salacious affair – giant penises aside – and more reliant on its plotting and acting. It's fairly solid on that front with not only Mastroianni at its disposal as the police inspector but also the reliable Jean-Louis Tritignant in one of his less broody roles as one of the chief suspects, while it was good to see Aldo Regianni from Dario Argento's The Cat o' Nine Tails in another shifty role as Tritignant's homosexual lover. It's also worth pointing out the Il Maestro himself, Ennio Morricone, once more contributes a quality score. He produced so many during this period that is very easy to forget just how good they all actually were and, well, this is yet another one.

        It's possibly a little overlong in fairness. The material doesn't really justify a running time just shy of two hours. Having said that it does remain compelling nevertheless and the answer to the mystery isn't too obvious and is quite satisfying. I also liked the strange moments where we see slow-motion fantasy flashbacks of the suspects striking down on the unfortunate victim with their ceramic penis weaponry. It's just so strange but somewhat memorable. I wouldn't necessarily describe The Sunday Woman as a must see for fans of Italian genre cinema though. It may disappoint some who seek the thrills of a typical giallo for example. But I personally consider it one, just a far more low-key entry, and one that has enough intrigue and strange moments to ensure that it works pretty well.
        7Bezenby

        Diet Giallo, but great anyway

        Lightweight, afternoon tea-like Giallo with subtle humour and a nice performance by Marcello Mastrioanni. A kind of Marks and Spencer

        giallo.

        In Turin, dirty old man/architect Garrone goes about his daily business of looking up woman's skirts, making optimistic passes at young waitresses, and ruining high class are exhibitions. Meanwhile, bored housewife Anna is tuning out her older husband ramblings and thinking about a pointless argument she's having with her possible lover Massimo (Jean-Luis Trintigant). They are arguing about how to pronounce the word Boston, by the way, and this architect Garrone has stuck his nib in about it. Clearly venting, Anna writes a letter where she thinks Massimo and herself should kill Garrone.

        Garrone ends up being beaten to death by a giant stone phallus and Anna regrets writing that letter as her two newly-fired house staff take the letter to the police. The man in charge of the case is Marcello Mastrioanni and he's a bit uncomfortable with this whole upper class thing. The bored Anna and the even more bored Massimo start treating the whole thing like a game and start doing their own investigations.

        Complicating things further is the revelation that Massimo isn't Anna's lover, as he's in a turbulent gay relationship Lello. While it's refreshing to see an actual gay relationship in an Italian movie from this era, rather than a man in drag battering policeman with a handbag and screaming that he's all woman, these two bicker like fiends and you wonder what Lello is thinking when he also starts his own investigation into the murder to save his relationship with Massimo.

        The more Marcello digs, the more dirt he finds as it seems that no one has an alibi and everyone seems to be up to something. He now also has to contend with two eccentric sisters who have trouble with hooker using their garden for business, a mysterious car that's following people around and a stonemason business that specializes in stone phalluses

        There's not a great deal of murder here but plenty of mystery, and Marcello Mastrioanni's laid back, bemused cop wanders through a world he doesn't understand, with a few sidekicks, many, many meals, and plenty of discussion about Sicilians, Sardinians, and Piedmontians. It's quite a long film for a giallo and even though it's trash free, my mind didn't wander at all while watching it.

        Nice Ennio Morricone soundtrack too - but do i have to say that?
        6thalassafischer

        Does Not Hold Up as Well as Other Italian 70s Films

        The Sunday Woman is a dramatic comedy with a murder mystery, but sadly the humor is quaint and childish, focused on phallic statues and pillows in the shape of a butt. I guess this was considered risque to the most conservative or older audiences in 1975 but La donna della domenica FEELS even older than that.

        Jacqueline Bisset (yes, that Jacqueline Bisset) plays a wealthy wife of an aristocrat whose philandering husband ignores her nightly, and despite their young daughter, she's quite bored with her life since there are servants and nannies to meet her every whim. Anna Carla in true Mid-Century socialite fashion is besties with a gay man, Massimo, and they ingratiate themselves into a murder mystery that accidentally involves them due to a misinterpreted letter by two recently fired servants.

        Bisset is decked out like it's 1955 with carefully curled short hair and tailored dresses, which sets the tone for the entire story. It's one of the most boring mysteries I've seen to come out of Italy from the time period, likely due to its attempts to mimic Hollywood films from a good 15-20 years prior.

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        Trama

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        Lo sapevi?

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        • Quiz
          The first 10 notes of the first and second lines, with the first 8 of the last line of the jaunty whistling theme in the score, along with their chord progressions, are identical to the chorus of the pop hit from the previous year, "Billy Don't be a Hero" by Murray & Callendar, but with the lines cut short.
        • Blooper
          While Commissioner Santamaria and Anna Carla talk in the park, a microphone is repeatedly seen over the top of the camera.
        • Citazioni

          Commissioner Salvatore Santamaria: [to Anna Carla, in bed] Tabusso came clean at the precinct. You know what she said? "A pig and a pederast deserve nothing less."

        • Connessioni
          Featured in V.I.P.-Schaukel: Episodio #6.3 (1976)
        • Colonne sonore
          Centomila violoncelli
          Written by Mario Casacci, Alberto Ciambricco, Leonardo Cortese

          Performed by Italo Janne

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        Dettagli

        Modifica
        • Data di uscita
          • 14 aprile 1976 (Francia)
        • Paesi di origine
          • Italia
          • Francia
        • Lingue
          • Inglese
          • Latino
          • Italiano
        • Celebre anche come
          • The Sunday Woman
        • Luoghi delle riprese
          • 37 Via Cesare Balbo, Torino, Piemonte, Italia(Garrone's home)
        • Aziende produttrici
          • Les Productions Fox Europa
          • Primex
        • Vedi altri crediti dell’azienda su IMDbPro

        Specifiche tecniche

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        • Tempo di esecuzione
          1 ora 49 minuti
        • Mix di suoni
          • Mono
        • Proporzioni
          • 1.37 : 1

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