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quot;The Witch Burnt Alivequot;br\ After a very long, but visually arresting animated oening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking aroximately a third of the film#39;s running length. Mangano lays a suerstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have rejudices and reconceived notions about her based on her ublic ersona. The women are all jealous and the men all want to slee with her, but all Mangano wants is to be left alone. It#39;s a mostly somber satirical iece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous.br\ quot;Community Siritquot;br\ Bolognini#39;s iece isn#39;t really a story. It#39;s more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hosital, driving him at breakneck seed throughout the city, but not stoing at locations where he might find aid. I won#39;t give away the unchline here, but it succeeds in being amusing, even if it#39;s the kind of thing that only is interesting the first time through.br\ quot;The Earth Seen from the Moonquot;br\ The esteemed writer\director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to quot;Don Quixotequot;, a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long eriod, they discover the literally seechless Mangano. She brings joy into their lives, but they are oor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not comletely interesting, but the outlandish erformances, artwork, and costumes does evoke great charm and likeability. Although mute, it#39;s robably the most aealing of Mangano#39;s five erformances, and Toto is terrific.br\ quot;The Sicilianquot;br\ Franco Rossi directs the fourth an shortest iece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It#39;s violent, but easily the least satisfying of the five stories.br\ quot;A Night Like Any Otherquot;br\ Eastwood#39;s aearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone quot;Dollarsquot; trilogy. It#39;s an enjoyable dearture from his normal roles, laying a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which erfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is intersersed with comedic romance sequences revolving around the coule#39;s ast romantic interludes, and dreams of how their lives should be.
