Gran Bollito opens with a message that “this is a tale of collective madness.” In a film as willfully deranged as this one, that’s putting it mildly. Shelley Winters stars as a psychotic Italian matriarch with a penchant for slaughtering her neighbours and boiling their chopped-up corpses to make soap. In a spirit to waste-not-want-not, she grinds up any bones that are left over to make biscuits for afternoon tea. The fact that all her victims are middle-aged spinsters played by men in drag (including – no, I kid you not! – that Ingmar Bergman stalwart Max von Sydow) only goes to show that Gran Bollito is well-nigh apocalyptic in its weirdness. —IMDb
Mauro Bolognini (28 June 1922 – 14 May 2001) was an Italian film director of literate sensibility, known for masterful handling of period subject matter.
Mauro Bolognini was born in Pistoia, Tuscany.
A former architectural student, Bolognini began his film career as an assistant to director Luigi Zampa in Italy, and directors Yves Allegret and Jean Delannoy in France. He began directing his own feature films in the mid 1950s, and had his first international success with Gli innamorati (“Wild Love”).
His other notable films of the 1950s and early 1960s include Giovani mariti (“Young Husbands”), La notte brava, La giornata balorda (“From a Roman Balcony”), and the Marcello Mastroianni-Claudia Cardinale starrer Il bell’Antonio (arguably his masterpiece), all written by Pier Paolo Pasolini.
Parting professionally with Pasolini in 1961, Bolognini went on to direct two sensual love stories starring Cardinale, La Viaccia and Senilità, before turning his talents… read more