First non-noir Dassin film I have seen. Handles this, at times, rather bizarre comedy quite well. Lollobrigida is at full babe status in this one and is pure eye candy, making a straight man such as myself long for a time machine. Pretty strange film being filmed with Italian actors speaking French and all.
Another surprise gem that is often overlooked (especially considering Dassin's own Rififi and Night And The City), The Law is wholly enjoyable, if not fully focused. Marcello Mastroianni is great as always, but this film belongs to Gina Lollobrigida, who exudes sensuality, cleverness, and charm in every frame.
A screwy, unfocused, but nonetheless entertaining picture of feudalism amongst the backdrop of Italian romance. This movie juggles plot-lines like it has something to prove, but there is an infectious energy that breezes vibrantly throughout its running-time. I attribute that to Gina Lobobrigida who, much like the film as itself, captivates with equal parts whimsy and fury through every weave of this layered farce.
A "moderate leftist" film (who can blame anyone for that? haha) with a great cast and an especially great sense of place. A lot of moving parts that, for me, constellated in ways that were consistently interesting, thoughtful, and VERY funny. Beautifully shot, surprising from beginning to end, and just...I dunno, a lot of fun! A real testament to the two hour film as form (and the space it gives to amble).
"Lurid and politically astute" indeed. "The Law" - the drinking game played by the villagers is an exercise in degradation and humiliation that they willingly take part in. You can feel Mastroianni's disgust. This is only one of many powerful scenes - which all these years later still retain their ability to shock. Great cast and Lollobrigida exudes carnality throughout.
It takes a stab at the crooks and their 'lawyers' who disable the everyday citizens from achieving an equal level of prosperity. When, in the end, the crooks are dethroned and the men run to the tavern for free wine, the film seems to champion the industry of the agronomist but I think that the pigeon and the two thousand year old vase portray the cyclical nature of corruption and envision the plundering to come.
A perfectly nuanced portrait of gender politics that juggles frivolity, intensity and (imagine that) a wonderfully contagious excitement. It only helps that, with this role, Gina Lollobrigida enters the filmic Asgard of screen sirens alongside Monroe, Hayworth, Tierney, and Bardot.