The movie was later remade by Guy Ritchie, starring his then-wife Madonna, and widely panned.
In 1974's "Swept Away," she pitted a wealthy woman on vacation against the shiphand who despises her politics, then reverses their power dynamic when the pair becomes castaways. Wertmüller told Bramesco in 2017 that "there's no doubt that sensuality and eroticism are part of Italian cinema." But she used sexuality as a lens through which to explore class dynamics and gender politics. 's Charles Bramesco said her films, political commentary disguised as sex farces (with an emphasis on the sex), "titillated and scandalized audiences." It starred frequent collaborators Giancarlo Giannini and Mariangela Melato. In the film, a disenfranchised worker falls in love with communism and a woman who isn't his wife, loses his politics along the way, commits adultery more than once and ends up single, the father (or father figure) of a few children. She went on to shoot her first film, "The Lizards," with many of the crew members she met on "8 ½."īut it wasn't until "The Seduction of Mimi" that her films began to receive international acclaim. She quickly realized, she told Interview Magazine, that directing was where her talents resided.įriends introduced her to the revered filmmaker Federico Fellini, with whom she worked on "8 ½" as his assistant director. Wertmüller began her career in drama believing she was going to be an actress, studying at the Pietro Sharoff Theatre Academy. Her films were politically minded sex farces Her films were divisive, but she found an international audience: She was the first woman to be nominated for a best director Oscar for her film "Seven Beauties." My films might reflect this personality unconsciously." The two natures live in me and never abandon me. The other is in contact with the dramatic face of life and human problems around the world. "One is playful, ironic, with a sense of humor. "I think I have two souls," Wertmüller told Criterion in 2017 ahead of a retrospective of her films. The last two came from Wertmüller herself.
The director with the white-rimmed specs was known for a style and substance that demanded colorful descriptors - like, "grotesque poetry." "Opaque, despairing, bottomless." Just plain "vulgar" and "deforming." Wertmüller made films that were both debased and staunch in their moral standing, condemned and adored, with pitch-black endings preceded by comedic beats. Lina Wertmüller, a central figure of Italian cinema and the first woman to be nominated for an Academy Award in the best director category, died this week, Italy's Ministry of Culture confirmed.
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