If you weren’t around at the time, it’s hard to communicate just what a splashy, dominating place the Italian filmmaker Lina Wertmüller occupied during the 1970s. Wertmüller, who died on Thursday a…
If you weren’t around at the time, it’s hard to communicate just what a splashy, dominating place the Italian filmmaker Lina Wertmüller occupied during the 1970s. Wertmüller,, was far from the first celebrated woman director — just think of Agnès Varda, Shirley Clarke, Elaine May, Lois Weber, Ida Lupino, Dorothy Arzner, or Barbara Loden. But apart from the infamous Leni Riefenstahl, it’s fair to say that Wertmüller was the first woman filmmaker to become a household name.
Wertmüller started off as a protégé of Federico Fellini, working as an assistant director on “8 1/2” , and her first film, “The Lizards,” came out the same year. It was a knockoff of another Fellini film, “I Vitelloni” , and it was focused on the follies of the male ego. Her second feature, in 1965, was “Let’s Talk About Men,” and its title pointed the way to how Wertmüller would construct her career.
Wertmüller grew up in Rome, where as a girl she was obsessed with comic books, and she became an avant-garde puppeteer before moving into the world of film. Her movies had a voluptuous outsize quality, which is part of what made them popular. “Seven Beauties,” a spectacular grubby Candide picaresque in which Giannini played a small-time hood during World War II who winds up being sent to a German concentration camp, was a film that offended as many people as it enthralled.
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