lasttimeisaw In Venice 73', a tribute to Marcello Mastroianni, we watched a screening of this vintage Italy-USSR- USA co-production directed by Russian director Nikita Mikhalkov in mint condition, restored with an approximately 20-minute additional footage to its original theatrical and DVD length of 117 minutes, including additional scenes of Isabella Rossellini, who plays the daughter of our principal character Romano (Mastroianni).DARK EYES won Mastroianni his second BEST ACTOR prize in Cannes, and reaped a third Oscar nomination for him, all his three nominations are from foreign language pictures, which is a second to none achievement in the Academy history, presently only Javier Bardem and Marion Cotillard seem to have the chance to match that record.This story is told in flashback, on a steamer, Romano, a middle-aged Italian man recounts to a Russian passenger Pavel (Larionov) his hopeless infatuation to a Russian lady Anna (Safonova), whom he has first met in a convalescent sanatorium. What we sees of Anna is a beautiful and well- bred lady, but also mousy and withdrawn under Safonova's marginally evasive interpretation, however, love is such a strange thing, in the eyes of Romano - the carefree, "kept" husband of a rich aristocratic heiress Elisa (Mangano), Anna is the true north of his pursuit. After a string of hilarious episodes in that magnificent sanatorium, Romano successfully woos her into bed, But the next day, Anna departs abruptly with a letter written in Russian, she is ashamed of their adultery, fleeing is the only thing she can do at then.Losing Anna like this leaves a big hole in Romano's hollow life, he must see her again, on the pretext of scouting places to build a factory to manufacture a type of unbreakable glass, Romano arrives in Soviet Union with zeal, when he finally reaches the town where Anna lives, he is hailed by the locals as the first ever foreigner in their land, and greeted by Elisa's husband, the Governor of Sysoyev (Smoktunovskj, carrying a distinctly comedic bearing). The reunion sets their hearts on divorcing their respective spouses and spending the rest of their lives together. So, driven by an unprecedented spur of hope and devotion, Romano returns home to divorce Elisa, only to find the latter is in a dire financial pickle, she must sell her palatial villa due to bad investment, the regal Mangano is exquisitely vulnerable and simpatico in her final screen role (she would die of lung cancer two years later), so, maybe, it is not a convenient moment for Romano to announce his decision (pouring oil on the fire from a good-for-nothing husband), but when will be the right moment? What about Anna? Romano's narration stops right there and a newly-married Pavel talks about his wife, then it is time to lunch, Romano turns out to be a waiter on the steamer, and Pavel is so eager to introduce his wife to him, guess who is coming to lunch? The film cheekily draws to a close.That final revelation is somewhat jumping-the-shark, Chekhov certainly would not approve of such levity, but for the most part, DARK EYES is coruscating with hearty humor and imposing period decor and props, and after all, it is a top-shelf Mastroianni vehicle, entering the twilight year of his life, Romano is a signature role he has been playing for decades - a happy-go-lucky roué stumbles upon a once-of-a-lifetime romance, he totally emancipates himself in relishing Romano's fortune and misfortune, runs the full emotional gamut with pyrotechnics (poignancy and laughter are sound evidence), what a charismatic cinematic icon! It is proper my honor to watch this curio on the big screen, and sets the seal on my very first, quite satisfactory Venice vacation.

bklyn-boylan Yes, its story is an old chestnut. There's an excuse for Marcello Mastroianni to tell a story about himself and a Russian woman, and he does it, and there's an aftermath. But the story is so good and so well told (and acted and directed) that the device is like an old friend. This is one of Mikhailkov's best, right up there with Burnt by the Sun. It draws on Heifetz's Lady with a Dog (and Chekhov's short story too, for that matter) and parodies (or pays homage to) Fellini's 8 1/2--both just right for this Italo-Russian piece about Italians and Russians, which I found a pure delight. It revels in both poking fun of and warmly enjoying both Italian and Russian types and moods. For me, there was the additional pleasure of seeing Innokenti Smoktunovsky, who played the title role in Kozintsev's Hamlet, now middle-aged and as fine an actor as ever. Will it ever be released on DVD? It's about time this one is rediscovered.

appletree I consider this movie a masterpiece. The performance of Marcello Mastroianni is simply sublime, one of the best I have ever seen from anyone, anywhere. Yes, the surface plot is about adultery, but the story is much more than that. I think this is a story about a man, an old man near the end of his life, looking back on his playboy, vagabond, good-for-nothing life, regretting it, but not knowing any other way to live. "Mother's lullaby and the Russian mist" is all he remembers about his own life, he says. Watch this old man cry, and it stirs you with all kinds of emotions and thoughts, makes you think about how you should live, that tragedy happens everyday, to every small man who must fend for himself and fail. You tell yourself you will never be like him, you pity him, disrespect him, despise him, but in the end you understand this man in the most profound sense. And you will never be able to forget that Russian mist either. Superb.

phranger An Italian who cannot afford to take anything seriously (as by now he is little more than an ornament in the life of his countess wife) meets a young, married Russian woman at a spa, where she is alone (and living on short funds). Not meaning to, he causes her to fall in love with him (rather than simply to bed him, as would be the usage at the spa). He realizes this when she returns to Russia and her husband. He then sets out on the one serious undertaking of his life, meeting her again in Russia. For her part, she has realized that he could only be what he is, and in any case she lives as a correct married lady. So the enterprise leads to nothing -- except that the Italian loses the taste for standing for his wife's husband, and winds up, appropriately, as a waiter on a ferry. Extremely memorable.