Scent of a Woman

An army cadet accompanies an irascible, blind captain on a week-long trip from Turin to Naples. The captain, Fausto, who wants no pity, brooks no disagreement, and charges into every ...

. . The captain, Fausto, who wants no pity, brooks no disagreement, and charges into every . An army cadet accompanies an irascible, blind captain on a week-long trip from Turin to Naples

Scent of a Woman is a excited movies torrent of Giovanni Arpino (novel), Ruggero Maccari, Dino Risi. This movie was introduced in 1974. You can check list actors in this movie torrents, for example Vittorio Gassman, Alessandro Momo, Agostina Belli, Moira Orfei, Franco Ricci, Elena Veronese, Lorenzo Piani, Stefania Spugnini, Torindo Bernardi, Marisa Volonnino, Carla Mancini, Alvaro Vitali, Sergio Di Pinto. There are many categories, such as Drama. Many people rated for this movie, Rate is 7.7 in www.imdb.com. This is really a good movie to watch. Share with your friends and watch this movie together

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Users reviews

Austin B (it)

Despite the great performance put on by Deschanel, the film's plot remains predictable and the themes weak

Charles M (it)

Richie Unterberger, All Music Guide. Fortunately, with a little discretion, a good Elvis library can be built with little duplication, sticking largely to the most highly recommended selections. In death, as in life, Presley continues to be one of RCA's most consistent earners. And exploitative reissues of Elvis material continue to appear constantly, often baited with one or two rare outtakes or alternates to entice the completists (of which there are many). Similar, although less exciting, box sets were documenting the 1960s, the 1970s, and his soundtrack recordings. In the CD age, RCA finally began to treat the catalog with some of the reverence it deserved, at long last assembling a box set containing nearly all of the 1950s recordings. Haphazard collections of outtakes and live performances were far rarer than budget reissues and countless repackagings of the big hits. Although Presley had recorded a mammoth quantity of both released and unreleased material for RCA, the label didn't show much interest in repackaging it with the respect due such a pioneer. And then there are all those Elvis sightings, reported in tabloids on a seemingly weekly basis. Dozens if not hundreds make a comfortable living by impersonating the King in live performance. Elvis memorabilia, much of it kitsch, is another industry in his own right. An immediate cult (if cult is the way to describe millions of people) sprang up around his legacy, kept alive by the hundreds of thousands of visitors who make the pilgrimage to Graceland annually. The cause of death remains a subject of widespread speculation, although it seems likely that drugs played a part. On August 16, 1977, Presley was found dead in Graceland. Colonel Parker's financial decisions on behalf of his client have also come in for much criticism. Worst of all, he became isolated from the outside world except for professional purposes (he continued to tour until the end), rarely venturing outside of his Graceland mansion in Memphis. His weight fluctuated wildly; his marriage broke up; he became dependent upon a variety of prescription drugs. Those activities are really beyond the scope of a mini-bio such as this, but it's enough to note that his behavior was becoming increasingly instable. Elvis' final years have been the subject of a cottage industry of celebrity bios, tell-alls, and gossip screeds from those who knew him well, or (more likely) purported to know him well. Those who are not serious Elvis fans will usually find this late-period material to hold only a fraction of the interest of his '50s classics. At the same time, his vocal mannerisms were often stilted, and the material -- though not nearly as awful as that '60s soundtrack filler -- sometimes substandard. It's true that the material was pretty eclectic, running from country to blues to all-out rock to gospel (Presley periodically recorded gospel-only releases, going all the way back to 1957). Some declare them to be, when Elvis was on, the equal of anything he did, especially in terms of artistic diversity. " Presley's 1970s recordings, like most of his '60s work, are the focus of divergent critical opinion. ) Hollywood was history, but studio and live albums were generated at a rapid pace, usually selling reasonably well, although Presley never had a Top Ten hit after 1972's "Burning Love. (Elvis never did play outside of North America and Hawaii, possibly because Colonel Parker, it was later revealed, was an illegal alien who could have faced serious problems if he traveled abroad. This was followed by national tours that proved him to still be an excellent live entertainer, even if the exercises often reeked of show-biz extravaganza. But Elvis' voice did sound good, and he returned to live performing in 1969, breaking in with weeks of shows in Las Vegas. Arguably, it's been overrated by critics, who were so glad to have him singing rock again that they weren't about to carp about the slickness of some of the production, or the mediocrity of some of the songwriting. This material, and 1969 hits like "Suspicious Minds" and "In the Ghetto," returned him to the top of the charts. The 1968 album Elvis in Memphis was the first LP in nearly a decade in which Presley seemed cognizant of current trends, as he updated his sounds with contemporary compositions and touches of soul to create some reasonably gutsy late-'60s pop/rock. A 1968 television special gave Presley the opportunity he needed to reinvent himself as an all-out leather-coated rocker, still capable of magnetizing an audience, and eager to revisit his blues and country roots. Male," though hardly classics, were at least genuine rock & roll that sounded better than much of what he'd been turning out for years. S. Singles like "Guitar Man," "Big Boss Man," and "U. By 1967 and 1968, there were slight stirrings of an artistic reawakening by Elvis. The net effect was to make Elvis Presley, still churning out movies in Hollywood as psychedelia and soul music became the rage, seem irrelevant, even as he managed to squeeze out an obscure Dylan cover ("Tomorrow Is a Long Time") on a 1966 soundtrack album. They, and the British and American groups the Beatles influenced, were not shy about expressing their opinions, experimenting musically, and taking the reins of their artistic direction into their own hands. What's more, they did so by writing their own material and playing their own instruments; something Elvis had never been capable of, or particularly aspired to. The Beatles, all big Elvis fans, displaced Presley as the biggest rock act in the world in 1964. True to a point, but on the other hand it could be claimed, with some validity, that Presley himself was doing little to rouse himself from his artistic stupor, letting Parker destroy his artistic credibility without much apparent protest, and holing up in his large mansion with a retinue of yes-men that protected their benefactor from much day-to-day contact with a fast-changing world. They also point out that Presley was assigned poor material, and assert that Colonel Parker was largely responsible for Presley's emasculation. The era spanning, roughly, 1962-1967 has generated a school of Elvis apologists, eager to wrestle any kernel of quality that emerged from his recordings during this period. " But by 1963 or so there was little to get excited about, although he continued to sell in large quantities. There were some good singles in the early '60s, like "Return to Sender"; once in a while there was even a flash of superb, tough rock, like "Little Sister" or "(Marie's the Name) His Latest Flame. The soundtrack LPs themselves were sometimes filled out with outtakes that had been in the can for years (and these, sadly, were often the highlights of the albums). In time he became largely disinterested in devoting much time to his craft in the studio. While there were some quality efforts on Presley's early-'60s albums, his discography was soon dominated by forgettable soundtracks, mostly featuring material that was dispensable or downright ridiculous. For the rest of the '60s, Presley ground out two or three movies a year that, while mostly profitable, had little going for them in the way of story, acting, or social value. The films, in turn, would serve as vehicles to both promote his records and to generate maximum revenue with minimal effort. Shortly after leaving the Army, in fact, Presley gave up live performing altogether for nearly a decade to concentrate on movie-making. Elvis' rebellious, wild image had been tamed to a large degree as well, as he and Parker began designing a career built around Hollywood films. One couldn't, unfortunately, say the same for the quality of his music, which was not just becoming more sedate, but was starting to either repeat itself, or opt for operatic ballads that didn't have a whole lot to do with rock. When he re-entered civilian life in 1960, his popularity, remarkably, was at just as high a level as when he left. There was enough material in the can to flood the charts throughout his two-year absence (during which he largely served in Germany). Presley's recording and movie careers were interrupted by his induction into the Army in early 1958. And although Moore and Black continued to back Elvis on his early RCA recordings, within a few years the musicians had gone their own ways. The Dean Martin influence began rearing his head in smoky, sentimental ballads such as "Loving You"; the vocal swoops became more exaggerated and stereotypical, although the overall quality of his output remained high. Yet worrisome signs were creeping in. The Jordanaires added both pop and gospel elements with their smooth backup vocals. The hits continued unabated, several of them ("Jailhouse Rock," "All Shook Up," "Too Much") excellent, and often benefiting from the efforts of top early rock songwriter Otis Blackwell, as well as the emerging team of Jerry Leiber-Mike Stoller. By late 1956, his first Hollywood movie, Love Me Tender, had been released; other screen vehicles would follow in the next few years, Jailhouse Rock being the best. Elvis' (and Colonel Parker's) aspirations were too big to be limited to records and live appearances. The 1956 RCA recordings, while a bit more sophisticated in production and a bit less rootsy in orientation than his previous work, were still often magnificent, rating among the best and most influential recordings of early rock & roll. , but throughout the world. S. Albums and EPs were also chart-toppers, not just in the U. "I Want You, I Need You, I Love You" was a number one follow-up; the double-sided monster "Hound Dog"/"Don't Be Cruel" was one of the biggest-selling singles the industry had ever experienced up to that point. "Heartbreak Hotel," his first single, rose to number one and, aided by some national television appearances, helped make Elvis an instant superstar. At the beginning, at least, the results were hardly any tamer than the Sun sessions. At RCA, his rockabilly was leavened with enough pop flavor to make all of the charts, not just the country ones. To do that, his material needed more of a pop feel; in any case, he'd never exactly been one to disparage the mainstream, naming Dean Martin as one of his chief heroes from the get-go. What he wanted, more than anything, was to be successful. Elvis, however, was not a purist. For many, the whole of his subsequent work for RCA -- encompassing over 20 years -- was a steady letdown, never recapturing the pure, primal energy that was harnessed so effectively on the handful of Sun singles. This is the point where musical historians start to diverge in opinion. In need of capital to expand the Sun label, Sam Phillips sold Presley's contract to RCA in late 1955 for 35,000 dollars; a bargain, when viewed in hindsight, but an astronomical sum at the time. Presley was obviously a performer with superstar potential, attracting the interest of bigger labels and Colonel Tom Parker, who became Elvis' manager. The last Sun single, "I Forgot to Remember Forget"/"Mystery Train," hit number one on the national country charts in late 1955. The move to all-out rock was hastened by the addition of drums. Presley, Moore, and Black hit the road with a stage show that grew ever wilder and more provocative, Elvis' swiveling hips causing enormous controversy. The singles sold well in the Memphis area immediately, and by 1955 were starting to sell well to country audiences throughout the South. "That's All Right Mama," "Blue Moon of Kentucky," "Good Rockin' Tonight," "Baby Let's Play House," and "Mystery Train" remain core early rock classics. Claiming that Elvis made blues acceptable for the white market is not the whole picture; the singles usually teamed blues covers with country and pop ones, all made into rock & roll (at this point a term that barely existed) with the pulsing beat, slap-back echo, and Elvis' soaring, frenetic vocals. For quite a few scholars, they remain not only Elvis' best singles, but the best rock & roll ever recorded. Elvis' five Sun singles pioneered the blend of R&B and C&W that would characterize rockabilly music. Almost by accident, apparently, the trio hit upon a version of an Arthur Crudup blues tune, "That's All Right Mama," that became Elvis' first single. In mid-1954, Phillips, looking for a white singer with a black feel, teamed Presley with guitarist Scotty Moore and bassist Bill Black. Some 1953 and 1954 demos, recorded at the emerging Sun label in Memphis primarily for Elvis' own pleasure, helped stir interest on the part of Sun owner Sam Phillips. After graduating from high school, he became a truck driver, rarely if ever singing in public. Born to a poor Mississippi family in the heart of Depression, Elvis had moved to Memphis by his teens, where he absorbed the vibrant melting pot of Southern popular music in the form of blues, country, bluegrass, and gospel. The continued speculation about his incredible career has sustained interest in his life, and supported a large tourist/entertainment industry, that may last indefinitely, even if the fascination is fueled more by his celebrity than his music. By the time of his death, he'd become more a symbol of gross Americana than of cultural innovation. Innumerable bad Hollywood movies, increasingly caricatured records and mannerisms, and a personal life that became steadily more sheltered from real-world concerns (and steadily more bizarre) gave his story a somewhat mythic status. Unfortunately, to much of the public, Elvis is more icon than artist. His 1950s recordings established the basic language of rock & roll; his explosive and sexual stage presence set standards for the music's visual image; his vocals were incredibly powerful and versatile. While rockabilly arrangements were the foundations of his first (and possibly best) recordings, Presley could not have become a mainstream superstar without a much more varied palette that also incorporated pop, gospel, and even some bits of bluegrass and operatic schmaltz here and there. Elvis was certainly the first, however, to assertively fuse country and blues music into the style known as rockabilly. Presley was not the very first white man to sing rhythm & blues; Bill Haley predated him in that regard, and there may have been others as well. More important from a music lover's perspective, however, are his remarkable artistic achievements. Dozens upon dozens of international smashes from the mid-'50s to the mid-'70s, as well as the steady sales of his catalog and reissues since his death in 1977, may make him the single highest-selling performer in history. Viewed in cold sales figures, his impact was phenomenal. But no one could argue with the fact that he was the musician most responsible for popularizing rock & roll on an international level. Not necessarily the best, and certainly not the most consistent. Great Movie Ever Elvis Presley may be the single most important figure in American 20th century popular music

Dorwin D (gb)

Akhtar was just above average. Konkona sen sharma stole the show for me. Good movie but follows standard rags-riches-rags story

JohnnyLee T (us)

or a plot that depends on the logic of numbers though, it is highly irrational!. Some people will love all the hidden meanings and fatalism of the numbers (numerologists?), but even if you're not into the character's obsession, the mood of the piece will carry you along. The story? Depends on your personal taste. Incredibly well produced. Worth watching for Jim Carrey's dramatic performance

Karen F (mx)

Loved it. Loved all the performances, and the whole thing was so sad I was in tears a couple of times. It begins as the story of Joe Lampton's ambition to gain wealth, and ends as a fab love story, completely engrossing. It is a wonderful slice of post-war Britain, with its obsessions with class, money and age, its inflexible moral code and divorce laws that left women at the mercy of their husbands. This was an absolutely wonderful film

Kevin C (mx)

Really great enjoyable documentary! The world would be a much better place with more people like Prof

Max F (au)

Debbie Reynolds also stops by for, like, a second to do a particularly chirpy "I Wanna Be Loved by You. Vera-Ellen always seems a step behind Astaire, but the beauty of the movie is in its idealism and hope, NOT in its perfection of technique. Kalmar & Ruby have long since been forgotten, but Fred Astaire and Red Skelton (particularly endearing) keep it light and sunny; Three Little Words is almost a representational look at the American dream as achieved through songwriting, though most of its songs evaporate into the air, despite being catchy in the moment

Paul T (es)

Started out alright. Really poor acting and bland story

Rasik T (ca)

lfredo Castro is bloody brilliant as the Saturday Night Fever obsessed protagonist! Pablo Larrain's first film(No and Post Morten being the other two) in his unplanned Pinochet Trilogy blows you away in a creepy way! Marvelous stuff!. And once you get the political parallels, this film climbs up to a different level altogether. The coldness in this film is chilling

Serge L (au)

Three solid stars and I am being tough. The whole was well constructed, hilarious and I had a good time all along. with kids! The little girl in particular seemed to have too much fun. . . with kids! The physical comedy was hilarious at times. . . Definitely a kid film, but the kids were nailing it! The villains were funny and the whole thing was reminiscent of the original Batman series. The tomato critics are harsh, ths film was plenty funny for kids of all ages