这部《女巫1967》像一盒口味混杂的巧克力——从德西卡的温情讽刺到帕索里尼的粗粝怪诞，每段故事都带着导演鲜明的指纹。西尔瓦娜·曼加诺贯穿全片，从绝望主妇到放荡贵妇切换自如；克林特·伊斯特伍德作为符号化的美国牛仔闯入德西卡的意大利家庭，制造出荒诞的文化错位感。推荐给热衷比较作者风格的影迷，尤其对意大利电影黄金时代创作生态感兴趣的观众。 :-)。帕索里尼段落用荒诞调子讽刺消费社会，维斯康蒂则把上世纪中叶的时尚场搬进古典油画里，德西卡拍出了令人心碎的童话。看的时候你可能会忍不住皱眉，又突然笑出声——比如帕索里尼那部分，让西尔瓦娜·曼加诺在超市里被顾客当商品指指点点，那种荒唐感直戳人心；维斯康蒂的段落则像一场优雅的闹剧，克林特·伊斯特伍德顶着标志性冷脸，和意大利贵妇们玩起猫鼠游戏，反差得让人拍腿。

　　"The Witch Burnt Alive"
　　After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous.
　　"Community Spirit"
　　Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through.
　　"The Earth Seen from the Moon"
　　The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific.
　　"The Sicilian"
　　Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories.
　　"A Night Like Any Other"
　　Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.

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