推荐理由：比起同类型拼盘喜剧，《女巫1967》更像一场顶级导演的命题作文接力——帕索里尼用粗粝的乡野镜头拍农妇的癫狂，维斯康蒂则把贵族客厅拧成心理角斗场，德西卡又冷不丁插入底层小人物自嘲的温情。没有统一叙事，每段都像一颗怪味糖，含着讽刺、荒诞或一点超现实的水汽。同样是女性主题集锦片，它不像《纽约故事》那样轻巧，也不像《巴黎，我爱你》那样温情，而是用浓得化不开的意大利式粗粝生活流，把“女巫”二字变成了社会讽刺的手术刀。如果你喜欢《罗马，不设防的城市》里那种社会批判的尖锐，或者《八部半》里天马行空的叙事实验，这部由五个截然不同的碎片拼成的“女巫图鉴”，会像一把钥匙轻轻拨开那个年代意大利人不敢明说的秘密。克林特·伊斯特伍德客串时一脸正经，反而衬出周围意大利式夸张的滑稽。适合不排斥形式实验、想看导演们如何用同一主题各显神通的影迷，也适合对性别标签背后的权力游戏感兴趣的人。

　　"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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