The actress, who recently played a comic western, "Roy Colt and Winchester Jack", deploys her weapons To personify the most beautiful of all in the 'blockbuster' directed by Franco Rossi whose production has been filming for some time in Yugoslavia.
By Elio Quirici
Rome, September
‘The kind of cinema I have done so far’, says Marilu Tolo ‘is not mentioned in any encyclopedia, however specialized it may be. Check out de Treccani too: under the heading 'cinema' you will find listed the commercial, avant-garde, truth, underground, variety genres and a lot of others, but no one writes about cinema. Yet it is precisely the kind from which, only now, I have been able to get out of my way with difficulty.’
These are not, as you might think, films that deal with dietary or advertising problems, nor are these films that refer to edible things in the title, such as the old “Me and the Egg” or the recent “Uccidete il vitello grasso e arrostitelo” (Kill the Fatted Calf and Roast It). The elementary cinema of which Marilu makes and that, heterogeneous, which allows those who do it to earn just enough to live. In short, Marilu Tol has made films out of necessity, accepting the parts they offered her without being too difficult: dressed, naked, in costume, dramatic or comic roles. Everything made bread and broth, you know, 'se magna', as Marilu points out in a strict Trastevere area.
It was practically the esso ride, but also later the rebellious character of exuberant Trasteverina. Impetuous and extroverted, it was certainly not helpful. Another one in her place would have been careful not to break a contract with Carlo Ponto only because she, despite being paid regularly, was not being used properly; instead Marilu didn't think twice, even at the cost of going back to doing things, to live as a model. So also flirting with advertising. I have never admitted that she points out dryly, because I want to choose my boyfriends or friends, young and beautiful Just to be clear, I would not tie myself for interest even to the greatest film producer in the world if it is not exactly to my taste; and note that I have made sacrifices for the cinema!
She made the biggest ones recently, when the actress's vocation was suddenly discovered. Before, she had started making films a little by chance and a lot out of need; and short of 'food' issues, given that her father was suddenly involved in a financial meltdown. 'Film' she admits today, 'that I would have done better not to do. Many, or at least enough, but only two are saved: “I dannati della terra” (The Damned of the Earth) and “L’amore attraverso i secoli” (Love Through the Centuries). The first by director Valentino Orsini and the second by Godard Both quite daring, if only for Marilu's lack of clothes.
There would be today, those to save even the committed “Kill the Calf ...” with what follows, but Marilu considers it more than anything else the dress rehearsal for the most recent engagements: Gradiva with Albertazzi, Franco Rossi's television ‘Eneide’ and the western comedy “Roy Colt and Winchester Jack” by horror film specialist Mario Bava.
To get to these commitments, Marilu Tolo did not hesitate to face considerable sacrifices both economically and in terms of freedom: she gave up even the good earnings that could come to her from still food films and started to study seriously, also attending the Actors Studio.
On a sentimental level, she broke up with everyone: I will think about love again only when I have satisfied my artistic ambitions. I've been wrong enough so far and it's time to start a new course in my life. In terms of cinema, I no longer want to be the Liz Taylor of the poor and in terms of feelings I have decided not to have any more adventures like those with Alfonso di Borbone and Omar Sharif.
One could also compare novels with Ferzetti, De Teffe, Barrat, Moriconi and several others, but it is a thing of the past. If ever, now the name of Diego von Buck, an electronic engineer of Argentine origin, is mentioned with insistence, but also in this case Marilu denies that there is anything serious. 'What's serious', now, there is only the work, especially the commitment I have with Rossi for the Aeneid, in which I have nothing but the role of Venus.
Are you sure that all those films in Yugolsavia do not conceal the sole purpose (that of always) of showing a Marilu’s 'nude look'?
Certainly, even if it is Venus it is still a TV Venus Really a shame.
[submitted by Mike Ferguson]
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