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Caccia alla volpe - After The Fox

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[ Skipped item nr. 1 ]
In the annaIs of crime...
...onIy three robberies can be considered as genuine masterpieces.
The first was the Great Train Robbery of 1931.
The second took pIace in Arabia in 1952.
The Shah of Ben Abu...
...was victim of the greatest jeweI robbery in history.
But perhaps the most ingenious...
...the most cunning of aII criminaI masterpieces...
...was the Great GoId Robbery of Cairo.
''Who is the Fox?''
''I am the Fox''
''Who are you?''
''I am me''
''Who is me?''
''Me is a thief''
''You'II bring your poor poor mother grief
''So, after the Fox
''Off to the hunt with chains and Iocks
''So, after the Fox after the Fox
''Someone is aIways chasing after the Fox
''Where is the goId?''
''It's on the truck''
''Where's the truck?''
''I won't teII''
''You must teII''
''Then I wiII Iie''
''You'II make your poor poor sister cry
''So, after the Fox after the Fox
''Off to the hunt with chains and Iocks
''So, after the Fox after the Fox
''Someone is aIways chasing after the Fox
''Why do you steaI?''
''So I'II be rich''
''Why not work?''
''Work is hard''
''You'II be caught''
''I never faiI''
''AII IittIe crooks wind up in jaiI''
''Not me, not me''
''So, after the Fox after the Fox
''Off to the hunt with chains and Iocks
''So, after the Fox after the Fox
''Someone is aIways chasing
''After the Fox
''After the Fox''
And where is the gold now, gentlemen?
According to my agents it has left Cairo by ship...
...and is heading for a Mediterranean port...
...where the final cash exchange will be made.
But where?
France? Spain? ltaly?
And how?
All major shipping ports and air terminals will be watched.
And in what form?
Will they melt the gold down...
...or will they try to smuggle in all 300 bars...
...weighing nearly 4,000 pounds?
They have the gold, gentlemen...
...but they must find the one man in Europe who possesses the skill...
...the cunning and the genius to attempt an enterprise of such enormity.
l believe they have four possibilities.
''Marcel Vignon of Paris.''
Sometimes known as the Cat.
And Iike a cat, he pounces on his prey.
And then, with Iightning speed, just disappears.
But now, perhaps a IittIe past his prime.
''Michael O' Reilly...
''...of Mayfair, London.''
The Panther.
But now affIicted with faiIing eyesight.
This is a stickup.
No, it isn't.
This is the police station.
-Come on, Michael. -l'll have to get me eyes tested.
''Felix Kessler of Berlin.''
Hands up!
Hand over.
Once the big man of Germany, but now perhaps too big.
And that leaves one last possibility:
''Aldo Vanucci of ltaly.''
Now in semi-retirement in the peacefuI hiIIs of Umbria.
A cIever, resourcefuI criminaI.
Sometimes caIIed the Fox.
Excuse me.
-Hello, Aldo. -Hello, Aldo.
You got wonderful color this week.
l am foreman of the vegetable garden...
...and now before you all starve to death....
-Sausages! Prosciutto! -Thanks!
For my mamma, a young spring chicken.
For my sweet sister, Gina...
...magazines, chocolates and American shampoo.
No cigarettes?
Plain or filter?
Filters.
Aldo you make us so ashamed.
So ashamed.
A prisoner has responsibilities.
You don't have to be a prisoner much longer.
You think l need keys to get out of prison?
When l am ready l can walk out of this place.
-Hey, Luigi. -Yeah?
You've got a hole in your pants.
But we need you. Something big has come up.
-Very big. -The gold of Cairo.
How did you know?
They say it's worth millions.
What is a man's family worth?
Can you count a mother's love?
Can you spend a sister's kiss?
l want to see my Gina dressed in silks.
l want to see her wearing a white wedding gown.
But who would marry the sister of a thief?
l would.
Another thief.
lf only l could steal enough to become an honest man.
Don't touch my mamma's chicken.
-Time's up. -Time's up. Everybody out.
Good-bye.
What about a job?
l gave you a job. l hold you responsible for my mamma.
l hold you responsible for my sister.
l hold you responsible for the chicken. Good-bye.
Buy Gina an ice cream.
When l see her.
What do you mean when you see her?
Don't look at him, look at me.
You see her when she comes home from school don't you?
Sometimes.
Gina is getting to be a big girl now.
-A very big girl. -So?
So, big girls don't always come home when little girls come home.
Gina! My sister Gina!
Out! Out!
You're lying! Say you're lying.
-All right, l'm lying. -Liar, you're not lying.
l'm not lying.
-Out! Everybody out. -l'll kill you. l'll kill him!
-Not you! -Let me go. l have to save my sister Gina.
-You can save her in six months. -No! Tomorrow.
Tomorrow! l will be out of here by 3:00 tomorrow.
This l promise you, Gina.
The Great Fox is still in his cell, isn't he?
l wouldn't laugh yet.
He has five minutes to go.
Doctor, you've finished with your rounds?
l've just one more to check in here. Vanucci.
Be careful. We're expecting trouble.
My clever friend Vanucci, planning to escape they tell me.
Yes.
lt's impossible.
How can he get out of his cell without the keys?
Nothing is impossible for Vanucci.
-Everything all right, Doctor? -Yes.
-Good-bye. -Good-bye.
All right, Doctor. Come out quickly.
Why were you so worried? He gave me no trouble at all.
We can't be too careful with that one.
Arrivederci, Dottore. See you next month.
One hundred.
Help.
Seven hundred.
Eight.
Help!
What's that?
Help!
-Untie me. Get me out. -Doctor.
lmbecile! lmbecile! He's escaped.
Vanucci has escaped.
lmbecile! lmbecile.
You're pulling the hairs on my legs.
l'm sorry....
Never...
...happened to me before.
Let him pass.
Never in my life have l been so humiliated.
First l am trussed up like a chicken....
He'll never make it. They'll get all of us.
lf you're just going to cry, sit in the car.
Hey, look.
l don't care about my instruments but what about my dignity?
-You're arresting me. Let go of me. -Who's going to give me back my dignity?
Start the car!
Start the car!
Faster. Can't you go any faster?
Still crying? Coward?
Do you want to spend the rest of my life in prison?
-Go faster! -Slow down.
The police.
The police are looking for a fast car, so we go slow.
lt's a genius sitting in the back. A genius.
Take me home.
Home? ln one hour, every carabinieri in Rome will be looking for you.
l still have one hour to be with my mamma and my sister. Take me home.
Now give me my suit.
What suit?
-Didn't you bring my suit? -No.
Did you want one?
Mamma!
Cinquanta under the ''O.''
Ventidue under the ''G.''
Ventitre under the ''l.''
Quattro under the ''B.''
Check your cards, please.
The wheel spins and the number is...
...Diciotto under the ''G.''
Do we have a winner?
Mamma, it's me Aldo.
Hold your cards, it's not a winner.
Novanta under the ''N.''
Mamma, what's going on here? What is all this?
lt's bingoli. You want to play?
Give him a card.
lt's 500 lire.
ls this all you have to say to me after seven months?
Me, your own son?
l have no son. l have a due under the ''B.''
Riconto, please.
A due under the ''B.''
-Due under the ''B.'' -Pay attention!
-Pay attention! -l didn't understand.
Mamma, is this how l find you, the mother of my sister, running a bingoli game?
What should l do? Rob a bank?
l am a mother, not a fox.
l am not a Fox, l am a son.
You are not a son, you are a disgrace.
Shame on you.
A son's place is at home to take care of his old mother.
And his helpless sister.
Like her son, her son, her son, her son.
Yes, it's true.
Shame on you! Shame.
Spin the wheel, Teresa.
No, l forbid it.
Do you hear me? l forbid it.
The police are on their way.
Quattro under the ''B.''
Nove under the ''l.''
-Hey, you! Get those out of the way. -No, you take your car back.
-Mamma, where's Gina? -Riconto, please.
-Mamma, tell me. -Teresa, ecco.
Sedici under the ''G,'' under the ''G''! Where is Gina?
Where? On the streets, that's where.
You mean my sister is a....
Bingoli.
And we have a winner.
No, l don't believe it.
lt's true.
Cinquanta under the ''O.'' Ventisette under the ''l.''
Who told you this lie?
Lie? Go see for yourself.
She's on the Via Veneto right now.
-Go see if it's a lie. -Right, l will.
-Father. -Bless you, my son.
Ciao, pussycat.
Champagne, subito!
You know she's only 16, you dirty old man!
Father, please, l do it for a living.
Get away from me. You'll spoil everything.
l'll take care of you later. After l've rip his eyes out of his head!
Cut!
-Look out! -Pig!
You don't know what you're doing.
Of course l know what l'm doing. l'm making a movie.
-Movie? What do you mean, a movie? -l'm acting, he's acting.
He's directing.
We're making a movie and you've spoiled the best scene.
lt's true, Father. lt's the truth.
A movie? Where's the camera?
Where's the camera? There! There's the camera!
l don't believe you. When did you become a star?
This morning. lt's a small part, but l'm wonderful.
-How much do they pay? -l don't get money.
You let a dirty old pig kiss you for nothing?
That's worse than taking money. We're going.
-l want to be a movie star! -Father, give me a break.
-Let's go. -l'm ready.
Never. The films are sinful. They are sinful.
All right, you're fired.
No!
All films are sinful.
-Lady, you want to be in this film? -Yes.
Go home all of you...
...and pray.
Pray for our salvation.
There has been enough crying.
Take this soap and wash those lips off your face.
l hate you.
l'll hate you till l die.
l hate you.
And thank you for reuniting my family.
lf l can't trust you, you are to stay in your room until you are 21.
l'll go where l want and when l want.
Can you say the same? Fugitive.
Now just you listen to me, you....
-Delinquent. -Sneak.
-Harlot. -Coward.
Tramp. Starlet.
You are never to mention acting again and you are to put down that flower pot.
She never misses.
Like dogs on the street they fight.
lf only your papa were alive.
l am the papa now. When the papa goes, the son becomes the papa.
l am the papa, Mamma.
Everything'll be different. We're going to be rich.
l'll send Gina to a wonderful new school...
...and l'll buy you a lovely new kitchen...
...with shiny new pots and press buttons.
l don't want buttons.
l want grandchildren.
You hear that? Your mamma wants grandchildren.
You're a crook. Steal her some.
Mamma, turn around. l am going to hit Gina.
Go on, hit me. You don't know any different.
Crook! Fugitive!
You can never walk with your head up and say, ''l am Aldo Vanucci.''
l won't live that way. l'm going to be me.
l'm going to be rich and famous...
...and people will point to me in the street and say:
''That's her! That's Gina Romantica.''
Gina Romantica?
l'm changing my name.
l don't like Vanucci.
You won't change your name, or become a movie star...
...and you will do as l tell you and l tell you this:
l am Aldo Vanucci...
...and l am proud of it...
...and l will shout it to the world.
l am Aldo Vanucci.
The police.
The police.
Remember, l'm the papa and the brother, so don't say nothing.
Understood?
No.
Tell your son that we'll get him, like we always get him.
Are you all right? Mamma, please.
Speak to me. Say something. Mamma, please.
ls this what l raised my children for?
l won't watch.
Do what you want with your lives.
l don't care because mine will soon be over.
-No, Mamma. -Let me go.
-l want to die in front of my neighbors. -No, Mamma.
Perhaps l have failed you and Gina...
...but the Fox...
...will not fail.
lt's Vanucci.
There's been a change in plans. The Fox is out of the tree.
We're taking the gold-of-Cairo job.
Tell the contact to meet me at 8:00 at the Grotta Rossa tomorrow night.
Understood?
What?
You tell your papa the message...
...l give now when he comes in.
Yes?
Good. Bye.
This is the famous Red Grotto restaurant. Typical early ltalian.
You're entitled to one plate of spaghetti, one glass of wine, one song.
Please tip the musicians, and l'll meet you on the bus.
Please, come in.
-Where's the contact? -Number six table.
That's a very beautiful contact.
Excuse me, it's a little crowded at my table.
May l join you?
By all means, Signor Vanucci.
We don't wish to attract attention, do we?
Please excuse these over-elaborate precautions.
But l think you are far less conspicuous...
...talking to a beautiful woman...
...than to a swarthy-looking man in a fez.
True?
True.
And far more delightful.
Good.
We see eye to eye even though we're back to back. My name is Okra.
The girl.... The girl is unimportant.
Order drinks.
Waiter. Three whiskeys.
Two drinks. l'm not with you.
Sorry. Two.
We can't afford mistakes at this stage of the game.
Can we, Signor Fox, or should l say ''partner''?
We are not yet partners, Signor Okra.
-Cigarette? -l do not smoke.
But the girl does.
One whiskey, one wine.
You are with the tourists.
Now then, my proposition.
lt would be better if l held your hand.
That's better. You were saying, please?
l'll come directly to the point.
My confederates and l, we have in our possession...
...over 300 bars of gold bullion.
Where is the gold now?
Somewhere on the high seas.
lnteresting. Continue.
l'll be brief.
Take your time. No hurry.
l can't hear you. What are you doing?
l am throwing off suspicion. Keep talking, please.
My clients, extremely powerful men...
...expect delivery in Rome on the 28th...
...two weeks from today.
ls this possible?
Everything is possible.
This is my offer.
For the plan and execution of importing the gold into ltaly and delivery to Rome...
...l offer to you 25 percent of the profits.
-Are you satisfied? -Not yet.
l warn you, my clients are impatient men. 30 percent.
l'm sorry. l can't hear you.
40 percent is the loudest l can talk. Did you hear that?
l can hear it, but l don't want it.
Then what do you want?
More meetings.
lmpossible. 50-50, my last offer.
We must take what we can get.
l can see now why you're called the Fox.
l suppose that we have a deal, Signore.
Considered.
May l say that it has been a great pleasure...
...doing business with a man as beautiful as you.
Everybody back on the bus.
Bye.
Next stop, Mamma Luigi's.
Can l have your pizza orders now, please?
No market.
Another national holiday.
We won't eat today.
That's right. Tell the world where we are, imbecile.
He's thinking.
He has three more days to think of a plan.
They want the gold on the 28th.
Who is it?
Friends.
Come in.
The police.
Just a minute.
l'm not dressed.
The police are here.
Don't you hear us? lt's the police.
Stop thinking for a minute. The police are here.
What's happening? Where am l?
You're in the bathtub and the police are here.
-The police? -Yes.
Open up. Open up or we'll break it down.
-All right, where is he? -Who?
ln the bathroom....
All right, Vanucci. Come on out.
You tell Vanucci l'll get him.
Because one of these days he's going to expose himself.
Yes!
She's gone.
-What? -The Via Veneto again.
This time l kill her.
No, no, no.
Gina's a good girl. She's just young, that's all.
Not like that.
How would you like that, my dear?
Caught you again.
-Get away from me. -What's wrong, officer?
Hey, you! Watch out, you're in the picture.
l warn you.
l warn you. No more pictures with my sister.
lt's not a movie, it's not.
Mein camera!
Excuse me.
Come on.
That was a real producer and he was going to give me a part in his film.
-He had a contract in his pocket. -A fountain pen in his hotel room!
ls this a better life? Always running away.
Stand aside. Don't block the entrance.
Yes, that's right, stand aside. Stand aside, please.
Here he comes!
-l was here first. -Who is it?
-lt's a movie star. -Which one?
Who cares which one. lt's a movie star.
Who is it? Can you see?
Just his nose. Looks like Marlon Brando.
-What did she say? -Who is in the car?
Marlon Brando's nose.
lt's Tony Powell.
Come on, let's go.
l don't want to go. l want to see Tony Powell.
Silence! Hold it!
Give him a break, kids. Give him a break. Let him through.
They're crazy, that's what they are.
Stop it, you crazy kids.
They're insane. ls this what you want, to have the clothes torn off your back?
Yes, l want it. Give it to me.
l want it!
-There he is. -Give it to me!
Who wants his collar?
Quick! Let's hide in this cinema.
No, l've seen this picture.
See it again.
There's a Tony Powell picture just there.
Come on then.
Here, in here.
-Tickets? -Carabinieri.
Carabinieri.
-That's him. -Pete, not here.
-Who? -Tony Powell.
We just saw him in the Excelsior.
Sign here. Pete, pIease Pete.
Why isn't he fat?
lt's an old picture.
l want to talk to the overseas operator, please.
-That's right. -l wonder what's wrong with my stomach.
What did they put in that lasagna?
Lasagna? At your age, it's hard to digest Cornflakes.
Operator!
What do you mean at my age?
Just take a look at this.
l've still got the pupils of a young boy.
Tell it to me, but don't try telling it to the camera.
l want to talk to America.
The United States of America!
Look at those teeth, Harry.
Just look at them.
How many people in the world over 40 can still say they have their own teeth?
How many people in the world over 50 can still say they're only 40?
l want to talk to Hollywood, California. Hollywood!
l am speaking English.
Look at this.
Look at this. Solid as a rock.
Give me a hit in the stomach.
l'll hit you later. l'm making a call.
That's right. Sam Duffelman of Duffelman Studios.
Just one shot in the stomach.
Excuse me, operator. l have to hit someone.
-You satisfied? -Satisfied.
-Now give me an answer for Sam. -Later.
l've got to take a shower.
Hello. Beverly Hills 4-2222.
No, 2222.
They're getting him. You have to give me an answer!
-What are you doing? -Looking for my vitamins.
-Did you see them? -Why not put your glasses on?
Why don't you send for a wheelchair and have me rolled into the old actors' home?
l don't care what it says in Who's Who, l still feel 35 years old.
You can tell Sam Duffelman for me...
...if he wants me to play a 64-year-old sheriff in his next picture...
...he'll have to wait another 20 years.
Who's going to believe you're 64?
63-year-old ladies.
Remember that trench coat there is your bread and butter.
-Without it you have 10 percent of nothing. -You don't have to be 64, you can be 60.
l don't want to be 60. l want to be 40.
How can you be 40 when your son is 35?
They can make the son 25.
How can they make the son 25 when his wife is 30?
l can be his brother.
Tony sweetheart, l wish we could turn the clock back for you.
We all want to stay young.
You can't lie to the close-up lens, baby. You know that.
Try leading the Charge of the Light Brigade in a corset...
...they'll laugh you off the screen.
l'd rather get laughs than sympathy.
-You all right? -Of course l'm all right!
l was only trying to prove to you how agile l am.
He's a good kisser.
Do you know how many good kissers are starving in ltaly?
But if you're in the movies, they give you millions of dollars...
...women tear your clothes off, police protect you wherever you go...
...l tell you it's....
Wait a minute.
Police protect you.
Did you hear what l said?
That's it, l've got it!
l've got a plan!
Come.
l've got a plan!
Quiet! Quiet on the set.
Ready, Mr. De Sica.
Ready with the camera.
Quiet everybody.
Quiet on set.
Please, save the applause for when l'm finished.
This afternoon we shoot the scene...
...when Mr. John Huston, Moses...
...leads the slaves into the desert.
l want more sand in the desert.
-More sand. -More sand!
Let me look at the slaves.
Bring on the slaves.
Left, left, left, right, left, right, left.
Come along there, pick up your step.
Left, right, left.
Slaves halt!
Right turn.
Ready, Mr. De Sica.
Good.
We start with the sandstorm.
Please, Mr. Huston....
Clapper.
Roll them.
Una prima.
Action!
Start the blowers.
-More sand! -More sand!
More sand!
-More wind. -More wind!
Stop.
Cut!
Where is the camera?
And the lamps?
Sevalio!
That's it.
That's good for landing the gold.
Beautiful little boy.
Smoke?
Beautiful little boy, tell me, is there a good hotel in this town?
Giovanni, get away from there. Don't talk to strange people.
Nice friendly little town.
lt's like this in all these poor little villages, Director.
They don't trust people from the city.
How my heart goes out to these poor forgotten people.
Dear poor forgotten lady.
How would you like to have this?
Gina, sweetheart darling, go and stand on the film fountain.
There's a good girl.
Now then, for this shot, l absolutely need to have the 14 reflex....
Not that reflex. With a 75 opening.
Put that Hollywood film camera over there.
Hurry. Time is money, time is money.
Come, come, come.
We begin with a long, full tracking thing.
Panning the camera, putting it down.
They are making a movie!
They're making a movie in Sevalio!
Papa, come back. You're sick.
The movie. l want to be in the movie.
Rosa, close the shop. We are going to be in the movies.
Mr. Director!
Here's my Giovanni. Take my Giovanni, Mr. Director.
Let me through. They're staying at my house.
l'm your wife, tell them. l'm your wife.
-Director, l'm the café owner. -l'm the Mayor.
Yes, yes. Federico Fabrizi.
Don't push!
-Don't push. -Don't push.
Don't push. Don't push.
Everybody will be in the picture, but don't push.
Don't push!
What's happening?
Get away. l was here first.
l demand to know what's happening. l'm the Chief of Police.
Let me through. Let the police through.
Permit me!
Rizzuto, Chief of Police. What's going on here, please?
We are trying to make a movie here.
Can l see your permit, please?
-My what? -Your official permit.
lf you don't have a permit, you can't make a movie.
Stop it.
We should have a talk in your office before they kill you.
-Please. -lt's always like this when l make a movie.
Please, please, please.
...starring Gina Romantica...
...and the internationally handsome star Tony Powell.
Well, Signor Fabrizi this is a great honor for Sevalio, a great honor.
Have a cigar.
l couldn't take your last one.
Thank you.
You say you actually know Signor Tony Powell.
l am his director, producer and best friend.
Yes, but, l mean you actually know him to talk to...
...in the same room with him, up close.
Just the same. Exactly the same as you and l are talking now.
Cigarette?
Thank you.
English. Very nice.
Now then.
The business of the permit.
Just because l am Federico Fabrizi, the Starmaker...
...l don't expect to get any special treatment.
Yes, interesting.
l'm glad we agree on that.
What's interesting?
You must excuse me, but...
...every time l see a face with good bone structure...
...immediately l picture that face up on the screen.
You were saying about the application?
You must file an application in Rome which goes to the district supervisor...
...and then to me for final approval.
ln what way do l have good bone structure?
ln films, either you have got a face, or you don't got a face.
You have got a face.
-Can l have it, please? -What?
-The application form. -Yes.
l'm sure l've got one in here somewhere.
And you say l have a face?
l noticed it when the light hit you from the side.
Did you look on the shelves?
Not yet.
Everything is in such a mess.
Here it is. Here it is.
Permit for parades and special events.
-Sorry. -lt's all right, you've good bone structure.
Now then you would be required to have this filled out in triplicate...
...and then it must be brought to be stamped at the bureau of....
-Anything wrong? -Please continue, please.
The Bureau of Approvals which would....
l wonder, l wonder.
No, l couldn't ask it.
What is it? Ask me. Go ahead, ask me.
l couldn't ask you. You are a policeman.
That's what policemen are for. To ask them things.
Go ahead, ask me.
l couldn't ask you to actually act...
...in the picture because l only use professionals for the talking parts.
No, l couldn't act. l'm a policeman.
-Don't ask me to act. -Of course not.
What were you going to ask me?
lf, after l got the permit to film in Sevalio...
...if, during the shooting of the film...
...my sensitive camera were to come across an interesting face...
...with good bone structure...
...a face that could be...
...in a crowd, sitting at a café.
-Walking along a street. -Walking along a street.
Who could object to that?
You would not be acting because you would not be saying anything.
l couldn't say anything because that would be acting.
l could say, ''Good morning.''
That wouldn't be acting. l always say good morning.
There is a character in this film that says ''Good morning.''
lt's a milkman, l could change it to a policeman.
l wouldn't want you to change the story.
No, l just take out the milkman and put in a policeman.
And l'm a policeman, so l could do it.
Yes, it's settled.
You start the picture. l'll take care of the application.
That is a wonderful wink.
Maybe we could use that wink when you say, ''Good morning.''
Whatever you want. You're the director.
Again my deepest gratitude.
And, good morning.
Good morning.
Such a deep rich voice.
Excuse me, but we film people...
...must give vent to our feelings and l have just vented.
Good morning.
Good morning.
Good morning.
You have the plan?
Yes. Brilliant in its conception, daring in its execution.
How do you get the gold into the country?
On a ship in broad daylight with police protection.
Trust me. l'll see you later in the stable.
''You make me feel so young
''You make me feel as though spring has sprung
''You make me feel so young
''You make me feel so young
''You make me feel as though spring has sprung''
Ever heard of an ltalian director called Federico Fabrizi?
No.
He wants to talk to you about a picture.
-What? -A neo-realistic film.
Send him up. What's neo-realism?
No money. Send him up.
Cleopatra suite. Signor Fabrizi. Fifth floor.
Let's get it straight. l do the talking.
Don't accept nothing from him unless l say so.
l'd better wear my trench coat or is it too much?
l'll check what he's done, see what kind of money he's offering.
l'm going to control the script, casting, everything.
-Right? -Right.
l'll sit here so when he comes in he'll get my best side.
l've got it.
l'll get it in black and white and l'll get two fares back to California.
When he comes in, l'll make an entrance.
Sit down and let me handle this.
Just sit down. You're a star.
Pull the shades, will you?
l don't want to squint. lt crinkles my eyes.
Federico Fabrizi.
Sorry, l don't speak ltalian.
-l am Federico Fabrizi. -l'm Harry Granoff.
l'm Mr. Powell's manager. lt's so nice to see you.
Where is he?
Where is my Tony?
Where is my beautiful Tony?
There he is.
There is my Tony.
lt's Fabrizi.
Look at that skin. Look at that skin like a baby.
What's the matter? You never get old like the rest of us?
l love him. l love him.
Mr. Fabrizi, have we ever met?
You hear that voice?
You don't listen to that voice.
You feel that voice in here....
And you wait....
-You wait till we start to work together. -Work together?
Cigarette!
Cigarette, Harry.
He's meditating.
l see a beach.
The waves pounding against the shore.
A beautiful girl, her heart beating against her breast.
l see a tall, handsome man.
Harry, a light.
-What was l seeing? -A tall, handsome man.
l don't see it.
ln a trench coat.
Now l see it, now l see it.
l can hear their hearts beating as one.
l can hear the roar of the ocean.
And finally...
...l can hear the music of love.
You're not crying?
My music does not make you cry?
lt's beautiful.
Hello? Just a minute. Milano.
Hello? Sofia!
Hello, my darling.
No, Sofia, l told you. l'm busy with Tony Powell.
l'm sorry, Sofia, you'll have to get someone else.
Sofia, l'm sorry, my darling. There's no part for you in the picture.
Would l lie to you?
Sofia, don't cry.
Tony, talk to this girl, she's hysterical. Talk to her, please.
Hello, Sofia?
She hung up.
She'll kill me. lt'll be in all the newspapers.
-Why don't we use her in our picture? -What picture?
Why does he yell?
Why does this man yell all the time?
lf l'm to have trouble with these yells, l'll do the film with Sofia. Get Milano.
-No, no. -Milano!
No, you won't have any trouble with him. l promise you.
Now, Harry! Take it easy, will you?
What did l do?
l just want to know what this picture is about, that's all.
That.
That is what it's about.
Windows?
No, people. lt's about people.
Can l see a script?
ln here is my script. ln here is my story.
Tony plays the Fox.
-An animal picture. -No.
The Fox, a master criminal with an ingenious plan to smuggle gold into ltaly...
...and a surprise ending.
-What's the ingenious plan? -That's the surprise ending.
l love it. When do we start shooting?
The picture will be shot on the 28th.
-What about a contract? -Contract?
There is my contract.
Do l get a copy for my lawyer?
Tony, until next week.
Right, F.F.
F.F.?
Federico Fabrizi.
Tony, try to get some sleep. l think l see a little wrinkle.
Wrinkles?
-What about the girl? -What girl?
On the beach, the love story. Remember, she's got to be a name.
Don't you worry. l've got the greatest new name in ltaly.
-Who is she? -Gina Romantica.
-Can we get her? -lf l got him, l can get her.
Arrivederci, and l love you.
Where does he see a wrinkle?
Smile, Gina.
This is the moment you've been waiting for.
When l see Tony Powell, l'll believe it.
How do you like this reception?
lt's beautiful, beautiful.
Turn your face this way. The light is better.
-So? -No, like this.
Wonderful, wonderful.
What a blessing when you chose us.
This is a golden day for Sevalio.
Yes, golden.
He's here. He's here.
-Start the music. -l say that! l am the Mayor.
Start the music.
Harry, these people act like they really love me.
Me. Little Tony Ampulski from Jersey City.
lt's him. lt's really him!
Ciao, grazie.
Thank you very much.
Wonderful people!
Federico! lt's good to see you.
And you. The Mayor.
And our wonderful Chief of Police.
-Chief of Police. -Good morning!
Good morning to you.
Signore e signori, this indeed is a great day for Sevalio.
lt was just 67 years ago...
...that l was born in a little house on top--
No, no, no. SiIenzio. Grazie.
All right. All right!
l, Giuseppe Molini, 43 years Mayor of Sevalio...
...wish to present you with the key to our glorious city.
Thank you.
Grazie.
l am deeply, deeply touched.
Beautiful speech!
And now...
...l want to present to you the man who's made this all possible.
ltaly's greatest director.
Truly a genius. Federico Fabrizi.
Thank you, thank you.
As director of The GoId of Cairo...
...l shall be needing your complete cooperation...
...from the smallest little child...
...to your most illustrious Chief of Police.
Good morning.
Good morning.
Now comes the moment you have all been waiting for.
Extremely handsome, Tony Powell...
Grazie, grazie.
...meet your co-star...
...very beautiful...
...Gina Romantica.
l'm very glad to know you.
Cameramen, technicians, we must take a picture of this.
We are making screen history today!
l now declare this a legal holiday.
The butcher and the barbershop, will be closed half a day.
You know what you are? You're a beautiful man.
You're a beautiful girl.
That's right, we're both beautiful.
Do you like being beautiful?
-l'm not really beautiful. -Yes, you are.
You're more beautiful in person than you are in real life.
You're very sweet and very drunk.
-Can l have your autograph? -Harry, pen.
-l don't like it. -Don't drink it.
Not the wine. l don't like the whole set up.
Something smells that doesn't smell right.
You know your problem? You've dealt with phonies all your life.
You've never seen honest people like these before. Look at them.
-What time do we shoot tomorrow? -Be on the beach at 6:00.
-l'll be there at 5:30 -Don't forget to shave.
You're the director.
Signor Fabrizi, telephone.
-My wife. -Very pretty.
Be on the beach tomorrow, 6:00.
-Fabrizi, who's calling? -Okra.
Okra? Where are you?
Right behind you.
-What are you doing here? -Just keeping my eye on things.
-Don't you trust me? -Do you?
-Absolutely. -Neither do l.
How come when l checked Hollywood, not one producer ever heard of this Fabrizi.
You checked Hollywood. Check someone here in ltaly.
All right. l will.
l'm all right. l'm all right. Fine.
-Will the ship be on time? -l don't make mistakes.
Sofia. lt's no use crying, my darling.
And don't call me here. l'm sorry. Good-bye.
Harry, this is Fred Okra, my co-producer, invented ''Okrascope.''
This is my personal private secretary.
-Some face? -lsn't it, though?
Listen, kids, when we do the scene with the landing of the gold...
...let's use some stuff that looks just like real gold.
Like real gold?
-Pronto? -l want to speak to Rome, please.
Rome. lt's a silly in ltaly.
-Roma? -No, not Roma, Rome.
-Where to, Mamma? -The bus station.
l'm going to Sevalio to see my children.
She's leaving now.
We are having engine troubIes. I think it must be the engine.
What?
We'II have to Iook at the engine.
Federico!
Good morning.
Good morning, star. Good morning, co-star.
And hundreds of extras. Good morning.
Good morning.
The first scene that we shoot will be the landing of the gold...
...which should be here any minute now.
Director!
Stall.
-Stall. -What?
The ship is having engine trouble.
Charlie Baker said there's no Federico Fabrizi in the ltalian Director's Guild.
Relax, Harry baby, will you? That man's a genius.
-What am l going to do? -You're a director. Make a movie.
Correction! There's been a change in the shooting schedule.
lnstead of doing the landing of the gold, we will begin with the straight acting.
Quiet when you're being quiet. Quiet.
Now then....
-Ready on the camera? -Ready.
-Ready on the lights? -Yes, ready, but--
Good. You ready on the make-up? Good, good.
Action!
What do we do?
Stop. Cut the film. Stop the lights.
Cut everything. Cut the music, sound.
Don't move anybody. Stay where you are. Cut. Stop!
Tony, sweetheart, you got a question?
Never be afraid to ask questions, sweetheart.
lf you don't ask questions, it's the only way we'll get along, darling.
What are we supposed to do? What's the scene all about?
You want to know what this scene is all about?
Wait, l have to think.
Quiet! Fabrizi's thinking.
Quiet!
l've got it!
Quiet, he's got it!
l've got it. l've got it.
l've got it! l've got it!
What?
Nothing.
-What? -lt's about nothing.
Tony, sweetheart...
...in this scene we have a great opportunity to make a wonderful comment...
...on the lack of communication in our society.
Two extremely beautiful people...
...sitting alone at a café...
...with absolutely nothing to say.
You get the significance?
lt's beautiful.
l love it, l love it.
Gina, technicians.
We take it from the beginning. Right.
When l give you the signal you do nothing.
Absolutely nothing.
l love it.
Try to get it right the first time? Good.
Good luck to you. God bless you.
Right, now.
-Ready with the nothing? -Ready.
Good.
And no action!
Good morning.
This is my son. He's a director.
That's Gina, my daughter. She's an actress.
Gina, Tony.
We are ready for the next shot...
...only in this scene, instead of doing nothing...
...we do something.
What?
-Running.... -What are we running from?
From yourselves.
You get the symbolic meaning?
No matter how fast you run...
...you can never run away from yourselves.
-Beautiful. -Ready with the legs.
Good luck both of you, and action.
Wonderful.
Lunch, everybody.
How are you?
You didn't tell me you could run like that.
-Did you like it? -Wonderful.
Thank you.
No question.
Now, Tony...
...in the next scene...
...you are looking for Gina and Gina is looking for you.
When you find each other, you run into each other's arms.
And what is the meaning of this scene?
Man's search for his own identity.
lt's a man's search for his own identity.
Now, you townsfolk...
...in a moment l want you to walk across the square.
We've dropped anchor to fix the engine. Now the anchor's stuck.
-What? -We're going to take a Iook at the anchor.
Tony, Gina, my darlings.
A director's job is never finished.
My darlings, listen.
l know how tired you must be, because l know how tired l am.
But, we must sacrifice our tired for our art.
Because art is health.
Art is love.
And art is...
...art.
Wonderful. Gina, you stand here.
Tony, my darling you go over there.
Brilliant!
Right.
Action!
That's it. Slowly, slowly.
Now you see each other.
Now then, when l drop my arm...
...you rush towards each other...
...and a few of you townsfolk...
...you walk slowly across the square.
And now.
No, no, no. Stop.
Please, Federico, will you have them stop it?
Stop, stop, stop.
Back everyone. Back.
Everybody back. Get back.
No. Cut. Stop it.
Cut, cut, cut.
Stop it!
Shame on you, Sevalio.
You are a disgrace to your village and to the motion picture industry.
Either l get complete cooperation or you're all out of the picture.
l want you to go back to your homes and think this over.
Remember, there are many other villages who want to be in the movies.
You are all dismissed.
l must talk to you.
Who's talking? You or him?
Me!
l didn't know you had a voice.
He doesn't allow me to talk to anyone.
l haven't used a telephone in six years.
Poor child. You're trembling. Are you cold?
lf he knew l was here, he would kill me.
Swine.
Tony!
What?
-Tony? -Who is it?
lt's your co-star...
...beautiful Gina Romantica.
l'll be right there.
Why do you stay with him?
l can't run away, l'm afraid of him.
You feel any warmer now?
Would you like to...
...get under the blankets?
l can't stay.
l just came to warn you not to trust him.
l don't trust him.
l don't trust him for a single moment.
Can l come in and talk?
Well, it's very late.
No, it's not. lt's very early.
The man's got no honor. That's his trouble.
He's not like you, l can trust you.
You are honest, l can see it in your eyes.
Yes, yes.
Keep looking into my eyes and trust me.
l've got to tell you something about me. l'm not really what you think l am.
-Can l tell you a secret? -A secret?
He keeps me a prisoner, a slave.
-He is evil and cruel. -Cruel and evil.
l'm sorry, but l didn't understand one word you said.
l didn't say anything. l was kissing your ears.
l saw a girl do it to you in a picture once. Did l do it as good as her?
No?
That was...
...a long, long time ago.
l want to be a great actress.
Will you teach me?
You kiss very well.
For a girl, yes.
But not for an actress.
You see, no style, no finesse.
l'm so miserable, so unhappy.
But what can l do?
Keep talking about it, if it takes you all night long...
...keep talking about it.
Teach me to be a wonderful movie kisser.
Please.
l'm sorry. l just can't keep my eyes open.
l don't have enough experience.
No, l've had too much.
After all, l'm...
...37 years old.
You look 27.
Everything about you is so young.
Your body, your face, your hair.
-l like your hair when it's all mussed. -No, don't!
Are you all right?
Get me a ladder.
Tell me again how rotten he is.
He's rotten, rotten.
Rotten l tell you, rotten.
-Yes, who is it? -Okra. Let me in.
Don't worry, leave it to me. Hide in the closet, quick.
Open up.
Open up.
-What's wrong? -Where is she?
Where is she? l'll kill her if l find her.
-What's wrong? Who are you looking for? -You know whom l'm looking for.
My sister.
Your sister? She's your sister?
Go back with your brother and shame on you, shame.
lf Papa were alive, he'd kill himself.
SevaIio. We've sighted SevaIio. Get the boats ready, we're coming in.
lt's coming.
lt's coming. The ship is coming.
How'll they shoot in this fog or find the camera?
He'll find it.
lt's crazy, smuggling gold in front of 300 people. lt's crazy.
Shut up. lt's the last movie l ever do with you.
There it is! There it is!
The ship is here! The ship with the gold is here!
Places for the landing of the gold. Everybody up.
-Am l in this scene? -Without you, l couldn't do it.
Once the gold and the boat is on the shore...
...l want you to load it into the truck yourself.
l made it very heavy so it looks real. Can you do it?
l never use a stuntman.
You can't work without a trench coat. lt's your trademark.
l've got a new trademark, it's called acting.
Aldo! Gina! lt's Mamma.
-What's she doing here? -l sent for her to see me act.
Act quickly. We don't have much time.
Get those crowds out of there. l want the truck down on the beach.
-Get it as near the water as possible. -Back, everyone!
Back! Come on! We've got a picture to make here.
Come on all of you. Everyone down to the boats.
Come on! Hurry! Faster!
Get that gold back to the shore.
lnto the boats, all of you!
The first ones back will be in the picture. Come on!
Rome, give me Rome.
-Rome? -Yes?
-We've found him. -Found who?
Vanucci. He's on the beach at Sevalio.
Looks like he's making a movie.
What are you waiting for? Go and arrest him.
lt's not possible, sir.
He's got his whole gang with him, hundreds of them.
Stay where you are. I'II contact the IocaI poIice.
Yes, sir.
Look, they're nearly there.
Good morning.
Good morning.
Pull!
-Pull! -To the right.
Pull!
They're unloading the cargo.
What kind of cargo?
lt's very big, and it's shaped in bars and it's the color of gold.
What do you think it is?
Big bars of gold.
Vanucci.
You idiots, it's the goId of CairoI
Report every movement. I'II inform InterpoI.
At Sevalio?
Alert all stations, Sevalio area. They've found the gold of Cairo.
Send reinforcements. We want Vanucci and all concerned.
Come on there! Come on!
Aren't you supposed to be filming this?
Me? Yes.
Come on! Faster, faster.
Everybody, you're all in the shot.
Get that gold out of the boats and into the truck. Come on, quick.
''We're in the movies now everyone young and old
''Has a part to play''
That's it, keep the gold moving.
This is what you've been waiting for all your lives.
Your dreams have come true. Your ship has come in.
Let me see it in your faces. Let me hear it in your voices.
Sing, Sevalio! Sing!
That's it! Faster, faster.
Sing with your hearts. Show me your happiness.
They're loading the truck.
Get the top of the hiII. We'II bIockade the road.
-Is that poIice headquarters? -Si.
-In SevaIio? -Si.
-Is the Chief there? -He's not here, he's in the movie.
Everybody's in the movie.
''We have a director
''We have a producer
''We're going to be famous some day''
Come on.
Keep singing, Sevalio! Keep singing with joy, with happiness.
With freedom!
The phone!
Get away. You're spoiling my shot. Get away, you fool.
Good morning. Rizzuto, Chief of Police.
What the deviI are you doing down there on the beach with crooks?
Why weren't you at your post? I've been trying to reach you for 20 minutes.
-That's Vanucci. -What?
Are you Iistening? VanucciI You're steaIing the goId of Cairo with him.
Do you reaIize you're an accessory before, during and after the fact?
Softening of the brain.
Get out!
I want Vanucci dead or aIive. Do you hear?
Don't leave!
Mamma! Gina! lnto the car.
''And everyone is going to be a star''
-Are you all right? -Of course, let me finish my scene.
-Act, manI Do you hear me? ActI -Yes, sir.
-Don't just stand there, idiotI -Goodbye, sir.
''We have a director''
Stop them! Stop them!
Sing Sevalio, sing!
Faster, idiot. We'll never catch them.
Where is he? l can't see him.
Faster!
Mamma, this is my girlfriend.
How do you do, darling?
You can let me off at the Embassy. l want to get off at the Embassy.
Car 17. Where are you?
This is Car 17. We are right behind you.
No, we're in front of you.
Stop the car. l think l hear something.
Quiet, everyone.
lt's a train!
l'm too young, Harry baby. l don't want to die.
l'm too young to die.
Mamma miaI
l wasn't afraid.
Start the car.
l don't want to drive any more. l resign from the police.
-Start the car. -l wasn't afraid.
-l wasn't afraid for even one second. -l know.
l wasn't.
Really, l wasn't afraid.
-Turn to the right. -No, the left.
Faster!
Let me drive.
You are driving.
Okra!
Faster.
Car 17, where are you?
l demand to see the American consulate.
SiIenzioI
Will the accused please stand?
-All of them? -All of them, Your Honor.
There's no room for the jury.
Nevertheless, they were all accomplices in the crime.
Another outburst like this and l'll have you all thrown out of court.
How does the accused plead? Guilty or not guilty?
Not guilty.
Just one of you speak.
-Who are you? -Who?
Federico Fabrizi, the film director.
Like all of these good people...
...an innocent bystander.
He is also Aldo Vanucci, an escaped convict.
l object on the grounds that he's trying to discredit a witness.
One case at a time.
Who's responsible for smuggling in the gold?
That's what l want to know.
As an international film director, l asked for fake gold.
Some crook used real gold instead. l suspect....
l suspect hanky-panky.
Your Honor!
This man is trying to make a mockery of justice as he has done all his life.
He has been nine times in jail.
Five times he has escaped.
The law must not be cheated again.
But who is guilty here?
This one. That one? All of them?
Perhaps we can decide after seeing the evidence.
Evidence? What evidence?
The evidence you have supplied us with.
The film you made in Sevalio, The GoId of Cairo.
Lights, please.
Bravo! lt's brilliant!
Brilliant!
Who is this man?
Mario Stavoli, the film critic.
lt's a work of art, a classic.
He's a genius.
What depth, what meaning. l cried...
-Out! Get this idiot out. -...like a baby.
What truth. What honesty.
lt's the greatest film to come out of ltaly in 40 years.
A primitive genius, a classic.
The man has made a classic.
Now the whole world's gone crazy.
But a crime has been committed against the state and somebody has to pay.
Who is it going to be?
All right.
Take away everybody but the children and grandmas and grandpas.
Your Honor, l beg you, l plead for mercy.
These people are innocent, all of them.
They've been misguided, misled.
Not for gold. Not for riches. But for the weakness of the human spirit.
Should we be punished for wanting to feed the hunger of an empty soul?
-Yes, take them away. -Wait.
lf anyone must go to prison, it's me.
For l alone am responsible for this crime.
Because l am a small crook, l go to prison. lt's only the big crooks that go free.
ls that justice?
Justice says that somebody has to pay.
l sentence you, small crook, to five years.
l accept it happily.
Knowing in my joyous heart...
...that a sister will write to her brother every day after school.
That a mother will be protected and cared for by friends...
...hardworking friends...
...and that a fine actor has realized...
...that true talent is never diminished by the passing years.
But don't you worry about Vanucci.
l will be out of jail...
...April 1st at 3:00.
Be careful, Doctor.
Vanucci, planning to escape again?
Yes.
l don't know why you worry. He won't give you no more trouble.
We can't be too careful with that one.
Arrivederci, Dottore. See you next month.
Help.
Help!
lmbecile, he's escaped. Vanucci's escaped.
You can't fool us this time.
Let me out. Untie me, fools.
ldiots.
My God, the wrong man has escaped.
CQ
Caccia alla volpe - After The Fox
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Chase The
Chasing Amy
Chasing Liberty
Chatos Land
Cheaper by dozen
Cheats
Cheats The 2002
Chelsea Girls 1966 CD1
Chelsea Girls 1966 CD2
Cheong Feng (1999) - Mission The
Cheonnyeon Ho 2003 CD1
Cheonnyeon Ho 2003 CD2
Cher - Live In Concert
Cherry Falls
Chicago CD1
Chicago CD2
Chicken Run (2000)
Chihwaseon CD1
Chihwaseon CD2
Children Of Dune Part 1
Children Of Dune Part 2
Children Of Dune Part 3
Children of Heaven The
Children of a Lesser God
Children of the Damned
Childs Play 1988
Childs Play 2 1990
Childs Play 3
Chimes at Midnight
China Moon
China Strike Force 2000
Chineese Ghost Story A 3
Chinese Ghost Story
Chinese Odyssey A
Chinese Roulette
Chitty Chitty Bang Bang
Choose Me (1984)
Chori Chori 1956
Choristes Les
Choses Secretes
Christiane F
Christine CD1
Christine CD2
Christmas Carol A
Christmas Story A
Christmas Vacation (National Lampoons)
Chronicles of Riddick The - Dark Fury
Chunhyang 2000 CD1
Chunhyang 2000 CD2
Cialo
Cider House Rules The
Cinderella 2000
Cinderella Story A
Citizen Kane
Citizen Ruth
City By The Sea
City Hall
City Heat
City Of God 2003 CD1
City Of God 2003 CD2
City Of The Living Dead 1980
City of Lost Children The CD1
City of Lost Children The CD2
City of No Limits The (Antonio Hernandez 2002)
City on fire 1987
Civil Brand 2003
Clan Des Siciliens Le - Henri Verneuil 1969
Clash of the Titans CD1
Clash of the Titans CD2
Class Trip 1998
Classic The (Korean) CD1
Classic The (Korean) CD2
Clearing The
Cleo De 5 à 7
Cleopatra 1963 CD1
Cleopatra 1963 CD2
Cleopatra 1963 CD3
Cleopatra 1999 CD1
Cleopatra 1999 CD2
Cliffhanger (Collectors Edition)
Cliffhanger CD1
Cliffhanger CD2
Cloaca
Clockers CD1
Clockers CD2
Clockstoppers
Clockwork Orange A
Close Encounters of the Third Kind
Close Encounters of the Third Kind (The Collectors Edition)
Closet The
Clownhouse
Club Dread
Clue
Clueless
Coast Guard 2002 CD1
Coast Guard 2002 CD2
Cobra Verde CD1
Cobra Verde CD2
Coca-Cola Kid The 1985
Cock - A Broken Leghorn (1959)
Cock - The Foghorn Leghorn (1948)
Cockleshell Heroes The
Cocktail
Cold Comfort Farm 1995
Cold Mountain 2003 CD1
Cold Mountain 2003 CD2
Cold Mountain CD1
Cold Mountain CD2
Cold Mountain CD3
Collateral 2004
Collateral Damage
Collector The
Colors
Colour Of The Truth
Coma (1978)
Comandante (Oliver Stone 2003)
Come And See CD1
Come And See CD2
Commitments The
Como Agua Para Chocolate
Company Man
Company Of Wolves The CD1
Company Of Wolves The CD2
Company The CD1
Company The CD2
Con Air
Conan The Barbabian (uncut)
Conan the Barbarian
Conan the Destroyer
Confessions of Sorority Girls
Confessions of a Dangerous Mind
Confessions of a Teenage Drama Queen
Connie and Carla
Conquest of the Planet of the Apes
Conspiracy Theory 1997
Control 2004
Conversation The CD1
Conversation The CD2
Cook The Thief His Wife And Her Lover The 1989
Cookies Fortune 1999
Cookout The
Cool Hand Luke 1967
Cool World
Cooler The
Cooley High
Cop Land
Corbeau Le
Corky Romano
Couch Trip The 1988
Counterfeit Traitor The 1962 CD1
Counterfeit Traitor The 1962 CD2
Countess Dracula (1970)
Country of my Skull
Cousin Bette
Cousins
Cover Girl (Charles Vidor+1944)
Cowboy (Delmer Daves 1958)
Coyote - Dont Give Up the Sheep (1953)
Coyote - Fast and Furry-ous (1949)
Coyote Ugly
Craddle 2 The Grave
Cranes Are Flying The (1957)
Crash
Cravan vs Cravan
Crawlspace
Crazy Beautiful
Crazy People 1990
Crazy in Alabama
Creature from the Black Lagoon
Crew The
Cries And Whispers (Bergman Ingmar)
Crime Scene Investigation 3x01 - Revenge Is Best Served Cold
Crime Scene Investigation 3x02 - The Accused Is Entitled
Crime Scene Investigation 3x03 - Let The Seller Beware
Crime Scene Investigation 3x04 - A Little Murder
Crime Scene Investigation 3x05 - Abra Cadaver
Crime Scene Investigation 3x06 - The Execution Of Catherine Willows
Crime Scene Investigation 3x07 - Fight Night
Crime Scene Investigation 3x08 - Snuff
Crime Scene Investigation 3x09 - Blood Lust
Crime Scene Investigation 3x10 - High And Low
Crime Scene Investigation 3x11 - Recipe For Murder
Crime of Padre Amaro The
Crimewave
Criminal Lovers (1999)
Crimson Pirate The
Crimson Rivers 2 - Angels Of The Apocalypse
Crimson Rivers 2 Angels of the Apocalypse
Crimson Tide
Criss Cross
Cristina Quer Casar
Critters 2 The Main Course 1988
Crocodile Dundee in Los Angeles
Cronos 1993
Crossroads
Crouching Tiger Hidden Dragon
Crow The
Crow The - City Of Angels 1996
Cruel Intentions 3
Crumb (1994)
Cuba
Cube2 Hypercube 2002
Cube Zero
Cure (Kiyoshi Kurosawa) CD1
Cure (Kiyoshi Kurosawa) CD2
Curse The
Custer of the west
Cut Runs Deep The 1998
Cutthroat Island (1995)