The Italian film-maker Lina Wertmüller broke ground when she was Oscar nominated for Seven Beauties, but her films were never calculated to win mainstream appeal
Lina Wertmüller’s first job in film was to scout out interesting faces for Federico Fellini. The Italian master was at the height of his success; she was an ambitious young puppeteer more interested in snatching her own location footage than honouring the duties of an assistant director. “I was the worst assistant, but that was overlooked because I was likable,” she says.
The film was 8½, the tale of a fecklessly promiscuous director abandoned by his muse. It wasn’t long before Wertmüller had cast her own mother and her card circle of elegant socialites, who went on to be fleetingly immortalised playing canasta on a beach, in the 1963 film listed by Sight & Sound as the 10th greatest of all time.
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