"The Sunday Woman" seems to have many ingredients for success: a superb (as usual) music score by Ennio Morricone, a first-rate cast (Marcello Mastroianni, Jacqueline Bisset (at her most exquisite), Jean-Louis Trintignant), and it's shot in Torino, a city rarely shown in the movies. However, the end result is rather weak. There is too much talk and not enough suspense. Part of the problem may be that nobody seems to miss the first murder victim that much, so you don't feel much urgency in discovering his killer. The film occasionally hits the mark as a social satire (e.g., the late scene of all the characters gathered at the police station accusing each other), but I still think Morricone's score is by far the best thing about it. ** out of 4.
Review of The Sunday Woman
