DirectorDamiano Damiani Music directorLuis Bacalov CountryItaly
Release date4 December 1963 Based onLa Noia by Alberto Moravia WriterAlberto Moravia (novel), Damiano Damiani, Tonino Guerra, Ugo Liberatore ScreenplayDamiano Damiani, Tonino Guerra, Ugo Liberatore CastBette Davis (Dino's Mother), Horst Buchholz (Dino), Catherine Spaak (Cecilia), Luigi Giuliani (Luciani), Isa Miranda (Cecilia's Mother), Georges Wilson (Cecilia's Father) Similar moviesStory by Alberto Moravia, Directed by Damiano Damiani, Set in Rome
The empty canvas 1963
The Empty Canvas (1963) is an Italian drama film directed by Damiano Damiani. The screenplay by Damiani, Tonino Guerra, and Ugo Liberatore is based on the best-selling novel La Noia by Alberto Moravia. The film stars Horst Buchholz, Catherine Spaak, Isa Miranda and Bette Davis.
Mediocre artist Dino is obsessed with young model Cecilia and distraught that she shares her sexual favors not only with him, but with actor Luciani as well. In an effort to derail her plan to vacation in Capri with his rival, Dino proposes marriage, and when she rejects his offer, he invites Cecilia to join him at the Rome estate of his domineering mother, a wealthy American, in the hope that he can seduce her with his glamorous lifestyle. Despairing that he will never have a monogamous relationship with her, he crashes his sportscar into a wall. While recovering in the hospital, he realizes his feelings will never be reciprocated. When Cecilia returns from her trip assuming their liaison will continue, Dino announces that the affair is over.
Horst Buchholz - Dino
Catherine Spaak - Cecilia
Bette Davis - Dino's Mother
Isa Miranda - Cecilia's Mother
Lea Padovani - Balestrieri's Widow
Daniela Rocca - Rita
Georges Wilson - Cecilia's Father
Principal production credits
Producer ..... Carlo Ponti, Joseph E. Levine
Original Music ..... Luis Enríquez Bacalov
Cinematography ..... Roberto Gerardi
Art Direction ..... Carlo Egidi
In his review in the New York Times, Howard Thompson observed, "under Damiano Damiani's studied direction, the incidents move in stilted, crabwise fashion... Miss Davis... is truly a sight, looking like a Pekingese under a blonde bob and growling an atrocious Southern accent... At times, especially under-scored by Miss Davis's withering expression and lava lingo, the picture's overripe sexuality is downright funny."
Time magazine said it "is one of those "international" movie projects that appears to have been dreamed up by its principals... in a spirit of reckless unity... It is chiefly notable for the fun of watching Davis breast the New Wave plot with bitchy authority... Stretched too far to be believable, Canvas is the kind of overdrawn foolishness that frequently proves diverting."