Off-beat Oscar-nominated comedy-drama that is both a marvelous piece of whimsy and a slice of social realism set in the kind of Britain the tourist boards forget, all drizzle and grime. It zips from Edinburgh to Sheffield to Bath to London to Brighton to Jersey as if the characters had been dumped from an If It’s Tuesday It Must Be Belgium sketch. If your idea of Italy was Fellini’s glorious decadence or Hollywood romance amid historic ruins and fabulous beaches, then the upbringing of Assunta (Monica Vitti) is the repressive opposite. All women in her small Sicilian town wear black. Men are not allowed to dance with women and must make do with each other. A man like Vincenzo (Carlo Giuffre) desiring sex must kidnap a woman, in this case Assunta, to which she will consent as long as he marries her. When instead he runs off to Scotland, she is dishonored and must kill him, armed with the titular pistol.
Pursuit first takes her to Edinburgh and a job as a maid, has a hilarious encounter with a Scottish drunk, and various other cross-cultural misinterpretations – in a bar she cools herself down with an ice-cube then puts it back in the bucket. Then it’s off to Sheffield where she falls in with car mechanic Anthony Booth (television’s Till Death Do Us Part) because he is wearing Italian shoes. She can’t imagine he can watch sport for two hours. “You’re a man, I’m a woman, nobody in the house and you look at the television.” Although tormented by images of being attacked back home by a screaming mob of black-robed women, she begins to shed her inhibitions, wearing trendier clothes, although an umbrella is essential in rain-drenched Britain and given the Italian preference for shooting exteriors.
In between sightings of Vincenzo there are episodes with a suicidal gay man (Corin Redgrave) and a doctor (Stanley Baker). She becomes a nurse, then a part-time model, sings Italian songs in an Italian restaurant, drives a white mini, wears a red curly wig and more extravagant fashions. It turns out she can’t shoot straight. Gradually, the mad chorus of home gives way to feminist self-assertion as she becomes less dependent on men and a world run by chauvinists. It’s a starling mixture of laugh out loud humour and social observation. And while the narrative at times verges on the bizarre, Assunta’s actions all appear logical given her frame of mind.
Vitti was Italian director Michelangelo Antonioni’s muse (and companion) through L’Avventura (1960), La Notte (1961) and L’Eclisse (1962) to Red Desert (1964). She had a brief fling with the more commercial, though still somewhat arty, movie world in Joseph Losey’s Modesty Blaise and the nothing-artistic-about-it comedy On the Way to the Crusades (aka The Chastity Belt, 1968) with Tony Curtis. Director Mario Monicello had two Oscar nominations for writing but was best-known for Big Deal on Madonna Street (1958) and Casanova ’70 (1965). The Girl with a Pistol was nominated in the Best Foreign Language film category at the Oscars.