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The great cinema scholar Ephraim Katz, author of The Film Encyclopedia, calls the three decades after World War II a "vast wasteland" in Italian cinema, and for good reason. Nevertheless, the period from 1950 through 1980 did produce a fair number of excellent films. It would be hard for an artist in any medium to live up to Michelangelo Antonioni's first name, though the great Italian director certainly did his best.
Like many of Italy's post-World War II directors, Antonioni had unmistakable ties to the Fascists during the early part of his career. Like Antonioni, Roberto Rossellini had Fascist ties during the early years of his career, collaborating on the script of Luciana Serra Pilota (1938), which was made under the watchful eye of the Duce's son, Vittorio. Neorealism had important precedents in silent-era naturalism and films such as Luchino Visconti's Ossessione (Obsession, 1942).
Unfortunately for Rossellini's artistic legacy, his career is just as well known for his steamy and controversial marriage to Ingrid Bergman as for his filmic genius. Their marriage soon followed suit, ending in an annulment in 1958 after a decade of international scorn and condemnation and the virtual blacklisting of Bergman from American moviedom. Aside from their enormous influence upon the succeeding decade of Italian and worldwide filmmaking, the three films in the trilogy are notable for the stark but moving performances of their mostly nonprofessional, untrained casts and the gritty realism of their camerawork. 81⁄2 was so named because Fellini had directed seven solo films and three collaborations previously each collaboration counted for half of a film.
Fellini's career in film began with his collaborations on the script of the first picture in Rossellini's great World War II neorealist trilogy, Roma, città aperta. Fellini's big break came in the early 1950s with two films that immediately established his international reputation.
It was in 81⁄2 (Otto e Mezzo, 1963) that Fellini made his most complex and confessional autobiographical statement. Fellini Satyricon (1969) was a less successful but quite controversial adaptation of Petronius's decadent Latin novel of the same name.
Fellini won yet another Oscar for Amarcord (1973), which turned back to his boyhood memories for inspiration, and delighted American audiences with a nostalgic homage to the nation's golden cinematic past with Ginger and Fred in 1985. Other directors, if less distinguished and acclaimed than the three we've been discussing, also made important contributions to Italian cinema from the early '50s through the '70s. Marcello Mastroianni and Sophia Loren steamily starred together as romantic leads in several Italian films during the '60s. The period from 1950 through 1980 is equally well known for giving the world some of its most desired and admired faces. Gina Lollabrigida was a close rival to Loren for sheer audience allure during the 1940s (see, for example, Follie per l'opera [Mad About the Opera, 1948] and Campane a Martello [Children of Chance, 1949]). Excerpted from The Complete Idiot's Guide to Movies and Film © 2001 by Mark Winokur and Bruce Holsinger. There were a number of films produced in Europe and the US in 1938-1939 which tangibly transmitted the feeling of menacing madness that was about to unfold. At Il Cinema Ritrovato (29 June - 6 July 2013), one of the sections is Letters from Chris Marker.
In the past Il Cinema Ritrovato (29 June - 6 July 2013) had many CinemaScope screenings at the Arlecchino theatre, which we really enjoyed. After 10 wonderfully successful and creative years of neorealism (keep reading!), the nation's movie moguls sought to create a "Hollywood on the Tiber" by pumping vast amounts of (largely American) money into the production of spectacular films that would reestablish Italy's greatness in the medium.
Three directors in particular emerged from the ashes of World War II to become internationally acclaimed artists. Films like I vinti (1952), La signora senza camelie (1953), and Il Grido (The Outcry, 1957) clearly represent some of his best work, conveying with unrivaled depth and haunting drama the tortured inner world of human emotions.
But the political commitment and consistency of his cinematic vision soon allowed him to triumph over the propagandistic wasting of his talents during World War II.
In fact, the term was coined by the critics Umberto Barbaro and Antonio Pietrangeli in a discussion of Visconti's thriller, which was adapted from the American novel The Postman Always Rings Twice, by James Cain.
Unlike both Antonioni and Rossellini (or, for that matter, Hitchcock and Welles!), Federico Fellini never had a real "low point" in his career. He also worked as an assistant director for prominent and emerging neorealist directors before collaborating with Alberto Lattuada in Fellini's directorial debut, Luci del Varietà (Variety Lights, 1951). I Vitelloni (The Loafers, 1953) is a quasi-autobiographical story about a group of urban loafers, while La strada (1954) tells a story of sexual domination that combines an almost claustrophobic personal intensity with a broad social drama on the costs and constraints of human freedom. A superb story of a film director who can't decide what to make his next film about, 81⁄2 explores with visual audacity and psychological contortions the inner mental world of the artist.
The original Satyricon, which survives only in fragments, was written in the waning years of the Roman Empire (you know, when Nero was fiddling while Rome burned), and it features the appropriate amount of sexual and other forms of debauchery that Fellini clearly had a great time bringing to the screen.
The eminently controversial Pier Paolo Pasolini clashed with the church and state establishments with sex-laden films like The Canterbury Tales (1972) and The 120 Days of Sodom (1975). After Sophia Loren's discovery by producer Carlo Ponti in the late '40s, international audiences got to witness her incomparable beauty as she launched her film career with seductive roles in La Tratta delle Bianche (The White Slave Trade, 1952), Aïda (1953), and Peccato che sia una Canaglia (Too Bad She's Bad, 1955) before she took Hollywood by storm in 1958. Initially, the pair enjoy the good life in Italy, often to the anger and dismay of Philippe's much put-upon fiancee Marge (Marie Laforet).
Auf der einen Seite stehen Menschen wie Philippe Greenleaf und Freddy Miles, die Geld haben. Il Cinema Ritrovato (29 June - 6 July 2013) chose for its series War Is Near: 1938-1939 not so much those films most clearly foreshadowing the imminent conflict, as those that evoked an atmosphere of fears and fragile hopes, films made of subtle suggestion, shades and shadows and unspoken dialogue. His essay film came to light after a gestation period which happened to be a very special one, the golden age of the French short film in the 1950s.
This year we can look at the magic of the European Scope (the festival organisation defined it so to take into account all of the variations the widescreen systems adopted in our continent). She starred in several of his films during the next few years—and, not coincidentally, gave birth to Isabella Rossellini of Blue Velvet fame. Bernardo Bertolucci's cross-Atlantic career, which began with the notorious Last Tango in Paris (1972), would later culminate in nine Academy Awards for The Last Emperor (1987).
Clément captures the Highsmith sense of decadence that is merely the erasure, in plain day, of any pretense to morality. Ich habe damit gar nichts zu tun!“ Diese Schizophrenie deutet sich an in den Szenen, in denen Tom Philippe imitiert, sich dessen Kleidung anzieht und seine Stimme nachahmt.
Der Layerwechsel dieser DVD-9 ist vom Rezensenten nicht bemerkt worden — sauber gelegt und ohne Probleme.
One of the screened films in Bologna is the Nazi propaganda film Pour le Merite (Karl Ritter, 1938), which chronicles the rise of the Luftwaffe (German Air Force) from World War I until Adolf Hitler took power in 1933.
Bologna's tribute to Marker will focus on his early works, like Un dimanche a Pekin, Description d'un combat (which, according the festival organisation, has disappeared from the face of the earth for almost 50 years), La jete and Le joli mai. The collection starts with his debut, the sensational The Pleasure Garden (1925), a newly born film which was believed to be lost for many years.
Connected to this is the confusion of national identity ("Some of the Americans [in the film] speak French in good French accents, others speak French in bad French accents, still others speak American. Der Transfer weist ein durchschnittliches, insgesamt zufriedenstellendes Rauschverhalten auf. Male star of The Pleasure Garden is the Scottish actor John Stuart (1898-1979), a very popular leading man in British silent films in the 1920s. Ripley, and like Alfred Hitchcock's classic Strangers on a Train, also based on Highsmith's work, the theme of identity transference is dominant. So kalt die Bilder sind, so distanziert bleiben die Kontrahenten, auch wenn sie kammerspielartig auf engstem Raum zusammengeführt werden. During his long career, Hartmann made over 100 films, both in the silent and the sound period.
Italian-born but thoroughly French Montand was a charismatic singer and also a great actor - or was he an actor who also was a great singer?
She worked four times with maestro Luchino Visconti, and three times with another major director, Pier Paolo Pasolini.Dutch postcard by Filmverhuurkantoor Centrafilm, Dordrecht. Like Wenders' The American Friend (as well as Hitchcock's Strangers on a Train, also based on a Highsmith novel), Plein Soleil is a film about modern anonymity. Diese Nahaufnahmen sind mit verzerrendem Weitwinkelobjektiv oder in schrägen Perspektiven photographiert. Wenn er Marge als Erbin einsetzt, dann ist das zum einen wohlkalkuliert, weil er damit kein Mordmotiv zu haben scheint, zum anderen treibt er damit seine Identifikation mit Philippe voran, der genauso gehandelt hätte.
Montand starred in numerous successful films and his crooner songs, especially those about Paris, became instant classics.


In einer kurzen Sequenz zu Filmbeginn Romy Schneider in einem roten Kleid als namenlose Freundin von Freddys Freundin zu sehen. Die Bilder zeigen auch, daß Tom sich hilflos einer bedrohlichen Welt ausgesetzt sieht. In Kapitel 17 sind dann kurzfristig leichte Helligkeitsschwankungen zu bemängeln, die allerdings kaum ins Gewicht fallen. Metaphorisch umgesetzt ist dies beispielhaft in der Sequenz, in der er im Boot auf dem Meer treibt.
Er ist nicht nur schutzlos der glühenden Sonne ausgesetzt, sondern vollkommen machtlos, denn er kann nicht schwimmen.
He began his stage and screen career directly after World War I service in The Black Watch.
Die subjektive Perspektive Ripleys wird vor allem durch Kamera und Montage gestaltet: Die Sommeridylle Italiens ist in kalte Farben gekleidet, die Sonne scheint unbarmherzig auf den leidenden Ripley, auf die Leiche Philippes. Er ist, wie Tom einmal zu Marge sagt, ein Mann mit zwei Seiten und damit ebenso doppelgesichtig wie der gleichermaßen jungenhaft-charmante, intrigante und brutale Tom.
Other silent films were the drama If Four Walls Told (Fred Paul, 1922) starring Lillian Hall-Davis, the comedy The School for Scandal (Bertram Phillips, 1923) with Queenie Thomas, and the comedy We Women (W.P.
Her brother is sound technician Roy Mangano and her sisters are one-time actresses Patrizia Mangano and Natascia Mangano. Stuart was a very popular leading man in British silent films, though it's hard to gauge that popularity since many of his best films of the 1920s, such as A Sporting Double (Arthur Rooke, 1923), Constant Hot Water (George A.
Eher beiläufig, aber mit scheinbar zwingender Notwendigkeit wird er zu dem Verbrechen getrieben. Tom erzählt einmal, er sei ein alter Schulfreund von Philippe und Philippe habe ihm einmal das Leben gerettet. Cooper, 1924) and The Tower of London (Maurice Elvey, 1926) with Isobel Elsom, are either inaccessible or non-existent. Immer wieder entstehen Spannungssituationen, in denen er kurz vor der Entdeckung steht und der Zuschauer Partei für ihn ergreift. Monta!Yves Montand was born Ivo Livi in 1921 in the village of Monsummano Alto, near Florence, Italy. Und in der Tat dürfte Toms Aussage weniger der Wahrheit und mehr der Wunschvorstellung entsprechen, einen Freund wie Philippe zu haben, der ihm im Notfall hilft.
He was the youngest of three children and his parents, Giovanni Livi and Giuseppina (later: Josephine) Livi-Simoni, were poor peasants. Es ist nicht anzunehmen, daß zwei Menschen so unterschiedlicher Herkunft die gleiche Schule besucht haben.
Giovanni was a militant communist and, to escape persecution from the new fascist regime of Mussolini in Italy, the family was forced to flee in 1923. Based on a novel by Oliver Sandys, the film is about two chorus girls at the Pleasure Garden Theatre in London and their troubled relationships. He was the son of Wilhelm Hartmann, the manager of a toy-export company, and his wife Maria Hartmann-Betz.
They settled in Marseilles, and were granted French nationality in 1929 (one source says 1932). Managano played the voluptuous rice picker Silvana, who falls for the criminal Walter (Vittorio Gassman) and his presumed wealth. From 1907 on, he studied acting with Adalbert Czokke, and in 1908 he had his first engagement at the Stadtheater Zwickau.
Ivo left school at 11 and, with the aid of a forged identity card, found a job in a food processing factory. The film was shot in Italy and Germany in 1925 and shown to the British press in March 1926. The thousands of female rice workers, up to their ankles in the water, breaking their backs in the burning sun to earn a few bucks, make an impressive decor. In the following years he played at the Bellevue-Theater in Stettin, the Stadttheater Zurich, and from November 1913 at the Deutsche Theater in Berlin under direction of the legendary Max Reinhardt. At 14, he started working as a hairdresser at his sister's barber shop and obtained his qualification in hairdressing. But it was not officially released in the UK until 1927, after Hitchcock's film The Lodger: A Story of the London Fog became a massive hit in February 1927. To the standards of 1949s Roman Catholic Italy Mangano's performance in hotpants was shocking. This earned Riso Amaro a lot of publicity, and earned Mangano a contract with the Lux company.French postcard, no.
By chance, the shy 17 year old agreed to do a stint as warm-up act in a music hall in 1938, for which he adopted the name Yves Montand. Very popular was their World War I drama Mademoiselle from Armentieres (Maurice Elvey, 1926), featuring Estelle Brody. Legend has it that this stage name was inspired by his mother Giuseppina who used to yell at him when he was a boy when it was time to come upstairs: “Ivo! The film opened in London in September 1926 and was still playing in cinemas around the country until well into 1927. It was reportedly the most profitable British film of 1926 and made an instant star of Brody. This first performance was a success - the audience applauded him for several minutes and shouted for an encore. The two stars were reunited in the drama Hindle Wakes (Maurice Elvey, 1927), which skilful use of location is considered to give the film a documentary realism feel very unusual in British films of the period. The story is set in Heidelberg and Sackingen during the 17th century, after the Thirty Years War.
Brody and Stuart co-starred again in Mademoiselle Parley Voo (Maurice Elvey, 1928), a sequel to Mademoiselle from Armentieres, and equally successful. Law student, later trumpeter Werner Kirchhof falls in love with Margareta, a baron's daughter, but her mother wants to marry her to the cowardly Damian. By the way, both films refer to the popular First World War song Mademoiselle from Armentieres.Lillian Hall-Davis German postcard by Ross Verlag, Berlin, no. His father Giovanni was then a locally important figure in the French Communist Party in Marseille. Mangano played both Ulysses' faithful wife Penelope and the pig-fancying enchantress Circe. Hartmann's stage and film career suffered a short break when he was called into the military service in 1917. In 1950, he signed the 'Stockholm Appeal', the Soviet Union’s petition against the use of atomic weapons, and he became a prominent member of the French communist party. In 1956 and in 1963, he would tour as a jazz singer in the Soviet Union, and meet with Nikita Khrushchev. Kitty was initially planned and filmed as a silent, but on its original completion director Saville decided to reshoot the latter part with sound. In 1924 he worked at the Theater in der Josefstadt in Wien (Vienna), and in 1925 he moved over to the Burgtheater. As no suitable facilities were yet available in Britain, Saville, Estelle Brody and Stuart travelled to New York to shoot the new sequences at RKO Studios. From 1927 he turned away from the film business and devoted his career exclusively to the Burgtheater.German postcard by Rotophot in the Series Film-Sterne, no. He did not support the action of the Soviet government, but nor was he ready to make a political break from the Communist party and his own family. The film was released in the form of a silent which switched to sound after the half-way point. Stuart’s next film, Atlantic (1929) was one of the first British films made with the soundtrack optically recorded on the film (sound-on-film). He remained a Party member until 1968, when he broke with the Party in response to the Soviet invasion of Czechoslovakia.French postcard.
Publicity still for Der Trompeter von Sakkingen (Franz Porten, 1918), starring Paul Hartmann.
Three versions were made, an English and a German language version, Atlantik, which were shot simultaneously, and later a French version was made. The outdoor scenes of the film were shot by Porten at Sackingen, using some 200 local extras.


The final scene of the film was filmed as a shot of the liner sinking but it was cut at the last minute as it was feared it would upset Titanic survivors. Publicity still for Der Trompeter von Sakkingen (Franz Porten, 1918), starring Paul Hartmann.German postcard by Rotophot in the Series Film-Sterne, no. Elstree Calling (1930) is a lavish musical film revue directed by Andre Charlot, Jack Hulbert, Paul Murray, and Hitchcock at Elstree Studios. It was here that Montand made a decisive step away from performing covers of other singers’ hits, singing his own original song Dans les plaines du Far West (In the plains of the Wild West). It was Britain's answer to the Hollywood revues, such as Paramount on Parade (Dorothy Arzner et al, 1930) and The Hollywood Review of 1929 (Charles Reisner, 1929).
Publicity still for Der Trompeter von Sakkingen (Franz Porten, 1918), starring Paul Hartmann.German postcard by Verlag Hermann Leiser, Berlin, no.
In 1944, Montand won a coveted spot at the Moulin Rouge, where he appeared as the support act of Edith Piaf. The legendary singer fell for his good looks and natural charisma, and she would soon become his mentor and lover. They really worked together again on Number Seventeen (Alfred Hitchcock, 1932), in which Stuart played the lead. The film is about a group of criminals who committed a jewel robbery and put their money in an old house over a railway leading to the English Channel, the film's title being derived from the house's street number. Tough and Adamant HeroesWith the introduction of the sound film Paul Hartmann returned to the cinema.
An outsider stumbles onto this plot and intervenes with the help of a neighbour, a police officer's daughter.
Hits like Battling Joe and Les Grands Boulevards made Montand a national sensation almost overnight. On its initial release, audiences reacted to Number Seventeen with confusion and disappointment. Stuart then played Sir Henry Baskerville in the mystery The Hound of the Baskervilles (Gareth Gundrey, 1932), based on the novel by Arthur Conan Doyle and scripted by Edgar Wallace. From 1935 on he was a company member of the Preu?ischen Staatstheater in Berlin, where he stayed till the end of WW II. Despite being recognised now as a masterpiece, Carne's film was a commercial failure at the time. In 1934 he was named Staatsschauspieler (Stage Artist of the State), and from May 1937 he was part of the UFA Art Committee. 54e.Quota QuickieJohn Stuart starred with Benita Hume in the drama Men of Steel (George King, 1932). His commitment to the Nazi regime did not really harm his career or his popularity after the war. It was made at Nettlefold Studios under the so-called quota quickie system for distribution by United Artists. After being banned from the theatre in 1945 Hartmann could only return to the stage in 1948 as Faust in a production of the Goethe play in Bonn. In 1927, The Cinematograph Films Act was designed to stimulate the declining British film industry. During the 1950s he was engaged by the Schauspielhaus in Dusseldorf, the Theater am Kurfurstendamm in Berlin, and the Burgtheater in Vienna.
Having divorced her then husband, director Yves Allegret, Signoret set up home with Montand in Paris in 1950 and the two married the following year. It introduced a requirement for British cinemas to show a quota of British films, for a duration of 10 years. The marriage would last up until Signoret’s death in 1985, although Montand had a number of well-publicised love affairs, including one with Marilyn Monroe.
The result of the act was the 'quota quickie', a low-cost, poor-quality film commissioned by American distributors operating in the UK purely to satisfy the quota requirements. He finished his film career in the 1960s with productions like the TV-film Hermann und Dorothea (Ludwig Berger, 1961), the Heimatfilm Waldrausch (Paul May, 1962), and the international war film The Longest Day (Ken Annakin, Andrew Marton, Bernhard Wicki, 1962), an all-star re-creation of the D-Day invasion, personally orchestrated by Darryl F. Stuart co-starred with Fritz Kortner and Nils Asther in Abdul the Damned (Karl Grune, 1935), set in the Ottoman Empire in the years before the First World War where the Sultan and the Young Turks battle for power. Hartmanns last appearance was in the TV-film Demetrius (Ludwig Berger, Heribert Wenk, 1969). He also worked often with director George Pearson, like in the thriller The Secret Voice (1936), and appeared in several parts of the long-running Old Mother Riley series. In 1964 he was awarded the Filmband in Gold for his continuing and outstanding contributions to the German Film.
During the war years, Stuart’s parts became smaller or better said, he matured into character parts. He played a supporting part in the thriller Headline (John Harlow, 1944) with David Farrar as a crime reporter who searches for a mystery woman (Anne Crawford) who has witnessed a murder. Another example is the Gainsborough melodrama Madonna of the Seven Moons (Arthur Crabtree, 1945) starring Phyllis Calvert, Stewart Granger and Patricia Roc.
In 1946 readers of the Daily Mail voted the film their third most popular British movie from 1939 to 1945. In 1955 he married the painter Elfriede Lieberun.German postcard by Verlag Hermann Leiser, Berlin, no.
During the following decades he played government officials and police inspectors in B-films like the mystery The Ringer (Guy Hamilton, 1952) starring Herbert Lom, and the Science-fiction film Four Sided Triangle (Terence Fisher, 1953). The film was hailed as a masterpiece by the international critics who also praised Montand’s performance. In 1953, Le salaire de la peur was awarded the coveted Grand Prix at the Cannes Film Festival.
In 1954, Montand and Signoret starred in a French stage production of Arthur Miller’s The Crucible. Publicity still for the stage production Jedermann, performed at the Salzburger Festspiele.German postcard by Ross Verlag, no.
His son Jonathan Croall is writing a book about the screen idols of the 1920s, including John Stuart.
He was by now a prime target for Hollywood and was cast alongside Marilyn Monroe in the romantic comedy Let’s Make Love (George Cukor, 1960).
Montand’s much-publicised affair with Monroe threatened to tear his marriage apart at one point but he finally chose to remain with Simone, flying back to France to be near his wife. Although Let's Make Love was a flop, Montand would act in a number of American films, including Goodbye Again (Anatole Litvak, 1961) with Ingrid Bergman, My Geisha (Jack Cardiff, 1962) with Shirley MacLaine, and the musical On a Clear Day You Can See Forever (Vincente Minnelli, 1970) with Barbra Streisand.German postcard by VEB-Progress Film-Vertrieb, Berlin, no. This changed abruptly in the mid-1960's, when Montand’s success as a film actor began to rival his success as a singer.
In September 1968, Montand gave a series of concerts at the Paris Olympia, which ran for six weeks.
The film, adapted from the famous novel by the French author Marcel Pagnol, was a worldwide critical hit. Like Simone Signoret, he is buried in the Cimetiere du Pere Lachaise (the Pere Lachaisse Cemetery in Paris). Montand's only child, Valentin, his son by his second wife, his former personal assistant Carole Amiel, was born in 1988.
Catherine Allegret, Signoret's daughter from her first marriage was Montand's adopted daughter. In a paternity suit that rocked France, a woman had accused Montand of being the father of her daughter and went to court to obtain a DNA sample from him. In a court ruling that made international headlines, the woman won the right to have Montand exhumed and a sample taken. Film critic James Travers concludes at Films de France: “Yves Montand, the myth and the man – the two are inextricably linked and one can never be sure where the one ends and the other begins”.



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