Fans of Jean Renoir will rush to see something ‘new’ from the great director; this very different Renoir picture sees him filming in the South of France, among regional laborers that bring their Italian and Spanish customs with them. It’s a tragedy about a crime of passion, all shot outside of a film studio, without big stars or glamorous trappings.
Toni
Blu-ray
The Criterion Collection 1040
1935 / B&w / 1:37 flat Academy / 84 min. / available through The Criterion Collection / Street Date August 25, 2020 / 39.95
Starring: Charles Blavette, Celia Montalvan, Édouard Delmont, Max Dalban, Jenny Hélia, Michel Kovachevitch, Andrex.
Cinematography: Claude Renoir
Film Editors: Suzanne de Troeye, Marguerite Renoir
Original Music: Paul Bozzi
Written by Jean Renoir from material by Jacques Levert
Produced by Marcel Pagnol
Directed by Jean Renoir
We’re told that in 1933 Jean Renoir was stinging from some pictures that didn’t go over well with the public, including the classic comedy-drama Boudou Saved from Drowning.
Toni
Blu-ray
The Criterion Collection 1040
1935 / B&w / 1:37 flat Academy / 84 min. / available through The Criterion Collection / Street Date August 25, 2020 / 39.95
Starring: Charles Blavette, Celia Montalvan, Édouard Delmont, Max Dalban, Jenny Hélia, Michel Kovachevitch, Andrex.
Cinematography: Claude Renoir
Film Editors: Suzanne de Troeye, Marguerite Renoir
Original Music: Paul Bozzi
Written by Jean Renoir from material by Jacques Levert
Produced by Marcel Pagnol
Directed by Jean Renoir
We’re told that in 1933 Jean Renoir was stinging from some pictures that didn’t go over well with the public, including the classic comedy-drama Boudou Saved from Drowning.
- 8/25/2020
- by Glenn Erickson
- Trailers from Hell
One of the most important restorations of the last few years makes its way to Blu-ray this week with Milestone’s exquisite release of Luchino Visconti’s Rocco and His Brothers (1960). A brutally realistic, emotionally charged family saga that flies by in three of the most involving hours ever put on film, Rocco and His Brothers is an extraordinary combination of Visconti’s neorealist side (previously seen in Ossessione and La Terra Trema) and the operatic, ambitious tendency toward tumultuous historical change and penetrating social commentary that characterizes later masterpieces like The Leopard and The Damned. The film follows the brothers of […]...
- 7/13/2018
- by Jim Hemphill
- Filmmaker Magazine - Blog
One of the most important restorations of the last few years makes its way to Blu-ray this week with Milestone’s exquisite release of Luchino Visconti’s Rocco and His Brothers (1960). A brutally realistic, emotionally charged family saga that flies by in three of the most involving hours ever put on film, Rocco and His Brothers is an extraordinary combination of Visconti’s neorealist side (previously seen in Ossessione and La Terra Trema) and the operatic, ambitious tendency toward tumultuous historical change and penetrating social commentary that characterizes later masterpieces like The Leopard and The Damned. The film follows the brothers of […]...
- 7/13/2018
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
Ludwig. Photo courtesy of Agfa.A gaggle of men in formal wear, their collars stiff and blue coats festooned with medals and ropes knotted into different patterns, stand as straight as antenna. It’s a room of immense affluence. The splendor is almost surreal, everything in its right place. The camera pans, prowls, zooming in on faces, on hands and decor, as if smitten or in awe of the decadence. In an adjacent room, a young man with an immaculate face which is frozen in a feigned look of calmness downs a glass of champagne. He paces. Soon, he is told the time has come. The doors open. Bedecked in their glittering symbols of honor and prestige, the men put a crown on his head; they raise a coat the color of wine and drape it over his shoulders. It takes four people to carry the cape. There is now a new king,...
- 6/20/2018
- MUBI
Above: French poster for Ossessione (1943). Artist: Boris Grinsson.To commemorate the complete retrospective of the films of Luchino Visconti starting today at New York's Film Society of Lincoln Center, I decided to choose my favorite poster for each film in Visconti’s titanic body of work (including the three portmanteau films to which he contributed episodes). For many of his films the range of posters are an embarrassment of riches ranging from tempestuous Italian romanticism and beautifully executed French realism to stark German stylization and wry Polish surrealism. Although I think that Italian romanticism certainly suits Visconti best of all in terms of really representing his work—Averardo Ciriello’s stirring portrait of storm-lashed fishermen for La terra trema being a case in point—it is the more gnomic Polish films that I seem to have gravitated to most. There are eight Polish posters here and what is remarkable is...
- 6/8/2018
- MUBI
Making all of us not in New York jealous yet again, the Film Society of Lincoln Center has partnered with Istituto Luce Cinecittà to present a complete retrospective of Luchino Visconti’s feature films. Most of the Italian master’s work, from “The Leopard” and “Rocco to His brothers” to “Senso” and “Death in Venice,” will be screening on new restorations and imported prints; the series will conclude with a weeklong run of “Ludwig,” playing here on a new 35mm print. Avail yourself of a trailer for the series below.
Visconti’s films are a sensory delight, and “The Leopard” — based on Giuseppe Tomasi di Lampedusa’s majestic novel of the same name — is especially acclaimed. His 1963 adaptation, which runs just shy of three hours, won the Palme d’Or at Cannes and was released on DVD and Blu-ray by the Criterion Collection. Flsc’s look back at Visconti’s career doesn’t stop there,...
Visconti’s films are a sensory delight, and “The Leopard” — based on Giuseppe Tomasi di Lampedusa’s majestic novel of the same name — is especially acclaimed. His 1963 adaptation, which runs just shy of three hours, won the Palme d’Or at Cannes and was released on DVD and Blu-ray by the Criterion Collection. Flsc’s look back at Visconti’s career doesn’t stop there,...
- 5/31/2018
- by Michael Nordine
- Indiewire
The Witches (1967) is now available on Blu-ray from Arrow Academy. It can be ordered Here
In the mid-sixties, famed producer Dino De Laurentiis brought together the talents of five celebrated Italian directors for an anthology film. Their brief was simple: to direct an episode in which Silvana Mangano (Bitter Rice, Ludwig) plays a witch.
Luchino Visconti (Ossessione, Death in Venice) and screenwriter Cesare Zavattini (Bicycle Thieves) open the film with The Witch Burned Alive, about a famous actress and a drunken evening that leads to unpleasant revelations. Civic Sense is a lightly comic interlude from Mauro Bolognini (The Lady of the Camelias) with a dark conclusion, and The Earth as Seen from the Moon sees Italian comedy legend Totò team up with Pier Paolo Pasolini (Theorem) for the first time for a tale of matrimony and a red-headed father and son. Franco Rosso (The Woman in the Painting) concocts a...
In the mid-sixties, famed producer Dino De Laurentiis brought together the talents of five celebrated Italian directors for an anthology film. Their brief was simple: to direct an episode in which Silvana Mangano (Bitter Rice, Ludwig) plays a witch.
Luchino Visconti (Ossessione, Death in Venice) and screenwriter Cesare Zavattini (Bicycle Thieves) open the film with The Witch Burned Alive, about a famous actress and a drunken evening that leads to unpleasant revelations. Civic Sense is a lightly comic interlude from Mauro Bolognini (The Lady of the Camelias) with a dark conclusion, and The Earth as Seen from the Moon sees Italian comedy legend Totò team up with Pier Paolo Pasolini (Theorem) for the first time for a tale of matrimony and a red-headed father and son. Franco Rosso (The Woman in the Painting) concocts a...
- 1/10/2018
- by Tom Stockman
- WeAreMovieGeeks.com
Even though everyone is pretty much amped that Pennywise and the newest adaptation of It are making their home entertainment debuts this Tuesday, we also have more great Blu-rays and DVD releases to look forward to as well. It’s a big week for Troma, as not only their latest feature, Hectic Knife, comes home on Blu this week, but Troma alum Trent Haaga’s wickedly wild crime caper 68 Kill is being released by Scream Factory and IFC Midnight.
Arrow Academy has put together a Special Edition release of The Witches, and a film that I really enjoyed out of Sundance 2017—Bad Day for the Cut—gets released this week via the fine folks over at Well Go USA. Other notable releases for January 9th include Friend Request and Nails.
68 Kill (Scream Factory/IFC Midnight, Blu-ray & DVD)
Trailer-dwelling, sewage-pumping Chip (Matthew Gray Gubler, Criminal Minds) may not lead the most glamorous life,...
Arrow Academy has put together a Special Edition release of The Witches, and a film that I really enjoyed out of Sundance 2017—Bad Day for the Cut—gets released this week via the fine folks over at Well Go USA. Other notable releases for January 9th include Friend Request and Nails.
68 Kill (Scream Factory/IFC Midnight, Blu-ray & DVD)
Trailer-dwelling, sewage-pumping Chip (Matthew Gray Gubler, Criminal Minds) may not lead the most glamorous life,...
- 1/9/2018
- by Heather Wixson
- DailyDead
The Love Of A Woman (1953 – L’amour d’une femme) 2-Disc Special Edition DVD + Blu-ray will be available August 22nd from Arrow Academy. Pre-order Here</strong
The Love Of A Woman (L’amour d’une femme) was the final feature of the great French filmmaker Jean Grémillon, concluding a string of classics that included such greats as Remorques, Lumière d’été and Pattes blanches.
Marie, a young doctor, arrives on the island of Ushant to replace its retiring physician. She experiences prejudice from the mostly male population, but also love in the form of engineer André.
Starring Micheline Presle, whose impressive career has encompassed French, Italian and Hollywood cinema, and Massimo Girotti, best-known for his performance in Luchino Visconti’s Ossessione, The Love of a Woman is a sad, beautiful, romantic masterpiece.
Special Edition Contents
• High Definition Blu-ray (1080p) and Standard Definition presentations of the feature, from materials supplied by...
The Love Of A Woman (L’amour d’une femme) was the final feature of the great French filmmaker Jean Grémillon, concluding a string of classics that included such greats as Remorques, Lumière d’été and Pattes blanches.
Marie, a young doctor, arrives on the island of Ushant to replace its retiring physician. She experiences prejudice from the mostly male population, but also love in the form of engineer André.
Starring Micheline Presle, whose impressive career has encompassed French, Italian and Hollywood cinema, and Massimo Girotti, best-known for his performance in Luchino Visconti’s Ossessione, The Love of a Woman is a sad, beautiful, romantic masterpiece.
Special Edition Contents
• High Definition Blu-ray (1080p) and Standard Definition presentations of the feature, from materials supplied by...
- 8/8/2017
- by Tom Stockman
- WeAreMovieGeeks.com
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Anthology Film Archive
Make it a Jean Cocteau weekend: The Blood of a Poet and Orpheus screen on Friday, the former also showing on Saturday and the latter on Sunday. Beauty and the Beast also shows on those days.
A Jia Zhangke retrospective comes to an end. If you’ve not yet seen Mountains May Depart,...
Anthology Film Archive
Make it a Jean Cocteau weekend: The Blood of a Poet and Orpheus screen on Friday, the former also showing on Saturday and the latter on Sunday. Beauty and the Beast also shows on those days.
A Jia Zhangke retrospective comes to an end. If you’ve not yet seen Mountains May Depart,...
- 5/27/2016
- by Nick Newman
- The Film Stage
Stabbings, scaldings, hideous lacerations from broken glass and even more brutal manglings for our sanguinary delectation! Dario Argento's smartly directed murder mystery gives us David Hemmings as a jazz man in Rome, studying not photographic blowups but the hidden artwork of a disturbed child. With music by Goblin and striking Techniscope imagery by Luigi Kuveiller. Deep Red Region A+B Blu-ray Arrow Video (UK) 1975 / Color / 2:35 widescreen / 127 & 105 min. / Street Date January 25, 2016 / Profondo Rosso / Available from Amazon UK £24.99 Starring David Hemmings, Daria Nicolodi, Gabriele Lavia, Macha Méril, Eros Pagni, Giuliana Calandra, Piero Mazzinghi, Glauco Mauri, Clara Calamai, Nocoletta Elmi. Cinematography Luigi Kuveiller Editing Franco Fraticelli Original Music Goblin Written by Dario Argento, Bernardino Zapponi Produced by Claudio Argento, Salvatore Argento Directed by Dario Argento
Reviewed by Glenn Erickson
In 1976 the Giallo craze was in full swing in Italy, and the more adventurous American fans were already hip to Dario Argento...
Reviewed by Glenn Erickson
In 1976 the Giallo craze was in full swing in Italy, and the more adventurous American fans were already hip to Dario Argento...
- 2/6/2016
- by Glenn Erickson
- Trailers from Hell
Bitter Rice
Written by Giuseppe De Santis, Carlo Lizzani, Gianni Puccini
Directed by Giuseppe De Santis
Italy, 1949
The opening credits of Bitter Rice parade an array of Italian film industry luminaries, figures who would help redefine the country’s national cinema, picking up where neorealism left off and setting the stage for the remarkable work that would emerge in the decades to come. Screenwriters Carlo Lizzani and Giuseppe De Santis (who also directed) were two of eight individuals contributing in one way or another to the script, though they were the two who would share an Academy Award nomination for its story. Cinematographer Otello Martelli had nearly 50 films under his belt by the time of Bitter Rice, but in the years that followed he would most memorably man the camera for Federico Fellini’s finest films. And producing the movie was the venerable Dino De Laurentiis, really just at the start of his legendary career.
Written by Giuseppe De Santis, Carlo Lizzani, Gianni Puccini
Directed by Giuseppe De Santis
Italy, 1949
The opening credits of Bitter Rice parade an array of Italian film industry luminaries, figures who would help redefine the country’s national cinema, picking up where neorealism left off and setting the stage for the remarkable work that would emerge in the decades to come. Screenwriters Carlo Lizzani and Giuseppe De Santis (who also directed) were two of eight individuals contributing in one way or another to the script, though they were the two who would share an Academy Award nomination for its story. Cinematographer Otello Martelli had nearly 50 films under his belt by the time of Bitter Rice, but in the years that followed he would most memorably man the camera for Federico Fellini’s finest films. And producing the movie was the venerable Dino De Laurentiis, really just at the start of his legendary career.
- 1/19/2016
- by Jeremy Carr
- SoundOnSight
Criterion digs Bitter Rice out of obscurity this month, a pulpy mix of social drama and dime store pathos from director and screenwriter Giuseppe De Santis. Premiering at the 1949 Cannes Film Festival, the title was also nominated for an Oscar in 1950 for Best Story. Lumped in with the neo-realism movement, it’s been a well-regarded minor title, but its problematic noir elements seem to have denied it prominent classification, at least compared to De Santis’ contemporary, Roberto Rossellini, whose Rome, Open City (1945) birthed the movement (and had just finished his notable war trilogy the year prior to release of this title). But De Santis creates something a bit stranger with this hybrid, a darker examination of sex and violence from the perspective of two central female characters. In its native language, the title is a pun since the Italian word for rice can also be substituted for the word laughter,...
- 1/12/2016
- by Nicholas Bell
- IONCINEMA.com
Roberto Rossellini: The War Trilogy review – a landmark in world cinema
(Roberto Rossellini, 1945-48; BFI, 15; Blu-ray)
The term neorealism was first widely used in the late 1940s to describe what became the most famous and influential film movement. It sprang up in Italy as a reaction against the artificiality of the so-called “white telephone” school of upper-class comedies and melodramas then popular under fascism, favouring instead naturalistic pictures shot on authentic locations using non-professional actors. Luchino Visconti’s gritty Ossessione (1943) is usually identified as the first genuine example. But the name that will always be associated with neorealism is Roberto Rossellini, and most especially his Rome, Open City (1945) and Paisà (1946), two rough, grainy movies set in Italy during the second world war. They helped change the face of world cinema and, with Germany Year Zero (1948), set in the ruins of postwar Berlin, came to be known as his War Trilogy.
Born in Rome, where his father’s construction firm put up...
The term neorealism was first widely used in the late 1940s to describe what became the most famous and influential film movement. It sprang up in Italy as a reaction against the artificiality of the so-called “white telephone” school of upper-class comedies and melodramas then popular under fascism, favouring instead naturalistic pictures shot on authentic locations using non-professional actors. Luchino Visconti’s gritty Ossessione (1943) is usually identified as the first genuine example. But the name that will always be associated with neorealism is Roberto Rossellini, and most especially his Rome, Open City (1945) and Paisà (1946), two rough, grainy movies set in Italy during the second world war. They helped change the face of world cinema and, with Germany Year Zero (1948), set in the ruins of postwar Berlin, came to be known as his War Trilogy.
Born in Rome, where his father’s construction firm put up...
- 5/7/2015
- by Philip French
- The Guardian - Film News
Translators introduction: This article by Mireille Latil Le Dantec, the second of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.
Passion...
Passion...
- 12/11/2014
- by Ted Fendt
- MUBI
Festival’s music documentaries include Revenge of the Mekons [pictured] and Harlem Street Singer.
The 27th Leeds International Film Festival (Nov 6-21) will open with Alfonso Cuaron’s Gravity.
The festival programme includes 163 films in 250 screenings at four main venues: Leeds Town Hall, Hyde Park Picture House, Vue Leeds at the Light and the Everyman.
The official selection includes festival hit such as Blue is the Warmest Colour, Child’s Pose, Nebraska and Stranger By The Lake; plus discovery titles including Harmony Lessons, The Strange Little Cat and the UK premiere of Finnish veteran Pirjo Honkasalo’s Concrete Night.
Leeds’ cult cinema section Fanomenon will include the UK premiere of Korea’s Cold Eyes, a Batman offering with a new documentary about Frank Miller, and the Night of the Dead and Day of the Dead series with films such as 100 Bloody Acres and Big Bad Wolves. Cult classics to screen include Deadlock, Wake in Fright, and Ikarie...
The 27th Leeds International Film Festival (Nov 6-21) will open with Alfonso Cuaron’s Gravity.
The festival programme includes 163 films in 250 screenings at four main venues: Leeds Town Hall, Hyde Park Picture House, Vue Leeds at the Light and the Everyman.
The official selection includes festival hit such as Blue is the Warmest Colour, Child’s Pose, Nebraska and Stranger By The Lake; plus discovery titles including Harmony Lessons, The Strange Little Cat and the UK premiere of Finnish veteran Pirjo Honkasalo’s Concrete Night.
Leeds’ cult cinema section Fanomenon will include the UK premiere of Korea’s Cold Eyes, a Batman offering with a new documentary about Frank Miller, and the Night of the Dead and Day of the Dead series with films such as 100 Bloody Acres and Big Bad Wolves. Cult classics to screen include Deadlock, Wake in Fright, and Ikarie...
- 10/8/2013
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Anna Magnani in (what looks like) Luchino Visconti's Bellissima At the end of Giuseppe Tornatore's Best Foreign Language Film Oscar winner Cinema Paradiso, small-town projectionist Philippe Noiret has died and the Nuovo Cinema Paradiso has become a pile of rubble. The bratty Italian boy Salvatore Cascio has grown into the classy Frenchman Jacques Perrin (like Noiret, dubbed in Italian), a filmmaker who sits to watch a mysterious reel of film the deceased projectionist had left him. It turns out the reel contains clips from films censored by the prudish local parish priest, whose family values found kisses, embraces, and bare breasts and legs a danger to society. Now, who's doing all that kissing, embracing, and breast/leg-displaying in that film reel? (Please scroll down for the Cinema Paradiso clip.) Here are the ones I recognize: Silvana Mangano and Vittorio Gassman in Giuseppe De Santis' Bitter Rice (1949); Mangano...
- 2/14/2012
- by Andre Soares
- Alt Film Guide
John Garfield, Joan Crawford, Humoresque John Garfield is Turner Classic Movies' "Summer Under the Stars" star on Friday, August 5. TCM will be presenting twelve John Garfield movies, in addition to the 2003 documentary The John Garfield Story. There will be no TCM premieres — but don't blame TCM for that. Garfield was a Warner Bros. star and Warners' movies belong to the Time Warner library; in other words, his films are always available. In fact, I believe the only John Garfield movie that has never been shown on TCM is 20th Century Fox's 1950 drama Under My Skin. [John Garfield Movie Schedule.] Much like Warners' James Cagney, Humphrey Bogart, Edward G. Robinson, and Errol Flynn, Garfield was a tough guy at a tough studio. Come to think of it, even Warners' women were tough: Bette Davis, Ann Sheridan, Ida Lupino, Joan Blondell, Aline MacMahon, Glenda Farrell, and, off screen, Olivia de Havilland and Joan Leslie (both of...
- 8/4/2011
- by Andre Soares
- Alt Film Guide
Senso (1954) Direction: Luchino Visconti Cast: Alida Valli, Farley Granger, Heinz Moog, Nina Morelli, Massimo Girotti, Christian Marquand, Sergio Fantoni Screenplay: Suso Cecchi d'Amico, Luchino Visconti; from Camillo Boito's novella Highly Recommended Alida Valli, Farley Granger, Senso Critical consensus regards Luchino Visconti's Senso as a radical departure, a sign of the director's shift in focus from the gritty world of downtrodden proles (such as in his neorealist classics Ossessione and La Terra Trema) to a rather more exciting historical fantasy involving the illicit romance between Countess Serpieri (Alida Valli) and Lieutenant Mahler (Farley Granger) during the Italian revolt against Austria — shot in radiant three-strip Technicolor to boot. A rather more defensible truism portrays Senso as a dry run for Visconti's later adaptation of Giuseppe di Lampedusa's The Leopard. There are obvious parallels between the two: male leads played by American actors (Granger in Senso, Burt Lancaster in The Leopard), brilliant color cinematography,...
- 3/14/2011
- by Dan Erdman
- Alt Film Guide
Luchino Visconti's 185-minute film The Leopard (Il Gattopardo, 1963) begins outside a quiet Italian villa. The camera gradually makes its way closer to the estate, gliding across the windows -- open to the early summer breeze -- until settling on a wafting lace curtain. The curtain invites the camera inside, and we come along with it. Inside the room, Father Pirrone (Romolo Valli) leads Prince Don Fabrizio Salina (Burt Lancaster), his wife Maria (Rina Morelli), and the rest of the Salinas through prayer. As Pirrone continues his mass, we hear a commotion outside. The aristocratic family tries to continue through the service in their ornate setting until Don Fabrizio, upset and distracted by the noise, asks one of his servants about the situation. The servant informs him that a dead soldier has been found in the Salina's garden; it seems that il Risorgimento, the Italian Resurgence, is near their doorstep.
- 7/1/2010
- by Drew Morton
Claudia Cardinale, Alain Delon, and Cannes Film Festival President Gilles Jacob (mostly hidden behind Delon’s outstretched arms) at the Il Gattopardo / The Leopard premiere held at the Palais des Festivals during the 63rd Cannes Film Festival on May 14, 2010 on the French Riviera. (Photo by Venturelli/WireImage) Directed by Luchino Visconti, and adapted by Visconti, Suso Cecchi d’Amico, Pasquale Festa Campanile, Enrico Medioli, and Massimo Franciosa, from Giuseppe Tomasi Di Lampedusa’s novel, The Leopard (1963) is considered one the greatest Visconti’s films. Also in the period drama’s cast: Burt Lancaster, Paolo Stoppa, Romolo Valli, Pierre Clémenti, Terence Hill, and Giuliano Gemma. Other Visconti efforts include Ossessione, Bellissima, Senso, Rocco [...]...
- 5/18/2010
- by Joan Lister
- Alt Film Guide
Claudia Cardinale arrives at the premiere of Luchino Visconti’s Il Gattopardo / The Leopard, which was held at the Palais des Festivals during the 63rd Cannes Film Festival on May 14, 2010. (Photo by Venturelli/WireImage) Adapted by Visconti, Suso Cecchi d’Amico, Pasquale Festa Campanile, Enrico Medioli, and Massimo Franciosa, from Giuseppe Tomasi Di Lampedusa’s sprawling novel, The Leopard (1963) also featured Alain Delon (you can see part of him in the above photo), Burt Lancaster, Paolo Stoppa, Romolo Valli, Pierre Clémenti, Terence Hill, and Giuliano Gemma. Other Visconti efforts include Ossessione, Senso, Rocco and His Brothers (in which Cardinale has a small role), Sandra (starring Cardinale), Death in Venice, Conversation Piece, Ludwig, and [...]...
- 5/18/2010
- by Joan Lister
- Alt Film Guide
Anouchka Delon and Alain Delon — and Claudia Cardinale’s arm — attend the premiere of Luchino Visconti’s restored 1963 classic Il gattopardo / The Leopard at the Salla DeBussy during the 63rd Annual Cannes Film Festival on May 14, 2010 in Cannes, France. (Photo: Swarovski / WireImage.) Adapted by Visconti, Suso Cecchi d’Amico, Pasquale Festa Campanile, Enrico Medioli, and Massimo Franciosa, from Giuseppe Tomasi Di Lampedusa’s novel, The Leopard is considered by some the greatest among Visconti’s films. Also in the cast: Burt Lancaster, Paolo Stoppa, Romolo Valli, Pierre Clémenti, Terence Hill, and Giuliano Gemma. Other Visconti efforts include Ossessione, Senso, Rocco and His Brothers, Death in Venice, Conversation Piece, and The Innocent. Click on the photo to [...]...
- 5/18/2010
- by Zhea David
- Alt Film Guide
Toronto -- Canadian distributor E1 Entertainment has gone for the sweet life by purchasing all North American rights to Federico Fellini's "La Dolce Vita" as part of a library deal with International Media Films.
Toronto-based E1 Entertainment acquired the DVD, TV, digital and other rights to Fellini's classic 1960 film in time for a 50th anniversary special edition DVD release of "La Dolce Vita," and a theatrical re-release and a Blu-ray release, all in 2010.
Also included in the Italian film library deal is Vittorio De Sica's 1946 title "Shoe-Shine," and three early Luchino Visconti films, "Bellissima," "La Terra Trema" and "Ossessione."...
Toronto-based E1 Entertainment acquired the DVD, TV, digital and other rights to Fellini's classic 1960 film in time for a 50th anniversary special edition DVD release of "La Dolce Vita," and a theatrical re-release and a Blu-ray release, all in 2010.
Also included in the Italian film library deal is Vittorio De Sica's 1946 title "Shoe-Shine," and three early Luchino Visconti films, "Bellissima," "La Terra Trema" and "Ossessione."...
- 1/27/2010
- by By Etan Vlessing
- The Hollywood Reporter - Movie News
E1 Entertainment has acquired North American rights to director Federico Fellini's 1960 feature "La Dolce Vita," ("The Sweet Life") as well as other classic Italian films for North America, in a new deal with International Media Films.
A theatrical re-release for "La Dolce Vita" is planned for later this year.
Winner of an Oscar and the Grand Prize at the Cannes Film Festival, the film follows the story of a passive journalist's week in Rome and a search for happiness and love that eludes him.
Other films included in the E1 deal are Vittorio De Sica's "Shoe-Shine" (1946) as well as Luchino Visconti's "Bellissima" (1951), "La Terra Trema" (1948), and "Ossessione" (1943).
Click the images to enlarge and Sneak Peek "La Dolce Vita"...
A theatrical re-release for "La Dolce Vita" is planned for later this year.
Winner of an Oscar and the Grand Prize at the Cannes Film Festival, the film follows the story of a passive journalist's week in Rome and a search for happiness and love that eludes him.
Other films included in the E1 deal are Vittorio De Sica's "Shoe-Shine" (1946) as well as Luchino Visconti's "Bellissima" (1951), "La Terra Trema" (1948), and "Ossessione" (1943).
Click the images to enlarge and Sneak Peek "La Dolce Vita"...
- 1/26/2010
- by Michael Stevens
- SneakPeek
With its silent superspectacles, postwar neo-realism and 1960s new wave, the Italian film industry has enjoyed three major periods of international influence. In between times, it has assimilated the technological advances and dramatic styles of foreign competitors and used them to shape such local trends as the `white telephone' film, calligraphism, giallo, the `sword and sandal' epic, the `spaghetti' Western and the dialect comedy.
Over the years, the unexpected has become commonplace. Therefore, it's no surprise to see Gianni di Gregorio, the screenwriter of the uncompromising crime saga Gomorrah, making his directorial debut with Mid-August Lunch, a charming comedy of bourgeois manners, whose unforced naturalism, social insight and deceptive wit hark back to a golden age that is recalled here by MovieMail - the best place to buy classic movies and world cinema on DVD.
After two decades of propaganda and pictorialism, Italian film went back to basics after the Second World War.
Over the years, the unexpected has become commonplace. Therefore, it's no surprise to see Gianni di Gregorio, the screenwriter of the uncompromising crime saga Gomorrah, making his directorial debut with Mid-August Lunch, a charming comedy of bourgeois manners, whose unforced naturalism, social insight and deceptive wit hark back to a golden age that is recalled here by MovieMail - the best place to buy classic movies and world cinema on DVD.
After two decades of propaganda and pictorialism, Italian film went back to basics after the Second World War.
- 11/10/2009
- Screenrush
'The Postman Always Rings Twice," James M. Cain's pulp novel about a drifter who gets it on hot and heavy with a young woman married to an older guy, has served filmmakers well.
There are two well-known American versions, one in 1946 (starring John Garfield and Lana Turner) and the other in 1981 (with Jack Nicholson and Jessica Lange doing it on the kitchen table).
In 1943, Italian master Luchino Visconti revisted the story in "Ossessione"; there's even an Asian variation,...
There are two well-known American versions, one in 1946 (starring John Garfield and Lana Turner) and the other in 1981 (with Jack Nicholson and Jessica Lange doing it on the kitchen table).
In 1943, Italian master Luchino Visconti revisted the story in "Ossessione"; there's even an Asian variation,...
- 5/15/2009
- by By V.A. MUSETTO
- NYPost.com
In 1955, director Juan Antonio Bardem attended a symposium called the Salamanca Congress that gathered filmmakers from varied political persuasions to discuss the pitiful state of Spanish cinema under the Franco regime. His statement didn't mince words: "After 60 years of filmmaking, Spanish cinema is politically ineffective, socially false, intellectually worthless, aesthetically nonexistent, and industrially crippled." His solution was to lead by example. Bardem's loaded melodrama Death Of A Cyclist closely resembles Luchino Visconti's neo-realist Ossessione in that it imports the language and genre from another country—in Visconti's case, James M. Cain's classic noir The Postman Always Rings Twice—and uses it to nudge its national cinema in a different direction. For his part, Bardem combines Alfred Hitchcock's visual elegance and suspense with the class-consciousness of neo-realism, and the new equation lets him smuggle across some subversive ideas. Death Of A Cyclist opens with the eponymous incident, as a.
- 4/30/2008
- by Scott Tobias
- avclub.com
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