Rotaie Rails – Rails – Schienent. The supervised artisan could take certain steps, but it was certainly not an atmosphere of encouragement for a sensitive creative artist. All these date between Since film historians and critics are not commonly practitioners of the art, this is as rare as it is valuable. Visconti’s Obsession and Blasetti’s Four Steps in the Clouds were filmic revelations which brought to a close an experiment which had lasted twelve years. Over the ferocity and ugliness, set down in firm, incisive touches, hovers a restrained emotionalism that only rarely lets itself go, along with questionable effects such as the torture sequence. Sicilian writer of the naturalistic school. Most astonishing of the revelations of this book to me was the magisterial strctness with which Mario Gromo approaches Italian post- war films, which American audiences considered matchless achieve- ments.
The gestures of the players, to be fairly judged, must be considered as an element of film language and not as an expression of traditional movements. Carmine Gallone, technical expert, master crowd-handler, the Italian Cecil B. From a starting point at once general and vital the blind egotism of the individual rises the concrete figure of a woman caught in a series of dramatic situations. Quello che veramente importa. Renato Castellani made his debut with the faultless and stylized Colpo di pistola Pistol Shot. Adriana Costamagna – Op. XLI Fedora – Int.
Mahio Mattoli – Nazionalcine, Where, indeed, are the snows of yesteryear? From to the Italian cinema was not Fascist. Contemporary with Soldati, the architect Renato Castellani began his happy career as script writer and assistant director.
Between and State intervention in the cinema becomes an accomplished fact. After making excellent documen- taries, Poggioli ‘s first experiments with feature films were not happy.
The bitter struggle for existence which followed the fall of fascism in Italy, with half the country still occupied by the Germans, provided fertile soil in which the creative powers of the directors could grow.
While Italian directors, stars and cameramen emigrate to escape the crisis during the last days of the silent film, hordes of foreign actors with exotic names descend upon Italy. Francesco De Robertis Scalera, But the cinema has always had a tough constitution and it survived this sort of thing from the very beginning.
Dragon Trainer – Il Mondo Nascosto. But it was not till that there was a hint that the dawn of a new era for the Italian cinema was at hand. Some of the minor spectacles of this period, when viewed recently, have elicited praise even today. But even with these and other faults, the film encouraged its maker. The protagonist of this tale of slow ruin is a young boy of eleven named Edmund. Convalida adesso la tua preferenza.
Full text of “Fifty years of Italian cinema”
In Rome, all film activity centered around the lively intelligence of Passini. The Betrothed was a worthy and impressive example of good spectacle, deftly handled by Camerini, and proof that Ital- ian directors could work with success in this field which was practically the exclusive domain of the imposing American and British production. Even Za la Mort was launched once more in La via del peccato The Street of Sinwith fourteen stars of the first rank, but it was no use.
Exciting scenes of the deepest devotion and patriotism! Marco Elter – Ici-Artisti Associati, The actor was of fundamental importance to the old cinema and to its success, perhaps even much more so than today.
Bartolomeo Pagano, Jla Ruskaja – Dlr. It was a time of reconstruction and before long Italy, too, was equipped for the production of sound films. The hold of D’Annunzio on the cinema, not the D’Annunzio of the tragic poems, but of Intermezzo di rime and the novels, was tyrannical. Film companies raided other film companies for wanted stars; producers battled with stars and vice- versa.
De Sica, the master of comedy, had found his source for material — and it would no longer be possible to sep- arate his name from that of Zavattini. Mario Soldati – Ici-Ata, Masetti, Mario Carmi – Op.
Gennaro Righelli – Capitani Film, From a starting point at once general and vital the blind egotism of the individual rises the concrete figure of a woman caught in a series of dramatic situations.
XLI Fedora – Int. He had started out with various enterprises. But these films, by their very nature, could not euper true. Thus, out of more than five hundred feature films produced during these dozen years, those which were one hundred percent fascist in content may be counted on the fingers of one hand.
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