Chandigarh Film Festival Has Taken the Route to Entertain and Educate Film Viewers in the Grammar of Cinema

Total Page:16

File Type:pdf, Size:1020Kb

Chandigarh Film Festival Has Taken the Route to Entertain and Educate Film Viewers in the Grammar of Cinema Public Relations Department, Chandigarh Administration www.chdpr.gov.in Press Release Chandigarh, February 1:-Chandigarh Film Festival has taken the route to entertain and educate film viewers in the grammar of cinema. While show casing some of the latest films from some parts of the world, Administration has also felt to present a profile of the works of the most acknowledged film makers of all times. Federico Fellini, the Italian film director is one of them. Film Festival will be showcasing Retrospective on the works of Fellini comprising of an unknown film ‘Interview’ (1987) which has never been shown in India till date, ‘The Orchestra Rehearsal’ that has been shown only twice after its New Delhi screening in 1979, and the three most well known works which have received worldwide recognition, and yet hardly seen in India. More opportunities would be afforded to cineastes of Chandigarh, to witness more retros of other film makers in future film festivals organised in the city. An Introduction to Federico Fellini and his film works By Gautam Kaul Fellini is considered to be one of the few film makers who influenced the cinema of the world in the first century of Cinema. Born on 2oth January 1920, Fellini was a member of a small family which had one more son and a daughter. The family came from the village Gambettola, but he himself was raised in Remini. Environment, in which his early years were spent, influenced Fellini deeply. Some of these memories later erupted into sequences of films he made. Three films in particular, ‘I vitelloni(1953)’, ‘Eight and a Half (1963)’ and ‘Amarcord (1973)’ are works in which the film director confessed one could see segments of his childhood. Amarcord in particular has a director's commentary to add to this recall. Fellini was not a prolific film maker. Like Satyajit Ray who made 27 feature films, Fellini made twenty four feature films. But many of his works got worldwide recognition, or an occasional controversy. One film in particular called ‘Orchestra Rehearsal, made in 1978 was actually banned for some time in Italy but was welcomed in India in the International Film Festival of India held during 1979 in New Delhi. Here in India too, thc film critics sympathizers of the newly installed Janata government, panned the theme of the film. A symphony orchestra was used as a symbol of a multi cultural society which in peace time was always squabbling. The conductor could not control his players. Then a big rumble was heard when a rehearsal was being attempted. The players found an iron ball was being brought which would be used to bring down the chapel hall where the orchestra in practice. When the first ball strike took place, all the players by now fearful of the catastrophe decided to forget their strife and showed they played music to protect their church hall. It was argued that Fellini was anti democratic, a leftist with a streak of being dictatorial intellectually. Fellini, during his youth was a member of the fascist youth group and this film did have an inspiration from his past influence of his younger days. The film is part of our selection for the festival. It was during the war time days that Fellini met, in 1942, Giulietta Masina, then an unknown actress, whom he married. With this marriage, also began one of the creative partnerships in world cinema. Masina, organized Fellini's talent and his home. Masina appeared first as Fellini's heroine in ‘La Strada (1954)’, a film which finds itself in list of the greatest movies ever made. In 1993 Fellini received a Life Time Achievement Oscar. In the same year he died of a heart attack in Rome. Six months later, after celebrating the Golden Jubilee of his marriage to Masina, his wife too died of lung cancer. Fellini's first solo directed film was made in 1952 called ‘The White Sheik’. It was a comedy film centered around a circus. The film failed to be commercial success. Next followed ‘Variety Lights’, The film marks the creation of a creative team of talented people who stuck with Fellini in all future films until 1980 when Fellini made a bad film, ‘City of Women’. The genius of Fellini may be assessed from the recognition he got from his peers and his critics. He is the only film director in film history to get the Best Foreign Film Oscar FOUR times. The films were ‘La Strada (1954)’, ‘Le Notte di Cabiria (1957)’, ‘Eight and a Half (1963)’ and ‘Amarcord (1973)’. His film ‘La Dolce Vita’ or the Sweet Life made in1960 starring Anita Ekberg, won the top prize at Cannes. The film also immortalized the Page 3 photographers chasing celebrities and called paparazzi. Fellini's films were deeply personal visions of society, often portraying people at their most bizarre. His works influenced in latter years creative film directors like Woody Allen, David Lynch, David Cronenberg, Stanley Kubrick and Emir Kusturica. Fellini had his fans in India, but he could never visit India. .
Recommended publications
  • October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
    October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI
    [Show full text]
  • Cci3 Literature 1421 Projective Identification
    CCI3 LITERATURE PROJECTIVE IDENTIFICATION WITH THE ROMA PEOPLE IN BALKAN FILMS Puskás-Bajkó Albina, PhD Student, ”Petru Maior” University of Tîrgu Mureș Abstract: In the cinema of the Balkans Roma people are present at every step. As these films were not directed by Roma specialists, one has the tendency to ask the question: how true are these figures to the real Roma nature and behaviour? And very important: what can we account this ongoing interest in Gipsy culture and life for? Is it curiosity about what seems to otherwise be despised by people or could it possibly be the so-called “projective identification”, an expression extensively used by Jacques Lacan in psychoanalysis? The figure of the Gipsy is omnipresent in the history of Balkan cinema. The first ever Balkan film, shown in foreign countries too was about them: In Serbia: A Gypsy Marriage (1911), the first ever Gypsy film to enter and win an international film festival was from the former Yugoslavia: I Even Met Happy Gypsies (1967), directed by Aleksander Petrovic. It won the “Grand Prix Special”. The image of the Gipsy was, however presented by the non-Roma film-directors in these films. “Rather than being given the chance to portray themselves, the Romani people have routinely been depicted by others. The persistent cinematic interest in “Gypsies” has repeatedly raised questions of authenticity versus stylization, and of patronization and exoticization, in a context marked by overwhelming ignorance of the true nature of Romani culture and heritage. ” Dina Iordanova, Cinematic Images of Romanies, in Framework, Introduction, no. 6 Keywords: Projection, Balkans, Romani, film, foreign, mentality.
    [Show full text]
  • Dušan Makavejev (1932-2019) Before the Successes of Emir Kusturica
    Article Dusan Makavejev (1932-2019) Mazierska, Ewa Hanna Available at http://clok.uclan.ac.uk/26119/ Mazierska, Ewa Hanna ORCID: 0000-0002-4385-8264 (2019) Dusan Makavejev (1932-2019). Studies in Eastern European Cinema . ISSN 2040- 350X It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1080/2040350X.2019.1583424 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the policies page. CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk Dušan Makavejev (1932-2019) Before the successes of Emir Kusturica, Dušan Makavejev was the best known director from Yugoslavia. Some of his enthusiasts regarded him as one of the leading figures of European film modernism, alongside such directors as Jean-Luc Godard and Miklós Jancsó. He was one of those innovators of the 1960s, who broke with the stale cinema dominating their countries in the previous decades. Others admired him for breaking social taboos, especially those regarding sexual behaviour. Finally, some saw him principally as a political filmmaker, engaged with Marxism, in a way which was typical for Yugoslav cinema of the 1960s and 1970s, but rare in other socialist countries, largely because the Yugoslav version of socialism was more democratic and open to criticism, as demonstrated by the work of Praxis philosophers from Belgrade and Zagreb.
    [Show full text]
  • Directing the Narrative Shot Design
    DIRECTING THE NARRATIVE and SHOT DESIGN The Art and Craft of Directing by Lubomir Kocka Series in Cinema and Culture © Lubomir Kocka 2018. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Cinema and Culture Library of Congress Control Number: 2018933406 ISBN: 978-1-62273-288-3 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. CONTENTS PREFACE v PART I: DIRECTORIAL CONCEPTS 1 CHAPTER 1: DIRECTOR 1 CHAPTER 2: VISUAL CONCEPT 9 CHAPTER 3: CONCEPT OF VISUAL UNITS 23 CHAPTER 4: MANIPULATING FILM TIME 37 CHAPTER 5: CONTROLLING SPACE 43 CHAPTER 6: BLOCKING STRATEGIES 59 CHAPTER 7: MULTIPLE-CHARACTER SCENE 79 CHAPTER 8: DEMYSTIFYING THE 180-DEGREE RULE – CROSSING THE LINE 91 CHAPTER 9: CONCEPT OF CHARACTER PERSPECTIVE 119 CHAPTER 10: CONCEPT OF STORYTELLER’S PERSPECTIVE 187 CHAPTER 11: EMOTIONAL MANIPULATION/ EMOTIONAL DESIGN 193 CHAPTER 12: PSYCHO-PHYSIOLOGICAL REGULARITIES IN LEFT-RIGHT/RIGHT-LEFT ORIENTATION 199 CHAPTER 13: DIRECTORIAL-DRAMATURGICAL ANALYSIS 229 CHAPTER 14: DIRECTOR’S BOOK 237 CHAPTER 15: PREVISUALIZATION 249 PART II: STUDIOS – DIRECTING EXERCISES 253 CHAPTER 16: I.
    [Show full text]
  • 1 the Road Movie Spring 2005 Professor Karen
    1 The Road Movie Spring 2005 Professor Karen Beckman Office: Jaffe 209 Office hours: Tuesday 2-4pm Email: [email protected] Screenings: Wednesday Jaffe 201, 7pm Course Description In this course we will study the changing shape of the Road Movie genre over the course of the twentieth century. Though our primary focus will be on international adaptations of the genre since the 1960s, we will historicize the modern permutations of the genre by beginning with a consideration of the simultaneous emergence of moving pictures and high-speed forms of transportation. In addition to considering the limits and possibilities of genre as a category of analysis, we will grapple with a number of questions that will persist throughout the course: What is the relationship between cinema and the automobile? Is the road trip a peculiarly American fantasy, and what happens when non- US filmmakers adopt the genre? How does gender emerge as a concern of this genre? What role do urban and rural spaces play in shaping the journeys attempted within these films? What kinds of border-crossings does this genre enact or prohibit? And finally, do the often-radical fantasies of characters within this genre necessarily translate into films with radical politics? Required Books (available at Penn Book Center, corner of Walnut and 34th, and on reserve at Rosengarten, Van Pelt Library, with screened movies): David Laderman, Driving Visions: Exploring the Road Movie (Austin: U of Texas P, 2002) Steven Cohan and Ina Rae Hark, eds., The Road Movie Book (London and New York: Routledge, 1997) Paul Virilio, The Art of the Motor (Minneapolis: U of Minnesota P, 1995) (recommended) Lynne Kirby, Parallel Tracks: The Railroad and Silent Cinema (Durham: Duke UP, 1997) All other readings will be available on electronic reserve on course Blackboard site.
    [Show full text]
  • Grandes Del Cine Para Los 60 Años De Cannes
    Santiago de Chile, viernes 20 de abril de 2007, actualizado a las 6:20 hrs. Viernes 20 de abril de 2007 El festival de cine más importante del mundo: Grandes del cine para los 60 años de Cannes Fernando Zavala Cineastas como los hermanos Coen, Gus Van Sant o Emir Kusturica, ganadores de la Palma de Oro, vuelven al certamen. La presencia de Chile será particularmente fuerte. El documental "Calle Santa Fe" competirá en Una Cierta Mirada. FERNANDO ZAVALA Son 60 años y el programa de la nueva versión del Festival de Cine de Cannes debía estar a la altura. Ayer, el anuncio hecho en París por el histórico presidente del certamen, Giles Jacob, cumplió con las expectativas: una importante carga de pesos pesados celebrarán las seis décadas del certamen más importante del mundo, que se realizará en la riviera francesa entre el 16 y el 27 de mayo. 1 Reencuentros. De las 22 películas que compiten por la Palma de Oro, el premio máximo del Festival, trece pertenecen a cineastas que nunca han estado en esa sección. A cambio, de las nueve restantes, cuatro son dirigidas por cineastas que ya han obtenido el codiciado trofeo. Los hermanos Joel y Ethan Coen, verdaderos consentidos del evento, que en 1991 triunfaron con "Barton Fink", compiten ahora con "No country for old men", un thriller con Tommy Lee Jones y Javier Bardem. También están Quentin Tarantino (ganador con "Tiempos violentos") con "Death proof" y Gus Van Sant ("Elefante") con "Paranoid park". El bosnio Emir Kusturica, dos veces ganador ("Papá salió en viaje de negocios" y "Underground"), compite una vez más con "Promise me this".
    [Show full text]
  • La Cultura Italiana
    LA CULTURA ITALIANA FEDERICO FELLINI (1920-1993) This month’s essay continues a theme that several prior essays discussed concerning fa- mous Italian film directors of the post-World War II era. We earlier discussed Neorealism as the film genre of these directors. The director we are considering in this essay both worked in that genre and carried it beyond its limits to develop an approach that moved Neoreal- ism to a new level. Over the decades of the latter-half of the 20th century, his films became increasingly original and subjective, and consequently more controversial and less commercial. His style evolved from Neorealism to fanciful Neorealism to surrealism, in which he discarded narrative story lines for free-flowing, free-wheeling memoirs. Throughout his career, he focused on his per- sonal vision of society and his preoccupation with the relationships between men and women and between sex and love. An avowed anticleric, he was also deeply concerned with personal guilt and alienation. His films are spiced with artifice (masks, masquerades and circuses), startling faces, the rococo and the outlandish, the prisms through which he sometimes viewed life. But as Vincent Canby, the chief film critic of The New York Times, observed in 1985: “What’s important are not the prisms, though they are arresting, but the world he shows us: a place whose spectacularly grand, studio-built artificiality makes us see the interior truth of what is taken to be the ‘real’ world outside, which is a circus.” In addition to his achievements in this regard, we are also con- sidering him because of the 100th anniversary of his birth.
    [Show full text]
  • La Memoria Di Federico Fellini Sullo Schermo Del Cinema Mondiale.Indd
    1 Fondazione Federico Fellini Via Oberdan 1 - 47900 Rimini tel. 0541 50085-50303 / fax 0541 57378 www.federicofellini.it e-mail: [email protected] Presidente onorario Woody Allen Presidente Pupi Avati Vice Presidente Giuseppe Chicchi Direttore Vittorio Boarini Consiglio d’Amministrazione Pupi Avati Marco Bertozzi Giuseppe Chicchi Francesca Fabbri Fellini Stefano Pivato Italo Sala Comitato Scientifico Michele Canosa Maurizio Giammusso Jean A. Gili Vincenzo Mollica Jacqueline Risset Gianni Rondolino Giorgio Tinazzi Sergio Zavoli Responsabile delle iniziative Alessandra Fontemaggi Responsabile dell’archivio Giuseppe Ricci Segreteria Mirco Cecchini Segreteria amministrativa Andrea Cesari Lorenzo Corbelli 2 LA MEMORIA DI FEDERICO FELLINI SULLO SCHERMO DEL CINEMA MONDIALE Atti del Convegno internazionale di studi Rimini, 7-9 novembre 2003 FONDAZIONE FEDERICO FELLINI 3 Sotto l’Alto Patronato del Presidente della Repubblica La memoria di Federico Fellini sullo schermo del cinema mondiale Convegno internazionale Rimini, Teatro degli Atti, via Cairoli, 42 7-9 novembre 2003 organizzazione Alessandra Fontemaggi archivio e redazione del volume Giuseppe Ricci segreteria Elisa Morri e Paola Campanile allestimenti Nevio Semprini interpreti Stefania Del Buono Gianna Guidi Paola Paolini Maria Chiara Russo Maura Vecchietti amministrazione Andrea Cesari ufficio stampa Catia Donini, in collaborazione con Michela Mercuri grafica Colpo d’occhio, Enzo Grassi 4 hanno collaborato Giulia Lettieri Alessandra Rinaldini Caterina Balducci Noemi Quarantelli
    [Show full text]
  • Elal Vol 9 Cachia.Pdf
    Vol. 9 (2018) University of Reading ISSN 2040-3461 LANGUAGE STUDIES WORKING PAPERS Editors: S. Payne and R. Leonard Federico Fellini and Il Corriere dei Piccoli: the Influence of “Low” Art on the Director’s Cinematography Christina Cachia The distinguished Italian director Federico Fellini mentions his favourite childhood magazine Il Corriere dei Piccoli on various occasions, yet scholars and critics have not looked further into this connection in order to understand Fellini’s films. Labelled an ‘auteur’ and an ‘artistically distinctive filmmaker’, Fellini is placed in the “high” art tradition, with artistic influences to ma tch. In this essay, I focus instead on the influences from the director’s childhood, which played a particularly influential part in his artistic development. I analyse Fellini’s films with reference to one of his most lasting childhood influences: the comic strips of Il Corriere dei Piccoli. In pointing out various visual, technical and narrative similarities between Fellini’s films and several comic strips found in this important Italian weekly magazine for young readers, I argue that this popular artistic output was inspirational for Fellini and deserves greater attention than it has received in the existing scholarship. 1. Introduction The terms ‘ornate’, ‘extravagant’, ‘flamboyant’, ‘grotesque’ and ‘bizarre’ have been used to describe Federico Fellini’s unique and distinctly personal style of cinematography (Cardullo, 2006: xii); however, the question of his artistic influences remains largely unanswered. There is a scene from Fellini’s I Clowns (1970) that depicts one of the director’s significant childhood memories: the first time he discovered the circus. The scene starts with young Fellini sitting up from his bed, then heading towards his bedroom window as he hears strange noises coming from outside.
    [Show full text]
  • Experiences of Flânerie and Cityscapes in Italian Postwar Film
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks STROLLING THE STREETS OF MODERNITY: EXPERIENCES OF FLÂNERIE AND CITYSCAPES IN ITALIAN POSTWAR FILM TORUNN HAALAND Submitted to the faculty of the University Graduate School in partial fulfilment of the requirements for the degree Doctor of Philosophy in the Department of French and Italian, Indiana University OCTOBER 2007 Accepted by the Graduate Faculty, Indiana University, in partial fulfilment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee Distinguished Professor Emeritus Peter Bondanella Professor Andrea Ciccarelli, Rudy Professor Emeritus James Naremore, Professor Massimo Scalabrini September 24 2007 ii © 2007 Torunn Haaland ALL RIGHTS RESERVED iii For Peter – for all the work, for all the fun iv ACKNOWLEDGMENTS My thanks go to the members of my dissertation committee, who all in their own way inspired the direction taken in this study while crucially contributing with acute observations and suggestions in its final stages. Even more significant was however the distinct function each of them came to have in encouraging my passion for film and forming the insight and intellectual means necessary to embark on this project in the first place. Thanks to Andrea for being so revealingly lucid in his digressions, to Jim for asking the questions only he could have thought of, to Massimo for imposing warmheartedly both his precision and encyclopaedic knowledge, and thanks to Peter for never losing faith in this or anything else of what he ever made me do. Thanks to my brother Vegard onto whom fell the ungrateful task of copyediting and converting my rigorously inconsistent files.
    [Show full text]
  • Strict Liability and the Anti-Paparazzi Act: the Best Solution to Protect Children of Celebrities
    LEE_9 (EGK) 5/28/2015 10:08 PM Strict Liability and the Anti-Paparazzi Act: The Best Solution to Protect Children of Celebrities Matthew Lee* Celebrities faced with overly aggressive, and often dangerous, paparazzi behavior are left with only the Anti-Paparazzi Act as legal recourse in California. Although the public may accept such limited legal recourse due to the nature of celebrity, it is important to consider the fact that aggressive paparazzi behavior also affects those who have not chosen to be celebrities—the children of celebrities. To effectively protect celebrities’ children, this Note advocates for a strict liability standard for media outlets that publish content displaying celebrities’ children obtained as a result of overly aggressive paparazzi tactics. Others have suggested numerous remedial measures that include increased funding for police to restricting the areas in which paparazzi are permitted to go. These measures fail to address the cause of the problem, namely the fact that paparazzi are financially incentivized to obtain content displaying celebrities’ children. * J.D. Candidate, 2015, University of California Hastings College of the Law. Thank you to Professor Depoorter for his invaluable guidance and mentorship. I would also like to thank Michael Charlebois, Elliot Hosman, Emily Goldberg Knox, Claire Lesikar, Jane Petoskey, Nicole Teixeira, Jason Quinn, and the rest of Hastings Law Journal for their gracious and diligent work. I would also like to express my deepest gratitude to my parents, Hansen and Debbie, and family for their continued support throughout all my endeavors. [6] LEE_9 (EGK) 5/28/2015 10:08 PM June 2015] STRICT LIABILITY AND THE PAPARAZZI 7 Table of Contents Introduction ...................................................................................................
    [Show full text]
  • An Homage to Marcello Mastroianni Saturday, September 22, 2018 Castro Theatre, San Francisco
    Ciao, Marcello! An Homage to Marcello Mastroianni Saturday, September 22, 2018 Castro Theatre, San Francisco An overdue homage to a great star 60 years after the making of “La Dolce Vita”, featuring the works of four directors for one actor in one day. Presented in collaboration with The Leonardo da Vinci Society, The Consul General of Italy and The Italian Cultural Institute of San Francisco. With gratitude to Luce Cinecittá, Janus Films, Kino Lorber, and Paramount Pictures. Yesterday, Today and Tomorrow (1963) 119 min. BD 10:00 AM Directed by Vittorio De Sica with Sophia Loren 8½ (1963) 138 min. 35 mm 1:00 PM Directed by Federico Fellini with Claudia Cardinale, Anouk Aimèe, Sandra Milo A Special Day (1977) 106 min. 35 mm 3:30 PM Directed by Ettore Scola with Sophia Loren La Dolce Vita (1960) 173 min. DCP 6:00 PM Directed by Federico Fellini with Anita Ekberg Via Veneto Party 9:00 PM-10:30 PM Divorce Italian Style (1961) 105 min. 35 mm 10:30 PM Directed by Pietro Germi with Daniela Rocca, Stefania Sandrelli Marcello Mastroianni A more intimate Marcello, who after the 10 years in the theater under the artistic wing of Luchino Visconti, arrives to the big success of “La Dolce Vita”, never forgetting the intimate life of the average Italian of the time. He molds and changes according to the director that he works with, giving us a kaleidoscope of images of Italy of the 60s. Marcello said: “Yes! I confess, I prefer cinema to theater. Yes, I prefer it for approximation and improvisations, for its confusion.
    [Show full text]