DOCSLIB.ORG

Tribute to Michel Piccoli by Serge Toubiana

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tribute to Michel Piccoli by Serge Toubiana www.smartymagazine.com Tribute to Michel Piccoli by Serge Toubiana "Extravagant! Isn't it extravagant? "The expression often comes back in his mouth, expressing a permanent feeling of curiosity, of questioning about the world and things. If there is one man who is never jaded, it is Michel Piccoli. Yet his record of service would allow him to distance himself, to take a step back and be content to live on his symbolic pension. This is not the case, because that is not like him. Michel Piccoli retains an almost childlike capacity for astonishment that commands admiration. How does he do it? Mystery. This state of childhood allowed him to go through several decades of cinema, no less than six, and to cover the whole spectrum: from Sautet to Godard, from Boisset and Rouffio to Granier-Deferre, without forgetting the two ogres that were Luis Buñuel and Marco Ferreri, to whom he was faithful. And then: Demy, Costa-Gavras, Louis Malle, Jacques Doillon, Rivette, Hitchcock, Pascal Bonitzer, Youssef Chahine, Leos Carax, Ruiz, Manoel de Oliveira and more recently Nanni Moretti and his Habemus Papam. The list is too long. Dialogue with Michel Piccoli, September 2013 THE CHILDISH PLEASURE OF THE GAME This form of disbelief or candor, this childish questioning is at the basis of his method, which is obviously not one. More precisely his approach to the acting profession: unfailing availability, a taste for extravagance precisely, true humility that allows him to follow almost blindly any kind of artistic adventure. Piccoli, like his fellow actor Mastroianni, ideally embodies this "state of actor": to love to play, to love to be another, to love to slip into other worlds through back doors. How many films has he made? More than two hundred. Including the many televisions that punctuated the fifties, but not counting his many roles in the theatre. And then, in 1963, THE revelation: his role in Le Mépris, just half a century ago. About Rafle sur la ville by Pierre Chenal (1958), in which Michel Piccoli plays (he is a police inspector and dies at the end while lying on a grenade in the P.J.'s office), Godard had written in the Cahiers du cinéma in April 1958: "Admirable Michel Piccoli". He remembered this when he gave the role of Paul Javal, the screenwriter married to Camille, the sublime Camille played by Brigitte Bardot. Paul Javal, as everyone knows, is Godard disguised as Piccoli. A role that counts in an actor's life. Contempt," Piccoli said, "is an entirely autobiographical work by Godard, autobiographical of that moment in his life. It tells the story of a moment of pain, of questioning oneself about love, literature, cinema, money. I think it was a very special moment of worry in Godard's life. » Fritz Lang wrote to Michel Piccoli in August 1963, from Beverly Hills, California: "Jean-Luc certainly had one of his best days when he chose you for the role of Paul (...) When I think of your great scene inside Malaparte or the scenes we had together, I always felt that he was not an actor playing a role, but that he was a living man, searching for his vocation, his true soul, and suffering. "Can you imagine a more beautiful compliment? Godard himself was not stingy in his praise: "I took Piccoli because I needed a very, very good actor. He has a difficult role and he plays it very well. Nobody realizes that he is remarkable, because he has a role that is very detailed. "What was difficult? Being Camille Javal's cheating husband? To play the role of a mature man, abandoned by the sublime Bardot? To embody the doubt, the secret of a man overwhelmed by the adventure in which he is dragged? What is certain is that Le Mépris shakes up Michel Piccoli's all-too-quiet trajectory. Beyond his forties, becoming a leading actor will be the challenge of an actor who made appearances in films: for example Renoir's French Cancan (1954), in which he plays a slightly falot and stiff captain, moustache and black hair, a comic look à la Hulot, making hand kisses to the ladies; or Les Mauvaises Rencontres d'Astruc (1955); later, Melville's Le Doulos (1962). SEDUCTION AND PROVOCATION In the wake of Godard's film, he went from one film to the next at a rate of four or five, sometimes six in the same year, playing the role of mature men, seducers and libertines. Marcel Bluwal's Dom Juan, made in 1965 for television, remains in his memory, Molière's text seemingly made for his voice, ironic, greedy and disturbing. His character of a perverse bourgeois in Belle de jour (1966) fixes for a long time the character of Piccoli on the screen: elegant and secret, master of his feelings and undressing with his eyes his sublime partners (Catherine Deneuve in this film and in Alain Cavalier's La Chamade, or Romy Schneider in Claude Sautet's films), a libertine figure, organizer of parties and rituals from which he pulls the strings for his sole enjoyment. But the façade cracks and Claude Sautet is there to capture, in Les Choses de la vie, then in Max et les Ferrailleurs, Vincent, François, Paul and the others, or Mado, the flaw of the bourgeois man too smooth enclosed in his certainties. Psychological or social fault, which Piccoli embodies with magnanimous grandeur. He is brilliant in Une étrange affaire de Pierre Granier-Deferre (1981, based on a novel by Jean-Marc Roberts, who recently disappeared), manipulative and charismatic, always on the move, dragging his mystified collaborators into his senseless sequel. Genius also in Les Noces rouges de Chabrol (1973) where, under the varnish of the provincial bourgeoisie, the purely bestial sexual impulse pierces through. DILLINGER OR THE LEAP INTO THE VOID And then there is the film that makes the switch, that operates the "jump into the void" (title of Marco Bellocchio's film, which earned Piccoli and Anouk Aimée a double interpretation prize at Cannes in 1980): Dillinger est mort by Marco Ferreri (1969), in which the actor is suddenly confronted with the emptiness of his own existence, with a deadly confrontation with himself, having fun handling a transitional object, a revolver of which he doesn't know what to do with, an object that sends him back to his nothingness, thus logically to suicide. The end of the social, the flight of society with its restrictive codes: the freedom of the individual is at this price. Piccoli takes a taste for it and remembers his meeting with Ferreri as one of the most intense moments of his entire acting career. The actor's ability to switch in the blink of an eye from the virile and hairy dominating male to the child, or if one prefers, from the ogre to the little thumb, fascinated the author of Pipicacadodo so much. After Dillinger comes L'Audience, Touche pas à la femme blanche*, and above all La Grande bouffe, where Piccoli, dressed in an ugly acrylic turtleneck sweater in delicatessen pink, with his companions Mastroianni, Tognazzi and Noiret, gives his all in their joyful and - this time again - deadly rituals. This dimension of the grotesque is essential if one wants to perceive the truth of an actor. It belongs to the sphere of provocation, farcical in Ferreri's work, surreal in Buñuel's, but it refers above all to the deep black hole of childhood and the pleasure of regression in Michel Piccoli's work. In his work as an actor, because it is indeed a work and on the scale of a life - and in his work as a filmmaker, the three films he has made, where we find childhood, regression, burlesque at times, but above all, FREEDOM. For, as an admirable and extravagant actor, Michel Piccoli is above all a free man. Text by Serge Toubiana on the occasion of the retrospective devoted to Michel Piccoli in 2013 at La Cinémathèque française. Serge Toubiana is President of UniFrance, former director general of La Cinémathèque française. 19 May 2020 copyright: All rights reserved copyright: Le mépris, Jean-Luc Godart www.smartymagazine.com Contacts smArty Intern'l Ltd Ibex House Baker Street Weybridge KT13 8AH [email protected] www.smartymagazine.com.
Load more

Recommended publications
  • Habemus Papam
    Fandango Portobello presents a Sacher Films, Fandango and le Pacte production in collaboration with Rai and France 3 Cinema HABEMUS PAPAM a film by Nanni Moretti Running Time: 104 minutes International Fandango Portobello sales: London office +44 20 7605 1396 [email protected] !"!1!"! ! SHORT SYNOPSIS The newly elected Pope suffers a panic attack just as he is due to appear on St Peter’s balcony to greet the faithful, who have been patiently awaiting the conclave’s decision. His advisors, unable to convince him he is the right man for the job, seek help from a renowned psychoanalyst (and atheist). But his fear of the responsibility suddenly thrust upon him is one that he must face on his own. ! ! ! ! ! ! ! ! ! ! ! ! !"!2!"! CAST THE POPE MICHEL PICCOLI SPOKESPERSON JERZY STUHR CARDINAL GREGORI RENATO SCARPA CARDINAL BOLLATI FRANCO GRAZIOSI CARDINAL PESCARDONA CAMILLO MILLI CARDINAL CEVASCO ROBERTO NOBILE CARDINAL BRUMMER ULRICH VON DOBSCHÜTZ SWISS GUARD GIANLUCA GOBBI MALE PSYCHOTHERAPIST NANNI MORETTI FEMALE PSYCHOTHERAPIST MARGHERITA BUY CHILDREN CAMILLA RIDOLFI LEONARDO DELLA BIANCA THEATER COMPANY DARIO CANTARELLI MANUELA MANDRACCHIA ROSSANA MORTARA TECO CELIO ROBERTO DE FRANCESCO CHIARA CAUSA MASTER OF CEREMONIES MARIO SANTELLA CHIEF OF POLICE TONY LAUDADIO JOURNALIST ENRICO IANNIELLO A MOTHER CECILIA DAZZI SHOP ASSISTANT LUCIA MASCINO TV JOURNALIST MAURIZIO MANNONI HALL PORTER GIOVANNI LUDENO GIRL AT THE BAR GIULIA GIORDANO BARTENDER FRANCESCO BRANDI BOY AT THE BUS LEONARDO MADDALENA PRIEST SALVATORE MISCIO DOCTOR SALVATORE
    [Show full text]
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • Tournage : Les Exilés
    Document generated on 09/26/2021 12:14 a.m. Séquences La revue de cinéma Tournage Les exilés Robert-Claude Bérubé Number 125, July 1986 URI: https://id.erudit.org/iderudit/50776ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Bérubé, R.-C. (1986). Tournage : les exilés. Séquences, (125), 43–43. Tous droits réservés © La revue Séquences Inc., 1986 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ SÉQUENCES N" 125 médiévale, Lionheart — The Children's Crusade. C'est l'histoire d'un chevalier adolescent qui entraîne des enfants TOURNAGE vagabonds dans une lutte contre un monde corrompu. Eric Stoltz (Mask) campe le rôle principal. Notons que la productrice du film est nulle autre que Talia Shire, l'actrice qui incarne Adrian, l'épouse de Rocky, et qui est par LES EXILES ailleurs la soeur de Francis Coppola. En échange, le réalisateur yougoslave Slobodan Sijan (Qui chante là-bas?) s'est rendu en Italie tourner, pour Le cinéaste américain Robert Altman est maintenant la compagnie Cannon, un film intitulé The Barbarians. établi en résidence permanente à Paris; il a plusieurs projets en marche dont un film en français sur les milieux Après avoir tourné Witness aux États-Unis, de la mode, Prêt-à-porter, avec en vedette Michel Piccoli.
    [Show full text]
  • Programma Estiva 2011
    Comune di Venezia Assessorato alle Attività Culturali Circuito Cinema Comunale Estate al cinema - L’arena dei festival Venezia dal 27 luglio al 31 agosto 2011 Arena di Campo San Polo Giorgione Movie d’essai Multisala Astra Calendario delle proiezioni Data Giorgione A Giorgione B Astra 1 Astra 2 Arena San Polo 27/7m Ore 21.30 Il discorso del re di Tom Hooper con Colin Firth, Geoffrey Rush, 118’, v.o. sott. it. Oscar 2011 - Miglior film, regia, sceneggiatura originale e attore protagonista Colin Firth 28g RIPOSO RIPOSO Ore 20/22 Ore 19.30/21.30 Ore 21.30 The Tourist La fine è il mio inizio Incontrerai l'uomo dei tuoi sogni di Florian Henckel von di Jo Baier di Woody Allen Donnersmarck con Bruno Ganz, Elio Germano, con Anthony Hopkins, Naomi Watts, con Johnny Depp, Angelina Jolie, 98’ 98’ 105’, v.o. sott. it. Cannes 2010 – Fuori concorso 29v Ore 19.30/22 Ore 19.45/21.45 Ore 20/22 Ore 19.30/21.30 Ore 21.30 Another Year Offside The Tourist La fine è il mio inizio Habemus Papam di Mike Leigh di Jafar Panahi di Florian Henckel von di Jo Baier di Nanni Moretti con Jim Broadbent, Ruth Sheen, con Sima Mobarak Shahi, Donnersmarck con Bruno Ganz, Elio Germano, con N. Moretti, Michel Piccoli, 107’ 129’ Shayesteh Irani, 88’ con Johnny Depp, Angelina Jolie, 98’ Nastri d’Argento 2011 - Nastro 105’, v.o. sott. it. d’Argento Europeo a Michel Piccoli 30s Ore 17/19.30/22 Ore 17.45/19.45/21.45 Ore 17 Ore 17.20/19.40/22 Ore 21.30 Another Year Offside Paul Il discorso del re Hereafter di Mike Leigh di Jafar Panahi di Greg Mottola, Simon Pegg, di Tom Hooper di Clint Eastwood con Jim Broadbent, Ruth Sheen, con Sima Mobarak Shahi, Nick Frost, 104’ con Colin Firth, Geoffrey Rush, con Matt Damon, Cécile de France, 129’ Shayesteh Irani, 88’ Ore 19.15/21.45 118’, v.o.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Hiol 20 11 Fraser.Pdf (340.4Kb Application/Pdf)
    u 11 Urban Difference “on the Move”: Disabling Mobil- ity in the Spanish Film El cochecito (Marco Ferreri, 1960) Benjamin Fraser Introduction Pulling from both disability studies and mobility studies specifically, this ar- ticle offers an interdisciplinary analysis of a cult classic of Spanish cinema. Marco Ferreri’s filmEl cochecito (1960)—based on a novel by Rafael Azcona and still very much an underappreciated film in scholarly circles—depicts the travels of a group of motorized-wheelchair owners throughout urban (and rural) Madrid. From a disability studies perspective, the film’s focus on Don Anselmo, an able-bodied but elderly protagonist who wishes to travel as his paraplegic friend, Don Lucas, does, suggests some familiar tropes that can be explored in light of work by disability theorists.1 From an (urbanized) mobil- ity studies approach, the characters’ movements through the Spanish capital suggest the familiar image of a filmic Madrid of the late dictatorship, a city that was very much culturally and physically “on the move.”2 Though not un- problematic in its nuanced portrayal of the relationships between able-bodied and disabled Madrilenians, El cochecito nonetheless broaches some implicit questions regarding who has a right to the city and also how that right may be exercised (Fraser, “Disability Art”; Lefebvre; Sulmasy). The significance of Ferreri’s film ultimately turns on its ability to “universalize” disability and connect it to the contemporary urban experience in Spain. What makes El cochecito such a complex film—and such a compelling one—is how a nuanced view of (dis)ability is woven together with explicit narratives of urban modernity and implicit narratives of national progress.
    [Show full text]
  • Company Profile Fenix Entertainment About Us
    COMPANY PROFILE FENIX ENTERTAINMENT ABOUT US Fenix Entertainment is a production company active also in the music industry, listed on the stock exchange since August 2020, best newcomer in Italy in the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa. Its original, personalized and cutting-edge approach are its defining features. The company was founded towards the end of 2016 by entrepreneurs Riccardo di Pasquale, a former bank and asset manager and Matteo Di Pasquale formerly specializing in HR management and organization in collaboration with prominent film and television actress Roberta Giarrusso. A COMBINATION OF MANY SKILLS AT THE SERVICE OF ONE PASSION. MILESTONE 3 Listed on the stock exchange since 14 Produces the soundtrack of Ferzan Produces the film ‘’Burraco Fatale‘’. August 2020, best newcomer in Italy in Ozpetek's “Napoli Velata” the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa First co-productions Produces the soundtrack "A Fenix Entertainment cinematographic mano disarmata" by Claudio Distribution is born Bonivento Acquisitions of the former Produces the television Produces the film works in the library series 'That’s Amore' “Ostaggi” Costitution Fenix Attend the Cannes Film Festival Co-produces the film ‘’Up & Produces the “DNA” International and the International Venice Film Down – Un Film Normale‘’ film ‘Dietro la product acquisition Festival notte‘’ 2016 2017 2018 2019 2020 “LA LUCIDA FOLLIA DI MARCO FERRERI” “UP&DOWN. UN FILM “NAPOLI VELATA” original “BEST REVELATION” for Fenix Entertainment • David di Donatello for Best Documentary NORMALE” Kineo award soundtrack Pasquale Catalano Anna Magnani Award to the production team • Nastro d’Argento for Best Film about Cinema for Best Social Docu-Film nominated: • David di Donatello for Best Musician • Best Soundtrack Nastri D’Argento “STIAMO TUTTI BENE” by Mirkoeilcane “DIVA!” Nastro D’Argento for the Best “UP&DOWN.
    [Show full text]
  • Ctpr 457 Creating Poetic Cinema (7.2.19)
    1 CTPR 457 CREATING POETIC CINEMA (7.2.19) USC School of Cinematic Arts 2 Units Fall ’19; Wednesdays 3:00-5:50pm SCA363 (18557R) Instructor: Pablo Frasconi 805-895-5943 (cell) 213-740-7244 (office) [email protected] Teaching Assistant: August Burton [email protected] Taking pictures is savoring life intensely, every hundredth of a second. –Marc Riboud (France, b. 1923-) A poem is a mirror walking down a high street full of visual delight. Poetry is the essence of ideas before they are distilled into thought. Poetry is a book of light at night, dispersing clouds of unknowing. Poetry is emotion recollected in emotion. -Lawrence Ferlinghetti (US. b. 1919-) The poet makes himself a seer by a long, prodigious, and rational disordering of all senses. –Arthur Rimbaud (France 1854-1891) When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. –Robert Frank (US, b. Switzerland, 1924) A poem must resist the intelligence Almost successfully. --Wallace Stevens (US, 1879-1955) What is poetry? What are poetic images? The poetics of cinema? How are poetics engaged –especially by writer/directors—for intellectual, aesthetic, visceral, structural, emotional, and narrative purposes to create cinematic moments that resonate long after the film is over? Through the production of four short films in HD, students will investigate poetic cinema from four different perspectives: 1) found poetry, 2) applied poetry, 3) poetry as image, and 4) poetry in narrative fiction. The found poetry exercise, “From the Street,” focuses on the appropriation and manipulation of vernacular text and images; the applied poetry exercise, “From the Word,” translates ideas from written poetry to image; the poetry as image exercise, “From the Light,” explores the image as text—especially in imagistic, expressionist films; the poetry in narrative fiction exercise, “From the Eyes,” synthesizes the abstract and mimetic traditions of cinema.
    [Show full text]
  • MARCO FERRERI the Director Who Came from the Future
    MASSIMO VIGLIAR presents a production SURF FILM – ORME – LA7 MARCO FERRERI The director who came from the future a documentary film by MARIO CANALE With the participation of: Rafael Azcona, Nicoletta Braschi, Franco Brocani, Jerry Calà, Sergio Castellitto, Pappi Corsicato, Piera Degli Esposti, Francesca Dellera, Maruschka Detmers, Nicoletta Ercole, Sabrina Ferilli, Andréa Ferréol, Enzo Jannacci, Christopher Lambert, Citto Maselli, Gianni Massaro, Ornella Muti, Philippe Noiret, Esteve Riambau, Ettore Rosboch, Dado Ruspoli, Alfonso Sansone, Giancarlo Santi, Philippe Sarde, Catherine Spaak, Lina Nerli Taviani, Ricky Tognazzi, Mario Vulpiani narrator: Michele Placido Music: Philippe Sarde Non contractual credits TECHNICAL DATA Marco Ferreri, the director who came from the future ITALIA 2007, b/w and colour, 90’ Direction: Mario Canale Story and screenplay: Mario Canale, Annarosa Morri Narrator: Michele Placido Music: Philippe Sarde Editing: Adalberto Gianuario, Alessandro Raso Photography: Maurizio Carta, Massimo Coconi, Paolo Mancini, Marcello Rapezzi, Mario Canale Iconography research: Rosellina d’Errico Executive production: Mario Canale, Elena Francot Archive images: Orme Istituto Luce Aamod – Archivio Audiovisivo del Movimento Operaio e Democratico Fondazione Mario Schifano TVE – A fondo - 1978 Argento puro di Pappi Corsicato Giancarlo Santi : facevo er Cinema di Anton Giulio Mancino Italia Taglia di Tatti Sanguineti Antonioni di Gianfranco Mingozzi Period pictures : Jacqueline Ferreri Reporters Associati Images of the film for kind concession of: Jacqueline Ferreri Surf film: Controsesso, La donna scimmia, La Carne, Diario di un vizio, L’uomo dei 5 palloni, Casanova 70, Il fischio al naso, Cronaca di un amore. Myra Film : La Grande abbuffata, Non toccare la donna bianca, Ciao Maschio, Il seme dell’uomo, El Cochecito, La casa del sorriso, Nitrato d’argento.
    [Show full text]
  • Marco Ferreri Retrospective 1 – 14 December at Ciné Lumière
    press release nov 06 Marco Ferreri Retrospective 1 – 14 December at Ciné lumière About the Retrospective The Italian Cultural Institute and the Institut français, London, in collaboration with Cinecittà Holding are delighted to present a fortnight-long tribute to maverick Italian director Marco Ferreri. The retrospective features a representative selection of 13 films from all four decades of his filmmaking career, and showcases impressive (and surprising) performances from some of European cinema’s finest actors, including Marcello Mastroianni, Roberto Benigni, Gérard Dépardieu, Catherine Deneuve, Philippe Noiret, Michel Piccoli and Ugo Tognazzi. A highlight of the season will be the two screenings of Ferreri’s masterpiece La Grande Bouffe (Blow-Out) on a newly-restored print provided by Cinecittà especially for the occasion. As many of Ferreri’s films received no, or very limited, UK release, this season represents a valuable opportunity for film fans to assess or re-asses the work of one of Italian – and world – cinema’s most singular talents. L’Ape regina (The Queen Bee) • La Donna scimmia (The Ape Woman) • Dillinger è morto (Dillinger is Dead) • L’Udienza (The Audience) • La Cagna (Love to Eternity) • La Grande Bouffe (Blow-Out) • Touche pas à la femme blanche (Don’t Touch the White Woman!) • La Dernière Femme (The Last Woman) • Ciao Maschio (Bye Bye Monkey) • Chiedo asilo (Pipicacadodo) • Storie di ordinaria follia (Tales of Ordinary Madness) • La Carne (The Flesh) • Diario di un vizio (Diary of a Maniac) Venue: Ciné lumière at the Institut français, 17 Queensberry Place, London SW7 2DT Tickets: £7, conc. £5; double bills £9, conc.
    [Show full text]
  • Ugo Tognazzi: a Film Series
    Presents Ugo Tognazzi: a Film Series Saturday, April 27, 2019 Castro Theatre 429 Castro Street San Francisco, CA 94114 In collaboration with The Italian Cultural Institute and the Consul General of Italy in San Francisco Organized by Cinema Italia San Francisco For our 9th program at the Castro Theatre, we are proud to present Italian icon Ugo Tognazzi. As an actor, director and screenwriter, Tognazzi performed in over 150 films in the Golden Age of Italian Cinema. Together with Vittorio Gassman, Marcello Mastroianni, Alberto Sordi and Nino Manfredi, Ugo Tognazzi invented and popularized the commedia all'italiana, a genre mixing comedy and melancholy, that swept the box office in Italy from 1960 to 1970. All five films will be projected from 35 mm prints. 1 Saturday, April 27 - Full Schedule: 10:00 am - Elio Petri’s Property is No Longer a Theft (1973), 127 min., Cinecittà 35 mm, Titanus. 12:45 pm - Bernardo Bertolucci’s Tragedy of a Ridiculous Man (1981), 116 min., Cinecittà 35 mm, Warner Bros. 3:30 pm - Dir. Dino Risi’s In the Name of the Italian People (1971), 102 min., Cinecittà 35 mm, Rialto. 6:30 pm - Édouard Molinaro’s La Cage aux Folles (1978), 97 min., 35 mm, Park Circus. 8:30-10:00 pm - The Big Feast Party 10:00 pm - Marco Ferreri’s La Grande Bouffe (1973), 129 min., Cinecittà 35 mm, Drafthouse. Property is No Longer a Theft La proprietà non è più un furto Directed by Elio Petri Screenplay by Elio Petri, Ugo Pirro With Ugo Tognazzi, Flavio Bucci, Daria Nicolodi In Italian with English subtitles.
    [Show full text]