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ADMIION I FR DIRCTION 10:00 TO 5:00 National Gallery of Art Release Date: Jul 29, 2015 Summer Films at National Gallery of Art Include Albert Maysles Retrospective, Rare 35mm Prints from Italian Film Archives, Tribute to Titanus Studio, and Special Appearance by Indie Filmmaker Film still from Il idone Federico Fellini, 1955, to e screened as part of the series Titanus Presents: A Famil Chronicle of Italian Cinema, on August 23, National Galler of Art, ast uilding Auditorium. Image courtes of Titanus. Washington, DC—The National Galler of Art film program returns to its ast uilding Auditorium on August 1 with a triute to Alert Masles that focuses on his and his rother David's interest in art and performance and includes several screenings from Italian film archives shown in the Galler's annual summer preservation series dedicated this ear to the Italian film production house Titanus. Masles Films Inc.: Performing Vérité (some in original 16mm format) Through August 2 Alert Masles (1926–2015) and his rother David (1931–1987) expanded the artistic possiilities for direct cinema espousing "the ee of the poet" as a factor in shooting and editing cinema vérité. Their trademark approach—capturing action spontaneousl and avoiding a point of view—ecame, for a time, the ver definition of documentar. It is presented as a triute to Alert Masles, who died this ear in March. Masles often visited the National Galler of Art; his wife, Gillian Walker, was the daughter of former Galler director John Walker. The National Galler of Art extends a special thanks to Jake Perlin and Reekah Males for making the showing of the Masles films possile. creenings include Gre Gardens (August 1), now hailed as one of the greatest nonfiction works of the 20th centur. The stor is aout the now- famous aunt and cousin of Jacqueline Kenned Onassis, dith wing ouvier and die ouvier eale, who lived out their lives in a ramshackle Long Island estate. Additional films include alesman (August 1), a documentar aout four American men making a marginal living selling iles in working- class neighorhoods. Gimme helter (August 2), a documentar with footage from an epic concert that included, among others, the Grateful Dead, antana, Jefferson Airplane, the Fling urrito rothers, and the Rolling tones, includes the infamous murder of Meredith Hunter that was inadvertentl captured on camera. Titanus Presents: A Famil Chronicle of Italian Cinema August 8–eptemer 27 The renowned production house Titanus, founded in Rome in 1904 Gustavo Lomardo, is still operating toda under grandson Guido Lomardo. Alongside the cadre of genre film directors were the auteurs—Luchino Visconti, Alerto Lattuada, Federico Fellini, Dino Risi, rmanno Olmi, lio Petri, and Francesco Rosi—plus a constellation of gifted actors from Alerto ordi and Vittorio Gassman to ophia Loren and Gina Lollorigida. The series is presented in Washington with the cooperation of the Italian Cultural Institute, Marco Cicala, Linda Lilienfeld, tefania androne, the Film ociet of Lincoln Center, and Locarno Film Festival. Titanus films include Totò Diaolicus (August 8), a parod of a giallo crime thriller, in which legendar comic actor Totò plas five silings; The Fiancés (August 8), one of rmanno Olmi's eloquent tales of the working-class poor; Le Amiche (August 9), Michelangelo Antonioni's adaptation of a Cesare Pavese novel; and The Leopard (August 29), Luchino Visconti's grand adaptation of Giuseppe Rotunno's masterful novel Il Gattopardo. Das of Glor (August 15), made in the wake of the Ardeatine Caves Nazi-Fascist massacre, shows riveting vérité footage of the recover of the odies, the trial, and more. Now a landmark of earl neorealism, the domentar is rarel screened outside Ital. Violent ummer (August 15) reveals a doomed love affair etween a naval hero's widow (leonora Rossi Drago) and a ounger man (Jean-Louis Trintignant), a draft dodger. In The Das Are Numered (August 16), a modernist take on a working-class life in crisis mixes neorealism with social oservation. Roma Ore 11 (August 22) tells a tale of five women among hundreds appling for a low-paing secretarial jo in postwar Rome, whose lives were changed when a staircase collapses. Il idone (August 23) is a stor aout three con artists that susist plaing tricks on the gullile poor, disguising themselves to fit the mood of each escapade. The ird with the Crstal Plumage (August 30) features an American writer in Rome that witnesses an attack inside an art galler, ased on The creaming Mimi American pulp fiction writer Fredric rown. Additional films include The ign of Venus (eptemer 5), which features ofia Loren and Franca Valeri in a film aout the romantic adventures of two cousins from different ackgrounds—one overl feminine (Loren) and the other overl plain. anditi a Orgosolo (eptemer 6) is the stor of a shepherd wrongl accused of a crime and pursued thuggish carainieri. I Magliari (eptemer 6) develops themes of the immigrant worker, organized crime, and urope's north-south prolem. ophia Loren stars in Two Women (eptemer 13), adapted from a novel Alerto Moravia. The 26-ear-old Loren ecame the first Oscar winner in a foreign-language film. read, Love, and Dreams (eptemer 19) features Gina Lollorigida, Marisa Merlini, and Vittorio De ica in this 1960 film set in a mountain village near Aruzzi. The Passionate Thief (eptemer 27) features Anna Magnani, Totò, and en Gazzara in Mario Monicelli's dazzling screwall farce that was restored last ear for theatrical release. pecial vents Alerto the Great (Luca Verdone in person eptemer 5), a new documentar on the iconic career of Alerto ordi—argual Ital's most eloved comic actor of the mid-20th centur—provides an amusing et in-depth account of his career in cinema through clips, photographs, interviews, and testimonials. The National Galler of Art extends a special thanks to the mass of Ital and the Italian Cultural Institute of Washington. Full Moon in Paris (eptemer 20) highlights the romantic longings and self-deceptions of a trio of oung Parisians in ric Rohmer's masterful comed of manners. In Rohmer in Paris followed The Girl at the Monceau aker (eptemer 26), Éric Rohmer's Parisian citscapes take on an intriguing life all their own in this cinematic essa with insightful reflections on the cit's topograph. Documentarian Richard Misek mixes iograph, speculation, fact, and fiction with excerpts from assorted Rohmer films into an original excursion through cinema histor and contemporar Paris. General Information The National Galler of Art and its culpture Garden are at all times free to the pulic. The are located on the National Mall etween 3rd and 9th treets at Constitution Avenue NW, and are open Monda through aturda from 10:00 a.m. to 5:00 p.m. and unda from 11:00 a.m. to 6:00 p.m. The Galler is closed on Decemer 25 and Januar 1. For information call (202) 737-4215 or visit the Galler's We site at www.nga.gov. Follow the Galler on Faceook at www.faceook.com/NationalGallerofArt, Twitter at www.twitter.com/ngadc, and Instagram at http://instagram.com/ngadc. Visitors will e asked to present all carried items for inspection upon entering. Checkrooms are free of charge and located at each entrance. Luggage and other oversized ags must e presented at the 4th treet entrances to the ast or West uilding to permit x-ra screening and must e deposited in the checkrooms at those entrances. For the safet of visitors and the works of art, nothing ma e carried into the Galler on a visitor's ack. An ag or other items that cannot e carried reasonal and safel in some other manner must e left in the checkrooms. Items larger than 17 26 inches cannot e accepted the Galler or its checkrooms. For additional press information please call or send inquiries to: Department of Communications National Galler of Art 2000 outh Clu Drive Landover, MD 20785 phone: (202) 842-6353 e-mail: [email protected] Anaeth Guthrie Chief of Communications (202) 842-6804 [email protected] uscrie to Our -mail Newsletters ta up to date with the National Galler of Art suscriing to our e-mail newsletters: We, educators, famil programs, fellowships/internships, films, lectures, music programs, and teen programs. elect as man updates as ou wish to receive. To edit our suscrier information, please go to our suscription management page. ORDER PRESS IMAGES Order Press Images To order pulicit images: Click on the link aove and designate our desired images using the checkox elow each thumnail. Please include our name and contact information, press affiliation, deadline for receiving images, the date of pulication, and a rief description of the kind of press coverage planned. PRESS KIT Press Release ONLINE RESOURCES pecial vents: ummer 2015 Masles Films Inc.: Performing Vérité Jul 5–August 2 Titanus Presents: A Famil Chronicle of Italian Cinema August 8–eptemer 27 PRESS CONTACTS arah dwards Holle (202) 842-6359 [email protected] © 2017 National Galler of Art.
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  • Ugo Tognazzi: a Film Series

    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.
  • UNIVERSITY of CALIFORNIA Los Angeles Misery Is the True Script For

    UNIVERSITY of CALIFORNIA Los Angeles Misery Is the True Script For

    UNIVERSITY OF CALIFORNIA Los Angeles Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Christopher Burton White 2014 © Copyright by Christopher Burton White 2014 ABSTRACT OF THE DISSERTATION Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s by Christopher Burton White Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Thomas J. Harrison, Chair This dissertation fills a lacuna in the history of Italian cinema, formally analyzes a selection of significant film comedies from the 1950s, and challenges many of the assumptions that have been made about postWar Italian cinema. The conservative atmosphere of the fifties, the detrimental effects of censorship on Italian cinema, and the return of popular genres after the end of the widely-acclaimed neorealist period have led to assumptions about a limited engagement With contemporary Italian society in the motion pictures produced in Italy during the 1950s. While most critics and film historians vieW these years in Italian cinema as the disappointing aftermath of neorealism, a decade in Which conservative elements in Italian society pushed national cinema in the direction of facile optimism and escapism, this dissertation demonstrates that many comedies in fact engaged with Italian society, ii offering incisive critiques of contemporary Italy that pinpoint and satirize hypocrisy, inequality, and a host of other ills of the Italian republic in the 1950s. This study considers existing scholarship on Italian cinema and reevaluates films starring the popular Neapolitan actor Antonio De Curtis (Totò), Renato Castellani’s Due soldi di speranza (Two Cents Worth of Hope, 1952) and other examples of neorealismo rosa (rosy or pink neorealism), and the movies directed by Federico Fellini featuring Alberto Sordi, both in terms of aesthetics as well as subject matter.