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Cambridge University Press 978-0-521-64977-3 - Italian Film Marcia Landy Index More information

Index

Note: Works are listed by both title and author (e.g., director). Bold pages indicate illustrations.

Accattone (Pasolini), 153, 175–8, 177 Lamerica (Amelio), 377 landscape in, 175, 176 Americanism, 19, 182–4, 194, 200, 289, 311, language in, 172, 188 351, 360 music in, 175 and geography, 182, 186 Acciaio (Steel) (Ruttmann), 14, 28 Hollywood and, 116, 185, 242, 252, 268, Adami, Giuseppe, 53, 273 284 Il carnevale di Venezia (with Gentilomo), television and, 362, 366 138, 273–5 Andrea Doria (ship), 232 Adamson, Walter, 52 Andreotti, Giulio, 325 adventure ﬁlms, 16, 52, 185, 324; see also “anni di piombo” (“leaden years”), 237 genre ﬁlms Antonioni, Michelangelo, 15–16, 18, 167, 181, advertising, 161, 237, 261, 265, 368 218, 253, 300, 331, 355–6, 360, 362, 375 Africa, 5, 12, 178, 188, 311, 342 landscape in, 296, 352–3, 299–300 Agnese Visconti (Pastrone), 32 neorealism and, 296 Aimée, Anouk, 227, 334 L’avventura, 296–300, 297 Alberini, Filoteo, 3, 23, 24 Cronaca di un amore, 218 La presa di Roma, 4, 23 Deserto rosso, 253, 297, 305, 352–3 Umberto e Margherita di Savoia a passeg- L’eclisse, 362 gio per il parco, 3, 23 Gente del Po, 352 L’albero degli zoccoli (The Tree of Wooden Il grido, 296 Clogs) (Olmi), 153, 161–4, 163, 217, 366 La notte, 297 education in, 163 Apicella, Michele, see Moretti, Nanni opera/operatic in, 164 Argento, Dario, Profondo rosso, 357–9 Albertini, Alberto, 42 Ariès, Philippe, 234 Aldrich, Robert, 187 Ariosto, Lodovico, 27 Sodoma e Gommorra, 185 Arriveé d’un train à La Ciotat (Lumière), Vera Cruz, 187 24 Alessandrini, Goffredo, 51, 66 L’assedio dell’Alcazar (The Siege of the Cavalleria, 66–71, 69 Alcazar) (Genina), 50 La segretaria privata, 99–103, 101 Assunta Spina (Serena), 4, 6, 13, 27, 32, 41, Allen, Beverly, 237 45, 124, 128, 207–8, 264, 268 Allen, Woody, 119, 367 femininity in, 41–4 Allonsanfán (Taviani bros.), 151, 165, 332 landscape in, 42, 44, 46 Almirante, Luigi, 104, 107 melodrama in, 40–6 Amarcord (Fellini), 115, 118–20, 140, 366 realism and, 32, 40, 46 childhood in, 253–4 violence in, 41–3, 45, 264 comedy and, 116–18 Astaire, Fred, 108, 141, 371–2 Fascism in, 115–18, 253, 254 Astor, Junie, 273 folklore in, 116 Autant-Lara, Claude, Le Diable au corps, 305 and memory, 115, 117 auteurism, 15–16, 17, 166, 200, 296, 363, spectacle in, 116, 117 375–6, 378 time in, 118 and spectacle, 93 Ambrosio, Arturo, 4, 6, 23 L’avventura (Antonioni), 296–300, 297 Ambrosio Films, 24, 25 Amelio, Gianni, 19, 237, 376–7 Bach, Johann Sebastian, 173 Il ladro di bambini, 237, 258, 259, 259, 377 Balibar, Étienne, 208 Lamerica, 377 Balilla, see Operazione Nazionale Balilla, 10

417

418 • Index

Ballerine (Machaty), 53 Blasetti, Alessandro, 8, 13, 14, 51, 60–6, 73–7, I bambini ci guardano (The Children Are 153–4, 158, 210–12, 239–41 Watching Us) (De Sica), 212–13, 213, melodrama and, 60, 61, 62, 66 215, 247, 252, 318 La corona di ferro, 73–7, 75 childhood in, 245–9 1860, 61–6, 65, 67, 153, 158 family in, 212–13, 246–8 Palio, 75, 138 landscape in, 248 Quatro passi fra le nuvole, 13, 211, 211–12 melodrama in, 212–14, 246–7 Resurrectio, 51 neorealism and, 248 Sole, 14 women in, 245–6 Terra madre, 51, 210 Banﬁeld, Edward, 206 Vecchia guardia, 239–41 Barbaro, Umberto, 13 Boccaccio, Giovanni, 173 Barber of Seville, The (Rossini opera), 164, La bocca sulla strada (The Man on the Street) 346 (V. Leone), 184 Barboni, Enzo (as E. B. Clucher), Lo chiama- Bodily Regimes (book, Pincus), 265 vano Trinità, 182, 203 body Basehart, Richard, 286 and landscape, 2, 5, 26, 191 Batticuore (Heartbeat) (Camerini), 103–4, and nation, 223, 292 107–10 and women, 4, 43, 278–9, 284, 292, 330–1 Battle of Custoza, 91 Bogart, Humphrey, 305 Battleship Potemkin (Eisenstein), 361 La Bohème (Puccini opera), 232 Bazin, André, 110, 167 Boito, Camillo, 90 Beals, Jennifer, 374 Bold and the Beautiful, The (soap opera), 374 Bell’Antonio (Handsome Antonio) (Bolognini), Bolognini, Mauro, Bell’Antonio, 332 332 Bondanella, Peter, 18, 28, 94, 96, 114, 117, Belli, Agostina, 335 138, 164, 219, 229, 296, 302, 323, 327, Bellia, Aida, 61 331, 354, 371 Bellini, Vincenzo, 154, 158 Bonnard, Mario, 185 Bellissima (The Most Beautiful) (Visconti), Campo de’ﬁori, 278 281 Gli ultimi giorni di Pompei, 185 Bellocchio, Marco, 19, 254 Bonora, Nella Maria, 314 Nel nome del padre, 254 Borelli, Lyda, 5, 272 Belmondo, Jean-Paul, 290 Bottai, Giuseppe, 242 Benassi, Memo, 270 Boudu sauvé des eaux (Boudu Saved from Benetti, Adriana, 212 Drowning) (Renoir), 51, 104 Ben-Hur (Wyler), 185 Braggiotti, Francesca, 56, 263 Benigni, Roberto, 98, 119, 339 Brambilla, Franco, 240 La vita è bella, 118–20 Braschi, Nicoletta, 119 Benjamin, Walter, 2–3, 5, 272 Una breve vacanza (A Brief Vacation) Bergman, Ingrid, 218, 296, 305 (De Sica), 252, 288 Berlusconi, Silvio, 20, 366 Brignone, Guido, 8, 183 Bertini, Francesca, 5, 6, 40, 41, 43, 184, 268, Lorenzino de’ Medici, 60 272 Passaporto rosso, 183 Bertolini, Francesco, Inferno (with Padovan), Sotto la croce del sud, 261 268 Brooks, Peter, 54 Bertolucci, Bernardo, 16, 19, 149, 152, 189, Bronenosets Potemkin, see Battleship 227–9, 366–70, 376 Potemkin Il conformista, 229, 366 Brown, Eleonora, 289, 291 1900 (Novecento), 336–40, 339 Bruckner, Anton, 92 La tragedia di un uomo ridicolo, 226–9 Bruhns, Werner, 339 Besozzi, Nino, 100, 210 Brunetta, Gian Piero, 5, 19, 23, 49, 93, 128, Betti, Laura, 338, 355 324, 376 Bianco e nero (journal), 13 Brunette, Peter, 113–15, 323 Il birichino di papà (Papa’s Little Devil) Bruno, Giuliana, 4, 19, 24, 44, 46, 124, 238, (Matarazzo), 241–5 261 education in, 243–4 Brusatti, Franco, 34 and Fascism, 241, 245 Lo zio indegno, 262, 336, 340–2 music in, 242–3, 244 Buchholz, Horst, 120 Blanchar, Pierre, 314 Buon giorno, Babilonia! (Taviani bros.), 183

Index • 419

Il buono, il brutto, it cattivo (The Good, the Il carnevale di Venezia (Carnival at Venice), Bad, and the Ugly) (Leone), 190 138, 273–5 Burton, Richard, 305 melodrama in, 274 Buss, Robin, 20 music/opera/operatic in, 273–4 Butch Cassidy and the Sundance Kid (Hill), spectacle in, 274 188 carnivalesque, 104, 274 Caro diario (Dear Diary) (Moretti), 378 Cabiria (Pastrone, as Fosco), 4, 27, 30, 31, on cinema, 374, 375 32–6, 35, 37–9, 46, 56, 207, 263, 263 music in, 374 childhood in, 238–9 television and, 372–5 femininity/women in, 33–7, 239 Casablanca (Curtiz), 305 landscape in, 38–40 Il Casanova di Federico Fellini (Fellini Casa- magic in, 40 nova), 285, 342 melodrama in, 33–6 Cassini, Stefania, 338 monumental history in, 32, 39 Castellani, Renato, 53, 78, 275 opera/operatic and, 35 Due soldi di speranza (Two Cents Worth spectacle in, 36–40, 311 of Hope), 128 violence in, 34–6, 38–9 Zazà, 269, 275–7, 276, 277 women in, 34, 40, 239 Castellitto, Sergio, 365 La caduta degli dei (The Damned) (Visconti), Catene (Chains) (Matarazzo), 18, 93, 283 88, 340 Catholic Church La caduta di Troia (The Fall of Troy) and censorship, 27, 28, 149 (Pastrone), 4, 27, 32, 46 and family, 11, 205, 206, 215, 220, 222, 237, Caesar, Julius, 140 256, 293, 306, 325 Cain, James M., 13, 214 and Fascism, 10, 27–8, 93 Calamai, Clara, 80, 214 and Fellini’s Roma, 142 Calcina, Vittorio, 3 in Leone, 184 calligraphism, 13, 78, 345 and masculinity, 325, 329 le caméra stylo,15 and morality, 28, 257, 325 Camerini, Mario, 8, 13, 51, 110, 127–8, 140, and neorealism, 16, 92–3, 149, 325 185, 244, 345 and sexuality, 224–5, 293, 306–7 comedy and, 128, 183, 208 and women, 10–11, 264–6 melodrama and, 128, 208, 209 Cavalleria (Alessandrini), 66–71, 69 Batticuore, 103–4, 107–9 femininity/women in, 69–70 Il cappello a tre punte, 13, 51, 53, 77 melodrama in, 66, 68 Come le foglie, 208 nationalism in, 69, 70 Darò un milione, 103–7, 105 Cavalleria rusticana (Palermi), 53, 147 Figaro e la sua gran’giornata, 8, 345–8, Cavani, Liliana, 19 347 Cawelti, John, 187 Il grande appello, 262 Cecchi d’Amico, Suso, 154 Rotaie, 14, 127 Cedernato, Camilla, 223 Il signor Max (Mr. Max), 103–4, 127, 208, Cegani, Elisa, 67, 69, 74, 75, 126 316–18 censorship, 5, 51, 73, 110, 149 T’amerò sempre, 208–10 sexuality and, 27, 28–9, 93, 325 Ulisse, 18 and violence, 28–9 Gli uomini che mascalzoni, 103–4, 127 Centa, Antonio, 312 Camicia nera (Black Shirt) (Forzano), 50 Centro Sperimentale di Cinematograﬁa, 9, 51 Campanile, Festa, 154 Cera una volta il West (Once Upon a Time Campari, Roberto, 61 in the West) (Leone), 188, 190–2, 199 Campo de’ﬁori (Field of Flowers) (Bonnard), C’eravamo tanto amati (We All Loved Each 278 Other So Much) (Scola), 341, 360–3, 363 Canudo, Ricciotto, 15 and history, 360–2, 363 Il cappello a tre punte (The Three-Cornered neorealism and, 363 Hat) (Camerini), 13, 51, 53, 77 television and, 360, 362, 363 capitalism, 9, 48, 103, 173, 174, 180, 265, 266, Cervi, Gino, 74, 211, 211 311, 337, 340, 354 Chambers, Iain, 60 Capodoglio, Wanda, 319 Chaplin, Charles, 104, 119, 191, 367 Cardinale, Claudia, 154, 155, 157 Chaucer, Geoffrey, 173 Carnera, Primo, 326 Chenal, Pierre, Il fu Mattia Pascal, 314–16

420 • Index

Chiarini, Luigi, 13 commedia, see comedy childhood/children, 234–60 I compagni (The Organizer) (Monicelli), education and, 235, 236, 241–2 158–61, 159, 161, 332 Fascism and, 237 education in, 160 history of, 234–8 and intellectuals, 158–9, 160 landscape and, 234, 250, 259 Condottieri (Trenker), 60 and neorealism, 133, 234, 237, 256, 257, Il conformista (The Conformist) (Bertolucci), 259 229, 366 and sexuality, 235, 258 La contessa Sara (The Countess Sara) see also specific film (Roberti), 268 Christian Democrats, 16, 93, 205, 220, 323, conversion, drama of, 311, 312, 313–16 325, 352, 360, 361 Cooper, Gary, 117 Ciao, Professore!, see Io speriamo che me la Corbett, Stanley, see Corbucci, Sergio cavo Corbucci, Sergio (a.k.a. Stanley Corbett), 182 Cinecittà, 92, 181 Django, 182 Cinema (journal), 13, 296 Il mercenario, 182 cinematic apparatus, 98, 99, 103, 269, 272, La corona di ferro (The Iron Crown) (Blaset- 344, 356, 360 ti), 73–7, 75, 78 violence and, 357 folklore in, 73, 77 Cines, 4, 6, 24 magic in, 73, 76 La ciociara (Two Women) (De Sica), 252, spectacle in, 76–7 288, 291 costume femininity/sexuality in, 289–92 in Assunta Spina, 42, 43 violence in, 291–2 in Cabiria, 35, 40 La città delle donne (City of Women) in Cavalleria, 68, 70 (Fellini), 285, 332 in La corona di ferro, 73 Clucher, E. B., see Barboni, Enzo in Darò un milione, 106 Coburn, James, 194, 195 in 1860, 63 Cohen, Leonard, 374 in Ercole e la regina di Lidia, 326 Colman, Ronald, 116 in Fellini’s Roma, 139, 142 colonialism, 12, 48, 70, 310 in Il gattopardo, 154, 158 Il colosso di Rodi (The Colossus of Rhodes) in Scipione l’Africano, 57 (Leone), 185 in La signora di tutti, 269, 271 Come le foglie (Like the Leaves) (Camerini), costume dramas 208 conventions of, 32, 50, 62, 77, 185 comedy and diva, 272 and burlesque, 27–8, 106 and film history, 4, 5, 6, 18, 26, 311 and Camerini, 128, 183, 208 and genre, 28, 52, 181; see also genre films commedia all’italiana, 18, 37, 98, 189, and spectacle, 32 219, 223, 328, 376 Creation, The (Michelangelo work), 113 commedia brillante, 99 Cretinetti, see Deed, André commedia dell’arte, 37, 98, 115, 189, 191, Crisa, Erno, 131, 131 203, 219, 286–7 Cristina, Olinto, 312 commedia sentimentale, 99 Cristofari, Ezio, 23 and family, 208, 212, 219 Cristo si è fermato a Eboli ([Christ Stopped and film history, 4, 13, 17, 18, 26, 28, 32, at] Eboli) (Rosi), 144 94, 98–9, 110, 181 Cronaca di un amore (Story of a Love Affair) and folklore, 99 (Antonioni), 218 in Leone, 189, 191 Cruz, Andrès-José, 355 and masculinity, 316, 318 Curtiz, Michael, Casablanca, 305 silent, 27–8 in westerns, 182, 185, 189, 191, 192, 197 Dagrada, Elena, 359 see also specific film; genre films; “white Dalle Vacche, Angela, 36, 61, 88, 91, 191 telephone” films Dalma, Rubi, 316 Comizi d’amore (Love’s Meetings) (Pasolini), D’Ancora, Maurizio, 346, 347 147, 223–6, 225 D’Annunzio, Gabriele, 4, 9, 27, 28, 32, 48, and family, 223, 225 310–11 and homosexuality, 223, 225 Dante Alighieri, 173, 175, 286 women and, 224–5 Inferno, 371

Index • 421

Darò un milione (I’ll Give a Million) di Lampedusa, Giuseppe, 154 (Camerini), 103–7, 105 diva/divismo, 40, 43, 51, 208, 263, 267–9, spectacle and, 106, 107 278, 348 De Ambrosis, Luciano, 212–13, 213, 246, 247 femininity and, 5–6, 26, 33, 35, 49, 267 De Georgi, Elsa, 209 sexuality and, 270, 272 de Grazia, Victoria, 207, 261, 264 and spectacle, 5, 36 Death in Venice (Mann novel), 122 and violence, 267 Deed, André (Cretinetti), 27–8 Divorzio all’italiana (Divorce – Italian Style) Deledda, Grazia, 27 (Germi), 145, 218–23, 221, 305, 328–9, Deleuze, Gilles, 142, 156–7, 353 330, 331–3, 333, 335, 365 Dellamorte dellamore (Cemetery Man) and commedia all’italiana, 223 (Soavi), 358 opera/operatic and, 222 Delon, Alain, 154, 155 women in, 220, 222 De Marchi, Emilio, 78 Django (Corbucci), 182 DeMille, Cecil B., 55 Doane, Mary Ann, 272 Deneuve, Catherine, 332 La dolce vita (Fellini), 220, 331–2, 362 De Niro, Robert, 336, 339 Dora Film, 4, 24 Denis, Maria, 8 Dora Nelson (Soldati), 345, 348–50 Depardieu, Gérard, 337 spectacle and, 349–50 De Poliolo, Dorothy, 298 Doro, Mino, 240 De Robertis, Francesco, Uomini sul fondo, 13 Il dottor Antonio (Guazzoni), 60 De Santis, Giuseppe, 15, 183, 283 Dowling, Doris, 284 Un marito per Anna Zaccheo, 128 Drunken Angel, The (Kurosawa), 16 Riso amaro, 278, 283–5, 285, 340, 341, 351 Duck, You Sucker, see Giù la testa Deserto rosso (Red Desert) (Antonioni), 297, Due soldi di speranza (Two Cents Worth of 305, 352–3 Hope) (Castellani), 128 childhood in, 253 Dumas, Alexandre, 27 De Sica, Vittorio, 8, 15, 18, 95–6, 98, 103, 118, Dunaway, Faye, 332 208, 316, 331, 361, 363, 367 Durbin, Deanna, 269 as actor, 94–5, 95, 103, 104, 125–7, 316–18 Duse, Eleonora, 4–5 I bambini ci guardano, 212–14, 213, 246– Dyer, Richard, 334 8, 247 Una breve vacanza, 252, 288 Eastwood, Clint, 187, 189, 191, 192, 193 La ciociara, 252, 288, 289–92, 291 L’eclisse (Antonioni), 362 Il giardino dei Finzi-Conti, 118–19 Edison, Thomas A., 3 Ieri, oggi, domani, 252, 288, 293–5, 295, education 331–2 and Centro Sperimentale di Cinematografia, Ladri di biciclette, 15, 83, 92, 94, 133, 136– 10, 12 8, 185, 215, 248, 252, 351, 361–2, 368 and family, 206 Matrimonio all’italiana, 331 Gramsci and, 149, 150, 152 Miracolo a Milano, 94, 252 and ONB, 10, 48 L’oro di Napoli, 95, 128–33, 129, 131, 252, and women, 209 288, 293 and young people, 235–7, 241–2, 258–60 Sciuscià, 83, 92, 94, 137, 214–15, 248–52, see also specific film 249, 257 Eisenstein, Sergei, 61, 361 Teresa Venerdi, 278, 288 Battleship Potemkin, 361 Umberto D, 15, 17, 83, 133, 138, 252, 351, Ekberg, Anita, 220, 362 366 Elsaesser, Thomas, 26 Le Diable au corps (Devil in the Flesh) Ente Nazionale per la Cinematografia (ENAC), (Autant-Lara), 305 7 1860 (Diciotto sessanta) (Blasetti), 61–6, 65, Enzensberger, Hans Magnus, 375 67, 153, 158 Ercole al centro della terra (Hercules in the costume in, 63 Haunted World) (Bava), 325 landscape in, 62, 64 Ercole alla conquista de Atlantide (Hercules language in, 64 and the Captive Women) (Cottafavi), 325 music in, 61, 62, 65 Ercole contro i figli del sole (Hercules against nationalism in, 61, 64, 66 the Sons of the Sun) (Civirani), 325 Dickie, John, 121, 143 Ercole contro Roma (Hercules against Rome) Dietrich, Marlene, 269, 272, 296 (Pierott), 325

422 • Index

Ercole e la regina di Lidia (Hercules Le fatiche di Ercole ([The Labors of] Unchained) (Francisci), 325–8, 327 Hercules) (Francisci), 324, 325 Ercole, Sansone, e Ulisse (Hercules, Samson, Fattori, Giovanni, 61 and Ulysses) (Francisci), 325 Fava, Claudio, 367 eroticism, 5, 190, 267 Feist, Harry, 96, 135 escapism, 22, 47, 77, 94, 98, 103, 104, 109, Fellini, Federico, 15, 16, 18, 19, 87, 93, 115–19, 149, 328, 345, 346, 349, 363 138–9, 139, 143, 181, 285–8, 301, 331–4, Ethiopia, 12 342, 343, 360, 361, 362, 375 Euripides, 173 memory and, 115, 116, 140, 333, 372 Everson, William K., 186–7 and neorealism, 138–43, 285, 286 spectacle and, 139 Fabrizi, Aldo, 96, 185, 361 re television, 366, 370–1 Falconi, Armando, 184 Amarcord, 115–20, 140, 253, 366 Fallaci, Oriana, 223 Il Casanova di Federico Fellini, 285, 342 La famiglia (The Family) (Scola), 229, 229–33 La città delle donne, 285, 332 music/opera in, 230, 231 La dolce vita, 220, 331–2, 362 family Fellini Satyricon, 181 and Catholic Church, 11, 205, 206, 215, 220, Fellini’s Roma, 138–42, 139, 141, 143 222, 237, 256, 293, 306, 325 Ginger e Fred, 366, 370–2, 373 and comedy, 208, 212, 219 Intervista, 366, 371 1 disintegration of, 181 8 ⁄2, 333–4 and Fascism, 11, 48, 70, 205, 210, 212–14, La strada, 285–8, 287, 365, 366 225, 231, 246 Fellini Casanova, see Il Casanova di Federico and femininity, 207, 209, 210, 219 Fellini and folklore, 205, 206, 210, 217, 224 Fellini Satyricon, 181 and melodrama, 205–10, 213, 214, 218, Fellini’s Roma, 138–42, 139, 141, 143 219–22, 283 Catholic Church and, 142 and nation, 205, 207, 208, 209 spectacle in, 139 and neorealism, 211, 213, 214, 219 femininity and Pasolini, 174, 223 and divismo, 5–6, 26, 33, 35, 49, 267 and popular culture, 205 and family, 207, 209, 210, 219 and sexuality, 205–11, 233 and Fascism, 11, 47, 209–10, 264–5 and violence, 212, 214, 218, 220, 222 and folklore, 100, 261–6 see also specific film history of, 261–6 Fascism and masculinity, 261, 262 and Catholic Church, 10, 27–8, 93 and neorealism, 135, 277–80 and censorship, 29 and star system, 266–9 and comedies, 98–9, 110, 345 in spaghetti westerns, 190 and family, see family, and Fascism see also specific film; sexuality; women and femininity, 11, 47, 209–10, 264–5 femme fatale, 5, 35–6, 43, 57, 263–4 and film history, 7, 9, 13–14, 47–52 Fenin, George, 186–7 Gramsci and, 151, 180 Ferida, Luisa, 74, 319, 321 and historical films, 52, 60, 84, 181 Ferzetti, Gabriele, 298 and Leone, 184–5 Figaro e la sua gran’giornata (Figaro’s Big and masculinity, 12, 49, 66, 68–70, 93, 303– Day) (Camerini), 8, 345–8, 347 4, 310–11, 314, 318, 328–31 opera/operatic and, 346–8 and media, 70, 366–7 I figli di nessuno (Nobody’s Children) (Mata- and melodrama, 12, 49, 66, 93 razzo), 18 memory of, 98, 112, 115, 149, 185 Il film (journal), 13 and nation, 52–3, 66–8, 285 Film d’amore e d’anarchia (Love and Anar- and neorealism, 13–16, 83–4, 93, 94, 96, 149 chy) (Wertmüller), 133, 298, 300–5, 303, rise of, 9–14, 48–52 335, 335–6 and Risorgimento, 60–1 Fascism in, 301–4 and spectacle, 11, 13, 70, 140, 237, 269, masculinity/sexuality in, 302–4 310, 350 film history and Taviani brothers, 166 Fascism and, 7, 9, 13–14, 47–52 and women, 10–11, 70, 207, 209, 210, 262, historical films and, 6, 8, 17–18, 23, 27–8, 264–5, 269, 279, 301–2, 311, 313 40, 51, 72 see also specific film masculinity and, 309–11 Fassbinder, Rainer Werner, 184 melodrama and, 4, 5, 18, 181

Index • 423

music and, 8, 51, 54 Giuseppe Verdi, 53 narrativity and, 1, 3, 7–8, 20–2, 26–7, 32, Scipione l’Africano, 34, 55, 57, 59, 55–60, 46, 50 66, 208 popular culture and, 1, 19, 22, 47, 376 Garbo, Greta, 116, 272 silent cinema and, 22–8 Garibaldi, Giuseppe, 183 television and, 17, 20, 359, 366–7, 375–9 Gassman, Vittorio, 223, 229, 229–30, 283, 331, see also specific genre or type 340, 341, 360, 363, 376 Fior di male (Flowers of Evil) (Gallone), 268 Il gattopardo (The Leopard) (Visconti), 88, 89, Fiore, Elena, 335 151, 153–8, 156, 157, 190, 222 Fischer, Lucy, 305–6 Fascism in, 155 Fistful of Dynamite, A, see Giù la testa Lampedusa novel, 90, 154 Fiume, 9 music and opera/operatic in, 154, 157, 158 Flashdance (Lyne), 374 nation in, 154–8 Fleming, Victor spectacle and, 156, 157–8 Gone with the Wind, 365 Gelli, Chiaretta, 241, 269 Wizard of Oz, The, 127 Gelosia (Poggioli), 77, 214, 318–21, 321 Fogazzaro, Antonio, 78 Il generale Della Rovere (Rossellini), 73, 94–7, folklore 95, 322–3 and children, 238, 256 Genina, Augusto, 311 and family, 205, 206, 210, 217, 224 L’assedio dell’Alcazar, 50 and femininity, 100, 261–6 Lo squadrone bianco, 311, 314 and genre films, 46–7, 72–3 genre films, 181–204 and Gramsci, 19, 46, 150, 152, 174 conventions of, 72, 77, 186–94 and masculinity, 309, 313, 316, 324 and film history, 4, 8, 17, 92–3, 110, 181–94, and melodrama, 46–7, 153, 242 345, 376 and neorealism, 92–4, 277–80 and melodrama, 17, 52–5, 62, 68, 70, 71, of romance, 72–3, 83, 85, 87, 90, 92, 94 94, 99, 104, 323 and star system, 266–70 and narrativity, 52, 53, 72, 73, 76, 93, 94, and western, 181–4, 190, 204 99, 104, 136 see also specific film and neorealism, 93, 94, 96–7, 110–11, 149, Fonda, Henry, 201, 203, 203 277, 345, 350–1 Ford, John, 187 and spectacle, 72, 73, 76, 128, 149, 181, The Man Who Shot Liberty Valance, 187 185 My Darling Clementine, 187, 188 and western, 181, 185, 186, 188 Stagecoach, 187, 188 and violence, 19, 52, 53, 67, 185 Forgacs, David, 17–18, 149 see also specific genre Forte, Fabrizio, 171 Gente del Po (Antonioni), 352 Forzano, Giovacchino, Camicia nera, 50 Gentile, Giovanni, 242, 265 Fosco, Piero, see Pastrone, Giovanni Gentilli, Olga Vittoria, 126 Foucault, Michel, 236 Gentilomo, Giacomo, 273 Franciosa, Massimo, 154 Il carnevale di Venezia (with Adami), 138, Francisci, Pietro 273–5 Ercole e la regina di Lidia, 325–8, 327 Maciste e la regina di Samar, 325 Ercole, Sansone, e Ulisse, 325 O sole mio, 128 Le fatiche di Ercole, 324, 325 geography, 1–2, 121, 124, 139, 175, 283 Io t’ho incontrata a Napoli, 128 and Americanism, 182, 186 Frayling, Christopher, 18, 182, 197, 200 and stardom, 278, 279 Freda, Riccardo, Spartaco, 18 see also landscape Freddi, Luigi, 51 Germi, Pietro, 15, 18, 145, 218, 328, 331–2, Fregoli, Leopoldo, 3–4, 23–4 366, 375 French, Leslie, 155 Divorzio all’italiana, 145, 218–23, 221, French cinema, 24, 30, 51, 166, 305, 357, 377 305, 328–9, 330, 331–3, 333, 335, 365 Fuller, Sam, 166 Sedotta e abbandonata, 218, 328–31, 329, Il fu Mattia Pascal (The Late Mathias Pascal) 365 (Chenal), 314–16 Giachetti, Fosco, 57, 312 Il fuoco (The Fire) (Pastrone), 32 Giachetti, Gianfranco, 63, 240, 346 futurism, 28 Giacommetti, Paolo, 27 Giannini, Giancarlo, 301, 331, 334–6, 335, 341 Gallone, Carmine, 55, 185 Il giardino dei Finzi-Contini (The Garden of Fior di male, 268 the Finzi-Contini) (De Sica), 118–19

424 • Index

Gieri, Manuela, 20, 344, 351, 372 Hansen, Miriam, 24 Gilda (Vidor), 351, 366 Hark, Ina Rae, 326 Gilmore, Stuart, The Virginian, 188 Harper, Sue, 60 Ginger e Fred (Ginger and Fred) (Fellini), Harris, Richard, 353 366, 370–2, 373 Harvey, Laurence, 362 landscape in, 372 Hathaway, Henry, Of Human Bondage, 362 television and, 370, 371–2 Hay, James, 58, 115, 117, 124, 210 Ginsborg, Paul, 206 Hayden, Sterling, 338 Una giornata particolare (A Special Day) Hayworth, Rita, 252, 277–8, 351, 366 (Scola), 332 Heine, Heinrich, 122 Gioventù Universitaria Fascista (GUF), 48 Hemingway, Ernest, 83 Girotti, Mario, see Hill, Terence Hemmings, David, 357 Girotti, Massimo, 74, 154, 214, 348, 355 Henry: Portrait of a Serial Killer (McNaugh- Giù la testa (Duck, You Sucker) (Leone), 184, ton), 374–5 189, 190–1, 194–200, 195 Hill, George Roy, Butch Cassidy and the Sun- Giuseppe Verdi (The Life and Music of dance Kid, 188 Giuseppe Verdi) (Gallone), 53 Hill, Terence (Mario Girotti), 201, 202, 203 Gledhill, Christine, 266 historical films Gloria, Leda, 346, 347 conventions of, 50, 53, 55–6, 58, 62–3, 66, Glory, Marie, 124 77, 88 Godard, Jean-Luc, 167, 229, 354, 378–9 and Fascism, 52, 60, 84, 181 Goebbels, Joseph Paul, 76 and film history, 6, 8, 17–18, 23, 27–8, 40, Goethe, Johann Wolfgang, 122 51, 72 Gone with the Wind (Fleming [et al.]), 365 and nation formation, 182 Gordon, Mel, 191 and neorealism, 13, 17, 87–8, 149 Gori, Gianfranco Mino, 52 and operatic, 53–4, 61 Gramatica, Emma, 78, 81, 126 and spectacle, 11, 26, 32, 46, 49, 51–2, 60, Gramatica, Irma, 78, 81, 314 71, 73, 87–8, 133, 158, 185 Gramsci, Antonio, 46, 47, 53, 64, 89–91, 122, see also genre films 143, 149–80, 183–4, 192, 194, 198, history, in film, 47, 52, 65, 60–6, 90, 98, 181– 311 94 and Accattone, 175–8 of Facism, 48–52, 70–1, 256, 381 and L’albero degli zoccoli, 161–4 and genre films, 47, 52, 98, 181–94 and I compagni, 158, 160–1 and neorealism, 91 and Fascism, 151, 180 and spectacle, 52, 70, 71 and Il gattopardo, 153–8 see also Holocaust; Resistance; Risorgi- influence of, 149–53 mento; World War I; World War II and Padre padrone, 164–8 Hitchcock, Alfred, 166, 357 and popular culture, 178 Notorious, 305 and Senso, 89–90 Psycho, 357 and Il Vangelo secondo Matteo, 178–80 Hitlerjunge Quex (Hitler Youth Quex) (Stein- Prison Notebooks, The, 151 hoff), 240 Il grande appello (Camerini), 262 Holocaust, 118–20 La Grande Illusion (Grand Illusion) (Renoir), Hollywood 95 and Americanism, 116, 252, 284 Grand Hotel (Baum novel), 284 and comedies, 50, 100, 102–4, 128, 348 Granger, Farley, 88, 89, 92 as competition, 7–8, 49, 51, 92–3, 376 Granger, Stewart, 183 and femininity, 282, 284 Grant, Cary, 305 and French New Wave filmmakers, 166 Greene, Naomi, 176, 178, 354 and genre films, 97, 149, 345–6 Il grido (The Outcry) (Antonioni), 296 and neorealism, 13, 92–3, 133, 277–8, Griffith, D. W., 55 372 Grignaffini, Giovanna, 278–9 and star system, 5, 268–9, 277, 371–2 Guazzoni, Enrico, 30–2 and western, 18, 53, 182–3, 186, 187, 200, Il dottor Antonio, 60 203–4 Quo Vadis?, 4, 27–32, 31, 40, 207 homosexuality, in film, 206, 224–6, 365 Guidelli, Micol, 254 female, 207, 262, 304–6, 322 Gulino, Giuseppe, 61, 65 male, 207, 214, 258, 262, 281, 307, 332, Gunning, Tom, 21, 26 338–40, 357

Index • 425

Ibsen, Henrik, 27 and neorealism, 84, 96, 121–48 illusionism, 4, 40, 344 and operatic, 54, 61, 91 Ieri, oggi, domani (Yesterday, Today and and popular culture, 122–5, 141 Tomorrow) (De Sica), 252, 288, 293, urban, 1, 17, 22–3, 44, 86; see also specific 295, 331–2 city sexuality in, 293–5 in westerns, 184, 188, 190 stardom and, 293, 294–5 see also specific film Ikiru (To Live) (Kurosawa), 16 language imperialism, 12, 48, 123, 154, 182, 310 of cinema, 167, 345, 356, 376 industrialization, 11, 23, 26, 28, 146, 152, 181, different, in film, 64, 84, 334 206, 267, 311 Gramsci and, 152 Inferno (Bertolini and Padovan), 268 lacking, 170, 172, 287 Inferno (Dante poem), 371 and nation, 180 Interlenghi, Franco, 249 in Pasolini, 172, 174–5, 188 Intervista (Fellini), 366, 371 and television, 371, 374 Io speriamo che me la cavo (Ciao, Profes- and westerns, 188, 189 sore!) (Wertmüller), 258–60 and women, 279, 308 Io t’ho incontrata a Napoli (I Met You in Lanzi, Fulvia, 312 Naples) (Francisci), 128 Lario, Veronica, 305 Irozoqui, Enrique, 179 Lattuada, Alberto, Il mafioso, 144–8 Itala-Film, 4, 6, 32 Laura, Ernesto G., 98 law, and women, 28, 43, 45 James, Henry, 122 lazzi, 189, 191; see also commedia dell’arte Johnson, Dots M., 84, 85 Ledda, Gavino, 168–9 La Lega Nord, 122 Kaos (Taviani bros.), 183 La Legge Merlini, 224, 226 Kitses, Jim, 186–7 Leone, Sergio, 16, 181–2, 184–5, 186, 191–2, Kline, Jefferson T., 336 197 Kolker, Robert, 134, 169, 228, 338–9 Catholic Church in, 184 Komarek, Heidi, 370 comedy in, 189, 191 Koscina, Sylva, 327 and Gramsci, 184–5 Kubrick, Stanley, Spartacus, 185 Il buono, il brutto, il cattivo, 190 Kuleshov, Lev, 124 C’era una volta il West, 188, 190–2, 199 Kurosawa, Akira, 186 Il colosso di Rodi, 185 Drunken Angel, 16 Giù la testa, 184, 189, 190–1, 194–200, 195 Ikiru, 16 Il mio nome è nessuno, 200 Sanjuro, 182 Per un pugno di dollari, 181 Yojimbo, 18, 182 Per qualche dollaro in più, 188, 193 Sodoma e Gommorra (2d unit), 185 Ladri di biciclette (The Bicycle Thief) Gli ultimi giorni di Pompei (with Bon- (De Sica), 15, 83, 92, 94, 133, 185, 215, nard), 185 351, 361–2, 368 Leone, Vincenzo, La bocca sulla strada, 184; childhood in, 252 see also Roberti, Roberto landscape in, 136–8 Leprohon, Pierre, 16, 26, 30 neorealism and, 136–8, 248 Lewis, Jerry, 119 Ladri di saponette (The Icicle Thief) (Nichet- Libya,5,12 ti), 367–71, 369, 378 Liehm, Mira, 137, 251 television and, 367–70 Lo chiamavano Trinità (They Call Me Il ladro di bambini (Stolen Children) Trinity) (Barboni as Clucher), 182, 203 (Amelio), 237, 258, 259, 259, 377 Lodge, John, 108 Lampedusa, Tomaso di, 90, 154 Lodato, Tiziana, 365 Lancaster, Burt, 154, 155, 337 Lohengrin (Wagner opera), 100 Landi, Marco, 140 Lollobrigida, Gina, 92, 278, 289, 376 landscape, 121–48 Lombard, Carole, 269 in Antonioni, 296, 299–300, 352–3 Loren, Sophia, 92, 130, 278, 288–95, 291, 295, and body, 2, 5, 26, 191, 278–9 298, 305, 332, 376 and children, 234, 250, 259 Lorenzino de’ Medici (Brignone), 60 and memory, 60, 138 Lo Verso, Enrico, 259 Neapolitan, 124–33; see also Naples Loy, Nanni, Mi manda Picone, 336

426 • Index

LUCE, see L’Unione Cinematografica Educativa and “peplum” epics, 325–8 Lumière brothers, 3, 4, 23–4 and sexuality, 309, 310, 328; see also homo- Lupi, Roldano, 318, 321 sexuality, male Lutheran Letters, The (Pasolini book), 238 and spectacle, 318, 326, 328, 342 Lyne, Adrian, Flashdance, 374 and stardom, 331–5, 362, 376 Masina, Giulietta, 286–7, 287, 296, 372 Macario, 98 Massari, Lea, 298 Machaty, Gustav, Ballerine, 53 Mastroianni, Marcello, 160, 161, 218, 221, 293, McArthur, Colin, 248 331–5, 333, 362, 376 La macchina ammazzacattivi (The Machine Matarazzo, Raffaello, 8, 18 to Kill Bad People) (Rossellini), 94, 111– Il birichino di papà, 241–5 15, 113, 118 Catene, 18, 93, 283 magic in, 111 I figli di nessuno, 18 neorealism and, 111, 114, 115 Tormento, 18, 217, 217–18, 253, 283 opera and, 113 Matrimonio all’italiana (Marriage Italian- Maciste e la regina di Samar (Hercules Style) (De Sica), 331 against the Moon Men) (Gentilomo), 325 Matteotti, Giacomo, 150 McNaughton, John, Henry: Portrait of a Serial May, Karl, 183 Killer, 374–5 media Mädchen in Uniform (Sagan), 242, 244 and cinema, 351–2, 359, 361, 366–7 Il mafioso (Lattuada), 144–8 and culture, 363, 370, 378 modernity and, 146, 148 and Fascism, 70, 366–7 magic, 40, 46; see also specific film and memory, 116, 360, 372 Magnani, Anna, 134, 134, 142, 278–80, 281, Medioli Pasquale, Enrico, 154 282, 296, 298, 305, 322, 366 Melato, Mariangela, 298, 301, 303, 335 I malavoglia (Verga novel), 216 Méliès, Georges, 4, 40 Mamma Roma (Pasolini), 153, 174, 176, 262, melodrama 279–83, 281 and Blasetti, 60, 61, 62, 66 family in, 282 and Camerini, 128, 208–9 femininity in, 280–2 and childhood, 234 landscape in, 279, 280, 281 and family, 205–10, 213, 214, 218, 222, Mam’zelle Nitouche (Ambrosio Films), 25 283 Mancini, Elaine, 8, 49, 239–40 and Fascism, 12, 49, 66, 93 Manfredi, Nino, 98, 119, 331, 360, 363 and film history, 4, 5, 18, 181 Mangano, Silvana, 92, 131, 131, 278, 283, 285, and folklore, 46–7, 153, 242 288, 355, 376 and genre films, 17, 52–5, 62, 68, 70, 71, 94, Mann, Thomas, 122 99, 104, 323 Mannini, Giorgio, La serva padrona, 53 and neorealism, 87, 93, 133, 213–14, 251, Man Who Shot Liberty Valance, The (Ford), 284 187 and realism, 4, 40, 61 Manzini, Italia Almirante, 5, 32, 35 and spectacle, 32, 46 March on Rome, 10, 239, 240, 241 and Taviani brothers, 167, 254 Marcone, Saverio, 173 and Visconti, 88–90, 92, 153, 155, 158 Marcus, Millicent, 14, 16, 89, 134, 154, 167, and western, 182, 189, 190, 191, 197 252, 301, 303, 322 and women, 80, 82, 128–32, 271–2, 280–2 Marcuzzo, Elio, 214 see also specific film Marinetti, Filippo Tomasso, 28 memory, 120, 230, 270, 271–2, 326 Un marito per Anna Zaccheo (A Husband of Fascism, 112, 115, 149, 185 for Anna) (De Santis), 128 in Fellini, 115, 116, 140, 333, 372 Martinelli, Renzo, Porzus, 377–8 as flawed or unstable, 60, 66, 342, 357, 359 Martoglio, Nino, Sperduti nel buio, 4, 13, 27 and landscape, 60, 138 Masaccio, 176 and media, 116, 360, 372 masculinity Taviani brothers and, 164, 166, 254 and aging, 341–3 in western, 187, 192, 204 and Catholic Church, 325, 329 Menichelli, Pina, 5 and Fascism, 12, 49, 66, 68–70, 93, 303–4, Il mercenario (The Mercenary) (Corbucci), 310–11, 314, 318, 328–31 182 and femininity, 261, 262 Méril, Macha, 357 and film history, 309–11 Merlini, Elsa, 8, 100, 101

Index • 427

Mery per sempre (Always Mary) (Risi), 257–8, Moravia, Alberto, 223 377 Morelli, Rina, 154, 156 youth in, 257 Moretti, Nanni, 15, 19, 375 Messemer, Hannes, 94, 95 Caro diario, 372–6, 378 Mezzogiorno (southern Italy), 143, 335 Morricone, Ennio, 189, 202 Michelangelo, 113 Morte a Venezia (Death in Venice) (Visconti), Midsummer Night’s Dream, A, 306 122 Milan Musser, Charles, 123 in film, 121, 128, 163–4; see also I compa- Musatti, Cesare, 223 gni; Il generale Della Rovere; Ieri, oggi, music domani; Ladri di saponette; Il mafioso; and film history, 8, 51, 54 Miracolo a Milano; Teorema and western, 189, 190, 192, 201 film production in, 23 see also specific film; musicals; opera/ Gramsci and, 151 operatic Miller, Arthur, 230 musicals, 3, 8, 23, 51, 73, 98, 117, 242, 269, Mi manda Picone (Where’s Picone?) (Loy), 274, 283, 345, 346; see also Il carnevale 336 di Venezia; Napoli d’altri tempi; La Mimi metallurgico ferito nell’onore (The segretaria privata Seduction of Mimi) (Wertmüller), 334–6 Mussolini, Benito, 12, 33, 48, 73, 77, 117, 311 Mingozzi, Gianfranco, L’ultima Diva, 268 Mussolini Cup, 59, 76 Il mio nome è nessuno (My Name Is Nobody) My Darling Clementine (Ford), 187, 188 (Valerii), 182, 200–4, 202, 203 Ministry of Popular Culture (MinCulPop), 51–2 Nadotti, Maria, 19, 261 Il miracolo (The Miracle) (Rossellini), 281 Nano, Agnese, 364 Miracolo a Milano (Miracle in Milan) Naples, 123, 298 (De Sica), 94, 252 in film, 45, 121, 128, 129, 224, 238; see Miranda, Isa, 8, 56, 269, 273, 275, 276, 277, also Assunta Spina; Comizi d’amore; 315 Ieri, oggi, domani; Io speriamo che me modernism, 28, 181, 265, 296, 339 la cavo; Io t’ho incontrata a Napoli; modernity L’oro di Napoli; Napoli che non muore; and childhood, 234–7 Napoli d’altri tempi; Paisà and cinema, 2, 70, 142, 350 film production in, 23, 24 and family, 207, 212, 216, 218, 232 Napoli che non muore (Naples That Never and Fascism, 9, 11, 48, 49, 51, 117 Dies) (Palermi), 124–5, 126 and geography/landscape, 121–2, 138 Napoli d’altri tempi (Naples of Former Days) and peplum epics, 325 (Palermi), 124, 125–7 and silent films, 21, 24, 25, 47 narrativity and women, 261, 264, 265, 269 and film history, 1, 3, 7–8, 20–2, 26–7, 32, see also specific film 46, 50 Monicelli, Mario, 149, 158, 375–6 and genre films, 52, 53, 72, 73, 76, 93, 94, I compagni, 158–61, 159, 161, 332 99, 104, 136 Monroe, Marilyn, 230 and landscape, 15, 23, 26, 123 Monte, Toti Dal, 273 and neorealism, 14–16, 84, 87 Montesano, Enrico, 305 and spectacle, 16, 21, 24, 26–7, 32, 37, 88 monumental history nation and costume drama, 32, 39 and body, 223, 292 and historical films, 17, 30, 52, 60 and cinema, 1, 3, 20, 375, 378, 379 and neorealism, 137 and family, 205, 207, 208, 209 Nietzsche on, 54–5 and Fascism, 52–3, 66–8, 285 and operatic, 54 and geography, 121 and western, 191 and historical films, 53–4, 182 morality, 322 and history, 23, 239, 311 and Catholic Church, 28, 257, 325 and Risorgimento, 13, 27, 60–2, 65–6, 88, children and, 235, 236 90–2, 121–2, 151, 153, 154–9, 183, 196 of cinema, 113, 114 and western, 187, 188, 197 conventional/traditional, 109, 176, 229, 328 and women, 209, 278, 279, 292, 302 in Pasolini, 176, 225 see also nationalism sexual, 102, 225, 327 nationalism, 6, 9, 12, 47, 53, 59, 61, 64, 66, 69, and style, 46–7, 53 70, 88, 151; see also nation

428 • Index

National Orgazization for Maternal and Infant Offenbach, Jacques, 119 Welfare, see Opera Nazionale per la Off Screen: Women’s Film in Italy (Bruno and Maternità ed Infanzia Nadotti book), 19, 261 La nave bianca (The White Ship) (Rossellini), Of Human Bondage (Hathaway), 362 13 Olinto, Cristina, 312 Nazism, 94–5, 119–20, 198, 255, 322, 350 Olmi, Ermanno, 19, 149, 152, 161, 217, 366 Nazzari, Amedeo, 8, 67, 69, 93, 217, 217, 331 L’albero degli zoccoli, 153, 161–4, 163, Nel nome del padre (In the Name of the 217, 366 Father) (Bellocchio), 254 Omegna, Roberto, 23–4 neorealism, 13–16 O’Neill, Eugene, Strange Interlude, 360 and Catholic Church, 16, 92–3, 149, 325 opera/operatic, 53, 87–8, 100, 154–1, 214, and children, 133, 234, 237, 256, 257, 259 222, 267–8, 273–4, 344, 351 and family, 211, 213, 214, 219 and cinema, 53–4 and Fascism, 13–16, 83–4, 93, 94, 96, 149 and divismo, 267, 268 and Fellini, 138–43, 285, 286 films of, see Cavalleria rusticana; La Tosca and femininity, 135, 277–80 and genre films, 53, 344 and genre films, 93, 94, 96–7, 110–11, 149, and historical films, 53–4, 61 277, 345, 350–1 and landscape, 54, 61, 91 and historical films, 13, 17, 87, 149 and popular culture, 53 and landscape, 84, 96, 121–48 and spectacle, 54, 91 and melodrama, 87, 93, 133, 213–14, 251, and western, 189, 190, 199 284 and Visconti, 87–8, 90–2, 154–8 and narrativity, 14–16, 84, 87 see also specific film or opera and Pasolini, 174, 280–3, 354 Opera Nazionale Dopolavora (OND), 48 and Taviani brothers, 165, 166, 167 Opera Nazionale per la Maternità ed Infanzia see also specific film (ONMI), 10, 48 Newman, Paul, 332 Operazione Nazionale Balilla (ONB), 10, 48 Nichetti, Maurizio, 119, 367–9, 369 Ophuls, Max, La signora di tutti, 269–72, Ladri di saponette, 367–71, 369, 378 273 Nicoll, Allardyce, 192 L’oro di Napoli (The Gold of Naples) Nietzsche, Friedrich, 54, 182–3 (De Sica), 95, 129, 131, 252, 288, 293 Untimely Mediations, The, 54 comedy and, 128, 132 Ninchi, Annibale, 56, 348 landscape in, 128–33 La Noire de . . . (Sembène), 16 O sole mio (Gentilomo), 128 Noiret, Philippe, 232, 364 Ossessione (Visconti), 13, 50, 77, 82, 88 Noris, Assia, 8, 103–4, 105, 107, 269, 316, and Fascism, 213–14 348 and neorealism, 213 Notari, Elvira, 4–6, 24–6, 40–1, 44, 238, 261 opera/operatic and, 214 1 Notorious (Hitchcock), 305 8 ⁄2 (Otto e mezzo) (Fellini), 333–4 La notte (The Night) (Antonioni), 297 Our Town (Wilder play), 360 La notte di San Lorenzo (The Night of the Oxilia, Nino, Rapsodia satanica, 268 Shooting Stars) (Taviani bros.), 120, 165, 255 Pacelli, Ernesto, 24 childhood in, 254–7 Padovan, Adolfo, Inferno (with Bertolini), 268 magic in, 254, 256 Padre padrone (Father Master) (Taviani Novak, Kim, 362 bros.), 168–73, 171, 173, 188 Novarese, Nino Vittorio, 63 education in, 170, 172 1900 (Novecento) (Bertolucci), 153, 197, 337, family in, 169, 172 339, 339–40, 366 language in, 168, 170, 172 family in, 337, 340 modernity and, 170, 172 Fascism in, 337 music in, 171, 172 masculinity, 338–40 popular culture and, 173 sexuality in, 336–40 Pagano, Bartolomeo, 33, 38, 311 violence in, 337, 338, 339 I Pagliacci (Leoncavallo opera), 113 Nowell-Smith, Geoffrey, 155 Pagliero, Marcello, 135 Nuovo Cinema Paradiso (Tornatore), 93, 260, Pagni, Eros, 302 363–4, 366, 376 Paisà (Rossellini), 83–6, 85 childhood in, 257 language in, 84 cinema history in, 364 Palazzeschi, Aldo, 78

Index • 429

Palermi, Amleto, 51, 53, 125, 128, 208 Gelosia, 77, 214, 318–21, 321 Cavalleria rusticana, 53, 147 Sorelle Materassi, 78–83, 79, 81 Napoli che non muore, 124, 126 Polan, Dana, 67 Napoli d’altri tempi, 124–5 Polidor, Guilliaume F.,28 La peccatrice, 128 politics of style, see style, politics of Palermo, in film, 224, 258 Ponti, Carlo, 288 Palio (Blasetti), 75, 138 popular culture, 1, 19, 22, 47, 53, 173, 178, 187 Pasca, Alfonsino, 85 and Fellini’s Roma, 142 Pasolini, Pier Paolo, 15, 16, 19, 20, 118, 147, and film history, 1, 19, 22, 47, 376 149, 152, 153, 164, 173–5, 177, 180, 181, and Gramsci, 178 200, 225, 238, 288, 354–6, 374–5 and landscape, 122–5, 141 and Gramsci, 174–5, 177 and opera, 53 neorealism and, 174, 280–3, 354 and Padre padrone, 173 sexuality and, 174, 223–6, 280–3 and Pasolini, 173 Accattone, 153, 175–8, 177, 188 and western, 187 Comizi d’amore, 147, 223–6, 225 Porcile (Pig Pen) (Pasolini), 228, 374 Mamma Roma, 153, 174, 176, 262, 279–83, Porelli, Giuseppe, 108, 126 281 Porzus (Martinelli), 377–8 Porcile, 228, 374 Il postino (The Postman) (Radford), 376 Teorema, 355–6, 374 Postman Always Rings Twice, The (Cain Il Vangelo secondo Matteo, 174, 176, 178, novel), 13, 214 178–9, 180 postmodernity, 297, 340, 372 Pasqualino Settebellezze (Seven Beauties) Po Valley, in Paisà, 86 (Wertmüller), 334 Powell, Michael, Peeping Tom, 357 Passaporto rosso (Red Passport) (Brignone), La presa di Roma (The Taking of Rome) 183 (Alberini), 4, 23 Passerini, Luisa, 262 Prison Notebooks, The (Gramsci), 151 Passos, John Dos, 83 Privatsekretärin (Thiele), 100, 104 Pastrone, Giovanni, 32 Processo alla città (City on Trial) (Zampa), Agnese Visconti, 32 128 Cabiria (Pastrone, as Fosco), 4, 27, 30, 31, Profondo rosso (Deep Red) (Argento), 357–8 32–6, 35, 37–9, 46, 56, 207, 263, 263 Profumo di donna (Scent of a Woman) (Risi), La caduta di Troia, 4, 27, 32, 46 341 Il fuoco, 32 propaganda, 11, 12, 13, 49–50, 61, 209 La paura (Fear) (Rossellini), 323 Psycho (Hitchcock), 357 La peccatrice (The Sinner) (Palermi), 128 public vs. private spheres, 11, 36, 40, 44, 155, Peckinpah, Sam, 202 274 Wild Bunch, The, 18, 188, 202 Puccini, Giacomo, 53a Peeping Tom (Powell), 357 La Bohème, 232 “peplum” epics, 18, 33, 325–8 Tosca, film of, 268 Per qualche dollaro in più (For a Few Dollars Turandot, 53 More) (Leone), 188, 193 Puglisi, Aldo, 328, 329 Per un pugno di dollari (A Fistful of Dollars) Purgatorio (Dante poem), 175 (Leone), 181 Philipe, Gérard, 305 Quaranta, Lidia, 34, 37 Piccolo mondo antico (Little Old-Fashioned Quattro passi fra le nuvole (Four Steps in the World) (Soldati), 60 Clouds) (Blasetti), 13, 211–12, 211 Pickering-Iazzi, Robin, 72 comedy and, 212 Pinkus, Karen, 265 family in, 211–12 Pirandello, Luigi, 51, 344–5 Quinn, Anthony, 286–7, 287 Il fu Mattia Pascal, 314 Quo Vadis? (Guazzoni), 4, 27–32, 31, 40, 207 Si gira, 344 landscape in, 30 Pisano, Gennaro, 111, 113 Pittaluga, Stefana, 7, 50 Radford, Michael, Il postino, 376 Pius XII, 24, 142 Ragazzi fuori (Risi), 377 Plumb, J. H., 236 Ralli, Giovanna, 97, 362 Poggio, Carla del, 184 Rankean history, 88 Poggioli, Ferdinando Maria, 13, 53, 78–83, Rapsodia satanica (Satanic Rhapsody) 214, 231, 318 (Oxilia), 268

430 • Index

Ray, Nicholas, 166 C’eravamo tanto amati; La ciociara; Ray, Satyajit, 16 Ercole contro Roma; Fellini’s Roma; Re, Lucia, 265 Film d’amore e d’anarchia; Il fu Mattia realism, 13, 96–7, 114, 116, 128, 140, 280–2 Pascal; Ieri, oggi, domani; Ladri di and Assunta Spina, 32, 40, 46 biciclette; Mamma Roma; Paisà; La and genre films, 13, 61, 78, 344 presa di Roma; Quattro passi tra le and melodrama, 4, 40, 61 nuvole; Quo Vadis?; Roma, città aperta; Reeves, Steve, 327 Sciuscià; Il signor Max; Spartaco Reggiani, Serge, 155 film production in, 23, 40 religiosity, 54, 66, 236 Gramsci and, 151 Renaissance, 52, 60 see also March on Rome Renoir, Jean, 51, 95, 115 Rose Tattoo, The (Mann), 282 Boudu sauvé des eaux,51 Rosi, Francesco, 19 La Grande Illusion (Grand Illusion), 95 Cristo si è fermato a Eboli, 144 representation, crisis in, 97, 253, 273, 300, Salvatore Giuliano, 144 323, 324 Rossellini, Roberto, 13, 15, 83, 95, 114, 116, Requiem (Verdi opus), 257 118, 133–4, 134, 135, 181, 183, 218, 296, Resistance, 149, 254, 255, 256, 322, 337, 338, 323, 351, 352, 361, 362, 374, 375, 378 360, 362–3, 377, 378 Il generale Della Rovere, 73, 94–7, 95, 322– Restivo, Angelo, 258 3 Resurrectio (Blasetti), 51 La macchina ammazzacattivi, 94, 111–15, Rex, The (ship), 117 113, 118 Risi, Dino, 223 Il miracolo, 281 Mery per sempre, 257, 377 La nave bianca, 13 Profumo di donna, 341 Paisà, 84–7, 85, 167, 360 Ragazzi fuori, 377 La paura, 323 Il sorpasso, 223 Roma, città aperta, 15, 83, 92, 94, 111, 134, Riso amaro (Bitter Rice) (De Santis), 278, 135, 133–40, 143, 198–9, 279–80, 321–2, 283–5, 285, 340, 341, 351 350, 361, 368 femininity/sexuality in, 283–4 Stromboli, terra di dio, 374 neorealism and, 283 Viaggio in Italia, 218 Risorgimento, 13, 27, 51, 60–2, 65–6, 87–8, Rossi, Luigi, 117 90–2, 121–2, 151, 153, 154–9, 183, 196 Rossini, Giacomo, Barber of Seville, The, 164, Fascism and, 60–1 346 in film, 60, 88; see also 1860; Il gattopardo; Rota, Nino, 154 Senso Rotaie (Rails) (Camerini), 14, 127 ritual, 28, 52, 142, 145, 154, 156, 162, 164, Rotunno, Giuseppe, 154 190, 217, 224, 256, 320, 371 Ruttmann, Walter, Acciaio, 14, 28 Roberti, Roberto, 184 La contessa Sara, 268 Sagan, Leontine, 243 La serpe, 268 Mädchen in Uniform (Sagan), 242, 244 Rocca, Daniela, 219, 221 Salvatore Giuliano (Rosi), 144 Rocco e i suoi fratelli (Rocco and His Broth- Sanda, Dominique, 337, 339 ers) (Visconti), 153 Sanderia, Franco, 243 Rogers, Ginger, 108, 371–2 Sandrelli, Stefania, 220, 305, 328, 329, 337, Roma, città aperta ([Rome,] Open City) 360 (Rossellini), 15, 83, 92, 94, 111, 134, 135, Sanjuro (Kurosawa), 182 138–40, 143, 198, 279–80, 321–2, 350, San Miniato (Taviani bros.), 254 361, 368 Sanson, Yvonne, 217, 217 femininity in, 135 Sansoni, Dante, 24 landscape in, 133–6, 322 Satta Flores, Stefano, 361, 363 neorealism and, 133–6 Saville, Victor, Sunshine Susie, 104 Roman Catholic Church, see Catholic Church Scalici, Valentina, 259 romance, folklore of, see folklore, of romance Scarpetta, Mario, 307 Rome, 122 Schucht, Tatiana, 151 classical, 27, 122, 181, 186; see also Fellini’s Scipione l’Africano (Scipio Africanus) (Gal- Roma lone), 34, 55, 57, 59, 55–60, 66, 208 in film, 27, 121, 128, 133, 181; see also family in, 55 I bambini ci guardano; Cabiria; Fascism in, 59–60, 66

Index • 431

monumental history in, 60 Sicily, 10, 183 nationalism in, 59 in film, 144, 178; see also L’avventura; opera/operatic and, 58–9 Cabiria; 1860; Divorzio all’italiana; Il spectacle in, 55, 56, 58, 60 gattopardo; Il mafioso; Nuovo Cinema Sciuscià (Shoeshine) (De Sica), 83, 92, 94, Paradiso; Paisà; Sedotta e abbandonata; 137, 214–15, 249, 257 La terra trema; L’uomo delle stelle childhood in, 248–52 Siena, in film, 138 family in, 214 Sienkiewicz, Henry, 29 Fascism in, 250, 251 Si gira (Shoot) (Pirandello novel), 344 landscape in, 250 La signora delle Camelie (Lady of the Scola, Ettore, 16, 19–20, 376 Camelias) (Serena), 268 C’eravamo tanto amati, 341, 360–3, 363 La signora di tutti (Everybody’s Lady) La famiglia, 229, 229–33 (Ophuls), 269–72, 273 Una giornata particolare, 332 opera/operatic and, 270, 271 Second Punic War, 34, 55 spectacle and, 271 Sedotta e abbandonata (Seduced and Aban- Il signor Max (Mr. Max) (Camerini), 103–4, doned) (Germi), 218, 328–9, 329, 365 127, 208, 316–18 La segretaria privata (Private Secretary) silent cinema, 21, 22–8 (Alessandrini), 99–103, 101 and divismo, 26, 36, 40 music/opera in, 99–100, 101 and historical dramas, 29–40, 311 Sembène, Ousmane, 16 and spectacle, 24 Senso (Wanton Countessa) (Visconti), 73, 88– women in, 264, 268 92, 89, 97, 122, 151, 153, 157–8 see also specific silent film Boito novel, 90 Sitney, P.Adams, 299 Fascism in, 88, 91, 94 Smith, Paul, 187 opera/operatic in, 90, 92 Smordone, Irene, 249 spectacle and, 89, 92 Smordone, Rinaldo, 249 Serandrei, Mario, 8 Soavi, Michele, Dellamorte dellamore, 358 Serao, Matilde, 27 Società Anonima Pittaluga, 7 Serena, Gustavo, 40, 42, 43 Sodoma e Gommorra (Sodom and Gomor- Assunta Spina, 4, 6, 13, 27, 32, 40–6, 41, rah) (Aldrich), 185 45, 124, 128, 207–8, 264, 268 Solbelli, Olga, 315 La signora delle Camelie, 268 Soldati, Mario, 13, 53, 78, 345, 348–50 La serpe (The Serpent) (Roberti), 268 Dora Nelson, 345–50 Serrato, Massimo, 78, 81 Piccolo mondo antico, 60 La serva padrona (The Head Servant) Sole (Sun) (Blasetti), 14 (Mannini), 53 Sophocles, 173 Sestili, Otello, 179 Sordi, Alberto, 98, 119, 331 sexuality, 11, 17, 20, 27–9, 93, 180, 223–6, 270, Sorelle Materassi (Materassi Sisters) (Poggio- 272, 301, 327 li), 50, 73, 77–83, 79, 81, 87, 90, 97, 231 and Catholic Church, 224–5, 293, 306–7 femininity in, 83 and censorship, 27, 28–9, 93, 325 neorealism and, 83 and childhood, 235, 258 sexuality and, 78, 82 commodification of, 11, 17, 20, 180, 301, Sorlin, Pierre, 8, 33, 46, 61, 70, 137, 181, 218, 327 283, 311, 359, 366 and diva, 270, 272 Il sorpasso (The Easy Life) (Risi), 223 and ethnicity, 36 Sotto la croce del sud (Under the Southern and family, 205–11, 233 Cross) (Brignone), 261 and Fascism, 10–11 Sotto . . . sotto, strapazatto da un anomala and law, 43 passione (Wertmüller), 304–8 and masculinity, 309, 310, 328 folklore in, 305 and neorealism, 87, 94 landscape in, 306 and Pasolini, 174, 223–6, 280–3 magic in, 306 and “peplum” films, 327 sound films, 7–8, 50–1, 211 and star system, 266, 270 I sovversivi (The Subversives) (Taviani bros.), and transgression, 5, 36, 41–4, 75, 221, 289 165 and western, 181, 190 spaghetti western, 16, 18, 53, 181, 200, 203, see also specific film; homosexuality 204; see also Leone, Sergio; western Shane (Stevens), 182, 187 femininity in, 190

432 • Index

Spartaco (Spartacus, a.k.a. Sins of Rome) femininity in, 286–8 (Freda), 18 language in, 287 Spartacus (Kubrick), 185 Strange Interlude (O’Neill play), 360 spectacle, 5, 32, 36, 67–8, 93, 76–7, 116–17 strapaese (ruralism), 51 and auteurism, 93 Stromboli, terra di dio (Rossellini), 374 and costume dramas, 32 Studlar, Gaylyn, 275 and divismo, 5, 36 style and Fascism, 11, 13, 70, 140, 237, 269, 310, morality and, 46–7, 53 350 politics of, 47, 70, 284, 310 in Fellini, 139 Sunset Boulevard (Wilder), 268 and genre films, 72, 73, 76, 128, 149, 181, Sunshine Susie (The Office Girl) (Saville), 104 185 Sutherland, Donald, 338 and historical films, 11, 26, 32, 46, 49, 51–2, 60, 71, 73, 87–8, 133, 158, 185 tableaux vivants,23 and history, 52, 70, 71 Tales of Hoffman, The (Offenbach opera), 119 and masculinity, 318, 326, 328, 342 T’amerò sempre (I’ll Always Love You) and melodrama, 32, 46 (Camerini), 208–10 and narrative, 16, 21, 24, 26–7, 32, 37, 88 Tasso, Torquato, 27 and neorealism, 87–8, 91 Tattoli, Elda, 19 and operatic, 54, 91 Taves, Brian, 77 and silent film, 24 Taviani, Paolo and Vittorio, 16, 19, 120, 149, and star system, 269, 271 152, 164, 166–70, 183, 254–5, 255, 331 and women, 5, 11, 36, 107, 267, 275 and Gramsci, 165 see also specific film melodrama and, 167 spectatorship, 20, 26, 68, 110, 130, 200, 221, memory and, 164, 166, 254 250, 251–2, 274, 298, 346, 350, 351, 357, neorealism and, 165, 166, 167 358 Allonsanfàn, 151, 165, 332 in Camerini, 107, 109 Buon giorno, Babilonia!, 183 in Scipione L’Africano, 56, 58, 60 Kaos, 183 in Sorelle Materassi, 78, 81, 83, 87 La notte di San Lorenzo, 254–7, 255 and violence, 45 Padre padrone, 169, 170–3, 171, 173, 188 Sperduti nel buio (Lost in the Dark) (Marto- San Miniato, 254 glio), 4, 13, 27 I sovversivi, 165 squadrismo, 232, 240 Taylor, Elizabeth, 305 Lo squadrone bianco (The White Squadron) technology, 28, 236 (Genina), 311–14 of cinema, 1, 3, 26, 40, 49, 114, 364 Stack, Oswald, 180 images of, in cinema, 34, 67, 145, 270, 297 Stagecoach (Ford), 187, 188 see also television Stamp, Terence, 355 telefoni bianchi, see “white telephone” films Stanno tutti bene (Everybody’s Fine) (Torna- television tore), 332 and Americanism, 362, 366 stardom and film history, 17, 20, 359, 366–7, 375–9 femininity and, 266–9, 289 see also specific film folkore and, 266–70 Teorema (Theorem) (Pasolini), 355–6, 374 geography and, 278, 279 Teresa Venerdi (De Sica), 278, 288 Hollywood and, 5, 268–9, 277 Terra madre (Mother Earth) (Blasetti), 51, masculinity and, 331–5, 362, 376 210–11 sexuality and, 266, 270 La terra trema (The Earth Trembles) (Viscon- spectacle and, 269, 271 ti), 83, 153, 158, 216, 365 Steiger, Rod, 194, 195 family in, 216–17 Steinhoff, Hans, Hitlerjunge Quex, 240 Theweleit, Klaus, 69, 321 Stella Dallas (Vidor), 274 Thiele, Wilhelm, Privatsekretärin, 100, 104 Stevens, George, Shane, 182, 187 Tofano, Sergio, 8, 100 Stevenson, Robert, Tom Brown’s School Days, Tognazzi, Ricardo, 227 242 Tognazzi, Ugo, 227 Stoppa, Paolo, 154, 155 Tom Brown’s School Days (Stevenson), 242 stracittà (urbanism), 51 Topi, Luigi, 23 La strada (The Road) (Fellini), 285–8, 287, Tormento (Matarazzo), 18, 217, 253, 283 365, 366 family in, 217–18

Index • 433

Tornatore, Giuseppe, 19 Vecchia guardia (The Old Guard) (Blasetti), Nuovo Cinema Paradiso, 363, 366, 376 50, 63, 239–41 Stanno tutti bene, 332 education in, 239, 241 L’uomo delle stelle, 365–6, 376 vedutismo, 46 La Tosca (De Antoni), 268 Venice, in film, see Il carnevale di Venezia; Tosi, Piero, 154 Morte a Venezia; Senso Totò, 98, 119, 129 Venice Film Festival, 9, 51, 59, 76, 104 La tragedia di un uomo ridicolo (Tragedy of Ventennio, 50–1, 71, 92 a Ridiculous Man) (Bertolucci), 226–9 Vera Cruz (Aldrich), 182, 187 transgression, sexual, see sexuality, and trans- Verdi, Giuseppe, 53–4, 88, 88, 98, 92, 158, 357, gression 335 La traviata (Verdi opera), 335 biopic, 53 Trenker, Luis, Condottieri, 60 Requiem, 257 Trintignant, Jean-Luis, 223 La traviata, 335 Il trovatore (Verdi opera), 88, 90 Il trovatore, 88, 90 Turandot (Puccini opera), 53 Verga, Giovanni, 4, 13, 83, 147, 215–16 Turin verismo, 4, 13, 40, 83 in film, 335–6 Viaggio in Italia (Strangers, a.k.a. Voyage to film production in, 23 Italy) (Rossellini), 218 Gramsci and, 150 Viano, Maurizio, 174, 223, 280, 282, 354, 356 Tyler, Parker, 272 Vidal, Gore, 142 Vidor, King Ulisse (Camerini), 18 Gilda, 351, 366 Ullman, Liv, 296 Stella Dallas, 274 L’ultima Diva (The Last Diva) (Mingozzi), 268 Vietnam War, 19 Gli ultimi giorni di Pompei[i] (The Last Days Vigo, Jean, Zéro de conduite, 242 of Pompei[i]), 27 (Maggi), 46 (Caserini), Vilagio, Paolo, 258 185 (Bonnard) violence Umberto D (De Sica), 15, 17, 83, 133, 138, and calligraphism, 13 252, 351, 366 and censorship, 28–9 neorealism and, 351 and cinematic apparatus, 357 Umberto e Margherita di Savoia a passeggio and divismo, 267 per il parco (Alberini), 3, 23 and family, 212, 214, 218, 220, 222 L’Unione Cinematografica Educativa (LUCE), and genre films, 19, 52, 53, 67, 185 49–50, 209, 237, 239, 264 and spectatorship, 45 L’Unione Cinematografica Italiana (UCI), 49–50 and western, 185, 188, 190, 191, 193, 197, Untimely Mediations, The (Nietzsche), 54 198, 201 Gli uomini che mascalzoni . . . (What Rascals see also specific film Men Are) (Camerini), 103–4, 127 Violi, Patrizia, 308 Uomini sul fondo (Men of the Deep) (De Virginian, The (Gilmore), 188 Robertis), 13 Visconti, Luchino, 13, 16, 18, 83, 87–8, 118, L’uomo delle stelle (The Star Maker) (Torna- 149, 152, 181, 189, 190, 222, 229, 331, tore), 365–6, 376 361, 365, 375 television and, 366 homosexuality in, 214, 338–40 Urzì, Sarò, 328, 329 melodrama in, 88–90, 92, 153, 155, 158 Bellissima, 281 Valentino, Rudolph, 302 La caduta degli dei, 88, 340 Valerii, Tonino, 16, 182, 200 Il gattopardo, 88, 89, 151, 153–8, 156, 157, Il mio nome è nessuno (My Name Is 190, 222 Nobody), 182, 200–4, 202, 203 Morte a Venezia, 122 Valli, Alida, 88, 89, 92, 340 Ossessione, 13, 50, 77, 82, 88, 213–14 Valli, Romolo, 155, 196, 337 Rocco e suoi fratelli, 153 Vallone, Raf, 283, 289 Senso, 73, 88–92, 89, 94, 97, 122, 151, 153, Il Vangelo secondo Matteo (The Gospel Ac- 157–8 cording to Matthew) (Pasolini), 174, 176, La terra trema, 83, 153, 158, 216–17, 216, 178–9 365 landscape in, 178, 180 La vita è bella (Life Is Beautiful) (Benigni), music in, 178 18–19, 118–20, 376 Vardac, A. Nicholas, 32 Fascism in, 118–20

434 • Index

Vitti, Antonio, 284 and family, 205–10, 220 Vitti, Monica, 296–8, 297, 305, 352, 362 and Fascism, 10–11, 70, 207, 209, 210, 262, Vivaldi, Antonio, 173, 243 264–5, 269, 279, 301–2, 311, 313 von Sternberg, Josef, 275, 296 and historical films, 263 voyeurism, 75, 169, 219, 330, 334, 337, 338, and law, 28, 43, 45 371 and maternity, 10, 29, 43, 48, 83, 207, 209, Wagner, Richard, 100, 202 289 Wagstaff, Christopher, 1, 93, 98–9, 110 and melodrama, 80, 82, 128–32, 271–2, War and Peace (Tolstoy novel), 68 280–2 Wertmüller, Lina, 19, 133, 258, 260, 300–8, and nation, 209, 278, 279, 292, 302 334, 376 and spectacle, 5, 11, 36, 107, 267, 275 Film d’amore e d’anarchia, 133, 301–4, and western, 190 303, 335 and work, 100–2 Io speriamo che me la cavo, 258–60 see also specific film; diva and divismo; Mimi metallurgico ferito nell’onore, 334–6 femininity; femme fatale; homosexuality, Pasqualino Settebellezze, 334 female Sotto . . . sotto, 304–8 World War I, 1, 21, 48, 49, 66, 236, 268 western, 181–204 World War II, 111, 151, 218, 234, 236, 237 and comedy, 182, 189, 191–2, 197 in film, 147, 198, 251, 254, 321, 323, 360, landscape in, 184, 188, 190 365 and Leone, 16, 181–2, 184–5, 186, 191–2, and film history, 7, 15, 49, 83–4, 122, 128, 197 165–7 and melodrama, 182, 189, 190, 191, 197 Wright, Will, 186 and memory, 187, 192, 204 Wyke, Maria, 36 and popular culture, 187 Wyler, William, Ben-Hur, 185 and sexuality, 181, 190 and violence, 185, 188, 190, 191, 193, 197, Yoidore Tenshi (The Drunken Angel) (Kuro- 198, 201 sawa), 16 see also specific film; genre films Yojimbo (Kurosawa) 18, 182 “white telephone” films, 8, 50, 98, 345; see also comedy Zampa, Luigi, Processo alla città, 128 Wiazemsky, Anne, 355 Zanin, Bruno, 117, 253 Wild Bunch, The (Peckinpah), 18, 188, 202 zanni, 192, 196; see also commedia dell’arte Wilder, Billy, Sunset Boulevard, 268 Zavattini, Cesare, 84, 94, 128, 137, 167, 252 Wilder, Thornton, Our Town, 360 Zazà (Castellani), 269, 275–7, 276, 277 Wizard of Oz, The (Fleming), 127 sexuality in, 277 “woman’s film,” 275, 283, 288 Zéro de Conduite (Vigo), 242 women, 5–6, 33, 36, 40, 43, 51, 208, 261–308 Lo zio indegno (The Sleazy Uncle) (Brusatti), and body, 4, 43 262, 336, 340–2 and Catholic Church, 10–11, 264–6 sexuality in, 342 as directors, 19 Zola, Émile, 27