Bread and Tulips fans rejoice! There's a website that has discovered Rosalba's fateful Autogrill, the real Marco Polo, and more! (more…)
Available tomorrow, April 28, Le Confessioni by Marco Olivieri, Roberto Andòs confessor. (more…)
Nigel Maskell's got all the Halloween HORROR that you require. (more…)
We are happy to report that after a couple of quiet years, the original Italian Film Review is being brought back from "The Beyond", (editor Nigel Maskell's words, not mine, and knowing him that could mean anything). (more…)
Steven Gaydos asks an interesting question about the "Best Picture" Oscar in his piece on Varlety.com : Is it really the "best picture" if we never really give foreign films a chance? Take a look: The marginalization of foreign-language cinema in the best picture category is one of Oscar’s unspoken shortcomings: It’s like the so-called World Series in baseball. The truth is, with very few exceptions, only American teams play the Oscar game. Key exception: “The Artist” became the first foreign film to win best picture. So it can happen here. Just not 98% of the time. Over the decades, no matter how monumental the contributions of foreign-language directors who changed the vocabulary of cinema, helmers like Fellini, Resnais, Bergman, Godard, et al. were lucky to get their foreign-language film recognitions and the occasional writing or directing nod. One of the films most often cited on the “how did that win best picture?” lists is Michael Anderson’s 1956 epic “Around the World in 80 Days,” a picture clearly higher on the “sciences” side of the Academy than the “arts” side. Meanwhile, over in Europe, monumental talents were cooking up revolutionary films that broke ground and entertained audiences at the same time, and they weren’t anywhere near the race. None of those films are more famous than Federico Fellini’s “La Strada” of the same year (pictured), which did benefit from the Academy rules change that had recently added a category for foreign-language film and which Fellini’s masterpiece handily won. Still, Fellini couldn’t edge past one of King Vidor’s lesser efforts, “War and Peace,” to grab a director nom and wound up losing, ironically, to one of the rare foreign-language films to win the screenplay Oscar, Albert Lamorisse’s “The Red Balloon,” which was perhaps the foreign-lingo world’s equivalent of “Around the World.” And…
Brothers, Romans, Filmmakers February 1, 2013 By LARRY ROHTER Nearly 40 years ago the brothers Paolo and Vittorio Taviani wrote and directed “Allonsanfan,” starring Marcello Mastroianni as a revolutionary in the Napoleonic era. After its premiere at the Cannes Film Festival Mr. Mastroianni met with reporters, and when they asked him about the unusual experience of working with two directors on the same film, he feigned surprise. “Were they two?” he asked. (more…)
[caption id="attachment_7832" align="aligncenter" width="420"] Pino Farinotti[/caption] Movie critic and author of Italy's very important Dictionary of Film, Pino Farinotti writes a lot about the state of Italian cinema, and below is his latest. ( http://www.mymovies.it ) He makes some very good points about the stories that Italian moviemakers produce, some that had not occurred to me. I'd like to add a few that may not have occurred to him: (more…)
My friend Nigel Maskell over at Italian Film Review has been trying to get me to appreciate Italian Giallo for a long time now and I have resisted. Giallo is an Italian 20th century genre of literature and film, which Italians know as crime fiction and mystery but for English speakers includes elements of horror fiction and eroticism. Nigel is the expert, and his popular website gives lots of suggestions. I just watched and reviewed Michael Zampino's L'Erede, which may be described as Neo-Giallo, and I giggled the whole way through it at the over-acting and the silly premise, but I'm going to give Nigel's Giallo a try - one of these days. In the meantime, check out Nigel's work on The Italian Film Review - it's super cool.