Thursday, December 16, 2010
Monday, December 6, 2010
"Destinato ad influenzare per anni, e ancor oggi, tanti altri generi, il Western italiano non ha mai avuto una voce. La voce di una critica più ampia. Questo documentario vuole essere quella voce. Vuol essere un lungo plauso a un genere poco conosciuto, poco capito ma soprattutto troppo poco amato per quanto invece esso non abbia fatto per il Cinema non solo italiano ma anche estero. Il Western italiano ha avuto molto più di una storia, ha avuto una identità. E come tutte le identità la sua storia non è mai finita. In un appassionante viaggio tra la filmografia di svariato genere, il documentario mette in luce le contaminazioni che il Cinema Western ha saputo dare ad opere divenute poi di prestigio e ricoperte di premi. Un'influenza avvenuta sempre in silenzio. Quello stesso silenzio che tanto caratterizzava certi suoi tipici eroi dagli occhi di ghiaccio. I premi per molti di questi grandi film Western non sono però mai arrivati. La Voce del Western, con un velo di provocazione ma con tanto amore verso questo genere, intende raccontare di come a volte i premi dimentichino di dare merito alle fonti di tante ricchezze, solo perchè sono fonti silenziose. Dedicato agli amanti del genere ma pensato per chi quel genere non lo conosce, forse non lo ha neanche mai apprezzato, convinto che dietro i mantelli dei cowboy della produzione italiana ci fossero solo pistole e cavalcate. Questo viaggio vi mostrerà quant'altro c'era da scoprire. La follia, la distruzione, la vendetta, la pietà, la rinascita, l’amore e poi la vita del West che rendeva tutto più difficile e la violenza che sembrava essere l'unica risposta possibile. Il Cinema deve tanto alla sofferta onestà con la quale il Western sapeva parlare di temi così distanti mescolandoli, come del resto voleva la grande lezione della tragedia greca, in un’unica complessa trama che è l'uomo.La critica cinematografica per anni ha sottovalutato una lettura più approfondita di molti di questi film, ma soprattutto ha ignorato come molti registi da Tarantino a Jarmusch si siano ispirati a questi film. Ha ignorato come ogni regista italiano raccontava nei suoi western, il suo mondo, il suo viaggio,le sue passioni. Perchè il West, con quel deserto che anche la critica dimenticava, con i suoi spazi aridi per molti di questi grandi autori è stata una sfida e alcuni di essi proprio li, vi hanno lasciato le loro opere migliori."
Thursday, December 2, 2010
What few people know is that she was married to probably the biggest male voice actor in the history of the Eurocult movie business: Ted Rusoff. In the November-December 2010 issue of Video Watchdog # 159, John Charles has an in-depth interview with this voice giant about his life and career during the past 40 years as the voice of actors in more than a 1000 movies (!). The article has several exclusive photo's of him together with his late wife Caroline de Fonseca. Fans of Marisa Mell might remember his voice of a priest in the giallo "Sette Orchidee Macchiate di Rosso" from 1971 directed by Umberto Lenzi. After reading the article you know the in's and out's of (Eurocult) voice dubbing and it's history. Highly recommended.
Tuesday, November 30, 2010
Marisa Mell und Marcello Mastroianni in Casanova '70 von 1965
Sein zweiter großer Kinoerfolg gelang Monicelli dann 1975 mit „Amici miei“ („Ein irres Klassentreffen“), einem sarkastischen Gruppen- und Generationenporträt, das erkennbar an den berühmten Vorgänger von 1975 angelehnt war. Als er die Geschichte sieben Jahre später weitererzählte, war die hohe Zeit der italienischen Filmkomödien schon wieder vorbei; „Amici miei atto II“ („Meine Freunde“) wirkte wie ein Abgesang. Sein Land, hat Monicelli in einem seiner letzten Interviews gesagt, brauche eine Revolution, nur so könne es zu sich selbst zurückfinden. Als Regisseur ist er dieser Revolution auf virtuose Weise aus dem Weg gegangen. Am Montag hat sich Mario Monicelli, der wegen Prostatakrebs in einem römischen Krankenhaus behandelt wurde, aus einem Fenster in den Tod gestürzt. Er wurde fünfundneunzig Jahre alt. (c) FAZ-Andreas Kilb
Thanks to André Schneider for sending me this information!
Friday, November 26, 2010
Cinema Retro: A tribute organized around a screenwriter is fairly rare. Why did you choose this specific screenwriter for a tribute?
Richard Pena: Perhaps, but Suso was an extraordinarily special screenwriter. Having recently done a lot of work on Italian cinema, I was startled to see how often her name figured in the credits of so many masterworks. She was an extraordinary talent, and her passing is a loss for all who love film.
CR: Do you think her career was overshadowed by her collaboration with such auteurist names in Italian cinema, such as Visconti, Monicelli, et al? It seems as though a woman would have a hard time holding her own against such huge egos?
RP: My sense is that this had as much to do with the contemporary lionization of film directors as it did plain old sexism. From what I've heard about her, she held her own with the boys.
CR: Can you identify a common thread or characteristic style that belongs to Cecchi d’Amico’s dialogue or characterizations?
RP: With over 100 screenplays to her credit, that becomes difficult; moreover, I've seen at best 50% of them. I think she often likes to focus on a character who takes a decisive action and then study the consequences of that action on those around him/her.
CR: Do you consider her an innovator in screenwriting?
RP: I'm not the best person to answer that question. I think she had a good sense of when to let the action play out on its own rhythms--to under-script, as opposed to an overly determined writing style.
CR: Can you trace any effect she had on any one American screenwriter in particular?
RP: A certain group of American filmmakers have tried to capture the spirit or even adapt "Big Deal on Madonna Street. Whit Stillman would be someone who I'm sure really admires Suso's work.
CR: Do you know how much control she exerted over her own screenplays in terms of the liberties the directors were allowed to take, i.e., was she territorial about her dialogue?
RP: I'm frankly not sure about that, but why hire Suso Cecchi D'Amico if you don't want her work?
CR: Aspiring screenwriters will come to this program, hopefully. What are you hoping they take away?
RP: I hope they sense how carefully structured her screenplays were. There's always a good sense of architecture to her screenplays, even when they leave lots of space for the director.
CR: If you had to choose one film in the line-up that is a definite don’t miss, what would your choice be? Why?
RP: I would say Violent Summer, as it's really an amazingly great film and not that well known. A chance for people to discover not only Suso's work, but that of Valerio Zurlini, a wonderful yet little-known filmmaker as well.
Wednesday, November 17, 2010
CAN YOU SOLVE THIS MYSTERY???
Thursday, November 11, 2010
Monday, November 8, 2010
This time Italian singers/songwriters Fabrizio Canciani and Stefano Covri tackled this subject in their song "Esci Diabolik" from their album "Delitti e Canzoni"-Il Giallo In Musica. The song is the second title on the album. The musicians used the familiar "Wa Wa Wa" title from the original movie soundtrack by Ennio Morricone to open their song. After the intro the song becomes a very likeable jazzy inspired song with a lot of musical reference and style to another Italian jazzy singer "Paolo Conti". The video is a collage of the giallo a fumetti Diabolik and the movie that it spawned. Enjoy!
Tuesday, November 2, 2010
Thanks to "Drayton64" for uploading this clip!
Thursday, October 28, 2010
It was a time of a lot terrorist attacts in both countries. This was one of the reasons why in Italy a new film genre became a runaway success called the "Poliziottesco movies". What people saw in the movies happened in real life on their streets in front of their eyes and front porches of their homes. Killings, violence, blasting bombs, car chases in city streets... you name it - it happened. The evening news was often full of those stories again and again. Sadly reality is that it is not a movie so the spiral of violence reached its peak in 1978 in Italy when on March 16th 1978 the former Italian Prime Minister Aldo Moro got kidnapped by the Brigate Rosse.
The tension in Italy during that time among the politicians, civilians and army was extreme. The political establishment did not know how to handle this crisis and the fear of complete chaos and revolution was very real. The entire country was in a state of alert. All the major roads into the major cities in Italy had road blocks with police and army garding and inspecting the traffic in and out these cities. Rome was no exception. In the week of March 31st 1978, Marisa Mell decided to make a trip to the country side with her mother when, around 50 kilometers outside Rome in the village of Cerveteri she was halted and ordered to open the trunk of her Mercedes. After inspection she could continue her trip. So even she could not escape the political reality in Italy. On May 9th 1978, Aldo Moro was found dead in a parked Renault 4 after 55 days of being kidnapped!
Wednesday, October 20, 2010
So for the January 28th 1966 issue of this magazine the editor had the brilliant idea of making an article about the rising European female stars and starlets. Hence entered staff photographer Howell Conant. He got the assignment to shoot these beautifull women like Catherine Deneuve and her sister Françoise Dorléac, Susannah York, Marilu Tolu, Stephania Sandrelli and many others for the article in an unusual setting. In the article you can see the ladies lying between water melons, around dogs, in the grass, between windows... and Marisa Mell was so lucky to be shot in a cow stable dressed to the hilt in a black gala dress surrounded by cows.
I always wondered how she might have felt that day while posing for Conant. What went trough her mind? Nothing can be deducted from her face which is rather icy cold looking into the lens but she surely must have hated it. Nevertheless everything for showbizz so... Luckily for Marisa Mell this article was some kind of opening for her to Hollywood, which she later rejected, and from all the competing actresses in the spread she was first in the picking order and got two pictures in the article with the most accompanying text. Probably the editor also thought that this picture was way over the top and wanted to make a gesture to the actress for enduring this shit.
Friday, October 8, 2010
Sunday, October 3, 2010
Thursday, September 30, 2010
For fans of Marisa Mell, he will be mainly remembered as the "other" Casanova in the movie "Casanova & C°" from 1977 with a bunch of Eurocult actresses like Marisa Berenson, Sylva Koscina, Andrea Ferreol, Britt Ekland and... Marisa Mell as the Dutchess of Cornaro. The movie is an erotic comedy film with many... many titles: Casanova & Company (Italy), Casanova - sänkykamarivaras (Finland), Enas trellos, poly trellos Kazanovas (Greece), Hilfe, ich bin eine männliche Jungfrau (West Germany), Sex on the Run (USA) (reissue title), Some Like It Cool (USA), The Amorous Mis-Adventures of Casanova (USA) (video title), The Rise and Rise of Casanova (UK), and Treize femmes pour Casanova (France)). The plot revolves around the adventures of Giacomo Casanova with various women, and a visit to the Republic of Venice by an Ottoman delegation, including a Sultana and her retinue. To me he will always be remembered as the partner of Roger Moore in the British series "The Persuaders" from the early 70's.
Saturday, September 18, 2010
As told the movie was shot on the Spanish island of Gran Canaria. So whenever Marisa Mell had some free time during the production of the movie, she went horse riding alongside the shores of the island. During one of those rides she encountered a car driving along the sea road. The horse startled by the roar of the engine. Marisa Mell was not able to keep the horse under control and she was thrown to the ground. A young man left the car and hurried to help her get up again when he noticed that she was bleeding out of her nose very badly. So the best thing he could do was take her to the nearby hospital on the island to check on her situation. Thankfully nothing was broken so Marisa Mell could leave the hospital the same day. After the ordeal Marisa Mell and the young man kept in touch and became even friends. One year later, Marisa Mell had the now famous auto accident and was hospitalised for several months. The young man heard of this ordeal and went to visit her with a large bouquet of flowers telling her that he would take care of her whatever the cost. According to the information at hand during her recovery they became lovers for a short while.
Saturday, September 11, 2010
I wonder if he is a giallo fan or even an Eurocult fan? It could be possible while living in Paris, France that he came across the poster of "Le Tueur à l'Orchidee" and that the image has struck him one way or the other. So when one day the new ad campaign for the Dior perfume was needed this image of an eye surrounded by orchid petals came back to him. Who knows? Nevertheless it makes for a strong image and a beautiful campaign.
Tuesday, September 7, 2010
TRAIN D'ENFER (1965)
CHE NOTTE, RAGAZZI (1966)
DANGER: DIABOLIK! (1968)
SENZA VIA D'USCITA (1970)
LES BELLES AUX BOIS DORMANTES (1970)
AMICO, STAMMI LONTANO ALMENO UN PALMO (1972)
LA ENCADENADA (1975)