Get After Neorealism: Italian Filmmakers and Their Films; Essays PDF

By Bert Cardullo

ISBN-10: 1443803588

ISBN-13: 9781443803588

The time period 'neorealism' used to be first utilized by way of the critic Antonio Pietrangeli to Visconti's 'Ossessione' (1942), and the fashion got here to fruition within the mid-to-late forties in such movies of Roberto Rossellini, Luchino Visconti, and Vittorio De Sica as 'Rome, Open urban' (1945), 'Shoeshine' (1946), 'Paisan' (1947), 'Bicycle Thieves' (1948), and 'The Earth Trembles' (1948). those photographs reacted not just opposed to the banality that had lengthy been the dominant mode of Italian cinema, but in addition opposed to triumphing socioeconomic stipulations in Italy. With minimum assets, the neorealist filmmakers labored in actual destinations utilizing area people in addition to expert actors; they improvised their scripts, as want be, on web site; and, their movies conveyed a robust feel of the plight of standard members oppressed via political situations past their regulate. hence Italian neorealism was once the 1st postwar cinema to disencumber filmmaking from the substitute confines of the studio and, through extension, from the Hollywood-originated studio process. yet neorealism was once the expression of a whole ethical or moral philosophy, in addition, and never easily simply one other new cinematic type. 'After Neorealism: Italian Filmmakers and Their movies' is an try, via essays and interviews, to chronicle what occurred to neorealism after the disappearance of the forces that produced it - global struggle II, the resistance, and liberation, by way of the postwar reconstruction of a morally, politically, and economically devastated society. actually, neorealism didn't disappear: it replaced its shape yet no longer its profoundly humanistic issues, looking on the filmmaker and the movie. Neorealistic stylistic and thematic ideas were perpetuated not just by means of the 1st iteration of administrators who succeeded latter-day neorealists like Federico Fellini and Michelangelo Antonioni, but in addition through the second one new release of auteurs to be triumphant those artists. between participants of that first new release we could count number Ermanno Olmi, along with his compassionate reviews of working-class sensible 'Il Posto' (1961), and Francesco Rosi, along with his full of life assaults at the abuse of energy equivalent to 'Salvatore Giuliano' (1961). they're joined, between others, via Pier Paolo Pasolini ('Accattone', 1961), Vittorio De Seta ('Banditi a Orgosolo', 1961), Marco Bellocchio ('I pugni in tasca', 1965), and the Taviani brothers, Vittorio and Paolo ('Padre Padrone', 1977). And those filmmakers themselves were by way of Gianni Amelio ('Stolen Children', 1990), Nanni Moretti ('The Mass Is Ended', 1988), Giuseppe Tornatore ('Cinema Paradiso', 1988), and Maurizio Nichetti ('The Icicle Thief', 1989). From this assorted staff, 'After Neorealism: Italian Filmmakers and Their motion pictures' contains interviews with, and essays approximately, Olmi, Pasolini, Amelio, and Moretti, with items to boot on such seminal figures as Visconti, Fellini, and Antonioni. additionally incorporated are a protracted, contextualizing advent, filmographies of the administrators handled during this booklet, and bibliographies of books approximately them in addition to approximately Italian cinema regularly.

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Was it difficult to do such an antiwar, anti-militaristic film? : Very difficult. No one wanted to make it. When it became known that I, a director of comic films, working with writers who had worked with me on comedies—even some of my Totò pictures—wanted to make a film about the First World War, the newspapers rebelled! They wrote long editorials, saying that it shouldn’t be allowed because, up to then, the war was considered untouchable by the Italians—a great event, extraordinary, the war of Italian independence, etc.

But in Italy he was very, very popular. He was an excellent stage actor, with a powerful comic presence. He knew what to do, and how to do it. Because even if an actor understands his character, he also has to know how to interpret it with gestures and expressions. And many actors don’t have the actual body control to accomplish that. But Totò did. : How long did it take to shoot the film? : Ten weeks. : Was it shot mainly in a studio or on location? : Most of it was shot on location. Even most of the interiors were done on location.

They did two things wrong. They shot it in San Francisco, and in such a relatively wealthy society, you cannot make that film. Secondly, Bob Fosse did a musical number in Crackers that was 44 Chapter Three awful. The characters didn’t fit in with this milieu, and overall the film just didn’t work. : There was also a sequel to Big Deal on Madonna Street, titled I soliti ignoti vent-anni dopo (1987), or Big Deal after Twenty Years. : Yes, that was directed by my assistant Amanzio Todini. It also didn’t work because twenty years later the nature of film crime had changed.

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After Neorealism: Italian Filmmakers and Their Films; Essays and Interviews by Bert Cardullo

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