Cinema of Italy
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| The history of '''[[Italy|Italian]] [[film|cinema]]''' began just a few months after the [[Auguste and Louis Lumière|Lumière brothers]] had discovered the medium, when [[Pope Leo XIII]] was filmed for a few seconds in the act of blessing the camera. | The history of '''[[Italy|Italian]] [[film|cinema]]''' began just a few months after the [[Auguste and Louis Lumière|Lumière brothers]] had discovered the medium, when [[Pope Leo XIII]] was filmed for a few seconds in the act of blessing the camera. | ||
| - | ==Pink neorealism and comedy== | ||
| - | It has been said that after ''Umberto D.'' nothing more could be added to neorealism. Whether because of this, or for other reasons, neorealism effectively ended with this film. Following works turned toward lighter atmospheres, perhaps more coherent with the improving conditions of the country, and this genre has been called ''pink neorealism''. It was this ''filone'' that allowed better "equipped" actresses to become real celebrities: the encouraging figures of [[Sophia Loren]], [[Gina Lollobrigida]], [[Silvana Pampanini]], [[Lucia Bosé]], together with other beauties like [[Eleonora Rossi Drago]], [[Silvana Mangano]], [[Claudia Cardinale]], and [[Stefania Sandrelli]] populated the imaginations of Italians just before the so-called "boom" of the 1960s. Soon pink neorealism was replaced by the ''[[Commedia all'italiana]]'' (Italian Comedy Style), a unique genre that, born on an ideally humouristic line, talked instead very seriously about important social themes. | ||
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| - | At this time, on the more commercial side of production, the phenomenon of [[Totò]], a Neapolitan actor who is acclaimed as the major Italian comic, exploded. His films (often with [[Peppino De Filippo]] and almost always with [[Mario Castellani]]) expressed a sort of neorealistic satire, in the means of a [[guitto]] as well as with the art of the great dramatic actor he also was, like [[Pier Paolo Pasolini]] would have shown. A "film-machine" who produced dozens of titles per year, his repertoire was frequently repeated. His personal story (a prince born in the poorest ''rione'' of [[Naples]]), his unique twisted face, his special mimic expressions and his gesture, created an inimitable personage and made this man one of the most beloved Italians in his own country. | ||
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| - | Italian Comedy is generally considered to have started with [[Mario Monicelli]]'s ''I soliti Ignoti'' (''[[Big Deal on Madonna Street]]'') and derives its name from the title of [[Pietro Germi]]'s ''Divorzio all'Italiana'' (''[[Divorce Italian Style]]'', [[1961]]). For a long time this definition was used with a derogatory intention. | ||
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| - | [[Vittorio Gassman]], [[Marcello Mastroianni]], [[Ugo Tognazzi]], [[Alberto Sordi]], [[Claudia Cardinale]], [[Monica Vitti]] and [[Nino Manfredi]] were among the stars of these movies, that described the years of the economical reprise and investigated Italian dress, a sort of self-ethnological research. | ||
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| - | In 1961, [[Dino Risi]] directed ''[[Il sorpasso]]'', now a cult-movie, then ''Una vita difficile'' (''[[A Difficult Life]]''), ''[[I Mostri]]'' (''The Monsters'', also known as ''15 From Rome''), ''In nome del Popolo Italiano'' (''In the Name of the Italian People'') and ''[[Profumo di donna]]'' (''Scent of a Woman''). | ||
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| - | Monicelli's works include ''La grande guerra'' (''[[The Great War (1959 film)|The Great War]]''), ''I compagni'' (''Comrades'', also known as ''[[The Organizer]]''), ''[[L'Armata Brancaleone]]'', ''Vogliamo i colonnelli'' (''We Want the Colonels''), ''Romanzo popolare'' (Popular Romance) and the ''[[Amici miei]]'' series. | ||
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| == See == | == See == | ||
| *[[Pink neorealism and comedy]] | *[[Pink neorealism and comedy]] | ||
Revision as of 10:47, 20 July 2007
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The history of Italian cinema began just a few months after the Lumière brothers had discovered the medium, when Pope Leo XIII was filmed for a few seconds in the act of blessing the camera.
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