Oggi al SAVOIA

I TRE ladri

Lionello De Felice - 1954

Désirée 

Henry Kostner - 1954

La morsa d'acciaio

Andrew L. Stone - 1952

Le avventure di Giacomo Casanova

STENO - 1954

Lo scudo dei Falworth

Rudolph Maté - 1954

ROSE MARIE

Mervin Le Roy - 1954

 

The truly subversive work of cinema

It could claim to be the most subversive denouement in the history of narrative cinema. The ending of Sergio Corbucci’s Italian Western The Great Silence (1968) sees not only the film’s hero gunned down, having failed to save the day, but also features the massacre of every other sympathetic or victimised character in the film. Upon deeper examination there are several factors that contribute to its subversive stance. Corbucci was a director of several Spaghetti Westerns containing left wing and radical politics as either the subject or subtext. The Italian Western itself was seen as a subversion of a unique American art form. This was mainly down to what Frayling (2006) calls the ‘Cultural Roots’ controversy, the initial criticism faced by Westerns of Italian origin that they ‘had no ‘cultural roots’ in American history or folklore, they were likely to be cheap, opportunistic imitations’ (Frayling, 2006 p,121). Another significant factor that may explain the film’s subversive tone was its timing. The film was released in 1968, and contains an explicit, though not terribly in depth, criticism of capitalism, an interracial sex scene, and has a downbeat, pessimistic ending, all of which are in keeping with the counter cultural zeitgeist of the late 1960’s. While each of these factors contributes, it is the ending that marks the film as a truly subversive work of cinema.

James Newton

https://offscreen.com/view/great_silence

Risk and cope

 

If you can't cope with the ants,
Don't mess with the anthill!

Se non riesci a far fronte alle formiche,
Non scherzare con il formicaio!

The risk taken by the stick is the same as the risk taken by the axe.

Il rischio assunto dal bastone è lo stesso del rischio assunto dall'ascia.

Camilla Freitas, Chão, (Landless, Senza terra), 2019

Ogni due barattoli di miele un'ape in o maggio

 Via Zaleuco di Gerace (RC)

 

Closed Cine & Paul Schrader

 Virtually everything we’ve learned in the last hundred years is outdated. We do not know what the duration of a film should be. We do not know where we are going to watch them, or how to look at them. We no longer know how to make a film or how to finance a film. We have reached a state of permanent transition. The projection halls now welcome an increasingly smaller audience. Closer to that of the theater or the concert hall. In The Canyons (2013) by showing these empty rooms, I wanted to inform the viewer that they are watching a movie on their computer because of the closure of these types of establishments.

Paul Schrader

https://offscreen.com/view/solitary-man-an-interview-with-paul-schrader

What became of transcendental style? What in the 1950s began as art house cinema has blossomed into the hydra-headed creature we call slow cinema. Bresson and Ozu, seen as esoteric and slow, now are audience friendly compared to the multi-hour epics of Béla Tarr and Lav Diaz and Pedro Costa. A theater experience for art house customers morphed into marginalized audio-video presentations shown only at film festivals and art galleries.

Paul Schrader in Rethinking Transcendental Style, 2018

Attenzione Attenzione Evasione

 Scena tratta da La fuga (Dark Passage) noir del 1947 di Dalmer Daves con Humphery Bogart, Lauren Bacall, Agnes Moorehead e Clifton Young. La voce fuori campo nel segmento riportato è di Vittorio Cramer.

Cartoni animati

Amedeo Nazzari

1907 - 1979

Luisa Ferida

1914 - 1945

Memo Benassi

1891 - 1957

Osvaldo Valenti

1906 - 1945

Rina Morelli

1908 - 1976

Camillo Mastocinque

1901 - 1969

 Volti rivisti da Nino Za (Giuseppe Zanini 1906 -1996) per
film SETTIMANALE DI CINEMATOGRAFO TEATRO E RADIOANNO Anno V n. 11 – 14 MRZO 1942-XX