Cinema on Screen - from Yasujirô Ozu to Wim Wenders

Yasujirô.Ozu 東京暮色 (Tōkyō boshoku, Tokyo Twilight, Crepuscolo di Tokyo), 1957

Sheldon Reynolds, Foreign Intrigue, Spionaggio internazionale, 1956

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Yasujirô Ozu 早春 (Soshun, Early Spring, Inizio primavera) 1956

Julien Duvivier, Marianne de ma jeunesse, Marianne of My Youth,1955

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Wim Wenders, Die Angst des Tormanns beim Elfmeter, The Goalie's Anxiety at the Penalty Kick, La paura del portiere prima del calcio di rigore), 1972

Donald Siegel, Madigan, Nur noch 72 stunden, Squadra omicidi, sparate a vista!, 1968

Martin Ritt, The Brotherhood, La fratellanza, 1968

Kirk Douglas & Michele Cimarosa, The Brotherhood

 Michele Cimarosa

Messina 1933 - 1933

The other miracle happened

 

Then the other miracle happened.
The war broke out.
All the deaths.
What does one life matter?
What are triumphs in research?
What use are conquests of science?
What is the meaning?
As long as peace in this world is just a short pause until a new war errupts somewhere.
Just a pause for breath until people die in droves again.
 
Poi venne l'altro miracolo.
Venne la guerra.
Tutti quei morti.
Cosa significa una singola vita?
Cosa significano i trionfi della ricerca scientifica?
Le vittorie della scienza?
Cosa significa tutto questo?
La pace nel mondo... è solo sempre una breve pausa fino alla guerra successiva.
Solo un breve respiro fino al successivo sterminio di massa.
WOLFGANG STAUDTE, Die Morder Sind Unter Uns (The Murders Are Among Us – Gli assassini sono tra noi), 1946

Lana Turner Coney Island 1947-1959

 Douglas Sirk, Imitation of Life (Lo specchio della vita), 1959

Douglas Sirk meets Willa Cather through William Faulkner

- What are you reading?
- One of your books.
- My Antonia by Willa Cather.
- Nostalgia in Nebraska. Lost farms and faded loves.
 
- Che state leggendo?
- Uno dei vostri libri.
- La mia Antonia di Willa Cather.
- Nostalgia del Nebraska. Terre perdute e amori svaniti.
 Doulas Sirk, The Tarrnished Angels (Il trapezio della vita), 1955

Shane MacGowan & The Maestro

 by Shane MacGowan 

“Our idea of New York was based on movies like Once Upon A Time In America, which we were obsessed with,” explains MacGowan. “We borrowed a lot from the soundtrack of that film.

 “We were listening to so much other stuff. We were watching for example, the movie Once Upon a Time in America. It was a great band favourite and it had, as with most Sergio Leone movies, a great soundtrack by Ennio Morricone.

“There were elements of that music that we felt we wanted to explore and it influenced the beginning, the ballad part of Fairytale of New York, the sort of crooner section.

“What we essentially did was we wrote a sort of drunk version of an Ennio Morricone thing.”

“We used to watch Once Upon A Time In America on a loop when we were on tour. That must have had some kind of effect somewhere. 

Once upon a time a crew

Taormina summer 1985

Nastri d'argento awards to

Once Upon a Time in America

Carlo Simi set designer, Tonino Delli Colli cinematographer

Ennio Morricone music, Sergio Leone director

L. Mittiga photo

 

Metti una sera a Taormina

Maestro Morricone in Taormina

Teatro Greco, summer 1985

Photo L. Mittiga