Nastassja Aglaia Nakszyński in Taormina

Nastassja Aglaia Nakszyński aka Nastassja Kinski in Taormina (foto Mittiga)

 

Groucho Marx? - no - Mario Soldati

Mario Soldati

1906 - 1999

Renato Castellani, Mio figlio professore, 1946

 

Cinema on Screen - Ozu, Kinoshita & Dmytryck

Yasujirô Ozu, 風の中の牝鶏 (Kaze no naka no mendori) - A Hen in the Wind - Una gallina nel vento (1948)

William Dieterle, Love Letters, Gli amanti del sogno, 1945

Keisuke Kinoshita, 花咲く港 Hana saku minato -  Port of Flowers, 1943

George Stevens, Gunga Din, 1939

Edward Dmytryk, The Sniper, Nessuno mi salverà, 1952

Fred F. Sears, Raiders of Tomahawk Creek, 1950

EASTWOOD IS GOD

 EASTWOOD IS GOD

 Conner “Haf“ MacLeod

 Temple City, Calif.

IN A WORLD WHERE A SINGLE ARTISTS Vision is increasingly blurred in a storm of art-by-committee, it is refreshing to read about Clint Eastwood [“Any Which Way He Can,“ April]. Time has vindicated him

for sticking by his guns and for his vision of himself as an artist. He doesn’t even stoop to telling his critics, “I told you so !" He lets the results do that for him. Let`s hope we all see a lot more of him before he

decides to ride off into the sunset.

 Bart Summer

 North Hollywood, Calif.

IT IS REALLY AMAZING THAT TWENTY YEARS ago, most critics viewed Eastwood's acting as stiff and hopelessly wooden and his films as incessantly violcent exercises of redneck fascism. Now the same intellectually constipated, artistically myopic sycophants have anointed him the new god of American cinema. Thanks for taking decades to find out what his fans have known all along: Eastwood is a major talent to be reckoned with.

R. D. Myers

Kansas City, Mo.

PREMIERE JULY 1993

READER RESPONSE, LETTERS

Geisha's lie

A geisha's lie is not a real lie.
It's a cornerstone of our profession.
Do we not amuse our clients by agreeing to all their requests?
 
La bugia di una geisha non è una vera bugia.
E’ un caposaldo della nostra professione.
Non divertiamo i nostri clienti acconsentendo a tutte le loro richieste?

KOGURE Michiyo, MIZOGUCHI Kenji, A Geisha (祇園囃子, Gion Bayashi, La musica di Gion), 1953
 

Mizoguchi Kenji set in Gion

MIZOGUCHI Kenji director - KAZUO Miyagawa cinematographer

MIZOGUCHI Kenji - KOGURE Michiyo - WAKAO Ayako

 WAKAO Ayako - KOGURE Michiyo 

KOGURE Michiyo - WAKAO Ayako

Mizoguchi Kenji, A Geisha (祇園囃子, Gion Bayashi, La musica di Gion), 1953

Mizoguchi Kenji 溝口 健二,1898 –  1956

Miyagawa Kauzo 宮川 一夫, 1908 -1999

Kogure Michiyo, 木暮 実千代 1918 -1990

Wakao Ayako, 若尾 文子, 1933

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

.:..:.

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

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

.:.:.

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