The groundbreaking Italian neorealist films of the 1940s were centred around ordinary people. No movie stars required. Yet it was a movie star that came to embody their earthy grit: the force of nature Anna Magnani.
AN ODDITY IN THE OPENING CREDITS for Pier Paolo Pasolini’s Mamma Roma (1962) has gone largely unremarked, probably because it is so cursory. A minute or so into the credit sequence, which is accompanied by the stately largo from Vivaldi’s Concerto for Viola d’Amore and Lute in D Minor, a fly suddenly enters at the lower right-hand side of the frame, meanders a bit before pausing on the name of an actor (Giulio de Stephanis) as if to inspect it, and then skitters off as quickly as it had emerged, its time on-screen totaling three seconds. Was the intrusion of the insect an accident most likely or, given Pasolini’s radical ways, an intentional aberration? I conferred with the Pasolini archives in Bologna, Italy, which found no reference regarding this strange anomaly, so one must assume that the fly’s brief invasion of the image either went unnoticed by the director or that, once detected, the insect was permitted its guest appearance, for reasons other than the merely pragmati
From the 1960s to the 1980s, the Italian film industry was booming. Dramas, comedies, no matter the genre, there were so many films coming out of Rome that it…
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Movie Couture In a rare exclusive interview, YSL creative director Anthony Vaccarello tells how his love for cinema has shaped his career in fashion and how collaborating with Almodóvar, Cronenberg, Audiard and Sorrentino is his dream come true by Pamela Golbin Artwork by Edward Givis I WANTED TO WORK WITH DIRECTORS WHO FORMED MY PERSONAL […] The post Movie Couture appeared first on TheWrap.