ACAB (All Cops Are Bastards) by Stefano Sollima

January 31, 2012 in New Italian Cinema

Here’s a new Italian crime film, directed by Stefano Sollima (Sergio’s son, so he should have it in the genes!)  Sollima jr was involved in the two succesful Romanzo criminale TV series and this is quite a hotly anticipated release (it’s opened in over 300 cinemas, which is a huge amount for an Italian film which isn’t a comedy).

Here’s the blurb from FilmItalia:

The film is inspired by the book ACAB by Carlo Bonini – published in Italy by Giulio Einaudi Editore – which tells a true story. ACAB stands for « All Cops Are Bastards », a slogan first used in England in the 1970’s by skinheads and which quickly become a universal call to urban guerrillas, both in the stadiums and in the streets.

Cobra (Piefrancesco Favino), Nero (Filippo Nigro) and Mazinga (Marco Giallini) are three “bastard riot cops” who, confronting violence on a daily basis, have learned to be targets. The violence in which they are immersed mirrors a chaotic society ruled by hate.

Their only aim is to restore social order and make people respect rules, even if through the use of force.

In the most difficult moment of their own private lives, they meet the young recruit Adriano (Domenico Diele), who’s just joined their unit and needs to be trained. Educating him on legality and order and even on violent law enforcement becomes a means to telling the stories of the controversial riot cops unit, as seen from the inside, set against the background of several of the most shocking episodes of urban violence in contemporary Italian society, from the death of a protestor at the G8 Summit in Genoa in 2001, to the death of a soccer fan, by a police officer’s gun, in 2007.

The cast includes Pier Franesco Favino (the film version of Romanzo criminale, Miracle at S. Anna) & Marco Giallini (The Family Friend).

The Italian language trailer:

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Stars of Cinecitta: Franco Diogene

January 25, 2012 in Performers & directors

Franco Diogene

Franco Diogene

Franco Diogene was born in Catania in 1947 and moved at a young age to Genoa.  From the age of six years old he was involved with the performing arts, appearing in numerous plays and performances while still at school.  He graduated in 1972, becoming a professional actor in the same year with the Teatro Stabile di Genoa, directed by Ivo Chiesa and Luigi Squarzina.

He made his first film in 1973, Teresa la ladra starring Monica Vitti, and from then until his death in 2005 he took part on over 90 films.  He was almost exclusively a character performer, appearing in small or supporting parts, often playing either inefficient or corrupt bureaucrats, lawyers and henchmen (although he was equally adept at more amiable, jovial characters).  A chubby, sweaty fellow, he followed in the footsteps of Gianni Rizzo – another rather camp and rotund performer – and is one of those performers who is instantly recognisable and a welcome sight on screen.

The films he appeared in tended to be at the lower budget end of the scale: he worked regularly with directors such as Mario Landi (Il viziaccio, Sexysupermarket), Gianni Martucci (Blazing Flowers, Trhauma) and Michele Massimo Tarantini (La poliziotta della squadra del buon costume, L’insegnante al mare con tutta la classe).  And despite being a natural for comedies, he also appeared in giallos and crime films.

When not making films was heavily involved in writing and performing for cabaret, appearing regularly with Turi Ferro, and also worked as a presenter and entertainer, fronting numerous fashion shows, singing competitions and other events.

An English speaker who lived for a short time in the United States in the mid 1970s, he was also involved in some international productions, most particularly Midnight Express in 1978, in which he used his own voice and The Name of the Rose (84).  He was also expert in the assorted Italian dialects, which he would commonly use in his cabaret nights. After continuing to wirk well into the 2000s he died of a heart attack on the 28th May 2005.

A brief interview with Franco Diogene

You acted in numerous films, which ones have left an indelible mark on you?

Well, I’ve been a professional actor since 1973 and shot over a hundred films, the most important was Midnight Express, an American – English film which won two Oscars, then The Name of the Rose and The House of Spirits.  Among the Italian films it would be Innamorato pazzo, 7 chili in 7 giorni, Piccolo Grande Amores

What do you need to be an actor?

To be an actor is a craft just like many others.  You can wake up in the morning and go to the factory, go to the office or do acting.  This craft is something that you have to know inside out, so I began with parish theatre, then in dialect, then prose theatre.  For those that feel the fire of the art you can do several things, but maybe not in Catania.  The city isn’t  a big centre for the performing arts, so you need to go to Rome or Milan

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La lama nel corpo, aka The Murder Clinic

January 23, 2012 in From the Archives

Confused but quite entertaining pot pourri of screaming maidens, nocturnal corridors and hooded razor-slashers, rather reminiscent of the Hitchcockian adventures of Dr. Hichcock.  ‘Micheal Hamilton’ is no ‘Robert Hampton’, of course, and the Freda touch is signally lacking in the cramped compositions and very variable colour effects.

But Scardamaglia has the right idea in his alterations between claustrophobic interiors, verdant exteriors, and bings off at least one nice visual coup with a flashback from the bloodshot present into a dreamy, sunstruck past.  Barbara Steele is sadly missed, especially as Francoise Prevost is given disappointingly little to do, but the girls scream with spirit and the performances are as petent as the dubbing and confused plot (which contrives to make a hero out of the – to say the least – unethical doctor) will allow.

Rating: 1 (Good of its type)

Monthly Film Bulletin, May 1969

Here’s the trailer:

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Giuliano Montaldo’s L’Industriale

January 16, 2012 in New Italian Cinema

Giuliano Montaldo's L'industriale

Giuliano Montaldo's L'industriale

Giuliano Montaldo is one of the few directors who made their name in the Italian new wave of the early sixties who’s working (and he’s 81 years old, which is pretty impressive).  Less well known than Pasolini or Bertolucci, his work is varied and often variable, but it’s always worthy of interest. He’s made a hadful of films I’ve really liked, including Machine Gun McCain and Grand Slam, although I have to confess I haven’t seen a great deal of his later work.

Anyway, he’s got a new film out now called L’industriale. It has opened in about 80 cinemas for an initial run of 7 weeks.  Good luck to it!

Here’s the blurb from CinEuropa

Following the loan shark banks of A Better Life and in anticipation of the film about the Lehman Brothers’ crash Too Big To Fail, the Rome Film Festival revisits the subject of economic crisis and the excessive power of lending institutions with L’industriale by veteran filmmaker Giuliano Montaldo (Sacco e Vanzetti), screened yesterday out-of-competition. Set in a grey and cold Turin, taken to the extreme by Arnaldo Cantinari’s livid photography, the film depicts Nicola (Pierfrancesco Favino), a forty-year-old entrepreneur strangled by debt and by the banks, who is however proud and tenacious, and decides to resolve his problems by any means, with the help of his unscrupulous lawyer. (Francesco Scianna).

It is against this background – the screenplay is written by the Genoa-born director together with Andrea Purgatori – that the main character’s private affair plays out, with his wife Laura (CarolinaCrescentini) becoming ever more distant. Nicola begins to suspect that she is having an affair and starts following her in secret, leading him to discover her friendship with a Romanian garage owner (Eduard Gabia), the only one capable of making her smile again. And when things seem to be back to normal (the company, the marriage, social standing), Nicola will already have brought out the worst in himself and consequences will soon follow.

The film is set in a city paralised by crisis, with very little traffic, deserted factories and a distant sound of protest in the background. “A story like many others about how the economic crisis can destroy an individual, which captures a historical moment”, says Montaldo, eighty-years-old, who strikes up with the song ‘Non ho l’età’ (I’m not of the right age) every time he is asked why the film is not in competition. “These are terrifying times. We just have to take a tour of the North to see how many empty warehouses there are”. L’industriale, produced by Angelo Barbagallo’s Bibi with Rai Cinema, will be distributed in Italian cinemas by 01 ”at the beginning of 2012, but I am convinced – adds the director – that it won’t lose its topicality, unfortunately”.

The cast includes Pierfrancesco Favino (from Angels and Demons and Romanzo criminale), Carolina Crescenti (from Loose Canons) and Francesco Scianna (Angels of Evil, Baaria)

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R.I.P. Mario Maranzana

January 13, 2012 in Latest News

Mario Maranzana

Mario Maranzana

Mario Maranzana, who was born in Trieste on the 14th July 1930, has died at the age of 81 in Rome.

Maranzana was an esteemed stage actor who began his theatre career opposite Vittorio Gassman in Sophocles’ Oedipus Rex and went on to work with some of the greatest Italian directors.

He was also a familiar performer on the small screen, appearing regularly in the hugely popular Italian Maigret TV series, French mini series D’Artagnan (69) and many others.

He also turned up in numerous films from the mid 1960s onwards.  He appeared in just about every genre going: spaghetti westerns (Dollar of Fire (66), The Two Sides of the Dollar (67), Long Live Your Death (68)), crime films (The Last Chance (68), Day of the Cobra (80)), comedies (Ciccio perdona… Io no (68), La pupa del gangster (75)), giallos (The Etruscan Kills Again (72)) and decameroticons (Forbidden Decameroin (72)).  He never had huge roles, but was another of the character actors who made Italian cinema of the time so enjoyable.

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Stars of Cinecitta: Luisella Boni

January 6, 2012 in Performers & directors

Luisella Boni, aka Brigitte Corey

Luisella Boni, aka Brigitte Corey

Luisella Boni, who was also known as Brigitte Corey, Isabelle Corey (not to be mistaken for the French Isabelle Corey), Luisa Boni and – to her mum and dad – Luisa Angela Bozzo, was born in Como on the 24th July 1935.  An attractive brunette, she has been a busy actress in films, theatre and television from the early 1950s onwards.

She made her film debut in Mario Bonnard’s 1953 film Frine, cortigiana d’Oriente, and it was the firts of numerous historical adventure and peplum films she’d make throughout the 1950s and 60s.  She tended to play the love interest in smaller productions such as Gianni Vernuccio’s The Treasure of Bengal (opposite Sabu, 1953) and Mario Costa’s Cavalier in Devil’s Castle (59), but also put in supporting turns in bigger budgeted projects like Land of the Pharoahs (55, starring Jack Hawkins and Joan Collins).  She also made three films with Gianfranco Parolini in Yugoslavia: Samson (61), The Old Testament (62) and The Fury of Hercules (62).

Away from costume dramas, she was also the lead in popular melodramas (Le dicciotenni, 56), crime films (I mafiosi, 59) and spy films (Sfida nella citta dell’oro, 62).

Her film career dropped off in the 1960s and she began working regularly on television, often in collaboration with her husband Daniele D’Anza.  Her theatre work was more sporadic, but included a well respected Zerbinetta opposite Vittorio COngio in Moliere’s Le furberie di Scapino.

In recent years she has made occasional appearences on screen, most particularly in the 2003 comedy Caterina in the Big City (2003).

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Escalation, directed by Roberto Faenza

January 4, 2012 in From the Archives

Escalation, by Roberto Faenza

Escalation, by Roberto Faenza

Luca Lambertenghi (Lino Capolicchio)’s life of gentle meditation amid London’s flower children and gurus is rudely shattered when his wealthy industrialist father (Gabriele Ferzetti) cuts off his allowance and forces him to work for the family olive factory in Milan.  Here he shocks his colleagues with his eccentric clothes and his habit of projecting films about India on the darkened walls of his office, and is placed in an asylum.  Luca escapes to Geneva and works as a baby minder but, disguised as a Buddhist monk, a female kidnapper (Didi Perego) employed by his father has little difficulty in luring him back to Milan, where his father decides to seek the help of Carla Maria Marini (Claudine Auger), an attractive industrial psychologist.  Carla Maria soon has Luca madly in love with her and goes through a Buddhist marriage ceremony with him.  He cuts his hair and goes daily to the office in conventional clothes; but Carla Maria refuses to consummate the marriage until he has gained control of the business.  Realising that his daughter-in-law is using his son for her own selfish ends, Mr Lambertenghi reveals to Luca that her interest in him is essentially a professional one.  Luca coldly poisons Carla Maria with a mushroom stew, then paints her corpse with psychedelic designs before cremating it on the beach.  Later he identifies the disfigured corpse of an unknown woman as being that of his wife.  And after ruthlessly forcing his father to give him control of the business he has her coffin packed in ice and buried on a city rubbish dump to the accompaniment of Negro street museums.

Dealing as it does with the development of a peace loving egalitarian into an impassive murdered and ruthless businessman, it seems likely that Escalation was intended as L’enfance d’un chef Italian style.  But the comparison with Sartre proves as hollow as the more obvious one with Antonioni (for the scene changes not so much from London to Milan as from the swinging world of Blow Up to the sterile wasteland of The Red Desert.)  And although the artistic and philosophical pretensions of Roberto Faenza’s first feature film seem to demand serious analysis, the disparity between intention and achievement is great enough to warrant a rather curt dismissal.  Scenes like the final funeral procession display a real talent for visual composition, but Faenza seems constantly more concerned with lending a symbolic weight to his material than with what it actually signifies.  Lino Capolicchio’s interpretation of the generational hero as a blabbering moron further undermines the film’s claims to seriousness.  Perhaps Italian audiences are more attuned to this type of buffoon humour, but the idiom makes it hard for Anglo-Saxons to determine whether he’s supposed to be like Hamlet or just Harpo Marx.  (poor)

Reviewed in Monthly Film Bulletin, May 1969.

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