{"id":2704,"date":"2011-09-08T13:53:31","date_gmt":"2011-09-08T13:53:31","guid":{"rendered":"http:\/\/www.thewildeye.co.uk\/blog\/?p=2704"},"modified":"2011-09-08T13:53:31","modified_gmt":"2011-09-08T13:53:31","slug":"piero-livi","status":"publish","type":"post","link":"http:\/\/www.thewildeye.co.uk\/blog\/latest-news\/piero-livi\/","title":{"rendered":"Piero Livi"},"content":{"rendered":"<figure id=\"attachment_2705\" aria-describedby=\"caption-attachment-2705\" style=\"width: 298px\" class=\"wp-caption alignright\"><a href=\"http:\/\/www.thewildeye.co.uk\/blog\/wp-content\/uploads\/pietro_livi.jpg\" ><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-2705\" title=\"Piero Livi\" src=\"http:\/\/www.thewildeye.co.uk\/blog\/wp-content\/uploads\/pietro_livi.jpg\" alt=\"Piero Livi\" width=\"298\" height=\"198\" srcset=\"http:\/\/www.thewildeye.co.uk\/blog\/wp-content\/uploads\/pietro_livi.jpg 425w, http:\/\/www.thewildeye.co.uk\/blog\/wp-content\/uploads\/pietro_livi-132x88.jpg 132w\" sizes=\"(max-width: 298px) 100vw, 298px\" \/><\/a><figcaption id=\"caption-attachment-2705\" class=\"wp-caption-text\">Piero Livi<\/figcaption><\/figure>\n<p>Just watched a curious Sardinian crime film, <strong>Pelle di bandito<\/strong>, and decided to do a little bit of research into its director, Piero Livi.\u00a0 According to the IMDB, he was born in Olbia (Sardinia) on April 1st, 1925, and only directed four films:<\/p>\n<p>1969: <strong>Pelle di bandito<\/strong><br \/>\n1977: <strong>Dove volano i corvi d&#8217;argento<\/strong><br \/>\n2001: <strong>Sos Laribiancos &#8211; I dimenticati<\/strong><br \/>\n2004: <strong>Maria si<\/strong><\/p>\n<p>As well as acting as a production manager on Roberto Natale&#8217;s <strong>Il mio corpo con rabbia<\/strong> (72).<\/p>\n<p>A little digging around, though, reveals that his career was a little more extensive than that.\u00a0 His connection with the cinema began in the late 1950s, when he helped establish the Mostra Internazionale del Cinema d&#8217;Amatore, which lasted for ten festivals before becoming the Mostra Internazionale del Cinema Indipendente, which lasted until 1974.\u00a0 He began his career as a director in 1957 with the short film <strong>Marco del mare<\/strong>, following it with several more shorts, including <strong>Visitazione <\/strong>(58), <strong>Il faro<\/strong> (61), <strong>Una storia sarda<\/strong> (62), <strong>I 60 di Berchiddeddu<\/strong> (65) and <strong>Il cerchio del silenzio<\/strong> (66). He also made documentaries, but little information is available about this side of his work.<\/p>\n<p>His first full length feature <strong>Pelle di bandito<\/strong>, a vague retelling of the same events that also inspired Lizzani&#8217;s <strong>Barbagia<\/strong>, was shown at Venice, and it&#8217;s a fascinating tale of Sardinian banditry, told with a neo-realist&#8217;s attention to the details of everyday life and folk customs.\u00a0 But it was a long time until his next film, <strong>Dove volano i corvi d&#8217;argento<\/strong> (77), another Sardinian tale of blood feuds and vengeance.\u00a0 This was followed by an even longer gap until he released two films in the 2000s: <strong>Sos Laribiancos &#8211; I dimenticati<\/strong> (about a group of Sardinian soldiers fighting in the Russian campaign of the Second World War) and<strong> Maria s\u00ec<\/strong> (about a man suffering a mid life crisis).<\/p>\n<p>Livi appears to be something of a big cheese in Sardinia, and <strong>Pelle di bandito<\/strong> definitely shows that he&#8217;s a filmmaker of interest, but he&#8217;s perhaps suffered because of his status as a Sardinian &#8211; as opposed to an Italian &#8211; filmmaker.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Just watched a curious Sardinian crime film, Pelle di bandito, and decided to do a little bit of research into its director, Piero Livi.  <\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[6],"tags":[929,928],"_links":{"self":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/2704"}],"collection":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/comments?post=2704"}],"version-history":[{"count":2,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/2704\/revisions"}],"predecessor-version":[{"id":2707,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/2704\/revisions\/2707"}],"wp:attachment":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/media?parent=2704"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/categories?post=2704"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/tags?post=2704"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}