Michelangelo Antonioni once described his work as “archeological research” which sifted through “the arid remains of our times”. If Fellini claimed to treat the past as science fiction, Antonioni gazed deeply into the future already visible in the present (L’Eclisse) or a past which uneasily hung onto a present that had outlived it (L’Avventura). Born in an upper-middle class family in Ferrara in 1912; Antonioni studied economics at the University of Bologna, where he staged works by Luigi Pirandello as well as original work written by himself. Antonioni’s time as a film critic for the Roman Cinema magazine brought him in contact with Cesare Zavattini, Federico Fellini, Roberto Rossellini, Luchino Visconti and others. For Rossellini, he would co-write Un pilota ritorna and with Fellini, he collaborated on the screenplay of his first feature The White Shiek.
Antonioni, however, yearned to begin his own career in film. To this end, he enrolled at the Centro Sperimentale di Cinemografia… read more
Federico Fellini was born in 1920 to a provincial middle-class family in Rimini, a small town on the coast of the Adriatic Sea. The lack of available options to young men in provincial towns is an important theme in some of his films, most notably I Vitelloni and Amarcord. In fact, Orson Welles once described Fellini as “a small-town boy who’s never really come to Rome. He’s still dreaming about it. And we should all be grateful for those dreams.” He initially arrived in Rome as a law student but his career as a satirical cartoonist and gag writer was already well established by then. His childhood fascination with the circus and the Grand Guignol also governed his cinephilia in these early years. His favourite films were American comedies by Chaplin, Keaton, Harry Langdon and the Marx Brothers. It was only after he came into contact with the circle of Ettore Scola, Cesare Zavattini, Aldo Fabrizi and Roberto Rossellini, that he would seriously consider the cinema as a medium of expression… read more
Italian writer/director Alberto Lattuada is the son of famed composer Felice Lattuada, who scored several of Lattuada’s films. After studying to be an architect at the Berchet School in Milan, Lattuada supplemented his income as a newspaper and magazine writer. He entered the Italian film industry in 1933 as a set decorator, graduating to “assistant in charge of color” in 1935. Five years later, he directed his first film. With Luigi Comencini, Lattuada founded Italy’s first film archive, Cinetica Italiana, in 1941; that same year he published a popular coffee-table volume, The Photographic Atlas. Stepping up his directing activities in the postwar years, Lattuada specialized in stylish costume pictures, often adapted from famous novels. His ventures into neorealism—Bandit (1946), Anna (1951)—tended to be slicker and more professional-looking than the similar efforts of his contemporaries. He gave the career of Federico Fellini a boost in 1950, when he and Fellini co-directed the well… read more
Carlo Lizzani (born 3 April 1922) is an Italian film director, screenwriter and critic.
Born in Rome, after World War II Lizzani worked on such notable films of the late 1940s as Roberto Rossellini’s Germany Year Zero, Alberto Lattuada’s The Mill on the Po (both 1948) and Giuseppe De Santis’ Bitter Rice (1950, for which he received an Academy Award nomination for Best Original Story).
After helming documentaries, he debuted as a feature director with the admired World War II drama Achtung! Banditi! (1951). He films an episode of L’Amore in Città. Respected for his awarded drama Chronicle of Poor Lovers (1954), he has proven a solid director of genre films, notably crime films such as The Violent Four (1968) and Crazy Joe (1974) or erotic comedy Roma Bene (1971).
He worked frequently for Italian television in the 1980s and was a member of the jury at the Berlin Film Festival in 1994.
His film Celluloide deals with the making of Rome, Open City. —Wikipedia… read more
Francesco Maselli or Citto Maselli (born 9 December 1930 in Rome) is an Italian film director and screenwriter. He has directed 38 films since 1949. His 1990 film Il segreto was entered into the 40th Berlin International Film Festival. —Wikipedia
Dino Risi was born in Milan on 23 December 1917. He began his cinematographic career as Mario Soldati’s assistant on Old-Fashioned World (Piccolo mondo antico) in 1940 and then as Lattuada’s assistant in Giacomo the Idealist (Giacomo l’idealista) in 1942. During that period he also contributed to the scripts of the films Anna by Lattuada (1952), Totò e i re di Roma (1951) by Steno and Monicelli and Sunday Heroes (Gli eroi della domenica) by Camerini (1952).
After a series of short films (the most famous of which was Buio in sala), in 1952 he moved to Rome and produced his first fictional feature film, Vacanze col gangster. In 1953 he directed Paradiso per tre ore, an episode in the film Love in the City (L’amore in città) (the other episodes were produced by Antonioni, Fellini and Lattuada), his first experiment with a genre that he was to specialise in over the coming decade.
The costume… read more
Born at Luzzara, near Reggio Emilia in northern Italy, on 20 September 1902, Zavattini studied law at the University of Parma, but devoted himself to writing. In 1930 he relocated to Milan, and worked for the book and magazine publisher Angelo Rizzoli. After Rizzoli began producing films in 1934, Zavattini received his first screenplay and story credits in 1936. In 1935, he met Vittorio De Sica, beginning a partnership that produced some two dozen films, including such masterpieces of Italian neorealism as Sciuscià (Shoeshine, 1946), Ladri di biciclette (Bicycle Thieves, American release title, The Bicycle Thief, 1948), Miracolo a Milano (Miracle in Milan, 1951) and Umberto D. (1952)
In the unique experience in Hollywood, Zavattini written for the screen The Children of Sanchez (1978) based on Oscar Lewis’s book of the same title, a classic study of a Mexican family.
Zavattini died in Rome on 13 October 1989.
Essa coletânea de sete curtas é uma ótima surpresa: entre o ainda vivo Neo-Realismo italiano e os caminhos de um cinema novo fermentado por jovens realizadores, Amor na Cidade é um painel das formas (im)possíveis de amor na Roma do começo dos 50's - cidade ainda cheia de marcas da 2ª Guerra. Entre famosos, como Fellini e Antonioni, e desconhecidos, a 'revista audiovisual' traz graça, melodrama, lirismo e invenção.