Spent a lot of vacation time trying to read and watch movies. Since I liked "Gospel of Matthew" y Pasolini so much, I decided to rock that whole "Italian Neo Realism" thing to the gills. Before I systematised the self education, I 'rented' a lot of Italian films from the library if they were in b/w. It took a while to realise that "Italian Neo realism" was more than that - I will write up a proper deal very soon ( maybe this afternoon as it seems I will have some time) - but until systematization started, I'd watched these films - one fer sure INR, two more effected by INR, and then a Pasolini and another Rosselini. These are my feelings, not in order.
Medea.
Never did I ever think Maria Callas was hot until now. I just never knew. No, i'm not gonna go all operaeyes over her - but ti doesn't mean i'd like to hit those high and low notes wit her, knowwat' a'mean?? I will amidt that if I could - I could dress her up and have her get a better haircut. Medea was based on an old Greek myth, and she was dudded up in flowing robes and long tresses. Pasolini has done some terrible films, and some great ones. I was fearful that this film would suck - but it flowed. Nowhere as good as Matthew or his earlier Accatone - but i liked this film a lot.
Germany Year Zero.
Rosselini, in one of the first INR films ever made. It was set in Germany rite after the war, and concerned a young boys attempting to keep his family fed in the chaos after the war. It was very strange to see an Italian film set in another country - but then realised that as an American, i'm blind enough to expect it in the American film industry but find it strange in another countries industry. Another thing about the film that struck me was the absolute destruction of Berlin. Heaps of stones and rocks and destroyed buildings everywhere. Kabul style, or even worse. The allied air effort combined with the battle inside the city really rubblised it bigtime.
Stromboli.
By Rosselini, although to me it's a totally INR film - what i read says no (another post on that). Great flick, regardless. Eager to escape a 'stranded persons camp' @ the end of WW2, Ingrid Bergman marries some guy she really shouldn't have. Total peasant, he takes her to his home - an island out in the sea, only reached by boat, that is dominated by a love volcano. Basically - she has landed on hell. The island is so desolate and smoky, it photographs so well in b/w. Good filck.
Amore.
Two short films by Rossilini. One is a telephone call from a lover breaking it off w/ Ann Magini. We see only her. I love broken hearted stoires, and this 30m one was ok. The other short film included in Amore was The human voice - again, featuring Ann magini as a peasant who gets drubk tending sheep, fucks another hearder, and then thinks it is St. joseoph who impregnated her. Ok film. I like Magini - what a strange face,
La Strada.
By Fellini. Worked up as one of the greatest films ever back in the 50's. I liked it, but didn't think it was the greatest film ever. Did like it, though. Anthony Quin is great as a brawling drunken violent dude. A lot claimed this film was the ending of INR (other films also get the call) in 1952. Maybe, as it seems that most of the great 'firsts' and that were in that period of 1946-1952 (or 1945-1954). Again - I'll handle that in a bit.
Medea.
Never did I ever think Maria Callas was hot until now. I just never knew. No, i'm not gonna go all operaeyes over her - but ti doesn't mean i'd like to hit those high and low notes wit her, knowwat' a'mean?? I will amidt that if I could - I could dress her up and have her get a better haircut. Medea was based on an old Greek myth, and she was dudded up in flowing robes and long tresses. Pasolini has done some terrible films, and some great ones. I was fearful that this film would suck - but it flowed. Nowhere as good as Matthew or his earlier Accatone - but i liked this film a lot.
Germany Year Zero.
Rosselini, in one of the first INR films ever made. It was set in Germany rite after the war, and concerned a young boys attempting to keep his family fed in the chaos after the war. It was very strange to see an Italian film set in another country - but then realised that as an American, i'm blind enough to expect it in the American film industry but find it strange in another countries industry. Another thing about the film that struck me was the absolute destruction of Berlin. Heaps of stones and rocks and destroyed buildings everywhere. Kabul style, or even worse. The allied air effort combined with the battle inside the city really rubblised it bigtime.
Stromboli.
By Rosselini, although to me it's a totally INR film - what i read says no (another post on that). Great flick, regardless. Eager to escape a 'stranded persons camp' @ the end of WW2, Ingrid Bergman marries some guy she really shouldn't have. Total peasant, he takes her to his home - an island out in the sea, only reached by boat, that is dominated by a love volcano. Basically - she has landed on hell. The island is so desolate and smoky, it photographs so well in b/w. Good filck.
Amore.
Two short films by Rossilini. One is a telephone call from a lover breaking it off w/ Ann Magini. We see only her. I love broken hearted stoires, and this 30m one was ok. The other short film included in Amore was The human voice - again, featuring Ann magini as a peasant who gets drubk tending sheep, fucks another hearder, and then thinks it is St. joseoph who impregnated her. Ok film. I like Magini - what a strange face,
La Strada.
By Fellini. Worked up as one of the greatest films ever back in the 50's. I liked it, but didn't think it was the greatest film ever. Did like it, though. Anthony Quin is great as a brawling drunken violent dude. A lot claimed this film was the ending of INR (other films also get the call) in 1952. Maybe, as it seems that most of the great 'firsts' and that were in that period of 1946-1952 (or 1945-1954). Again - I'll handle that in a bit.
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