Sergio Leone was an Italian film director and screenwriter, credited as the inventor of the Spaghetti Western genre. Leone's film-making style includes juxtaposing extreme close-up shots with lengthy long shots, his movies include the sword and sandal action films The Last Days of Pompeii and The Colossus of Rhodes, the Dollars Trilogy of Westerns featuring Clint Eastwood: A Fistful of Dollars, For a Few Dollars More and The Good, the Bad and the Ugly. Born in Rome, Leone was the son of the cinema pioneer Vincenzo Leone and silent film actress Edvige Valcarenghi. During his schooldays, Leone was a classmate of his musical collaborator Ennio Morricone for a time. After watching his father work on film sets, Leone began his own career in the film industry at the age of 18 after dropping out of law studies at the university. Working in Italian cinematography, he began as an assistant to Vittorio de Sica during the movie The Bicycle Thief in 1948. Leone began writing screenplays during the 1950s for the'sword and sandal' historical epics, popular at the time.
He worked as an assistant director on several large-scale international productions shot at the Cinecittà Studios in Rome, notably Quo Vadis and Ben-Hur, financially backed by the American studios. When director Mario Bonnard fell ill during the production of the 1959 Italian epic The Last Days of Pompeii, starring Steve Reeves, Leone was asked to step in and complete the film; as a result, when the time came to make his solo directorial debut with The Colossus of Rhodes, Leone was well equipped to produce low-budget films which looked like larger-budget Hollywood movies. In the mid-1960s, historical epics fell out of favor with audiences, but Leone had shifted his attention to a subgenre which came to be known as the "Spaghetti Western", owing its origin to the American Western, his film A Fistful of Dollars was based upon Akira Kurosawa's Edo-era samurai adventure Yojimbo. Leone's film elicited a legal challenge from the Japanese director, though Kurosawa's film was in turn based on the 1929 Dashiell Hammett novel, Red Harvest.
A Fistful of Dollars is notable for establishing Clint Eastwood as a star. Until that time Eastwood had been an American television actor with few credited film roles; the look of A Fistful of Dollars was established by its Spanish locations, which presented a violent and morally complex vision of the American Old West. The film paid tribute to traditional American western films, but departed from them in storyline, plot and mood. Leone gains credit for one great breakthrough in the western genre still followed today: in traditional western films, many heroes and villains looked alike as if they had just stepped out of a fashion magazine, with drawn moral opposites down to the hero wearing a white hat and the villain wearing a black hat. Leone's characters were, in contrast, more'realistic' and complex: usually'lone wolves' in their behaviour; the characters were morally ambiguous by appearing generously compassionate, or nakedly and brutally self-serving, as the situation demanded. Relationships revolved around power and retributions were emotion-driven rather than conscience-driven.
Some critics have noted the irony of an Italian director who could not speak English, had never visited the United States, let alone the American Old West single-handedly redefining the typical vision of the American cowboy. According to Christopher Frayling's book Something to do with Death, Leone knew a great deal about the American Old West, it fascinated him as a child, which carried into his films. Leone's next two films, For a Few Dollars More and The Good, the Bad and the Ugly, completed what has come to be known as the Man with No Name trilogy, with each film being more financially successful and more technically accomplished than its predecessor; the films featured innovative music scores by Ennio Morricone, who worked with Leone in devising the themes. Leone had a personal way of shooting scenes with Morricone's music ongoing. In addition, Clint Eastwood stayed with the film series, joined by Eli Wallach, Lee van Cleef and Klaus Kinski. Based on the success of The Man with No Name trilogy, Leone was invited to the United States in 1967 to direct Once Upon a Time in the West for Paramount Pictures.
The film was shot in Almería, Spain and Cinecittà in Rome. It was briefly shot in Monument Valley, Utah; the film starred Henry Fonda, Jason Robards and Claudia Cardinale. Once Upon a Time in the West emerged as a long, dreamlike meditation upon the mythology of the American Old West, with many stylistic references to iconic western films. Audience tension is maintained throughout this nearly three-hour film by concealing both the hero's identity and his unpredictable motivation until the final predictable shootout scene. Unsurpassed as a retribution drama, the film's script was written by Leone and his longtime friend and collaborator Sergio Donati, from a story by Bernardo Bertolucci and Dario Argento, both of whom wen
Audace colpo dei soliti ignoti
Audace colpo dei soliti ignoti is a 1959 Italian comedy crime film directed by Nanni Loy. The film stars Renato Salvatori and Claudia Cardinale, it is the sequel to Mario Monicelli's I soliti ignoti. A Milanese gangster contacts Peppe, his offer is to reunite the same men for a daring robbery in Milan, where the local offices of football betting pool Totocalcio shift the weekly revenue on Sunday afternoon via a common car with just an accountant and a driver in it. The gang would have to travel north from Rome disguised among the supporters of A. S. Roma going to Milan for a football match, commit the robbery and flee to Bologna via a souped-up car there to rejoin the returning sport fans; the Milanese seems tough and smart and his proposal sounds inviting for the small-time crooks who all have their problems trying to lead an "honest" life, but things will go differently. Audace colpo dei soliti ignoti opened in Rome in December 1959, it was shown in Paris in August 1962 with the title Hold-up la milanaise.
Audace colpo dei soliti ignoti on IMDb
47 morto che parla
47 morto che parla is a 1950 Italian comedy film directed by Carlo Ludovico Bragaglia. The film stars Silvana Pampanini; the story is set in a small town near Naples early 1900. Baron Antonio Peletti is a stingy and cruel man who thinks only to spend the bare minimum needs for his son and future daughter-in-law if he lives in a luxurious house; the servant Contrado is forced to go hungry because of that miser, in fact every time that Antonio has to spend a penny to buy something complained of unnecessary waste, exclaiming: "And I pay, I pay!!" But one day his grandson who want to steal the box full of gold coins Antonio, hide under the bed has a way of revenge. But in order to steal the tape, the grandson needs the complicity of all higher institutions in the country, including the mayor, one of the most bitter enemies of Antonio. In fact, the man wants to build a primary school for the children of the village, but the cruel Antonio prevents the funding because they do not want to throw out a penny!.
So the pharmacist wants to deceive Antonio with a sleeping pill into believing that it gave him to drink a poison accidentally. Antonio bait this trap and believed to be in Hell desolate set up by the villagers, the hairs Baron finds a soul who persuades him to donate money to the mayor of the box to set up the school. Only Antonio would be redeemed from their sins in the past and would go to the Paurgatory. However, during the operation something is wrong and Antonio realizes the trap of the villagers; the nephew not to lose money steals the cassette and runs away in a balloon with his girlfriend but Antonio joins him and the three hovering in the air. But due to a failure of the balloon starts to descend towards the sea and so must lighten it, he is now supposed to be sunk somewhere near Sardinia, but at the end of the story the baron, coming back from the island on a monkey in the day of inauguration understands his mistakes and accepts to finance the project of founding the school. Totò as Il barone Antonio Peletti Silvana Pampanini as Madame Bonbon, la canzonettista Carlo Croccolo as Gontrano Adriana Benetti as Rosetta Dante Maggio as Dante Cartoni, il partner della canzonettista Tina Lattanzi as La moglie dei sindaco Aldo Bufi Landi as Gastone Eduardo Passarelli as Il farmacista Arturo Bragaglia as Il sindaco Mario Castellani as Il colonnello Bertrand de Tassiny Gildo Bocci as Il macellaio Franco Pucci as Il dottore 47 morto che parla on IMDb
The Law Is the Law
The Law Is the Law is a 1958 French-Italian comedy film directed by Christian-Jaque. It was entered into the 8th Berlin International Film Festival. In the village of Assola, divided in half by the French-Italian border, the Neapolitan smuggler Giuseppe La Paglia and the French customs officer Ferdinand Pastorelli, play a daily cat-and-mouse game, with Ferdinand trying to arrest Giuseppe, Giuseppe trying to smuggle goods under Ferdinand's nose. On a celebration day on the town's French side, Ferdinand catches Giuseppe smuggling goods over the border and, after a chase arrests him arriving late to the traditional parade, where he was supposed to carry the French flag. During the following reception at the Two Borders Hotel, which, as the name suggests, is divided in half by the border, still under custody, discovers that Ferdinand was born, to an Italian mother and an unknown father, in the kitchen of the hotel's restaurant; the kitchen is located in the Italian part of the hotel, so Giuseppe argues that Ferdinand is Italian and is thus not entitled to act as a French customs officer, making his arrest unlawful.
At a subsequent audit with the municipal authorities of Assola, Ferdinand discovers that the man who recorded his birth, Gaspar Donnadiè, owner of the Two Borders, failed to register him in the right place: the Italian municipality. The same Donadiè tells Ferdinand that he went to the French Townhall because it was raining that day and it was a shorter walk than going to the Italian one. Risking to lose his job, Ferdinand asks for Giuseppe's help, is taken by him to the Italian side to apply for an Italian identity document, the plan being to subsequently request French naturalisation, thus fixing his position. But, according to a French politician, friend of his father-in-law, having become an Italian citizen will prevent Ferdinand from restoring his French nationality and will render his marriage invalid and his son illegitimate; as if, not enough, Ferdinand is placed in custody by the Italian police together with his first wife Antoinette, now married to Giuseppe, because under Italian law, which does not allow for divorce, they are still married and Antoinette is therefore a bigamist.
Clarified her marital situation, her first marriage was invalid because of Ferdinand's irregular status, Antoinette is released. On the contrary, Ferdinand is kept because, having served in the war for the French, for the Italians he is a deserter, he is returned to the cell, where now he finds Giuseppe, who has managed to get arrested in order to not leave his wife alone with her ex-husband. Ferdinand, dejected by being called a deserter, attempts suicide, but is persuaded to desist by Giuseppe, he is released by the police sergeant who, reviewing the case, has discovered that Ferdinand is no longer considered a deserter under the Italian law, but has instead lost all rights to be an Italian citizen. Being no longer Italian, he is escorted to the border to be sent back to France, but he is blocked there by the head of the local Gendarmerie because he is undocumented and can not enter in the country: Ferdinand has now become both homeless and stateless. Tired of this whole affair he flees to the mountains, armed with the rifle he used as a marksman during the war, to plot his revenge against everyone that wronged him.
From the top of a mountain above the village he starts firing "first notice" shots to all his persecutors listed in his notepad. After this first round of non-lethal warning shots, aimed only at their property, he plans to execute them, one by one. Giuseppe receives a warning, in the form of a letter: if he does not bring Ferdinand some food, he too will be put on the list of culprits! Giuseppe decides to help Ferdinand and asks for food to Donadiè, on the list and asks Giuseppe to intercede with Ferdinand for him; when collecting the food, Giuseppe spots on the label of some old wine bottles that the border, now depicted as cutting the hotel in half, used to divide the building in a different way, with only a small corner in Italy. More according to the map, the kitchen is in fact in France. Confronted, Donadiè confesses that he modified the border to make his hotel more attractive to tourists. Clarified the situation Giuseppe, together with the Italian Police and the French Gendarmerie, rushes to the mountain to convey the news to Ferdinand.
He, seeing Giuseppe with his enemies, believes that his friend has betrayed him and shoots. The bullet hits a bottle of smuggled liquor that Giuseppe was hiding under his clothes and does not injure him. Ferdinand, believing to have killed his friend, abandons his sniper nest to rush to his side and is informed of the truth: he was born in France and can return to his old life; the film ends as it started, with Ferdinand once again chasing Giuseppe, only stopping to address the audience to recognize that if he knows he owes him gratitude, he cannot let Giuseppe go scot free, because, in the end, "the Law is the Law!" Totò as Giuseppe La Paglia Fernandel as Ferdinand Pastorelli Nino Besozzi as Il Maresciallo Noël Roquevert as Le gendarme Malandain Leda Gloria as Antonietta Nathalie Nerval as Hélène Pastorelli Luciano Marin as Mario Albert Dinan as Le Brigadier Anna Maria Luciani as Marisa Henri Crémieux as Bourride Renato Terra René Génin as Donadieu Gustavo De Nardo as Luigi Franco Di Trocchio Aldo Pini Jean Brochard as Le Depute Aldo Vasco Henri Arius as Le Maire The Law Is the Law on IMDb
Toto the Sheik
Toto the Sheik is a 1950 Italian comedy film directed by Mario Mattoli and starring Totò. It is a parody of desert films such as The Son of the Siren of Atlantis. Antonio is the humble servant of a rich family, governed by the Marquis Gastone, he is a young man madly in love with Lulu, but she betrays him, he enlist in the foreign legion. The old Marchesa, his mother, persuades Antonio to enlist to watch over Gastone, so he arrives in Arabia. There Antonio is led with barrel, is exchanged by Muslims for their sheikh, who came to lead the revolt against the western invaders; the vicissitudes follow one another when the rebels discover that Antonio is not the Sheikh, so, having escaped a death sentence, Antonio ends up in a secret passage, in the lost city of Atlantis, where he meets the beautiful Queen Antinea. Totò as Antonio Sapore, il maggiordomo Tamara Lees as Antinea, la regina di Atlantide Laura Gore as Lulù Lauretta De Lauri as Fatma Ada Dondini as La marchesa Kiki Urbani as La danzatrice araba Aroldo Tieri as Il marchese Gastone Cesare Polacco as Mohamed Arnoldo Foà as Il matto Mario Castellani as Il colonnello dei ribelli Riccardo Billi as L'arabo della cella bianca Ubaldo Lay as Il maggiore della legione Carlo Duse as Un beduino Carlo Croccolo as Il cameriere Ughetto Bertucci as Ludovico, l'autista Roberto Curti.
Italian Gothic Horror Films, 1957-1969. McFarland, 2015. Toto the Sheik on IMDb
Furio Scarpelli called Scarpelli, was an Italian screenwriter, famous for his collaboration on numerous Commedia all'italiana films with Agenore Incrocci, forming the duo Age & Scarpelli. He was the son of journalist Filiberto Scarpelli. During his childhood he devoted himself to drawing. During World War II, he started to work as an illustrator for satire magazines, together with Federico Fellini and Ettore Scola, he met Agenore Incrocci, best known as Age. Furio was died in Rome, Italy. In 1949, he started his famous collaboration with Age as the duo Age & Scarpelli, writing some of the first Totò successes until 1952. Together with Age, he worked on a total of 120 Italian movies; these include some of the most famous of all, such as Sergio Leone's The Good, the Bad and the Ugly and Mario Monicelli's I soliti ignoti. After closing his relationship with Age, he wrote several movies with Ettore Scola, the first works of directors such as Francesca Archibugi and Paolo Virzì, his third Nomination to Oscar was for Il Postino: written with his son Giacomo.
He taught at the Centro Sperimentale di Cinematografia. The film Tormenti, adapted from his graphic novel, was released shortly after his death. Leone d’Oro per il film La grande guerra Nastro d'Argento per il film I soliti ignoti Oscar Nomination dell'Academy of Motion Picture Arts and Sciences per il film I Compagni Oscar Nomination dell'Academy of Motion Picture Arts and Sciences per il film Casanova'70 Nastro d'Argento per il film Sedotta e abbandonata Nastro d'Argento per il film Signore e signori Nastro d'Argento per il film C'eravamo tanto amati David di Donatello per il film Romanzo popolare Nastro d'Argento per il film La Terrazza Premio Cannes per la sceneggiatura de La Terrazza Premio Flaiano - Pegaso d'Oro alla carriera Ciak d'Oro per il film La Famiglia Nastro d'Argento per il film La Famiglia David di Donatello per il film La Famiglia Oscar Nomination dell'Academy of Motion Picture Arts and Sciences per il film Il Postino Nomination della British Academy of Film and Television Arts per il film Il Postino David di Donatello per il film Celluloide Globo d'Oro per il film Celluloide Ciak d'Oro per il film Testimone a rischio Grolla d'Oro per il film La Cena Nomination della European Film Awards per il film "Concorrenza Sleale Premio Flaiano - Pegaso d'Oro per il film Concorrenza Sleale Premio Elsa Morante ragazzi per Opopomoz Grolla d'Oro per il film La buona battaglia - Don Pietro Pappagallo Premio Flaiano - Pegaso d'Oro per il film La buona battaglia - Don Pietro Pappagallo Tormenti - Film disegnato, regia di Filiberto Scarpelli Christine Cristina, regia di Stefania Sandrelli N, regia di Paolo Virzì Baciami piccina, regia di Roberto Cimpanelli La buona battaglia - Don Pietro Pappagallo, regia di Gianfranco Albano Opopomoz, regia di Enzo D'Alò Concorrenza sleale, regia di Ettore Scola La cena, regia di Ettore Scola La missione, regia di Maurizio Zaccaro Ovosodo, regia di Paolo Virzì Altri uomini, regia di Claudio Bonivento Porzûs, regia di Renzo Martinelli Testimone a rischio, regia di Pasquale Pozzessere Un inverno freddo freddo, regia di Roberto Cimpanelli Celluloide, regia di Carlo Lizzani Il postino, regia di Michael Radford Per amore o per amicizia, regia di Paolo Poeti Cattiva, regia di Carlo Lizzani Il viaggio di Capitan Fracassa, regia di Ettore Scola Briganti, regia di Marco Modugno Tempo di uccidere, regia di Giuliano Montaldo La famiglia, regia di Ettore Scola Soldati - 365 all'alba, regia di Marco Risi Maccheroni, regia di Ettore Scola Figlio mio infinitamente caro, regia di Valentino Orsini Scemo di guerra, regia di Dino Risi Un ragazzo e una ragazza, regia di Marco Risi Cuori nella tormenta, regia di Enrico Oldoini Il tassinaro, regia di Alberto Sordi Ballando ballando, regia di Ettore Scola Spaghetti House, regia di Giulio Paradisi Nudo di donna, regia di Nino Manfredi Camera d'albergo, regia di Mario Monicelli I seduttori della domenica, regia di Bryan Forbes, Edouard Molinaro, Dino Risi, Gene Wilder La terrazza, regia di Ettore Scola Temporale Rosy, regia di Mario Monicelli Cocco mio, regia di Jean-Pierre Rawson Dove vai in vacanza?, regia di Mauro Bolognini, Luciano Salce, Alberto Sordi Doppio delitto, regia di Steno Basta che non si sappia in giro, regia di Nanni Loy, Luigi Magni, Luigi Comencini Signore e signori, regia di Luigi Comencini, Nanni Loy, Luigi Magni, Mario Monicelli, Ettore Scola La donna della domenica, regia di Luigi Comencini C'eravamo tanto amati, regia di Ettore Scola Romanzo popolare, regia di Mario Monicelli Teresa la ladra, regia di Carlo Di Palma Vogliamo i colonnelli, regia di Mario Monicelli Senza famiglia, nullatenenti cercano affetto, regia di Vittorio Gassman In nome del popolo italiano, regia di Dino Risi Brancaleone alle crociate, regia di Mario Monicelli FBI - Francesco Bertolazzi investigatore Miniserie TV Rosolino Paternò, soldato... regia di Nanni Loy Dramma della gelosia - Tutti i particolari in cronaca, regia di Ettore Scola Quel negozio di Piazza Navona Miniserie TV Riusciranno i nostri eroi a ritrovare l'amico misteriosamente scomparso in Africa?, regia di Ettore Scola Straziami, ma di baci saziami, regia di Dino Risi Capriccio all'italiana, regia di Mauro Bolognini, Mario Monicel
Toto the Third Man
Toto the Third Man is a 1951 Italian comedy film directed by Mario Mattoli and starring Totò. In a small village Peter and Paul, twin brothers of opposite characters, mayor of the town, is gruff, picky all of a piece and never lets talk about his wife, is different from his brother Paul, who loves the good life and beautiful women, such as the innkeeper's wife Oreste at the expense of his wife; the dispute between the two brothers is affecting the whole country, because the construction of the new prison, which will give bread and work for all, will be built on land owned by Paul and despite there is a municipal resolution acquisition of land by part of the town, Peter refuses to carry out the transaction with his brother, blocking the start of work, because they are afraid you might think that makes favoritism to his brother. A groped to take advantage of the situation will try Anacleto, the tailor of the country, more good to baste clothes that fraud, that he met in jail Toto, the third secret twin brother of Peter and Paul, once released from jail instructed him to go to Peter's house, pretending to be the latter and give the money owed to Paul for the sale of the land.
The staging generates a series of misunderstandings, because Toto, in the role of Peter, despite instructions Anacleto to resemble in all respects, they behave different from the grumpy mayor, producing many misunderstandings, but emerged in hands empty because the money was put directly delivered by the municipal home of Paul. To recover, Toto come on at the home of Paul, pretending to be the latter and creating other misunderstandings with his wife and with the busty maid of the same, but did not recover the money due to the arrival of the real Paul. Peter and Paul convinced that the other is joined at home by pretending to be him, should be reported to the prosecutor, so she goes to stage a surreal process without rhyme or reason, Toto is kidnapped by the host Oreste believing that Paul wants to do out of jealousy. Meanwhile, in court, in the general confusion, someone begins to suspect that there may be a third brother, in this case Peter is ready to give him his fishing hut and Paul his guns and his hunting dogs.
At this point, Toto reaches the court to reveal the whole truth. For the third brother promises a peaceful and prosperous life in the company of the beautiful ex-maid of Paul. Totò: Pietro-Paolo-Totò Franca Marzi: Caterina, domestica di Paolo Elli Parvo: Teresa, moglie di Paolo Carlo Campanini: Oreste Aroldo Tieri: Anacleto, il sarto Alberto Sorrentino: Giovannino Mario Castellani: Mario Fulvia Mammi: Anna Carlo Romano: commendatore Buttafava Franco Pastorino: Giacometto Ada Dondini: nonna di Giacometto Diana Dei: Clara Ughetto Bertucci: Ughetto Guglielmo Inglese: cancelliere Enzo Garinei: segretario comunale Cicognetti Bice Valori: moglie di Piero Pina Gallini: cameriera del sindaco Aldo Giuffrè: l'avvocato Gino Cavalieri Toto the Third Man on IMDb