The Canterbury Tales (film)
The Canterbury Tales is a 1972 Italian film directed by Pier Paolo Pasolini and based on the medieval narrative poem The Canterbury Tales by Geoffrey Chaucer. It is the second film in Pasolini's "Trilogy of Life", the others being The Decameron and Arabian Nights, it won the Golden Bear at the 22nd Berlin International Film Festival. The adaptation covers eight of the 24 tales and contains abundant nudity and slapstick humour. Many of these scenes are present or at least alluded to in the original as well, but some are Pasolini's own additions; the film sometimes diverges from Chaucer. For example, "The Friar's Tale" is expanded upon: where the Friar leads in with a general account of the archdeacon's severity and the summoner's corruption, Pasolini illustrates this with a specific incident which has no parallel in Chaucer. Two men are caught in an inn bedroom having sex. One is able to bribe his way out of trouble, but the other, poorer man is less fortunate: he is tried and convicted of sodomy—it does not occur to the judge that such an act cannot be committed by one person alone—and is sentenced to death.
This may be due to the belief of the period that the party, "receiving,", was the more innocent one since the "giver" was assumed to have initiated the act. As a foretaste of Hell, he is burned alive inside an iron cage while vendors sell beer and various baked and roasted foods to the spectators. Set in England in the Middle Ages, stories of peasants, noblemen and demons are interwoven with brief scenes from Chaucer's home life and experiences implied to be the basis for the Canterbury Tales; each episode does not take the form of a story told by different pilgrim, as is the case in Chaucer's stories, but appear in sequence without regard for the way that the tales relate to one another in the original text. All the stories are linked to the arrival of a group of pilgrims at Canterbury, among whom is the poet Geoffrey Chaucer, played by Pasolini himself. First Tale The elderly merchant Sir January decides to marry May, a young woman who has little interest in him. After they are married, the merchant becomes blind, insists on holding on to his wife' wrist as consolation for the fact that he cannot see her.
While the two are walking in the January's private garden, May asks to eat mulberries from one of the trees. Taking advantage of her husband's blindness, she meets with her lover inside of the tree, but is thwarted when the god Pluto, watching over the couple in the garden restores January's sight. January sees May and her lover together, but she convinces him that he has hallucinated. Second Tale A vendor witnesses two different men committing sodomy, both of whom are caught in the act. While one man manages to escape persecution by bribing the authorities, the other is sentenced to burn on a "griddle". During his execution, the vendor walks through the crowd selling griddle cakes. Afterwards, the vendor meets a summoner, after the two vow to be friends, the vendor reveals himself to be the devil; the summoner explains that he must collect money from a miserly old woman. When they meet the old woman, the summoner levies false charges against the old woman and tells her that she must appear before the ecclesiastical court, but says that if she pays him a bribe in the amount she owes, she will be excused.
The old woman accuses him of lying, curses him to be taken away by the devil if he does not repent. The summoner refuses, the devil proceeds to take him to hell. Third Tale Perkin, A Chaplin-esque fool who carries a cane and wears a hat resembling a bowler, finds work polishing eggs. While his employer is away, Perkin is distracted by a group of men playing a dice game nearby, joins them, he is soon fired. Perkin accompanies one of the men home, where he shares a bed with the man and his wife, a prostitute. Two police officers who Perkin evaded earlier discover him there, Perkin is arrested and put in the stocks. Fourth Tale Nicholas, a young student, seduces the wife of a carpenter. In order to deceive the carpenter, Nicholas convinces him that a massive flood is about to occur, claims that he, the carpenter, Allison should all three wait in buckets tied to the ceiling rafters to escape drowning. While the carpenter waits in his bucket and Allison sneak away to have sex. Meanwhile, a youth named Absolon, flirting with Alison arrives asking for a kiss.
Allison answers him by inviting him to climb up to her window and farting in his face. Absolon runs to a blacksmith's shop where he borrows a hot poker returns to the carpenter's house and asks for another kiss. On this occasion, Nicholas goes to the window instead of Alison, has his buttocks scalded. Nicholas cries out for water, leading the carpenter to believe that the flood has arrived; the carpenter cuts the rope holding his bucket in the air, violently falls to the ground. Fifth Tale In Bath, a middle-aged woman's fourth husband dies soon after; the wife decides to marry a young student running from her late husband's funeral in one wing of a cathedral to her wedding in another wing. On their wedding night, the wife of Bath's fifth husband reads to her from a book denouncing the evils of women; the wife of Bath demands that he not tell her about her own business, destroys the book. Her husband pushes her away, she falls onto her back and moans on the floor; when he leans over to comfort her, she bites his nose.
This episode is derived from t
A film genre is a motion-picture category based on similarities either in the narrative elements or in the emotional response to the film. Most theories of film genre are borrowed from literary-genre criticism; each film genre is associated with "conventions, settings, narratives and actors". Standard genre characters vary according to the film genre; some actors acquire a reputation linked to a single genre, such as Fred Astaire. A film's genre will influence the use of filmmaking styles and techniques, such as the use of flashbacks and low-key lighting in film noir, tight framing in horror films, fonts that look like rough-hewn logs for the titles of Western films, or the "scrawled" title-font and credits of Se7en, a film about a serial killer; as well, genres have associated film-scoring conventions, such as lush string orchestras for romantic melodramas or electronic music for science-fiction films. The basic genres include fiction and documentary, from which subgenres have emerged, such as docufiction and docudrama.
Other examples of subgenres include the courtroom- and trial-focused drama known as the legal drama, a subtype of drama. Types of fiction which may seem unrelated can be combined to form hybrid subgenres, such as the melding of horror and comedy in the Evil Dead films. Other popular combinations include the action comedy film. Alan Williams distinguishes three main genre categories: avant-garde and documentary. Genre movies are "commercial feature films which, through repetition and variation, tell familiar stories with familiar characters and familiar situations". Genre affects how films are broadcast on television and organized in video rental stores. Films can be classified by the setting, topic, format, target audience or budget; the setting is the environment where the action take place. The theme or topic refers to the concepts that the film revolves around; the mood is the emotional tone of the film. Format refers to the manner of presentation. Additional ways of categorizing film genres may involve the target audience or by type of production.
Genre does not just refer to the type of its category. Genres are not fixed; the term "genre" was used to organize films according to type since the earliest days of cinema. By the 1950s, André Bazin was discussing the concept of "genre" by using the Western film as an example. In the late 1960s, the concept of genre became a significant part of film theory. Film genres draw on genres from other forms; the perceived genre of a film can change over time. A key reason that the early Hollywood industrial system from the 1920s to the 1950s favoured genre films is that in "Hollywood's industrial mode of production, genre movies are dependable products" to market to audiences, they are easy to produce and it is easy for audiences to understand a genre film. In the 1920s to 1950s, genre films had clear conventions and iconography, such as the heavy coats worn by gangsters in films like Little Caesar; the conventions in genre films enable filmmakers to create them in an industrial, assembly line fashion, an approach which can be seen in the James Bond spy films, which all use a formula of "lots of action, fancy gadgets, beautiful woman and colourful villains" though the actors and screenwriters changed.
Films are purely from one genre, in keeping with the cinema's diverse and derivative origins, it being a blend of "vaudeville, music-hall, photography" and novels. American film historian Janet Staiger states; the "idealist method" judges films by predetermined standards. The "empirical method" identifies the genre of a film by comparing it to a list of films deemed to fall within a certain genre; the apriori method uses common generic elements. The "social conventions" method of identifying the genre of a film is based on the accepted cultural consensus within society. Martin Loop contends that Hollywood films are not pure genres because most Hollywood movies blend the love-oriented plot of the romance genre with other genres. Jim Colins claims that since the 1980s, Hollywood films have been influenced by the trend towards "ironic hybridization", in which directors combine elements from different genres, as with the Western/science fiction mix in Back to the Future Part III. Many films cross into multiple genres.
Susan Hayward states that spy films cross genre boundaries with thriller films. Some genre films ta
Barbara Bouchet is a German-American actress and entrepreneuse who lives and works in Italy. She has acted in more than 80 films and television episodes and founded a production company that has produced fitness videos and books, she owns and operates a fitness studio. She appeared in Casino Royale as Miss Moneypenny, as Patrizia in Don't Torture a Duckling, The Scarlet and The Black and as Mrs. Schermerhorn in Martin Scorsese's Gangs of New York. Barbara Gutscher, the eldest of four siblings, was born in Reichenberg, Sudetenland, a part of Czechoslovakia, ceded to Nazi Germany and is today part of the Czech Republic. After World War II, her family was placed in a resettlement camp in the American occupation zone in Germany, they were granted permission to emigrate to the United States under the humanitarian provisions of the Displaced Persons Act of 1948. After arriving in the United States, the family lived in Five Points, California on the west side of the Central Valley and settled in San Francisco, where Gutscher was raised.
During the early 1960s San Francisco Bay Area television station KPIX-TV ran a show named The KPIX Dance Party and offered Gutscher the opportunity to become a member of the show's dance group. These were teenage dancers who danced live to the hit songs of the day and became locally known in their own right by being on television six days per week, she was on the show from 1959 until 1962 moved to Hollywood to get into the film industry, changing her Germanic sounding surname to the French sounding Barbara Bouchet. Bouchet began her career modelling for magazine covers and appearing in television commercials, before becoming an actress, her first acting role was a minor part in What a Way to Go!, which led to a series of other roles in the 1960s. She appeared in the films John Goldfarb, Please Come Home, In Harm's Way, Agent for H. A. R. M.. She appeared, semi-nude, in two editions of Playboy magazine: May 1965 and February 1967. In Casino Royale, Bouchet played the role of Miss Moneypenny. In 1968, she guest-starred in the Star Trek episode "By Any Other Name", appeared in the musical film Sweet Charity playing Ursula.
Tired of being typecast and unable to get starring roles in Hollywood, Bouchet moved to Italy in 1970 and began acting in Italian films, such as Black Belly of the Tarantula and Sex with a Smile. She starred with The Black, a successful TV movie. In 1985, she established a production company and started to produce a successful series of fitness books and videos. In addition, Bouchet opened a fitness studio in Rome. In 2002, Bouchet appeared in Gangs of New York. In 1974, Bouchet married Luigi Borghese, a producer, with whom she has two sons: Alessandro, a TV chef, Massimiliano, a bartender, her husband subsequently produced some of her films. They separated in 2006. Dick Stewart Television Show, The Rogues as Elsa Idonescu Voyage to the Bottom of the Sea as Tippy Penfield The Man from U. N. C. L. E. as Narcissus Darling The Virginian as Marianne Tarzan as Angela Fraser Star Trek as Kelinda Cool Million as Carla Miles The Scarlet and the Black as Minna Kappler Beauty Center Show Quelli della speciale Stracult 2 Incantesimo 6 as Jane Diritto di difesa as Gilardi's Mother Un posto al sole Capri as Avv.
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Anna Maria Rizzoli
Anna Maria Rizzoli, is an Italian actress. Rizzoli started her career as glamour model and in the second half of the 1970s entered the cinema industry, becoming a star of the commedia sexy all'italiana, she worked in television, appearing in several TV-series and hosting some shows, including the 1979 Sanremo Music Festival, on stage where she worked with Giorgio Strehler. The Boss and the Worker Blazing Flowers Play Motel Where Are You Going on Holiday? Scusi lei è normale? The Precarious Bank Teller L'insegnante al mare con tutta la classe La settimana bianca La ripetente fa l'occhietto al preside Uno contro l'altro, praticamente amici Le bourreau des cœurs Anna Maria Rizzoli on IMDb
Dino Risi was an Italian film director. With Mario Monicelli, Luigi Comencini, Nanni Loy and Ettore Scola, he was one of the masters of Commedia all'italiana, he was born in Milan. Risi had two brothers, an older brother, Fernando, a cinematographer and a younger brother, Nelo a director and writer. At the age of twelve, Risi became an orphan and was looked after by relatives and friends of his family, he studied medicine and became a psychiatrist. Risi started his career in cinema as an assistant director to cinema figures such as Mario Soldati and Alberto Lattuada, he began directing his own films and was credited with giving early opportunities to future acting stars such as Sophia Loren and Vittorio Gassman. His 1966 film Treasure of San Gennaro was entered into the 5th Moscow International Film Festival where it won a Silver Prize, his biggest hits were Poor, But Handsome, followed by two sequels, which he directed. In 2002, he was awarded the Golden Lion – Honorary Award at the Venice Film Festival for his life-time work.
Two of his films, Il giovedì and Il commissario Lo Gatto, were shown in a retrospective section on Italian comedy at the 67th Venice International Film Festival. He died on 7 June 2008 at his residence in Rome, he was 90 and is survived by two children and Marco. Dino Risi on IMDb BBC obituary
One Thousand and One Nights
One Thousand and One Nights is a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age. It is known in English as the Arabian Nights, from the first English-language edition, which rendered the title as The Arabian Nights' Entertainment; the work was collected over many centuries by various authors and scholars across West and South Asia and North Africa. Some tales themselves trace their roots back to ancient and medieval Arabic, Indian, Greek and Turkish folklore and literature. In particular, many tales were folk stories from the Abbasid and Mamluk eras, while others the frame story, are most drawn from the Pahlavi Persian work Hezār Afsān, which in turn relied on Indian elements. What is common throughout all the editions of the Nights is the initial frame story of the ruler Shahryār and his wife Scheherazade and the framing device incorporated throughout the tales themselves; the stories proceed from this original tale. Some editions contain only a few hundred nights.
The bulk of the text is in prose, although verse is used for songs and riddles and to express heightened emotion. Most of the poems are single quatrains, although some are longer; some of the stories associated with The Nights, in particular "Aladdin's Wonderful Lamp", "Ali Baba and the Forty Thieves", "The Seven Voyages of Sinbad the Sailor", were not part of The Nights in its original Arabic versions but were added to the collection by Antoine Galland and other European translators. The main frame story concerns Shahryār, whom the narrator calls a "Sasanian king" ruling in "India and China". Shahryār is shocked to learn. In his bitterness and grief, he decides. Shahryār begins to marry a succession of virgins only to execute each one the next morning, before she has a chance to dishonor him; the vizier, whose duty it is to provide them, cannot find any more virgins. Scheherazade, the vizier's daughter, offers herself as the next bride and her father reluctantly agrees. On the night of their marriage, Scheherazade does not end it.
The king, curious about how the story ends, is thus forced to postpone her execution in order to hear the conclusion. The next night, as soon as she finishes the tale, she begins another one, the king, eager to hear the conclusion of that tale as well, postpones her execution once again; this goes on for one one nights, hence the name. The tales vary widely: they include historical tales, love stories, comedies, poems and various forms of erotica. Numerous stories depict jinns, apes, sorcerers and legendary places, which are intermingled with real people and geography, not always rationally. Common protagonists include the historical Abbasid caliph Harun al-Rashid, his Grand Vizier, Jafar al-Barmaki, the famous poet Abu Nuwas, despite the fact that these figures lived some 200 years after the fall of the Sassanid Empire, in which the frame tale of Scheherazade is set. Sometimes a character in Scheherazade's tale will begin telling other characters a story of his own, that story may have another one told within it, resulting in a richly layered narrative texture.
The different versions have different individually detailed endings but they all end with the king giving his wife a pardon and sparing her life. The narrator's standards for what constitutes a cliffhanger seem broader than in modern literature. While in many cases a story is cut off with the hero in danger of losing his life or another kind of deep trouble, in some parts of the full text Scheherazade stops her narration in the middle of an exposition of abstract philosophical principles or complex points of Islamic philosophy, in one case during a detailed description of human anatomy according to Galen—and in all these cases turns out to be justified in her belief that the king's curiosity about the sequel would buy her another day of life; the history of the Nights is complex and modern scholars have made many attempts to untangle the story of how the collection as it exists came about. Robert Irwin summarises their findings: In the 1880s and 1890s a lot of work was done on the Nights by Zotenberg and others, in the course of which a consensus view of the history of the text emerged.
Most scholars agreed that the Nights was a composite work and that the earliest tales in it came from India and Persia. At some time in the early 8th century, these tales were translated into Arabic under the title Alf Layla, or'The Thousand Nights'; this collection formed the basis of The Thousand and One Nights. The original core of stories was quite small. In Iraq in the 9th or 10th century, this original core had Arab stories added to it—among them some tales about the Caliph Harun al-Rashid. From the 10th century onwards independent sagas and story cycles were added to the compilation Then, from the 13th century onwards, a further layer of stories was add
Lino Banfi is an Italian film actor and presenter. He has appeared in more than 100 films since 1960, he was born at the age of three, moved to Canosa di Puglia. Lino Banfi became one of the most well-known actors in Italian "sexy comedies" in the 1970s. In the 1980s he reached the peak of his fame by appearing in movies such as L'allenatore nel pallone, Vieni avanti cretino, Il commissario Lo Gatto and Occhio, prezzemolo e finocchio. During his career nearly all of Lino Banfi's characters spoke with the distinctive pronunciation of the Bari dialect. Lino and his wife Lucia have been married since 1962 and have two children and Rosanna. In 2000, Lino Banfi became a Goodwill Ambassador for the Italian National Committee for UNICEF. Il giornalino di Gian Burrasca Il triangolo rosso Arrivano i mostri Il superspia Se Parigi... Il vigile urbano Aspettando Sanremo Un inviato molto speciale Nuda proprietà vendesi Vola Sciusciù Piovuto dal cielo Angelo il custode Un difetto di famiglia Il destino ha 4 zampe Un posto tranquillo Raccontami una storia Un posto tranquillo 2 Il mio amico Babbo Natale Il padre delle spose Il mio amico Babbo Natale 2 Scusate il disturbo Un medico in famiglia Tutti i padri di Maria Il commissario Zagaria Alla grande!
Una parola è troppa... Nonno Libero racconta C'era una volta Nonno Libero Ti racconto una storia. Ricordi di vita e di scena Il chèlcio secondo Oronzo Canà Lino Banfi on IMDb Lino Banfi at AllMovie