Roberto Gastone Zeffiro Rossellini was an Italian film director and producer. Rossellini was one of the most prominent directors of the Italian neorealist cinema, contributing to the movement with films such as Rome, Open City and Germany, Year Zero. Rossellini was born in Rome, his mother, was a housewife born in Rovigo and his father, Angiolo Giuseppe "Peppino" Rossellini, who owned a construction firm, was born in Rome from a family from Pisa, Tuscany. His mother was of part French descent, from immigrants who had arrived in Italy during the Napoleonic Wars, he lived on the Via Ludovisi, where Benito Mussolini had his first Roman hotel in 1922 when Fascism obtained power in Italy. Rossellini's father built the first cinema in Rome, the "Barberini", a theater where movies could be projected, granting his son an unlimited free pass; when his father died, he worked as a soundmaker for films and for a certain time he experienced all the ancillary jobs related to the creation of a film, gaining competence in each field.
Rossellini had a brother, who scored many of his films. On 26 September 1936, he married Marcella De Marchis, a costume designer with whom he collaborated after their marriage was over; this was after a quick annulment from a Russian actress who worked in Italian films. De Marchis and Rossellini had two sons: Marco Romano, Renzo. Rossellini and De Marchis separated in 1950, he married a Bengali screenwriter, Sonali Das Gupta née Senroy. They raised their son Gil in Italy, adopted by Roberto and is now a New York-based film producer and had one daughter, Raffaella Rossellini, together. Although he wasn't religious, he had a strong interest in Christian values in the contemporary world. In 1937, Rossellini made his first Prélude à l'après-midi d'un faune. After this essay, he was called to assist Goffredo Alessandrini in making Luciano Serra pilota, one of the most successful Italian films of the first half of the 20th century. In 1940 he was called to assist Francesco De Robertis on Uomini sul Fondo.
His close friendship with Vittorio Mussolini, son of Il Duce, has been interpreted as a possible reason for having been preferred to other apprentices. Some authors describe the first part of his career as a sequence of trilogies, his first feature film, The White Ship was sponsored by the audiovisual propaganda centre of Navy Department and is the first work in Rossellini's "Fascist Trilogy", together with A Pilot Returns and The Man with a Cross. To this period belongs his friendship and cooperation with Federico Fellini and Aldo Fabrizi; the Fascist regime collapsed in 1943, just two months after the liberation of Rome, Rossellini was preparing the anti-fascist Roma città aperta. Fellini assisted on the script and Fabrizi played the role of the priest, while Rossellini self-produced. Most of the money came from credits and loans, film had to be found on the black market; this dramatic film was an immediate success. Rossellini had started now his so-called Neorealistic Trilogy, the second title of, Paisà, produced with non-professional actors, the third, Year Zero, sponsored by a French producer and filmed in Berlin's French sector.
In Berlin Rossellini preferred non-actors, but he was unable to find a face he found "interesting". As he declared in an interview "in order to create the character that one has in mind, it is necessary for the director to engage in a battle with his actor which ends with submitting to the actor's wish. Since I do not have the desire to waste my energy in a battle like this, I only use professional actors occasionally". One of the reasons for success is supposed to be Rossellini's rewriting of the scripts according to the non-professional actors' feelings and histories. Regional accent and costumes were shown in the film as they were in real life. After his Neorealist Trilogy, Rossellini produced two films now classified as the'Transitional films': L'Amore and La macchina ammazzacattivi, on the capability of cinema to portray reality and truth. In 1948, Rossellini received a letter from a famous foreign actress proposing a collaboration: Dear Mr. Rossellini, I saw your films Open City and Paisan, enjoyed them much.
If you need a Swedish actress who speaks English well, who has not forgotten her German, not understandable in French, who in Italian knows only "ti amo," I am ready to come and make a film with you. Ingrid BergmanWith this letter began one of the best known love stories in film history, with Bergman and Rossellini both at the peak of their careers, their first collaboration was Stromboli terra di Dio. This affair caused a great scandal in some countries. Rossellini and Bergman had Isabella Rossellini and her twin, Ingrid Isotta. Europa'51, Siamo Donne, J
The 40th New York Film Critics Circle Awards, 26 January 1975, honored the best filmmaking of 1974. Best Actor: Jack Nicholson — Chinatown and The Last Detail Runners-up: Gene Hackman — The Conversation and Richard Dreyfuss — The Apprenticeship of Duddy Kravitz Best Actress: Liv Ullmann — Scenes from a Marriage Runner-up: Gena Rowlands — A Woman Under the Influence Best Director: Federico Fellini — Amarcord Runner-up: Ingmar Bergman — Scenes from a Marriage Best Film: Amarcord Runners-up: Scenes from a Marriage and The Godfather Part II Best Screenplay: Ingmar Bergman — Scenes from a Marriage Runners-up: Robert Towne — Chinatown and Francis Ford Coppola — The Conversation Best Supporting Actor: Charles Boyer — Stavisky Runners-up: Robert De Niro — The Godfather Part II and Lee Strasberg — The Godfather Part II Best Supporting Actress: Valerie Perrine — Lenny Runners-up: Bibi Andersson — Scenes from a Marriage and Madeline Kahn — Young Frankenstein Special Award: Fabiano Canosa 1974 Awards
Boris Policeband was a no wave noise music performer who used dissonant violin, police radio transmissions, voice. Boris Pearlman was a classically trained violist from New York City. Boris Pearlman became Boris Policeband after a live performance in 1976 during which he monitored, on headphones, police communications from a scanner and recited their chatter while he accompanied himself on electric violin. Boris was fascinated by cop culture and the prosaic and sometimes poetic reality of law enforcement chatter. Over the years the cop-talk and violin-screech coalesced into discrete songs that at times recalls the dissonant violin playing of the Fluxus artist Henry Flynt. In 1978 Sylvère Lotringer conducted a one-page interview with Policeband in Columbia University's philosophy department publication of Semiotext called Schizo-Culture: The Event, The Book. In 1979 Boris Policeband released a 7" recording called: Policeband: Stereo / Mono, produced by artist Dike Blair, he appears with two tracks on the no wave recording New York Noise Vol. 3, released in 2006.
His live noise music performances were loud/edgy aggressive/dissonant, though most songs were under a minute long and a set exceeded 10 minutes, Boris could empty a room. That was something, he appears in the film that Coleen Fitzgibbon and Alan W. Moore created in 1978 of a no wave concert to benefit Colab called X Magazine Benefit that documents a performance of Boris Policeband, along with those of DNA and James Chance and the Contortions. Shot in black and white super-8 the film captures the gritty look and sound of the music scene during that era. In 2013 it was exhibited at an art gallery in New York City. Boris, a self-proclaimed materialistic-socialist who practiced antidisestablishmentarianism, was a downtown post-punk club fixture, his days were spent combing through SoHo art galleries, as he was fascinated with conceptual art, Lower East Side pawnshops for material to add to his collection of used books and wristwatches. Every night he was in no wave clubs, like CBGBs, Tier 3 and the Mudd Club, where he leaned against a wall while listening to classical music with an ear plug on his transistor radio while engaging in snappy repartee and/or swapping insults with other club goers.
Boris ended Policeband in the mid-80s to pursue classical viola. Carlo McCormick, The Downtown Book: The New York Art Scene, 1974–1984, Princeton University Press, 2006 Masters, Marc. No Wave, London: Black Dog Publishing, 2007 Sylvère Lotringer & David Morris, Schizo-Culture: The Event, The Book, Semiotext, 1978, re-published in 2013, pp. 64–64 "X-Magazine Benefit." A film by Coleen Fitzgibbon and Alan W. Moore 1978/2009, video, 11 minutes."Colab's X Magazine Benefit" documents the punk rock performances ofDNA, James Chance and the Contortions, Boris Policeband Mudd Club Tier 3 Just Another Asshole