La nuit américaine - cinema review
directed by François Truffaut, starring Jacqueline Bisset, François Truffaut, Jean-Pierre Léaud
colour, 115', 35mm, Italian dubbed version
Among Truffaut's most beloved masterpieces, La nuit américaine is an amazing tribute to the the film production process. Truffaut himself stars as Ferrand, a director working on a production at the Victorine Studios, in Nice. On and off set, the private lives of cast and crew members become entwined: love stories, clashes of ego and everyday issues unfold. A witty and entertaining piece, full of cultural references and knowing winks but devoid of the slightest trace of haughtiness, it won the Academy Award for best Foreign Language Film.
Marizza, gennant die Schmuggler-Madonna
directed by F.W. Murnau, starring Adele Sandrock, Harry Frank, H.H. von Twardowski
b/w, 14' (18fps), 35mm, Italian intertitles
This is the only surviving reel of the lost Murnau film. It belonged to the Museo Internazionale del Cinema e dello Spettacolo and was subsequently acquired and restored by the Centro Sperimentale di Cinematografia - Cineteca Nazionale. It had its world premiere during the Pordenone Silent Film Festival and is now screened in Rome for the first time: a must-see for fans of the German master (director of such films as Nosferatu and Sunrise) and lovers of classic cinema.
Shanghai Express - cinema review
directed by Joseph von Sternberg, starring Marlene Dietrich, Clive Brook, Eugene Pallette
b/w, 80', 35mm, Italian dubbed version
In Civil War China, Shanghai Lily, a high-profile escort, happens to meet an English official on the train from Shanghai to Peking. The two were once lovers but, when Chinese guerrillas stop the train, will Lily help save wither former lover?. This is the high point of the von Stenberg-Dieterich collaboration, where Marlene's work shines brightly, affirming her as the definitive icon of desire and seduction.
Ran - cinema review
directed by Akira Kurosawa, con Tatsuya Nakadai, Akira Terao, Takeshi Kato
colour, 163', 35mm, Italian dubbed version
A masterpiece of late Kurosawa, the film is based on Shakespeare's King Lear and tells the story of Hidetora, a Japanese war lord in disgrace after having divided his kingdom among his three ungrateful sons. Ran ("chaos" in Japanese) is an unforgettable visual feast, featuring some of the most beautiful battle scenes ever staged. An Academy Award winner, at the time the film was the greatest production effort in Japanese Cinema history.
Le Trou - cinema review
directed by Jacques Becker, starring Michel Constantin, Philippe Leroy, Catherine Spaak
b/w, 140', 35mm, Italian dubbed version
1974, La Santé Prison, Paris. Five inmates try to escape by digging a tunnel under the prison. They're on the verge of making it, but a traitor jeopardizes the attempt. Based on the novel by José Giovanni, Le Trou is the last film by French director Becker. It is also one of Becker's most celebrated works: incredibly tense, bold and compelling,the film is narrated in an anti-heroic fashion that is often seen as the bridge between the old generation of French directors and the new Nouvelle Vague auteurs.
The Thing - cinema review
directed by John Carpenter, starring Kurt Russell, Wilford Brimley, Keith David
colour, 108', 35mm, Italian dubbed version
Antarctica. A group of American scientists is threatened by a horrible alien creature that absorbs every living being and takes their shape. Director Carpenter based his film on the The thing from another world, a 1951 sci-fi production by Howard Hawks, reshaping it in one of his most accomplished and unsettling films, with considerable thanks to Rob Bottin's top-notch special effects. A box-office flop on its release, in time the film has developed a huge international cult following. A prequel was also released in 2011, but we proudly present here the original on its 30th anniversary.
The Third Man - cinema review
directed by Carol Reed, starring Orson Welles, Joseph Cotten, Alida Valli
b/w, 104', 35mm, Italian dubbed version
In allied-occupied Vienna, writer Holly Martins investigates the death of his friend Harry Lime, who has mysteriously disappeared after a car crash. However, he will discover a wholly different truth. Grand Prize winner at the Cannes Film Festival; cameraman Robert Krasker also won an Academy Award for best cinematography. The Third Man is simply one of the greatest noir in Cinema history and Orson Welles' legendary charisma is an essential element in the film's power.
Fröken Julie - cinema review
directed by Alf Sjöberg, starring Anita Björk, Ulf Palme, Märta Dorff
b/w, 91', 35mm, Italian dubbed version
The young countess Julie is at loggerheads with her family. During the midsummer night she gives herself to Jean the servant, but then has to face the consequences.. Loosely based on Strindberg's Miss Julie, Sjöberg's film adaptation maintains the pivotal themes of the novel but allows itself many changes in plot, including lots of flashbacks - a very innovative choice at the time. Winning the Grand Jury Prize at the Cannes Film Festival in addition tothe film's dark eroticism made it a big box-office hit.
La strada - cinema review
directed by Federico Fellini, starring Anthony Quinn, Giulietta Masina, Richard Basehart
b/w, 104', 35mm
Candid Gelsomina is sold to Zampanò, a rough street performer who takesthe girl on tour with him through Italy. But when Zampanò kills the Madman, a gentle tightrope walker that the lonely Gelsomina befriended, the girl contemplates leaving.. Academy Award winner for best Foreign Language Film, La strada made Fellini and his peculiar poetry famous all around the world, marking a great leap in the director's career and in Italian Cinema history.
Le Boucher - cinema review
directed by Claude Chabrol, starring Stéphane Audran, Jean Yanne, Antonio Passalia
colour, 95', 35mm, Italian dubbed version
In a small French town a teacher and a butcher fall in love. The romance is broken when an investigation into a number of ferocious killings seems to incriminate the butcher. One of director Chabrol's most Hitchcockian thrillers, the film manages to be "controlled without being elusive, clear without being superficial, transparent without being cold. A distressing film that is also an aching love story" (Morandini).
Fitzcarraldo - cinema review
(Federal Republic of Germany 1981)
directed by Werner Herzog, starring Klaus Kinski, Claudia Cardinale, Peter Berling
colour, 157', 35mm, Italian dubbed version
Brian Sweeney Fitzgerald, known as Fitzcarraldo, has a mad dream: he wants to build a Grand Opera house in the middle of the Amazon Rainforest. In order to do that, he has to defy both Nature and the area's indigenous community, by pulling a boat up the side of a hill. Four years of shootings, deaths, injuries to crew members, and gigantic financial problems: the result is Herzog's most visionary work. The director said: "If I abandon this project I would be a man without dreams and I don't want to live like that: I live my life or I end my life with this project".
Gentleman's Agreement - cinema review
directed by Elia Kazan, starring Gregory Peck, Dorothy McGuire, John Garfield
b/w, 118', 35mm, Italian dubbed version
A reporter pretends to be Jewish in order to cover a story on anti-Semitism, and personally discovers that racism survives well-hidden even in post-war America society. Always keen to explore controversial social issues, Kazan directs the first Studio movie about anti-Semitism, choosing an excellent cast for an absorbing parable that never sounds didactic. The film caused a sensation on its release and won three Academy Awards.
Le Doulos - cinema review
directed by Jean-Pierre Melville, starring Jean-Paul Belmondo, Serge Reggiani, Michel Piccoli
b/w, 108', 35mm, Italian dubbed version
Just out of jail, a robber wants to settle the score with one of the men who betrayed him. He's wrongly convinced that the snitch is the young and clever Silien: this misjudgement will be fatal for them both. Le Doulos is a landmark French noir in which Melville refines his famous cinematic style, mixing American noir Cinema with European pessimism and disenchantment. Belmondo, Reggiani and a young Michel Piccoli give extraordinary performances.
The Fortune Cookie - cinema review
directed by Billy Wilder, starring Jack Lemmon, Walter Matthau, Judi West
b/w, 125', 35mm, original English version with Italian subtitles
A cameraman is accidentally knocked over during a football game. His brother-in-law convince him to fake a paralysis in order to get money from the insurance company. Mocking greed and the obsession for money, Wilder sets up a hilarious whirl of misunderstandings, thus adding an essential brushstroke to his painting of human nature. Lemmon and Matthau are an extraordinary couple, the latter winning an Academy Award for his performance.
Le fantôme de la liberté - cinema review
directed by Luis Buñuel, starring Jean-Claude Brialy, Michel Piccoli, Adriana Asti, Adolfo Celi
colour, 103', 35mm, Italian dubbed version
A string of episodes apparently unrelated, ranging from XVIII century Spain to contemporary Paris, sporting the most unlikely characters: poker-loving friars, sadomasochistic couples, a sniper that shoots a cheering crowd, a prefect that speaks with dead people, a maniac that molests children by showing them pictures of monuments. An irresistible surrealist bedlam, in which every convention, be it social or narrative, is banished with a playful and iconoclastic spirit.
Grand Hotel - cinema review
directed by Edmund Goulding, starring Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery
b/w, 113', 35mm, Italian dubbed version
In a luxurious hotel in Berlin, many stories intertwine: a Russian ballerina on the twilight of her career; a self-professed baron and playboy; an industrialist and his secretary, dreaming of becoming an actress. Between comedy and drama, this film is a perfect example of the MGM Studio stylein the 30s, sporting some of the brightest stars in Hollywood, Garbo and Crawford leading the pack. Based on Vicki Baum's bestseller, the script is written by William A. Drake and Béla Balázs, the great Hungarian Cinema theorist.
Cronaca di un amore - cinema review
directed by Michelangelo Antonioni, starring Lucia Bosè, Massimo Girotti
b/w, 110', 35mm, restored original version
An industrialist's wife has a secret romance with a younger man that she met and fell in love with many years before. Passion will bring the couple to plot the death of the industrialist. Antonioni's striking debut at once distances itself from neorealist Cinema, both on a thematic and stylistic level, showing the angst and emptiness of the bourgeoisie and using innovative long uninterrupted shots. The young Lucia Bosè gives a great performance in her first major role.