Luchino Visconti
Luchino Visconti was born in Milan in 1906 and died in Rome in 1976. Of aristocratic origins, with a passion for the movies in the '30s: during a stay in Paris, he met Jean Renoir and became his assistant. He made his debut as a director with "Obsession" (1942), which transfers on island backgrounds the novel by James M. Cain's "The Postman Always Rings Twice" by returning to the physical regime of two actors like Clara Calamai and Massimo Girotti, placed in unusual environments in a story full of sexuality, he fires breaking work disliked by the authorities, expression of new way of understanding cinema.
Arrested in '43 for his partisan activities, back behind the camera with just "The Earth Trembles" (1948), a free adaptation of "Malavoglia" by Verga: played by non-professional actors and acted entirely in sicilian dialect. It is Gramsci in the truest sense of the word the view of the people that filters immense "Beautiful" (1951), in his parting celebration of neorealism and his brilliant passing: son of disparate influences (Zavattini and "New Cinema", Magnani and Hollywood, the Cinecittà Blasetti and storyteller Chiari), it remains primary work of Italian cinema, omen of an anthropological change feeling only sparse signals, which will boom in the culture medium and Pasolini in his nostalgic, heartbroken singer.
The most fertile period of creativity of our closes with "Rocco and His Brothers" (1960), summary and summation of his art expressed in the form of a melodrama with bright colors, where he tells of the disintegration of a family of peasant in contact with the city. Mindful of Mann and Dostoevsky, the Milanese places his tragic characters between Myth and History, thus giving us unforgettable images.
From here on, the indisputable teaching of the Milan filmmaker will bend operations more or less way: not to miss this wonderful outcomes ("The Leopard", 1963, where nostalgia and ideological awareness fruitfully intertwined in a story impeccable under the figurative aspect) or otherwise of unusual breath (in '73, a "Ludwig" night and ghostly, swollen with rain and dismay, crossed by gloomy forebodings mortuary), but the aesthetic side and bourgeois - that earned him the pungent title of "Duke decorator" - will ultimately prevail.
Remove from heat contingent of political controversy, he will return to being director rather than author: illustrator of great rank for an educated audience and demanding, unfortunately more and more away from the flow of history.
The most fertile period of creativity of our closes with "Rocco and His Brothers" (1960), summary and summation of his art expressed in the form of a melodrama with bright colors, where he tells of the disintegration of a family of peasant in contact with the city. Mindful of Mann and Dostoevsky, the Milanese places his tragic characters between Myth and History, thus giving us unforgettable images.
From here on, the indisputable teaching of the Milan filmmaker will bend operations more or less way: not to miss this wonderful outcomes ("The Leopard", 1963, where nostalgia and ideological awareness fruitfully intertwined in a story impeccable under the figurative aspect) or otherwise of unusual breath (in '73, a "Ludwig" night and ghostly, swollen with rain and dismay, crossed by gloomy forebodings mortuary), but the aesthetic side and bourgeois - that earned him the pungent title of "Duke decorator" - will ultimately prevail.
Remove from heat contingent of political controversy, he will return to being director rather than author: illustrator of great rank for an educated audience and demanding, unfortunately more and more away from the flow of history.
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