Word: bellochio
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Directed by Marco Bellochio Peppercorn-Wormser/ The Criterion Collection 4 Stars Marco Bellocchio’s “Fists In the Pocket” follows a murderous epileptic as he begins killing his stuffy, embarrassing family. Oh, and he’s in love with his sister, his first victim is his blind mother, and his second victim is his mentally disabled epileptic brother. It’s an audacious directorial debut, particularly for Italy in 1965, still trying to stitch itself together after the war and, cinematically, completely in the thrall of neo-realism, which was just beginning...
...modest beauty, almost old-fashioned. She was outside the canon of current beauty." While Sansa's sensuality makes her a natural choice for romantic leads, she's also able to carry character roles: see her sensitive and tormented performance as Italian statesman Aldo Moro's reluctant kidnapper in another Bellochio film, 2003's Buongiorno, Notte (Good Morning, Night). But Sansa remains wary of the Magnani and Loren comparisons, and she's confident enough about the future to take a break from moviemaking to spend time with her boyfriend in Paris. "You can get all wrapped up in this...
None for the Taking. Ernesto Bellochio's early neo-realist phase--the story of a peasant village and its refusal to pay scutage...
...only film industry which seems to have overcome its skittishness over politics is the Italian. Bellochio, Petri, Pontecorvo, Bertolucci have all made films which transform tough social criticism, by passion and human perception, into art. Even Italian hacks, like Montaldo of Sacco and Vanzetti fame, are hacks on a higher plane. If American film is to mature, its maturity will come from those able to confront Kramer's value system and erase its sigma from socially-conscious flimmaking. As Robert Steel said (in New American Review...
China is Near is a rare film in which art and message peacefully coexist. The hypocrisy of dishonest personal relations; ideology disappearing through compromise; these are tragic themes. But Bellochio handles them lightly, with humor, and the tragedy appears only in the interstices of laughter, gaining in nobility and significance...