Word: carra
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Dates: during 1960-1969
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...crowd-pleasing bits fall to Sinatra. His serio-comic masquerade as a Nazi becomes more than a stunt when, speaking German with eyes, hands, and shrugged shoulders, he fakes a conversation with a Gestapo man who has spied his American watch. Inevitably, the tedeschi leave a voluptuous collaborator (Raffaella Carra) reclining in the caboose. Sinatra spurns her advances, and when she tries to escape, he regretfully mows her down, simultaneously thumbing his nose at his own public image and giving this rolling-stock melodrama at least one swift, strong, indisputable moment of truth...
Benches & Dreams. When three of the manifesto signers-Umberto Boccioni, Luigi Russolo and Carlo Carra-held a "Futurist Evening" in Turin, they set off a riot. In Bologna, Carra was nearly killed when an exasperated antifuturist hurled a bench at him, and in Treviso the three painters had to be rescued by the police from a mob. But the searing colors and frenzied designs of the futurists had their purpose: to depict not the surface world but the latent powers asleep within...