Word: dialectics
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Since his Godfather II role was Sicilian to its mol ten core, he spent six weeks in Sicily mastering not only the regional dialect but a specific local variant. Challenged to play the young immigrant who would become the Godfather already denned by Marlon Brando, De Niro armed himself with a video tape of Brando's performance. "I didn't want to do an imitation, but I want ed to make it believable that I could be him as a young man. I would see some little movements that he would do and try to link them with...
...daughter of Italian immigrants, she belongs to the state's largest ethnic group. Her husband Tom, a retired principal, is also an Italian American. A Phi Beta Kappa graduate from Mount Hoiyoke, Grasso speaks the language of the classroom as easily as she does the Piedmont dialect of Italy on the front porch...
Miraculously, this man's wrenching tale sings of life's pleasures: honest work, the rhythm of seasons, the love of relatives and friends, the stubborn persistence of hope when it should have vanished. The Southern black dialect has chiefly been trivialized through minstrelsy or strained through literate translators. Shaw's unlettered language shames past caricatures; it is a marvel of utility, supple enough to take what the world offers each day and make it new. When he speaks of "the fall of the year," he is not reading from a calendar but describing what he has seen...
...title, translated from its rendering in an Italian regional dialect, means "I Remember." The movie finds Fellini once again back in his boyhood, in the same place-Rimini, a small seaside town-and in rather the same mood as in his earlier masterwork, I Vitelloni (1952). The film's framework is a full year in this small town, from the coming of one spring to another, although the true time of all events seems to be rooted in Fellini's imagination. The look of clothes, the political talk and the movies people go to see fix the period...
Even Griffith, who spent many years as a Brooklyn teacher, once placed a sign above his blackboard admonishing: "There's no joy in Jersey." But Griffith takes no pride in having helped put the kibosh on the dialect. "Brooklynese had a bluntness and homeliness," he says. "There is a real joy in variety. Now we're becoming phonetically homogeneous." And that, as they used to say in Brooklyn, is for da boids...