Word: italianized
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Dates: during 1950-1959
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...nearly defunct oil exploration agency in 1945, with orders to liquidate it. Instead he poured money into research and discovered vast fields of natural gas in the Po Valley. Today ENI gas, pumped through 3,100 miles of ENI's own pipelines, supplies 2,500,000 Italian families and 2,000 factories...
...likes the stuff), and leaning too heavily on aphrodisiacs. In keeping with Arabian face-keeping, the oil-rich Imam arrived in Rome last month with an entourage of about 90 assorted Yemeni, including several Cabinet ministers, scimitar-bearing guards, three of his Queens, 23 concubines (who, according to the Italian Foreign Office, are not genuine harem types, "just slaves"). The Imam spends his time in Rome's Villa Margherita clinic, where a dozen doctors, both Yemeni and Roman, diligently labor to resharpen the Sword of Islam. Meanwhile, the women lounge around a beach hotel near Rome, relishing television...
What cynics have long predicted finally came to pass: abstract art was on sale not by the painting but by the yard. In Munich's fashionable van de Loo Gallery, Italian Painter Pinot Gallizio, 57, did a booming business by snipping his 10-and 20-yard canvases into appropriate lengths. Customers were free to choose according to their needs and pocketbooks; "normal quality" sold for $25 per yd., "more profound quality" for $60 per yd. Leftovers went at a discount...
...Roof (TIME, Feb. 1, 1954), showed how young Angelo had lived through a cholera epidemic and learned how theatrically men often behave in the face of death. What he still does not know, for all his experience, is that he is the hand-picked tool of some shrewd leftist Italian conspirators-political stage managers who are using him to inspire and excite the crowd. To the conspirators, Angelo is a mere straw man whose ultimate "destiny is to be burned. "All that is asked of him," says a plump rebel plotter named Bon-dino, "is to make...
...Roof (De Sica; Trans-Lux) is one of the few memorable films produced in almost a decade by the once-daring Italian movie industry. In ailing postwar Italy, cinema was briefly practiced as a kind of social medicine. But the would-be healers prescribed such a bitter pill-neorealism -that the public refused to swallow it; most of the famed Italian films of the late '40s won rave reviews but lost money. In this picture, made in 1956, the ablest of the neorealists-Director Vittorio De Sica and Scriptwriter Cesare Zavattini, who together produced Shoeshine and The Bicycle Thief...