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...what all this decadence had to do with art in a Workers' and Peasants' Paradise. The ideological Neues Deutschland quoted Lenin and observed that the opera epitomized the downfall of Herod's degenerate court, and was therefore historically instructive. It was better, said Neues Deutschland, than Luchino Visconti's 1961 production at Spoleto (where John was "a proletarian upon whose class consciousness Salome comes to grief") or Wieland Wagner's West Berlin production last December, in which religiosity was emphasized. But connoisseurs of the basic Salome, who do not bother themselves with such matters, were...

Author: /time Magazine | Title: Opera: Last Week, East Berlin | 5/17/1963 | See Source »

Silence & Ambivalence. The professional transition that prepared her to bat in the same boudoir with Mercouri and Moreau began with the part of the pretty young wife of the dissolute count in Luchino Visconti's segment of Boccaccio '70. But the role still had a touch of the old sentimentality in it, since Director Visconti had her cry while she was collecting money from her husband for granting him his marital consortium. Orson Welles has presumably buffed her up further as the nymphomaniac Leni in his still unreleased version of Franz Kafka's The Trial...

Author: /time Magazine | Title: Actresses: The Jades' Apprentice | 12/14/1962 | See Source »

...your article on Marcello Mastroianni [Oct. 5]: La Nolle was made by Michelangelo Antonioni, not Luchino Visconti...

Author: /time Magazine | Title: Letters: Oct. 19, 1962 | 10/19/1962 | See Source »

...seen her fully clothed, Silver Screen and the other fan magazines had already trumpeted her as the "new Jean Harlow" and the "most perfectly proportioned body in Hollywood." Today, a similar but more cultivated promotion campaign in the Sunday supplements and the New Yorker is massing public respect for Luchino Visconti...

Author: By Raymond A. Sokolov jr., | Title: White Nights | 10/9/1962 | See Source »

...newsman-hero of Federico Fellini's La Dolce Vita and the writer-hero of Luchino Visconti's La Notte. He has proved himself a masterful comedian with his current performance in Pietro Germi's Divorce-Italian Style. With credits like that, he understandably has no interest whatever in learning English. Hollywood has tried repeatedly to lure him, but young men seldom go for old tarts. "What is being done here in Italy," he says, "is far better and much more mature and advanced than anything cinematic being done elsewhere...

Author: /time Magazine | Title: Movies Abroad: Everymantis | 10/5/1962 | See Source »

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