Word: magnani
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Dates: during 1990-1999
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Bankers justify the charges by noting that most banks provide ATMs free to their own customers and thus must find some other way to recover the cost of deploying the machines. "In San Francisco," says Bank of America spokesman Peter Magnani, "there is no charge 80% of the time when someone puts a card in a B. of A. machine." Moreover, he says, the cost of the transaction is just a small part of the bank's expenses, which include purchasing, installing and maintaining the machines as well as paying rent at nonbank locations. "Banks are being singled...
Eastwood behaves; Streep acts. He relaxes into a role; she wills herself into it, like a woman determined to make a dress two sizes too small look stunning on her. This time she tries on a southern Italian accent, with the weary, knowing lilt of an Anna Magnani. Soon she is Francesca -- or some rarefied version of her -- aching but not expecting to find someone who can tap her gift for love. Before she commits to the affair, you understand her tension, her indecision. In a medley of bold and subtle gestures, Streep tells Francesca's plaintive story. Through...
starring Anna Magnani and Ettore Garafolo...
...film features one-time prostitute Mamma Roma (played by Anna Magnani, one of the most popular actresses of neo-realism, with whom Pasolini had ideological as well as artistic disputes, but who nonetheless plays exquisitely what she had called "the most important role I have played so far"). After her former pimp, Carmine (Franco Citti), marries a well-to-do lady from the countryside, Mamma Roma attempts to lead a respectable life, selling vegetables in an open air Roman market. More importantly, she brings her son, Ettore (Ettore Garofolo), to Rome, with the hopes of providing him a good education...
Fellini once played God: he was the vagabond whom a peasant (Anna Magnani) mistakes for Jesus in Roberto Rossellini's The Miracle (1948). For Fellini, however, God was a goddess and woman was the world -- everything in the world that excites and frightens, forbids and enchants. To Marcello in La Dolce Vita, woman is "mother, sister, daughter, lover, angel, home." How small and sad and funny men are in comparison! At one end of the spectrum they are like the midget bluenose in Boccaccio 70 (1962) overwhelmed by Anita Ekberg as a sexual giantess -- it's the attack...