Word: mastroiannis
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Dates: during 1960-1969
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...first place, he can do what they say he can. For once Marcello Mastroianni is more than a good-looking face, and Maria Schell reveals other, more complex moods to bolster that vacant sparkle which has long been her only strength. Visconti makes good theater out of Dostoevsky's romantic fairly tale, in which a young man and woman meet one evening in the street and spend the next few nights waiting for the woman's former lover to return. But Visconti's penchant for the stage is his downfall, since he handles a short story as if it were...
...present are being made by Europeans and Asians. Hence there is a new phenomenon-the movie idol who is adored throughout the U.S. in much the same way that Clark Gable was once admired from Saipan to Tangier. The greatest of these is Italy's Marcello Mastroianni...
Further Decay. It was Dolce Vita's Fellini who exploited most fully the characteristics that had long since made Mastroianni (Mass-tro-yahn-ee) one of the most popular actors in Italy. His handsome face, young in its outlines but creased with premature wrinkles, has a frightened, characteristically 20th century look-as of a mantis who has lost faith in the efficacy of prayer. He suggests the all-round fellow of the 1960s who is the antithesis of Renaissance man-painfully aware of nearly everything, truly able at nothing. His spine seems to be a stack of plastic napkin...
...moment, Mastroianni is making a new movie for Fellini, which is temporarily titled Fellini 8-½. Presumably, it is Fellini's autobiography. Mastroianni, at least, is playing the part of a motion picture director. Shooting last week at night on the shiny black sands of the beach at Ostia, the shivering cast was collected around a mysterious tower; rockets and satellites were scattered about, and workmen carried sheets of glass painted with unrelated scenes, such as the Pope being carried in a procession, for the cameras to shoot through...
...Marcello Mastroianni strode through the bustle splendidly faking directorial omniscience. And when Fellini wasn't looking, he sneaked off-perhaps as once happened on another film-to a nearby phone booth to go to sleep in it standing...