Word: paisan
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Dates: during 1960-1969
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...Mail. Although Air Mail is legally owned either by Universal, or Ford and his producer, it has slipped into one of the hundreds of excellent underground collections of films throughout the country: collections which possess all of Chaplin's features, and such classics as Murnau's Tabu, Rosselini's Paisan, complete versions of Fritz Lang's first Doctor Mabuse, and early films by Jean Renoir, to name some of the most popular items in the underground market...
Casting about for a paisan whose image and reputation were untouchable, the year-old American-Italian Anti-Defamation League reached into the pack and pulled out Frank Sinatra, 51, to be its national chairman in a campaign to convince the nation that not everyone of Italian descent is a capo mafioso. "It is an honor," said Frank in Miami Beach, where he is shooting a gangster flick called Tony Rome. "To me, any type of discrimination is anti-American...
...small nylon bag in the plaza of Villalba, Sicily. The bag was addressed to "Uncle Calo"-Calogero Vizzini, the millionaire chief of Italy's Mafia. In the bag was a gold foulard handkerchief belonging "to Gangster Lucky Luciano-a sign that Lucky wanted his old pals to play paisan to the Yanks. Four days later, when three U.S. tanks rolled into town, Vizzini climbed into one of them, clattered off to direct a joint Mafia-Allied operation, which pincered German and Italian troops in western Sicily. The Allies were so grateful that they generally selected Mafia members...
...story of le quattro giornate di Napoli is now described with factual fidelity and tremendous elan in the best battle movie made in Italy since Open City and Paisan...
...foreign film into an article grandly entitled "The human condition and the film of Europe and America." Actually, Alan Casty's outline of General Della Rovere is an accurate synopsis of the plot and theme of Rossellini's movie. But Casty slights the director's real masterpieces, Paisan and Open City, adding: "it has only been with. . .General Della Rovere that he has produced a film of real stature, a film whose symbols of all our world are not overt and strained." In his unflagging admiration, the reviewer praises Rossellini's wastefulness in the first part of the film, implicitly...