Word: sicilianism
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Dates: during 1950-1959
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...performance was an important step toward the recovery of an ailing man whom Arturo Toscanini once called "the greatest musical find of this century." Sicilian-born Conductor Ferrara, 45, guest-conducted the major orchestras of Italy in the '30s and early '40s, became his country's most famed conductor after Toscanini himself. But one day in 1940, while conducting Dvorak's "New World" Symphony, Ferrara suddenly stiffened and crashed backwards off the podium in a dead faint. In the next several years he fainted so regularly on the podium that he became known throughout Italy...
Most of the intensity of the film, which is based closely on the 1951 Broadway play, is provided by a transplanted Sicilian woman, Serafina Delle Rose. After the death of her smuggler husband, she locks herself up in her Gulf Coast shack and spends three years worshipping his memory and his ashes, which she keeps in an urn in the living room. But three years is a long wait for a woman of Sicilian temperament, and the end of her seclusion is in sight when she finds out that her lamented spouse had been keeping other company. So when...
...Roman court auction of confiscated goods, Italy's ailing Red Boss Palmiro Togliatti popped up as the only bidder for a treasured souvenir, a ,38-cal. pistol, plus four cartridges (one unfired), the implements of an assassination try made on Togliatti in 1948 by a Sicilian student. Going, going, gone...
...View from the Bridge concerns Eddie Carbone, a kindly longshoreman who has brought up his wife's orphan niece (Gloria Marlowe) with his own family. All goes well until he takes into his home two Sicilian cousins who have entered the U.S. illegally. The niece and one of the cousins (Richard Davalos)-a blond youth who likes to sing and cook-fall in love. Eddie's intense, unrealized sexual feeling for the niece drives him to jealous rancors. He taunts the girl that the boy seeks marriage only as a way of gaining citizenship; he tries to make...
With suggestions of ancient Greece in Boris Aronson's fine setting, with the neighborhood lawyer (J. Carrol Naish) acting as Greek chorus and talking poetically of the Greek and Sicilian past, A View plainly seeks to evoke the drama's great first home of guilty passion and fatal ignorance. But the play, in all this, only emphasizes how little its peasant psychology and hot Sicilian natures have in common with highborn Greek tragedy. Only now and then does there jut up the fated blundering of life, and the pity of it. Far oftener it seems no Furies...