Word: visconti
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Dates: during 1960-1969
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...reasons for it. American audiences which go one night to see Antonioni and the next Godard, and like them for the same things, are implicitly recognizing a clear line of aesthetic influence. A healthy chunk of the French New Wave's conception of film comes from Neo-Realism (Antonioni, visconti, Rossellini, de Sica, Fellini). Neo Realism's original choice of social reality for subject-matter and its tendency to documentary as method had a tremendous influence in France, giving rise to a large school of French documentarists (Jean Rouch, Chris Marker) and a larger consciousness of film as more that...
...makes a film, the title is virtually irrelevant. Satyricon is the official name of a forthcoming fantasy about the sexual excesses of ancient Rome, but the knowing audience may be attracted more by the movie's unofficial title: "The New Fellini." Such Italian directors as Michelangelo Antonioni, Luchino Visconti and Vittorio De Sica are also, in effect, the titles of their films, as are Swedish Director Ingmar Bergman and celebrated French Film Makers François Truffaut and Alain Resnais (La Guerre Est Finie...
...seems fulsome: Jerry Lewis has been compared favorably with Ingmar Bergman and Orson Welles. Still, general acceptance of the auteur theory has given American directors new power with major studios and fresh rapport with audiences. Though no American film maker has yet achieved the stature of Italy's Visconti or Britain's David Lean, a handful seem to be well on their way: ∙ ARTHUR PENN. A product of television and stage work, Penn successfully brought his Broadway hit, The Miracle Worker, to the screen. At first, he proved better at transferring than at creating. His early experiment...
...stage director of the Metropolitan Opera, whose eleven productions are among the best that the company has ever mounted. The youngest (40) and first American-born director ever to hold that post, Merrill is almost devoid of flamboyance or gimmickry. Unlike such glamorous directors as Franco Zeffirelli and Luchino Visconti, whose personal styles sometimes interfere with musical values, Merrill subordinates himself to the score. Like a musical detective, he searches it and the libretto for clues that will evoke a fresh visualization onstage...
...French films have a flair for love, the Italian cinema has a zest for decadence. Most major Italian directors have their own highly personal vision of spiritual and psychological deterioration, whether it be as flamboyant as Fellini's, as operatic as Visconti's or as brooding as Antonioni's. Now Salvatore Samperi, 25, continues the tradition with Grazie Zia, a bit of caustic surrealism that dazzles with the energy of youth while it is disappointing with excesses of inexperience...