Word: visconti
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...film dispenses with the machismo verismo of Luchino Visconti's 1942 Ossessione and the platinum-blinded glitz of the 1946 version starring John Garfield and Lana Turner to concentrate on a purposefully paced retelling of Cain's story. It means to calibrate every movement in the desperate mating dance of Frank and Cora, "these unspeakably stupid, very simple people, filled with guile and tenderness." That is Director Rafelson's phrase, spoken without contempt for his characters but with an understanding of their selfish, consuming needs. Though Nick's café is just a short drive from...
...general manager, who offered her a contract for two starring roles. Inexplicably, she turned him down. Her refusal started the soprano off on a long, wearing odyssey. On the way she studied the subtleties of her art with great teachers like Conductor Tullio Serafin and learned stagecraft from Luchino Visconti, whom she deeply loved...
...alarm every two hours. Yet she loved nothing better than combing Woolworth's for such "bargains" as a lemon squeezer or potato peeler. A friend remembered a lunch at Claridges during which Maria proudly produced her latest finds. The Callas jealousy was legendary. The sight of her beloved Visconti, who was homosexual, merely talking with Leonard Bernstein sent her into a rage. Yet she did not always take herself seriously. At one of her classes, a student confessed to problems with "three or four notes." Replied the diva: "Likewise...
When a European director makes a film in English, the result is almost always disaster: Truffaut, Antonioni, Bergman, Visconti, Wertmuller have all come to grief when straying from their mother tongues. But Bertolucci, who once broke down the limits of propriety in Last Tango in Paris, has now crashed through the language barrier as well. With the crucial collaboration of Jill Clayburgh, he has made a movie in English without sacrificing any artistic integrity. Indeed, Luna may be his most controlled and personal film to date...
...Hollywood, and though his output slowed, his later films included such acclaimed works as The Southerner (1945), and The River (1950), filmed in India. A singularly congenial, humane man whose work greatly influenced the New Wave directors of the 1950s (including Truffaut and Godard) and onetime Apprentices Luchino Visconti and Satyajit Ray, Renoir considered himself primarily a storyteller, always filming his special kind of tale. "I am interested in what happens to people," he once explained, "when they must adapt to a new world...