Word: viscontis
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...Manhattan restaurant; they were halfway through lunch (cold lobster, white wine) before they could really understand her lickety-split, California-hip patois, but the interview turned out "okeydoke artichoke," as Margaux would say. Mallet also talked with Model Beverly Johnson and interviewed Millionette Nicky Lane in her Visconti-decadent drawing room on Manhattan's East Side. Not all of the work on the cover was done in such appealing surroundings, but no one involved would quibble with Halstead, who says, "It was a once-in-a-lifetime assignment-but I hope...
...starring role in The Conformist and later conceived Last Tango in Paris with her hi mind (she was unavailable). The late Vittorio De Sica, equally enchanted, cast her as the doomed heiress in The Garden of the Finzi-Continis, and she has also appeared in a film by Luchino Visconti. Sanda lives on the edge of the forest at Rambouillet outside Paris with her son by Actor Christian Marquand, her current lover, Painter Frédérique Pardo, and Pardo's mother. When as a rebellious teen-ager Dominique settled on a stage name, it was Sand...
Amarcord also has a strong political subcurrent, and like some other recent movies from Italy (Visconti's The Damned, Bertolucci's The Spider's Stratagem and The Conformist), it considers the source and meaning of European fascism. But Amarcord never becomes preoccupied with the phenomenon. Fellini works the politics evenly and gracefully into the fabric of the whole movie and portrays fascism as a crackbrained aberration that allowed for some moments of ritual absurdity even as it brought forth a kind of cagey, half-comic defiance. One of Amarcord's most memorable episodes concerns the playing...
This sort of time change always has the same effect: it up dates the costumes and jarringly displaces the Elizabethan line. Kahn claims to have based his 1866 version on Luigi Visconti's film, The Leopard. But it lacks any trace of the rich textures of the Visconti settings. No one could look at this tacky Verona for a moment and call it "fair...
Unfortunately, the film lacks real visual unity. It is lavishly lit by Giuseppe Rotunno (cinematographer also for Fellini and Visconti), but the camera seems to move almost haphazardly, framing the characters with less care than they are acted. Besides excellent performances by Gianinni and Polito, there is a feisty characterization of a queenly whore by Mariangela Melato...