Few films, even the greatest ones, are life-changing. It’s just something critics say. But Roberto Rossellini’s Paisan, showing Italy in tatters in the second world war, really did alter the paths taken by two Italian brothers: 17-year-old Paolo Taviani and his 15-year-old brother Vittorio, who saw it in 1946. They made a pledge after leaving the cinema: if they were not shooting films within a decade, they would buy a gun and shoot themselves. Thirty years later, and fully established as directors, they made their masterpiece, Padre Padrone. It won the Palme d’Or at Cannes in 1977, as well as the international critics’ prize – the first picture to scoop both awards at the festival. The jury president that year was the man who had inspired them: Roberto Rossellini.
Padre Padrone, which was made for Italian television, is based on the autobiography by the linguist Gavino Ledda. It details his upbringing in Sardinia at the hands of his father, a brutal peasant farmer, and opens with the real Gavino whittling away at a branch with his knife. The camera pans right to a man approaching a door. It is Omero Antonutti, the actor who will play Gavino’s father. He is about to enter a classroom, from which he will drag his illiterate six-year-old son (Fabrizio Forte) before forcing him to work in the wind-beaten mountains. Gavino hands his screen parent the stick he has been fashioning: “My father was carrying this,” he says. It’s a masterful, Brechtian moment; the baton is passed from reality to cinema.
The sweeping expanses of the Sahara are the setting for a passionate love affair in this adaptation of Michael Ondaatje’s novel. Michael Ondaatje will be speaking on Saturday, June 25th at the MACC presented by The Merwin Conservancy as part of The Green Room Series.
A badly burned man, Laszlo de Almasy (Ralph Fiennes), is tended to by a nurse, Hana (Juliette Binoche), in an Italian monastery near the end of World War II. His past is revealed through flashbacks involving a married Englishwoman (Kristin Scott Thomas) and his work mapping the African landscape. Hana learns to heal her own scars as she helps the dying man.
A film is being made of a story, set in 19th century England, about Charles, a biologist who’s engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her leave him after a short, but passionate affair. Anna and Mike, who play the characters of Sarah and Charles, go, during the shooting of the film, through a relationship that runs parallel to that of their characters.
The film was directed by Jean-Jacques Annaud , starring Sean Connery and Christian Slater…
Which one did you prefer ? The novel or the film ?
Who committed the murders ?
Where there any murders ?
Is this what the pundits were saying back then ?
“If The Name of the Rose seems an odd choice for such critical and popular acclaim, Eco’s elevation into literary superstardom seems just as surprising. A scholarly university professor, Eco’s main fields of interest included semiotics, aesthetics, and medieval philosophy. No one could have predicted the furor caused by his debut novel and the subsequent film; yet the well-drawn characters, the mysterious setting, and the detective-fiction plot continue to attract a diverse audience that gathers every Monday evening @ the Cinematiki to discuss films like this”
When an English writer finds he has a small inheritance on a Greek island, his joyless existence is disturbed when he meets Zorba, a middle aged Greek with a real lust for life. As he discovers the all the pleasures of Greece, the Englishman finds his view on life changing.