The film, based on the personal memories of Scola, specifically focuses on the early years of Fellini’s career: his arrival in Rome, the beginnings as a cartoonist in the editorial staff of the satirical magazine Marc’Aurelio (where he met among others precisely Scola), up to his first landfall in the cinema as a screenwriter.

Che strano chiamarsi Federico (2013).mkv

General
Container:  	Matroska
Runtime: 	1h 32mn
Size: 	1.63 GiB
Video
Codec: 	x264
Resolution: 	720x552 ~> 1021x552
Aspect ratio:  	1.85:1
Frame rate: 	25.000 fps
Bit rate: 	2 000 Kbps
BPP: 	0.201
Audio
#1:  	Italian 5.1ch AC-3 @ 448 Kbps

https://nitro.download/view/A949AA9D7750BA3/Che_strano_chiamarsi_Federico_(2013).mkv

Language(s):Italian
Subtitles:Italian, English, French, Spanish

The post Ettore Scola – Che strano chiamarsi Federico (2013) first appeared on Cinema of the World.

From Trevico in the province of Avellino, a young man arrives in Turin to work at Fiat. Once hired, he will face harsh experiences as an immigrant and a worker.

Trevico Torino Viaggio nel Fiat Nam (1973).mp4

General
Container:	MPEG-4
Runtime:	1h 33mn
Size:	456 MiB
Video
Codec:	h264
Resolution:	640x480
Aspect ratio:	4:3
Frame rate:	25.000 fps
Bit rate:	548 kb/s
Audio
2.0ch AAC @ 126 kb/s

https://nitro.download/view/3009F22A2A31D49/Trevico_Torino___Viaggio_nel_Fiat_Nam_(1973).mp4

Language(s):Italian
Subtitles:None

The post Ettore Scola – Trevico-Torino (viaggio nel Fiat-Nam) AKA Trevico-Turin: Voyage in Fiatnam (1973) first appeared on Cinema of the World.

To the priest in a small Italian town, the Splendor cinema (now sold for redevelopment) is a ‘dark grotto of sin’; to owner Jordan (Mastroianni), it’s a shrine. But writer/director Scola is more concerned with the grey areas between such views: the patrons who desert cinema in droves when TV offers cheap, undemanding entertainment. Using flashback and clips, he conveys something of the medium’s superiority over the box, at the same time beautifully unravelling a tale of life-long devotion and hard graft from Jordan, his long-term lover/usherette (Vlady), and the projectionist (Troisi). Their temperamental relationships over two decades are conveyed with great affection by the accomplished cast; and the film is full of wonderful moments – such as the homage to Capra at the climax – which manage to be both magical and unsentimental.

Splendor.1989.1080p.BluRay.x264-CiNEFiLE.mkv

General
Container:  	Matroska
Runtime: 	1 h 50 min
Size: 	7.95 GiB
Video
Codec: 	x264
Resolution: 	1792x1080 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	8 788 kb/s
BPP: 	0.189
Audio
#1:  	Italian 2.0ch DTS @ 1 509 kb/s

https://nitro.download/view/C834F9861A3CDF6/Splendor.1989.1080p.BluRay.x264-CiNEFiLE.mkv

Language(s):Italian
Subtitles:English

The post Ettore Scola – Splendor (1989) first appeared on Cinema of the World.

The Family traces events in the life of Carlo, from his christening in 1906 to his 80th birthday party. The film principally explores his relationships with younger brother Guilio, his wife Beatrice and her sister Adriana, whom Carlo loved as a young man.

La.Famiglia.AKA.The.Family.1987.576p.BluRay.FLAC.2.0.x264-ZAL.mkv

General
Container:  	Matroska
Runtime: 	2 h 9 min
Size: 	2.89 GiB
Video
Codec: 	x264
Resolution: 	958x576 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	2 905 kb/s
BPP: 	0.219
Audio
#1:  	Italian 2.0ch FLAC @ 305 kb/s

https://nitro.download/view/409888277C59591/La.Famiglia.AKA.The.Family.1987.576p.BluRay.FLAC.2.0.x264-ZAL.mkv

Language(s):Italian, French, Hungarian
Subtitles:English

The post Ettore Scola – La famiglia AKA The Family (1987) first appeared on Cinema of the World.

NYT – Janet Maslin
THE great historical pageant that is Ettore Scola’s ”La Nuit de Varennes” unfolds with supreme ease. It begins with a series of casual coincidences and weaves them brilliantly into a vision of one of the most important moments in French history, a vision not the least bit limited by the specifics of its place and time.

The time is the French Revolution, and the occasion is the flight of the royal family from Paris to the small town of Varennes, where they will be captured and sent back to their deaths. But the feeling is utterly modern, or perhaps it’s timeless. The key issues of the film are the issues of any era. And the humor and generosity with which Mr. Scola presents them are correspondingly enduring.

”La Nuit de Varennes” begins as an Italian theatrical troupe offers re-enactments of Revolutionary scenes to the people of Paris, two years after the fact. It quickly shifts, with a rhythm and reason that are all its own, to the night of the King’s flight as it introduces Nicholas Edme Restif de la Bretonne (Jean-Louis Barrault), the writer who documented many of the events of the Revolution, and one of a number of historical personages who will follow in Louis XVI’s wake.

During a scene in a bordello, sketched by Mr. Scola with an earthy humor that figures throughout the film, Restif learns from a maid at the Royal Palace that the King may be attempting to escape from Paris. He follows along and soon becomes part of a group of travelers that includes one of the Queen’s ladies-in-waiting (Hanna Schygulla), the wealthy industrialist De Wendel (Daniel Gelin), an Italian opera singer (Laura Betti), a wealthy widow (Andrea Ferreol), a prissy hairdresser (Jean-Claude Brialy) and others. Also eventually in the group, last but hardly least, are Casanova (Marcello Mastroianni) and Thomas Paine (Harvey Keitel).

All sides of the day’s issues are represented within this entourage, with the foremost ideological rift between the progressive Restif and Casanova, now an elderly gentleman who declares: ”I miss the sweeter times of yore, when all was harmony and light.” However, ”La Nuit de Varennes” is not a film about conflict, and it has no villains. It approaches the forces at work in the revolution even-handedly – with compassion for the peasants whose uprising is about to begin, and also with regret about the violent change that is on its way. Mr. Scola sees change as something that is forever necessary and forever incomplete, which means that only one or two characters in the film regard the imminent revolution with any overriding idealism. Idealism in this film is very much a young man’s attitude, and most of the characters are old enough to have a broader, more tolerant world view.

The historical characters speak in the voices that might be expected of them (Casanova: ”On his throne or not, no king ever made me miss a meal”), but they’re never in any danger of becoming puppets. The screenplay, by Mr. Scola and the late Sergio Amideo, never overstates the historical importance of any one event or individual. And so it accomplishes the small miracle of letting these figures exist, in equal measure, as characters within this story and as archetypes or legends. The small talk here is never small (the industrialist, telling a fellow voyager about the day he saw a worker fold his arms and refuse to do his job, calls this ”the most terrifying sight I ever saw”). But it is wonderfully casual at some times, quietly resonant at others, and always exquisitely delivered. If ”La Nuit de Varennes” offered nothing more than the ensemble acting on display, it would be major and memorable on that basis alone.

Of all the fine performances here, Mr. Mastroianni’s is the most dazzling, because he plays the vainest of men without bringing any of his own vanity to the role. This Casanova is on his last legs, rueful about the ways in which his body now disappoints him and yet forever interrupting conversations to powder his nose. He’s also a wonderfully gallant figure, and never one of whom the film makes fun; the friendship that develops between Casanova and Restif is one of the most moving things here. Miss Schygulla, whose lady-in-waiting is filled with serene faith in the crumbling order, brings an astonishing composure to her performance, and in her last scene Mr. Scola uses that quality stunningly. Mr. Keitel, Mr. Barrault and the rest of a cast that also includes Jean-Louis Trintignant are superb too. Mr. Trintignant plays the timid deputy mayor of Varennes who keeps the royal family in his home, worrying about his hospitality even as he agrees to have them sent back to Paris.

Mr. Scola’s direction of ”La Nuit de Varennes” isn’t overly elegant or schematic, and the film is all the fresher for that. His style is flexible without the slightest trace of gimmickry. When he sees the need for an odd lighting effect or a historical footnote, he simply tosses these things into a narrative that is otherwise simple, beautiful and straightforward. So Casanova can interrupt the story to tell us, while wearing a wool bonnet and sipping soup or tea, why he wasn’t very well known at the time the action takes place (his fame, he confides, came with the memoir ”published after my death, which, as you all know, occurred in 1798”). And the key figure of Restif can, at the end of the film, stride out of the past and into the present – which, as a representative of a work that both encapsulates and transcends history, is most assuredly where he belongs.

La.nuit.de.Varennes.1982.576p.BluRay.AAC.x264.mkv

General
Container:  	Matroska
Runtime: 	2 h 31 min
Size: 	2.60 GiB
Video
Codec: 	x264
Resolution: 	964x576 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	2 346 kb/s
BPP: 	0.176
Audio
#1:  	French 2.0ch AAC LC @ 114 kb/s

https://nitro.download/view/F04B70543D74A34/La.nuit.de.Varennes.1982.576p.BluRay.AAC.x264.mkv

Language(s):French
Subtitles:English, French

The post Ettore Scola – La nuit de Varennes (1982) first appeared on Cinema of the World.

Marcello (Marcello Mastroianni) has worked hard all his life to achieve a certain standing and success as a lawyer in Rome. He is pleased to be able to offer the fruits of his success to his son Michele (Massimo Troisi), and is perplexed and distressed that his unambitious son has no interest in any of these things. Michele is serving a term in the Italian military in the port town of Civitavecchia, and Marcello is visiting him there. Here he meets Michele’s salty girlfriend Loredana (Anne Parillaud). The father and son share some meals and explore their differences.

2.27GB | 1h 37m | 960×576 | mkv

https://nitro.download/view/D96CCD3C7EBF87A/What_Time_is_it_(1989)_–_Ettore_Scola.mkv
or
https://tezfiles.com/file/da4dfaf310d96/What_Time_is_it_%281989%29_–_Ettore_Scola.mp4

Language(s):Italian
Subtitles:English, French (muxed)

The post Ettore Scola – Che ora è? aka What Time is it? (1989) first appeared on Cinema of the World.

20 years after the monumental “I mostri” which was a great example of Italian sketch comedy, 3 of the greatest Italian directors ever (Risi, Monicelli, Scola), the best Italian writers ever (Age, Scarpelli), the best Italian actors ever (Tognazzi, Gassmann, Sordi) and one of the most beautiful woman in the world (Ornella Muti) participate to this great tribute. The last sketch (a funeral) is symbolic : the death of the Italian comedy, which made Italy the second country in the world for cinematographic productions during 50’s and 60’s.

This is the original theatrical version, running for 115′, screened in 1977, complete with all the 14 sketches in the following order:
1. L’uccellino della Val Padana
2. Con i saluti degli amici
3. Tantum ergo
4. Autostop
5. Il sospetto
6. First aid (Pronto soccorso)
7. Mammina e mammone
8. Cittadino esemplare
9. Pornodiva
10. Sequestro di persona cara
11. Come una regina
12. Hostaria!
13. Senza parole
14. L’elogio funebre

1.62GB | 1s 55m | 720×384 | avi

https://nitro.download/view/4DC4C10E75F6C4A/I_nuovi_mostri.avi
https://nitro.download/view/561CC4E0AED1372/I_Nuovi_Mostri_(Mario_Monicelli,_Dino_Risi,_Ettore_Scola,_1977).ENG.srt

Language:Italian
Subtitles:English

The post Mario Monicelli & Dino Risi & Ettore Scola – I nuovi mostri [115min cut] (1977) first appeared on Cinema of the World.