Frolickers enjoy a sunny afternoon at a Roman beach.

Review:
Recalling the informal neorealist spirit and sociopolitical consciousness of important prewar ensembles such as People on Sunday (1930) and Treno popolare (1933), while paving the way for the wry comedies of manners produced under the aegis of commedia all’italiana, Luciano Emmer’s wonderful Sunday in August (Domenica d’agosto) skillfully interweaves several stories involving a disparate array of Romans who flock to the beaches of Ostia on the eponymous day to escape both the summer heat and their daily troubles. As this lively blend of fiction and documentary proves, however, they are only partly successful in their endeavors.

Emmer belongs to the group of underappreciated Italian filmmakers whom history has placed somewhere between the generation responsible for neorealism and the politically radical troop that emerged in the sixties. He spent most of his career making art documentaries, for which he remains best known. According to American critic Dave Kehr, a vocal champion of Emmer’s work, he made his foray toward features when he was asked to make this film from a story by Sergio Amidei, a frequent collaborator of Rossellini. It boasts a number of then up-and-coming actors, including Marcello Mastroianni.
— Arsaib Gilbert (Letterboxd)

Domenica d'agosto (Sunday in August) (1950) -- Luciano Emmer.mkv

General
Container:  	Matroska
Runtime: 	1 h 18 min
Size: 	1.22 GiB
Video
Codec: 	x264
Resolution: 	706x574 ~> 765x574
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	1 950 kb/s
BPP: 	0.200
Audio
#1:  	Italian 5.1ch AC-3 @ 256 kb/s

https://nitro.download/view/79FF1C7A7BCD52C/Domenica_d’agosto_(Sunday_in_August)_(1950)_–_Luciano_Emmer.mkv
https://nitro.download/view/B66D63CEF894681/Domenica_d’agosto_(Sunday_in_August)_(1950)_–_Luciano_Emmer.srt

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

The post Luciano Emmer – Domenica d’agosto AKA Sunday in August (1950) first appeared on Cinema of the World.

La ragazza in vetrina was supposed to be a turning point in Emmer’s cinema but it went on to become a cursed film. In accordance with the evolution of Italian cinema, the director chose a story by Rodolfo Sonego which combines a tough theme, Italian migrants working in Dutch and Belgian mines (the tragedy in Marcinelle, near Charleroi, which left 262 dead, half of which were Italian, took place only four years earlier), with a raunchy one, about the red light district in Amsterdam. It combines his love of wandering and the sketch with a harsh new gaze, bolstered by the black-and-white cinematography of Otello Martelli, fresh from La dolce vita. The first half-hour of the film depicts the difficult lives of the miners; then it concentrates on two characters, one timid, the other self-confident, but both lonely and unhappy, as they meet two prostitutes. The unity of time and the idea of the voyage involving impossible encounters (Domenica d’agosto, Parigi è sempre Parigi) now takes on a documentary flavour and a deep bitterness. However, the film was blocked by the Italian censor, who held it up for months before finally issuing a 16 rating, after eliminating one scene considered too raunchy. Nevertheless, many felt that the censor’s real target was actually the description of the working conditions faced by Italian emigrants. Embittered by the experience, Emmer dedicated himself to Tv advertising until 1990. The full-length Italian version was only restored forty years after its release.

Emiliano Morreale

Given that there were no hotels in the region [of Marcinelle], I slept on a camp bed, a guest in a miners’ hut. One day, a handsome young man from the province of Padova, a sort of young Vincenzoni, arrived at the hut and began telling me about the girls in the windows in Amsterdam. He was going out with one of these prostitutes, who had Sundays off. He would go to collect her on Saturday evening and they would spend the weekend going around the little hotels along the canals that fed into the ocean, celebrating with caviar and champagne.

Naturally I asked him how on earth he had so much money and he told me that there were certain mine shafts that, statistically, were prone to explode every ten-twelve years […] and the teams that accepted to work in them were paid as much as five times the usual rate. So, every Saturday this Italian minor, who didn’t have a wife in Padova to whom he could send a money order, found himself with all this money to spend with his woman in the window.

Following this meeting, I naturally decided to base the film entirely around this character. I drew up a story outline about twenty-five pages in length, which Pasolini came across in the producer’s office. Fascinated by the idea of the contrast between these Mediterranean lads and these porcelain dolls all made up under the lights of the shop windows, he called me. He wanted at all costs to write the screenplay, and that is what he did. “It’s beautiful. I don’t care if they don’t pay us anything for it.”

Rodolfo Sonego in Il cervello di Alberto Sordi. Rodolfo Sonego e il suo cinema, edited by Tatti Sanguineti, Adelphi, Milano 2015

This film brought me back to arthouse productions, which I had always preferred. It shows the hardship of immigrants of all origins working the mines, the slavish existence of girls for hire displayed like consumer goods, and the improbable dream of a young miner who wants to save a girl from the strange double life she admits to leading. The locations are stunning: a shoreline, a tiny house, a landscape that seems larger than life in the eye of Martelli’s camera. The performances were perfect: Lino Ventura, who shows with this part, at last, his humanity; Magali Noël, sparkling with life and wit; Bernard Fresson, astonishingly right for a first-time part. My own character’s inner violence allowed me to show an equivocal and unsettling aspect of my being that had been ignored and ill-used for years.

Marina Vlady, 24 images/seconde, Fayard, Paris 2005

Luciano_Emmer_-_La_Ragazza_In_Vetrina__1961_.mkv

General
Container:  	Matroska
Runtime: 	1 h 31 min
Size: 	6.31 GiB
Video
Codec: 	h264
Resolution: 	1792x1080 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	10 000 kb/s
BPP: 	0.215
Audio
#1:  	Italian 2.0ch E-AC-3 @ 224 kb/s

https://nitro.download/view/F9AC303E55C8CAE/Luciano_Emmer_-_La_Ragazza_In_Vetrina__1961_.mkv
https://nitro.download/view/3227AC44A3BE105/Luciano_Emmer_-_La_Ragazza_In_Vetrina__1961_.EN.srt
https://nitro.download/view/A6D0D315A3BDDA9/Luciano_Emmer_-_La_Ragazza_In_Vetrina__1961_.ES.srt

Language(s):Italian
Subtitles:English, Spanish

The post Luciano Emmer – La ragazza in vetrina AKA Woman in the Window (1961) (HD) first appeared on Cinema of the World.

PLOT SYNOPSIS:
A romantic drama partially set in Amsterdam, this standard tale starts out in a mining area in Holland where conditions are about as rough as they get. Two of the miners, Italians Federico (Lino Ventura) and Vincenzo (Bernard Fresson) take off together for the city’s red-light district, where the women pose in windows for prospective customers. There the duo meet Else (Marina Vlady) and Carrel (Magali Noel) who are willing to leave their windows to spend a weekend at a resort with the two men. Soon Else has fallen in love with Vincenzo and the future of the two hookers, as well as the miners, seems to look brighter.
(Allmovie)

1.17GB | 1h 28m | 688×368 | avi

https://nitro.download/view/514DC3E762701F0/La_ragazza_in_vetrina_(1961).avi https://nitro.download/view/87EA8C13C445775/Interview_with_Emmer.avi
https://nitro.download/view/0848B2D90F142BC/La_ragazza_in_vetrina_(1961).Eng.srt
https://nitro.download/view/6EFD1AB2607395F/La_ragazza_in_vetrina_(1961).idx
https://nitro.download/view/6E9A65526F7C166/La_ragazza_in_vetrina_(1961).sub

Language(s):Italian,French
Subtitles:French idx/sub,English

The post Luciano Emmer – La ragazza in vetrina AKA La Fille dans la vitrine [+Extras] (1961) first appeared on Cinema of the World.

The art film by Luciano Emmer: the camera explores the figurative worlds of Giotto, Bosch, Carpaccio, Leonardo, Michelangelo, Picasso. First edition on DVD of a valuable asset for art history and Italian cinema.
This two-DVD boxset presents, collected for the first time, a wide selection of art films made by Luciano Emmer (1918-2009). Emmer, screenwriter and director, is the author of films that told with delicacy and humor about Italy in the Fifties (Domenica d’agosto, Terza liceo) and one of the inventors of TV commercials; especially personal and meaningful is his work on art documentaries, awarded all over the world.

From the pioneering Giotto of Racconto da un affresco to Bosch’s Paradiso terrestre, from Carpaccio’s Leggenda di sant’Orsola to Goya, Leonardo, Michelangelo, Picasso, the films of Emmer produce a progressive and exciting approach to the work of art, faithful to the principle that there is a scientific way to shoot the works and there is one “that could be called poetic,” and that admits an intimacy with the works would not otherwise be experienced. It is in their refusal to provide a reading of academic art history, that these films are not only exciting cinematic experiences, even unusual, valuable introductions to the world of figurative art.

Contains:
1946 – 1966
– Racconto da un affresco (1946)
– Paradiso terrestre (1946)
– Il cantico delle crature (1943)
– Guerrieri (1943)
– Destino d’amore, ovvero, piccolo mundo al platino (1942)
– I fratelli miracolosi (1949)
– L’invenzione della croce (1948)
– L’allegoria della primavera (1948)
– La leggenda di Sant’Orsola (1948)
– Isolle nella laguna (1948)
– Romantici a Venezia (1948)
– Romantici a Venezia Cocteau (1948)
– Goya. La festa di Sant’Isidoro; I disastri della guerra (1950)
– Leonardo da Vinci (1952)
– La sublime fatica (1966)
– Il dramma di Cristo narrato da Giotto (1966)

2000 – 2009
– Incontrare Picasso (2000)
– Nostalgie (2001)
– I magici colori di Napoli (2004)
– La paz y la guerra (2009)
– Le carceri di invenzione (2009)

Extras
– Interview to Roman Vlad
– Scherzo su Giotto
– Passeggiate con Luciano

https://nitro.download/view/DF5B59C330E9355/Luciano_Emmer_-_Parole_dipinte_(1946-1966;_2000-2006).part1.rar https://nitro.download/view/69ACF4A3C96C503/Luciano_Emmer_-_Parole_dipinte_(1946-1966;_2000-2006).part2.rar https://nitro.download/view/28638A537494C12/Luciano_Emmer_-_Parole_dipinte_(1946-1966;_2000-2006).part3.rar https://nitro.download/view/C859AA670099593/Luciano_Emmer_-_Parole_dipinte_(1946-1966;_2000-2006).part4.rar https://nitro.download/view/CABE258BFCB487D/Luciano_Emmer_-_Parole_dipinte_(1946-1966;_2000-2006).part5.rar

Language:Italian
Subtitles:English, Spanish .srt

The post Luciano Emmer – Parole dipinte. Il cinema sull’arte di Luciano Emmer [+Extras] (1946-1966; 2000-2009) first appeared on Cinema of the World.

Camilla, a middle-aged Venetian widow, arrives in Rome to take up service as a maid with the Rossetti family, made up of Mario, a doctor, his wife Giovanna and their children Andrea and Cristina. The economic conditions of the Rossetti are not flourishing and this causes tensions and disagreements.

In addition, the Rossetti’s often meet up with Gianni, an invasive friend, rude and often involved in unclear business, who lives, without being married, with the remissive Donatella. Mario attempts a career advancement by preparing an exam to obtain a more rewarding qualification, but his studies are listless and are made difficult by family tensions, caused by the difficulty of maintaining the desired standard of living. Camilla, with her discreet but sure presence, made also of popular wisdom, is an element of cohesion for the family and manages to give serenity especially to children. Family tensions lead Mario to alcohol abuse and to court Paola, an old flame of his revised after many years, in turn unaware of Gianni’s casual approaches to his wife…

1.58GB | 1h 26mn | 768×576 | mkv

https://nitro.download/view/751DB03B7466B8F/Camilla_(1954).mkv

Language(s):Italian
Subtitles: Italian, English (custom)

The post Luciano Emmer – Camilla (1954) first appeared on Cinema of the World.

Parigi e Sempre Parigi (Paris is Always Paris) was the second feature-length effort from famed Italian documentary director Luciano Emmer. Whereas Emmer’s first feature, Domenica d’Agosto (Sunday in August) was a warm-hearted study of the Italian middle class, Parigi concentrates on a gentle cultural clash between a band of Italian sports fans and the citizenry of Paris. The hero, DeAngelis (Aldo Fabrizi), has heard so much about “naughty Paree” that he’s determined to experience that naughtiness first hand. This plot device, of course, obliges the director to introduce several delectable French mademoiselles in the proceedings. Ultimately, DeAngelis realizes that reports of French libertinism have been grossly exaggerated, but he has a high old time finding this out.— Allmovie.com

1.63GB | 1h 41mn | 762×572 | mkv

https://nitro.download/view/7B7CF0FCEAA591A/Parigi_e_sempre_Parigi_(Paris_Is_Always_Paris)_(1951)_–_Luciano_Emmer.mkv

Language:Italian
Subtitles: English, Italian, Russian (muxed)

The post Luciano Emmer – Parigi è sempre Parigi AKA Paris is Always Paris (1951) first appeared on Cinema of the World.

Quote:
Made on behalf of a Catholic society, it is a short document about anthropological myths and rituals in the city of Naples narrated by Eduardo De Filippo. Long considered lost, it has recently re-emerged in a new light thanks to the restoration of the Cineteca of Bologna.

http://nitroflare.com/view/B1C4D9DF3B47832/Il_miracolo_di_San_Gennaro_%28Luciano_Emmer_-_1948%29.mkv

Language(s):Italian
Subtitles:None

The post Luciano Emmer – Il miracolo di San Gennaro (1948) first appeared on Cinema of the World.