PLOT:
Starring in this bustling summer comedy are Vittorio Gassman (an army captain terrified of falling in love with Gigi, a cabaret transvestite who instead turns out to be a charming girl), Amedeo Nazzari (icon of masculine beauty of our cinema of the 40’s, which lends himself to the irony of this film going into the shoes of a fashion wearer a bit too over the years, trying to win back his girlfriend, and boss, making her jealous by bragging a relationship with a girl, Foschina, much younger than him), Philippe Leroy (nonchalant young Tuscan who teaches swimming to beautiful foreign girls and meanwhile “plays” at being a small entrepreneur in the field of advertising, causing instead lots of trouble and involving poor Luigi into them) and Sandra Milo (buxom and “generous” hot donuts vendor, who ends up taking care of an ill-fated Spanish cyclist, played by Vittorio Congia).

FILE INFO
Name : Frenesia dell'estate (1964).avi size : 1.22GB Duration : 01:45:08
ENCODING INFORMATION
VIDEO : AVI, XviD, 1500 Kbps 2pass, 704 x 384, AR 1.833, 25.000 fps, bpp 0.222
AUDIO : MPEG Audio, MP3, 160 kbps CBR, 48 KHz, stereo

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Language(s):Italian
Subtitles:Italian, Russian

The post Luigi Zampa – Frenesia dell’estate (1964) first appeared on Cinema of the World.

A feud between families in 1870’s rural France.

A few years after their successful collaboration on La Traversée de Paris (1956), director Claude Autant-Lara and the popular comic actor Bourvil worked together on this light-hearted farce, based on a best-selling novel by Marcel Aymé. One of Autant-Lara’s more cheerful films, La Jument verte benefits from an exceptionally talented cast, which includes such big names as Francis Blanche, Yves Robert, Georges Wilson and Marie Déa, as well as the great Bourvil (who, needless to say, gives great value). In contrast to many popular French comedies of this period, the film had a substantial budget and consequentially exceptional production values, not least of which is the sumptuous colour photography. Although not quite as controversial as some of Autant-Lara’s earlier films, some of the jokes do come close to the limit of what was acceptable at the time, and the film’s risqué trailer was banned for an under-eighteen audience.

La.Jument.Verte.1959.1080p.BluRay.DTS5.1.x264-CherryCoke.mkv

General
Container:  	Matroska
Runtime: 	1 h 33 min
Size: 	7.86 GiB
Video
Codec: 	x264
Resolution: 	1920x816 
Aspect ratio:  	2.35:1
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Language(s):French
Subtitles:None

The post Claude Autant-Lara – La jument verte AKA The Green Mare (1959) (HD) first appeared on Cinema of the World.

Paolo Anselmi is a happily single man. He lives in a flat with a friend but is forced to leave when the friend gets married. He then goes to a boarding house where he flirts with a girl but ditches her when she proposes marriage. When he goes and visits his mother he finds out that she is also trying to find the right girl for him. Is he going to surrender this time?

1.54GB | 1h 27mn | 768×576 | mkv

https://nitro.download/view/CD127124EEBC9FD/Lo_scapolo_(1955).mkv

Language(s):Italian
Subtitles:English

The post Antonio Pietrangeli – Lo scapolo AKA The Bachelor (1955) first appeared on Cinema of the World.

Quote:
Fellini lore has it that the master made “Juliet of the Spirits” as a gift for his wife. Like many husbands, he gave her the gift he really wanted for himself. The movie, starring a sad-eyed Giulietta Masina who fears her husband is cheating, suggests she’d be happier if she were more like her neighbor, a buxom temptress who entertains men in a tree house.

Fellini believed the movie turned the tables on his two previous films, “La Dolce Vita” and “8 1/2,” which were autobiographical laments about his own problems. This one, he felt, was about Giulietta. Watching it, I was reminded of Daryl F. Zanuck, who said, “But enough about me! What did you think of my movie?” “Juliet of the Spirits” is not an attempt to identify with Masina’s point of view, but a bald-faced exercise in Fellini’s self-justification. When Juliet has fantasies, they’re Fellini’s fantasies. That’s why at the end it isn’t Federico who is burned alive.

One clue to the movie’s buried message is in the casting. Giulietta Masina plays Juliet, a chain-smoker with a trim little haircut and an understated wardrobe. Sandra Milo plays her neighbor Suzy, dressed flamboyantly in tight colors, feather boas, and necklines that flaunt her charms. In “8 1/2,” about a harassed and philandering movie director, the wife is also a chain-smoker with a trim haircut–and the mistress is played by Sandra Milo, who looks exactly as she does here. In “8 1/2,” the director has a daydream in which in which his wife and mistress are friends who share in his care and feeding. In “Juliet of the Spirits,” Fellini seems to be suggesting that if only his wife were more like this pneumatic sex toy, she would be happier. Our conclusion: She might not be happier, but her husband certainly would be.

The movie is generally considered to mark the beginning of Fellini’s decline. Some feel his great days came in the 1950s, with the neorealism of “La Strada” (1954). International success came to him with “La Dolce Vita” (1959) starring Marcello Mastroianni in his first great role as a journalist who tries to balance his job, his marriage, his mistress, his erotic daydreams and his vague ambitions. I think it’s Fellini’s best movie; others would argue for “8 1/2” (1963), which is about a director trying to make a movie despite personal, professional and health problems. By the time of “Juliet of the Spirits,” the conventional view has it, Fellini was on autopilot, using his waltzing camera and jolly Nina Rota scores to recycle his phantasmagorical visions of human grotesques on parade. The only later film widely admired is “Amarcord” (1974).

Sometimes, however, you get your best look at an artist’s style when he’s indulging it. “Juliet of the Spirits,” Fellini’s first film in color, is the work of a director who has cut loose from the realism of his early work and is toying with the images, situations and obsessions that delight him. It is well known that young Federico experienced some kind of psychic fixation during his first visit to the circus, and all of his films feature processions or parades. It may not be too much to suggest that the sight of bizarre characters walking in time to music has a sexual component for Fellini, who almost always composes the scenes the same way: Characters in background and middle distance walk in procession in time with one another, and then a foreground face appears in frame, eager to comment.

In “Juliet,” one of the most delightful parades occurs on the seaside, where plain Juliet has gone with her sisters and their children. Across the sand, she sees Suzy in procession with her friends, admirers, servants and followers, dressed in bright yellow, protected by gaudy parasols, setting up a tent on the sand, beckoning invitingly to her. Later, when Juliet visits her neighbor to return her strayed cat, Suzy shares her philosophy: Marriage is a life sentence for a woman, Juliet should indulge herself with one of the boy-toys Suzy can make available, her husband is not worth fretting over, etc. Suzy’s home includes a chute that leads straight from her bed to a swimming pool, and a treehouse with an electric hoist that hauls up her lovers in a wicker basket.

Suzy’s lifestyle may or may not be the answer to Juliet’s concerns, but her home certainly looks like a bordello that Fellini might like to visit. Juliet’s liberating experiences also include a seance with a medium (this is an echo from La Dolce Vita), and fears of liturgical punishment (the fearsome nuns in one scene echo the stern priests of “8 1/2,” and both appear in flashbacks to childhood). What Fellini is doing, not subtly, is returning to his earlier films for images which he now applies to a heroine instead of a hero.

Giulietta Masina was a wonderful actress (see “La Strada” and “Nights of Cabiria”) but is it my imagination, or does she seem unhappy throughout much of “Juliet of the Spirits?” Masina and Fellini were said to be going through a difficult season of their marriage as the film was made (international fame had transformed Fellini from a hard-working Italian director to a star who welcomed his new privileges with open arms). Certainly Fellini does not present her as someone it would be fun to be married to. She’s a house-proud little bourgeois Hummel figurine, meek, frumpy, sexually timid. As Juliet makes her way through scene after scene of harem fantasies and busty tarts on parade, she looks like nothing more than an unwilling housewife dragged by her husband to a strip show he is sure they will both enjoy.

This perception of Giuiletta/Juliet’s withdrawn unhappiness adds a melancholy undertone to the movie. She’s the party pooper. What was she thinking while she made the film? That first her husband flaunts his taste in grotesque eroticism, and then expects his wife to star in a movie where she’s surrounded by it? The movie’s last shot shows Juliette leaving her storybook home and walking off toward the nearby woods. The director and his wife argued about the meaning of this scene. To Fellini, this meant she was free. To Giulietta Masina, we learn, it meant that she was alone, abandoned and lonely.

This subtext makes the movie more interesting than it would have been if Fellini had been more in control of his fugitive thoughts and impulses. And it never less than dazzling to look at. It’s all pretty pictures and the music of that promenading camera. In any Fellini picture and especially those from “La Dolce Vita” onward, characters seem to glide as if moving to unheard music. In fact, they were. Fellini, like all Italian directors of his time, did not record live sound on his sets, but dubbed all the dialog and sound effects later. That meant he was essentially making silent films, and he always had an orchestra or a record-player on the set to play music, instructing his actors to walk in time. The Nina Rota scores often sound like dance music, and frequently quote old standards; the result is a film that sometimes seems on the brink of bursting into a musical.

After “Juliet,” Fellini made “Fellini Satyricon” (1970). Now that both of these movies have been re-released in newly mastered and restored 35mm prints, we can see him as the master of his canvas. He was a storyteller early in his career, but became a painter of moving images, and those who fixate on plots or messages are hunting in the wrong field. “Juliet” movie was released in America in 1966, and some audiences no doubt attended in an expanded state of consciousness. They were in the right show: A head trip, as they said. Seen in 2001, when the party is long over, it’s like a streamer from last summer’s dances: Still bright, still gaily waving to echoes of forgotten music.

Fellini was nominated for 12 Academy Awards, but never won one. In 1993, he was given an honorary Oscar, presented by old friends Marcello Mastroianni and Sophia Loren, and as he accepted it Giulietta wept happily in the front row. He died in October of that year. She survived him by five months. – Roger Ebert

3.22GB | 2 h 12 min | 1024×556 | mkv

https://nitro.download/view/A1CEC75A8B6FB19/Federico_Fellini_-_(1965)_Juliet_of_the_Spirits.mkv

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

The post Federico Fellini – Giulietta degli spiriti AKA Juliet of the Spirits (1965) first appeared on Cinema of the World.

Synopsis by Sandra Brennan
In this drama, a single woman approaching 40 grows bored of her affair with a married trucker and writes to a singles column. She ends up paired with an outwardly conservative bookstore clerk. During their date, he drinks and soon turns into a rude, crude, drunken slob. She is mortified until he apologizes. She forgives him and they have sex. In the morning they resume their former lives. Perhaps they will meet again. Perhaps not.

Review:
While its structure is episodic and sprawling, The Visitor adheres to the classic unities of time, place and theme. The film (again co-scripted by Scola) describes the first meeting of two vastly different people who met through an ad in the personal columns. Pina, an employee in an agricultural cooperative (played by buxom Sandra Milo) eagerly awaits her pen pal Adolfo (the ever-reliable François Périer), a librarian from Rome. She has invited him to spend a Sunday in her Lombardy village. This could easily have become a predictable, complacent confrontation between the cultured man from the big city and the unsophisticated country lass. But the film has something else in store — a wonderful reflection on the volatile nature of intimacy, and a touching exploration of the question of maintaining one’s romantic integrity in the face of disappointment and the duplicity of emotions. In the course of this day, Pina discovers that Adolfo is far from being the decent, sympathetic man his letters had promised: There is something arrogant and downright mean about the way he takes her hospitality for granted and revels in her presumed emotional and erotic availability. Each new sequence reveals yet another obnoxious trait of his — he makes racist remarks, gradually loses his manners, makes a pass at the underage girl next door and embarrasses Pina in front of her neighbors by drinking way too much Lambrusco. When she sensitively confronts him with his foibles at the end of the day, a deeper level of understanding suddenly seems possible. He almost feels relieved by her shrewd assessment of his faults. A delicate moment of catharsis: It is as if she, by struggling to maintain her own dignity, restores some of his as well.

Extras:

1. Audio commentary track by F. De Bernardinis. (in Italian without subtitles)

2. Interview with Armando Trovajoli:
He talks about his collaboration with Pietrangeli and Scolla and how he was able to contribute to the film.

3. Interview with Ettore Scola:
He talks about the Italian comedies from the 1950-70s and their ability to mirror reality.

4. Interview with Paolo Pietrangeli:
A very interesting Interview with Paolo Pietrangeli, the son of Antonio Pietrangeli, in which he talks about his father’s work, the fact that he failed to appreciate the talent of his father, and history behind this film.

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https://nitro.download/view/7EFE69BD9F5A452/Interview_-_Ettore_Scola.mkv
https://nitro.download/view/1EDB4F1957D92F6/Interview_-_Paolo_Pietrangeli.mkv

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

The post Antonio Pietrangeli – La visita AKA The Visitor [+Extras] (1964) first appeared on Cinema of the World.

Quote:
Adua and Friends (Italian: Adua e le compagne) is a 1960 Italian film directed by Antonio Pietrangeli with a collaborative screenplay by the film’s director together with Ruggero Maccari, Ettore Scola and Tullio Pinelli. The plot concerns the efforts of four prostitutes to eke out a living after being thrown out of their jobs by enactment of the Merlin Law, which shut down Italy’s legalized brothels.

Quote:
Antonio Petrangeli started his career as a screenwriter on early neorealist films, writing La Terra Trema and collaborating on Ossessione for Visconti. It’s tempting to consider Adua a le Compagne a late addition to the neorealist canon. However, Italian cinema had changed a lot by the end of the 1950s and while Adua e le Compagne does deal with contemporary social issues, the technique of the film is very differrent, with its professional cast (including Simone Signoret as Adua and Marcello Mastroianni as her lover) and jazzy score.

https://nitro.download/view/6A837A08504E518/Adua_e_le_Compagne.avi
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http://www.nitroflare.com/view/C52D09FA760D0E3/Adua_e_le_compagne.sub

Language:Italian
Subtitles:english idx/sub

The post Antonio Pietrangeli – Adua e le compagne aka Adua and Friends (1960) first appeared on Cinema of the World.