#Enzo Tarascio

[weirdlookindog]

La notte che Evelyn uscì dalla tomba (1971)

AKA The Night Evelyn Came Out of the Grave; The Night She Rose from the Tomb; The Night She Arose from the Tomb; The Night That Evelyn Left the Tomb

[perfettamentechic]

1 ottobre … ricordiamo …

1 ottobre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2018: Charles Aznavour, nome d’arte di Chahnourh Varinag Aznavourian, è stato un cantautore, attore e diplomatico francese di origine armena. La maggior parte delle canzoni di Aznavour parlano d’amore e nella sua lunga carriera ne ha scritte oltre 1000. (n. 1924) 2013: Giuliano Gemma, attore italiano. Giuliano arrivò al cinema giovanissimo come stuntman per le sue doti atletiche.  (n.…

[byneddiedingo]

Jean-Louis Trintignant in The Conformist (Bernardo Bertolucci, 1970)

Cast: Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Dominique Sanda, Enzo Tarascio, Fasco Giachetti, José Quaglio, Pierre Clémenti. Screenplay: Bernardo Bertolucci, based on a novel by Alberto Moravia. Cinematography: Vittorio Storaro. Production design: Ferdinando Scarfiotti. Film editing: Franco Arcalli. Music: Georges Delerue. 

Of all the hyphenated Jeans, Jean-Louis Trintignant seems to me the most interesting. He doesn't have the lawless sex appeal of Jean-Paul Belmondo, and he didn't grow up on screen in Truffaut films like Jean-Pierre Léaud, but his career has been marked by exceptional performances of characters under great internal pressure. From the young husband cuckolded by Brigitte Bardot in And God Created Woman ... (Roger Vadim, 1956) and the mousy law student in whom Vittorio Gassman tries to instill some joie de vivre in Il Sorpasso (Dino Risi, 1962), through the dogged but eventually frustrated investigator in Z (Costa-Gavras, 1969) and the Catholic intellectual who spends a chaste night with a beautiful woman in My Night at Maud's (Eric Rohmer, 1969), to the guilt-ridden retired judge in Three Colors: Red (Krzysztof Kieslowski, 1994) and the duty-bound caregiver to an aged wife in Amour (Michael Haneke, 2012), Trintignant compiled more than 60 years of great performances. His most popular film, A Man and a Woman (Claude Lelouch, 1966), is probably his least characteristic role: a romantic lead as a race-car driver, opposite Anouk Aimée. His role in The Conformist, one of his best performances, is more typical: the severely repressed Fascist spy, Marcello Clerici, who is sent to assassinate his old anti-Fascist professor (Enzo Tarascio). Marcello's desire to be "normal" is rooted in his consciousness of having been born to wealth but to parents who have abused it to the point of decadence, with the result that he becomes a Fascist and marries a beautiful but vulgar bourgeoise (Stefania Sandrelli). Bertolucci's screenplay places a heavier emphasis on Marcello's repression of homosexual desire than does its source, a novel by Alberto Moravia. In both novel and film, the young Marcello is nearly raped by the chauffeur, Lino (Pierre Clémenti), whom Marcello shoots and then flees. But in the film, Lino survives to be discovered by Marcello years later on the streets the night of Mussolini's fall. Marcello, whose conformity does an about-face, sics the mob on Lino by pointing him out as a Fascist, and in the last scene we see him in the company of a young male prostitute. This equating of gayness with corruption is offensive and trite, but very much of its era. Even the sumptuous production -- cinematography by Vittorio Storaro, design by Ferdinando Scarfiotti, music by Georges Delerue -- doesn't overwhelm the presence of Trintignant's intensely repressed Marcello, with his stiff, abrupt movements and his tightly controlled stance and walk. If The Conformist is a great film, much of its greatness comes from Trintignant's performance.

[timriva-blog]

El conformista

Il conformista Italia, 1970, 108′ Dirigida por Bernardo Bertolucci Con Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Enzo Tarascio, Fosco Giachetti, Jose’ Quaglio, Dominique Sanda, Pierre Clémenti, Yvonne Sanson, Giuseppe Addobbati, Christian Alegny, Carlo Gaddi, Umberto Silvestri, Furio Pellerani, Luigi Antonio Guerra, Orso Maria Guerrini, Pasquale Fortunato. Los monstruos El…

[erstwhile-punk-guerito]

[memoriastoica]

La notte che Evelyn uscì dalla tomba (1971)

[365filmsbyauroranocte]

The Conformist (Bernardo Bertolucci, 1970)

[ponapisach]

Giallo wyjątkowych aspiracji, gdzie kryminał swobodnie miesza się z gotykiem przy wymuskanej nutce perwersji i kilku kroplach onirycznej swawoli. "Noc, kiedy Evelyn wyszła z grobu" ("La notte che Evelyn uscì dalla tomba") Emilio Miraglii trafił w mój gust bezsprzecznie, chociaż zauważyłem dość szybko, że potencjał tkwił w historii o wiele większy. Było to jednocześnie pierwsze giallo Miraglii, a do nurtu reżyser powrócił już rok później przy okazji "The Red Queen Kills Seven Times" (i był to ostatni film w jego krótkiej reżyserskiej karierze). Miraglia, twórca, który z niejednego gatunku chleb jadł tutaj jest również współautorem scenariusza, który to (scenariusz) kroczy dość pewnie po niepewnym mimo wszystko gruncie.

Głównym bohaterem jest lord Alan Cunningham (wcielił się w niego Anthony Steffen) postać z jednej strony tragiczna. Poznajemy go, gdy próbuje uciec ze szpitala psychiatrycznego. Nie jest z nim najlepiej, bo trawiony traumą po śmierci żony niejednokrotnie przechodzi załamanie nerwowe. Traci kontakt z rzeczywistością, a jednak lekarzom udaje się go wyprowadzić na prostą. Czyżby? Do zamożnego lorda, właściciela olbrzymiej fortuny powracamy po jakimś czasie, gdy szasta majątkiem i oddaje się perwersyjnemu hobby. Sprowadza do swojej posiadłości prostytutki, gdzie wciela się w rolę tyrana i przy sado-masochistycznej otoczce oddaje się lubieżnym czynom. Kobiety później znikają, a lord w końcu trafia na taką, której oddaje serce. Amory, szybki ślub i w kolejce do odziedziczenia spadku pojawia się kolejna osoba, żona. Można by sądzić, że pretendenci do otrzymania nieprzebranego bogactwa powinni być co najmniej rozeźleni, a jednak widz szybko zdaje sobie sprawę, że sprawa ma więcej niż jedno dno. 

"Noc, kiedy Evelyn wyszła z grobu" to zwodniczy kryminał i dość intrygujący pomysł, by wywieść widza w pole (nie raz). Delikatna konstrukcja nie raz załamuje się pod naporem pytań, ale niesiony autentyczną ciekawością widz potrafi dość przychylnym okiem spojrzeć na wszystkie fabularne zawirowania i skróty. Duża zasługa w tym stylowych zdjęć Gastone Di Giovanniego i wspaniałej muzyki włoskiego kompozytora Bruno Nicolaia. Motyw przewodni z "Noc, kiedy Evelyn wyszła z grobu" to już u mnie szlagier, który przepięknie komponuje się z nieco odrealnioną miejscami akcją. Powracające w obrazach dramatyczne przeżycia lorda Cunninghama mają w sobie dużo poetyki, a w swojej stylistyce przypomniały mi późniejszy utwór mistrza Mario Bavy "Lisa and the Devil". Być może Cecilio Paniagua, autor zdjęć "Lisy..." zgarnął kilka pomysłów od Giovanniego. Nie można również zapomnieć o głównym aspekcie, z którym powinno wiązać się dobre giallo przede wszystkim, czyli piękne aktorki. Tych jest tu bez liku, a wypada wspomnieć chociażby główną rolę, która przypadła pięknej Marinie Malfatti (zagrała również w drugim giallo Miraglii). Oprócz niej na ekranie możemy podziwiać doświadczoną Erikę Blanc. Niestety jest tak, że niekiedy za urodą nie idzie w parze talent, bo przy niektórych zagraniach aktorów przydałoby się kilka dokrętek. 

"Noc, kiedy Evelyn wyszła z grobu" to pozytywne zaskoczenie, któremu jednak, od strony realizacji przydałaby się twardsza ręka reżysera, mocniejsze tupnięcie nogą, a wyszedłby wtedy soczysty giallo gotyk, być może nawet aspirujący do miana kultowego.

[petersonreviews]

[pigeons-sitting-on-branches]

The Conformist (1970) Bernardo Bertolucci 09-03-2019 Fantastically made with a gripping story although the politics and character motivations were a little hard for me to understand

[vod19]

Day 4. ‘The Conformist’ (1970), dir. Bernardo Bertolucci

There is too much to say about The Conformist. I may start with questions to myself, not about the film, but with those that arise around it, most of which deserve at least an essay-long answer. Being both inevitably and consciously shaped by the sentimentality of MeToo, I wonder what the appropriate mode of reflecting upon (and admiring) the work of Bertolucci is after The Last Tango in Paris. Another question is why in the year 1970 an Italian director felt the need to rethink the motives and morals of a servant of the Fascist regime. What was condensing in the 1960s air in Italy that both The Conformist and Vittorio de Sica’s Garden of Finzi-Continis came out in 1970?

Getting closer to the film itself, I wonder what the implications of aestheticisation are (to rephrase Walter Benjamin’s famous observation, the left politicises aesthetics and the right aestheticises politics). That is, why would a portrait of a despicable character, a coq in the machine of Italian Fascism, contain the subtle movements of the invisible eye of the camera capturing the play of light on the face of Jean-Louis Trintignant; shots of the vast, generously lit marble interiors of Duce’s institutions, long enough for one to assess the composition; the careful division of screen, so that the priest’s profile, akin to the portraits of Florentine nobility produced in the Quattrocento, is on the one side and the protagonist’s face is on the other. The Conformist produces a sense of uneasiness, and it seems that it does so consciously. To blame it for being too aesthetically pleasing is ridiculous; to accept its aestheticisation of politics is to embrace the far-right sensibility upon which, among other issues, it reflects. 

Finally, there’s the film itself. The Conformist is structured around a flashback. On the road to a mission — and an agent of a secret service of a dictatorship only has one mission — Marcello Clerici (Jean-Louis Trintignant) remembers what happened shortly prior to it. He had just gotten married to a “mediocre petty bourgeois” with “petty ambitions”, as the loving husband describes her, in order to start a normal life. Before his honeymoon, however, he received a task to “eliminate” his former professor of philosophy (Enzo Tarascio), who had emigrated from Rome to Paris (“It would be impossible for me to teach philosophy in a Fascist country”, professor Luca Quadri says).

The Conformist is a detailed study of the dangers of conforming to whatever norms a particular socio-political environment dictates (“everyone wants to be different but you want to be like everyone else”, someone says to Clerici). It shows a character consistently conforming to what ought to be done to be normal, be it confessing despite not believing in god, or marrying a woman he does not respect in the slightest; or signing up for a murder. While The Conformist can be conveniently summarised as an inquiry into the nature of moral norms and consequently a subtle insistence on there being some universal values by means of an artful scrutiny of its abject protagonist, it also seems to question the very root of conformism. I would argue that Marcello does not betray his values in order to conform. Instead, he conforms because he has no values. What Bertolucci seems to warn against here is not merely conforming, but having nothing to betray. (To support this argument yet without giving away too much, it is clear from several sequences that Marcello does not truly believe in fascist ideology.) The Conformist is a devastating portrait of what it is like to be “like lukewarm water, neither hot nor cold”.

(When I was around ten or eleven, I watched Polanski’s Ninth Gate and didn’t understand what was going on it in whatsoever. My brother, then probably sixteen or seventeen, entered the room and saw me finishing the film. He said: “What did you think of it?”. I said: “I really don’t know”. To which he replied: “I think it says — it’s not that the devil likes those who love the devil. The devil likes those who don’t love anyone”. Needless to say, this short conversation has engraved itself into my memory for good.)

[weirdlookindog]

La notte che Evelyn uscì dalla tomba (1971)

AKA The Night Evelyn Came Out of the Grave; The Night She Rose from the Tomb; The Night She Arose from the Tomb; The Night That Evelyn Left the Tomb

[perfettamentechic]

1 ottobre … ricordiamo …

1 ottobre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic #felicementechic #lynda

2018: Charles Aznavour, nome d’arte di Chahnourh Varinag Aznavourian, è stato un cantautore, attore e diplomatico francese di origine armena. La maggior parte delle canzoni di Aznavour parlano d’amore e nella sua lunga carriera ne ha scritte oltre 1000. (n. 1924) 2013: Giuliano Gemma, attore italiano. Giuliano arrivò al cinema giovanissimo come stuntman per le sue doti atletiche.  (n.…

[moosterrecords]

THIS HALLOWEEN, OTT CHANNEL MIDNIGHT PULPSERVES UP DARIO ARGENTO'S "DEEPLY TERRIFYING" ORIGINAL SUSPIRIA AND A COVEN'S WORTH OF ITALIAN HORROR CULT CLASSICS

Giallo Films Include Argento's Phenomena, Mario Bava's Black Sunday, Luciano Onetti's Francesca and the 2013 Giallo Homage, Sonno Profondo, and More!

Luca Guagadnino's remake of the 1977 Dario Argento cult classic Suspiria just set a 2018 box office record for best opening per theater before it goes wide this coming weekend. The update, which stars Tilda Swinton, Dakota Johnson, Mia Goth and Chloë Moretz, is set at a prestigious dance academy, and, as in the original, involves grisly murders and the supernatural.  But for genre fans interested in screening Argento's version "considered by many to be one of the all-time best horror films" the OTT platform MIDNIGHT PULP has horror fans covered - for FREE.

  Offering an expertly-curated selection of horror, thriller and cult programming, MIDNIGHT PULP is one of the few streaming outlets online offering the original SUSPIRIA, guaranteed to put an extra chill into this spooky season. In addition to this supernatural classic, MIDNIGHT PULP also offers a coven's worth of Italian horror classics in the GIALLO collection, featuring the best of the Italian horror genre from notable directors like Argento, Mario Bava and Luciano Onetti, and viewers can choose to view on a no-charge freemium model or with an ad-free premium subscription starting at $4.99.

  GIALLO Collection titles now available on MIDNIGHT PULP include: 

 SUSPIRIA (1977, Director Dario Argento) -- A newcomer to a fancy ballet academy gradually comes to realize that the school is a front for something far more sinister and supernatural amidst a series of grisly murders. Starring Barbara Magnolfi, Flavio Bucci, Jessica Harper, Miguel Bosé and Stefania Casini. (97 minutes) 

BLACK SUNDAY (1960, Director Mario Bava) -- A vengeful witch and her fiendish servant return from the grave and begin a bloody campaign to possess the body of the witch's beautiful look-alike descendant. Only the girl's brother and a handsome doctor stand in her way.  Starring Andrea Checchi, Arturo Dominici, Barbara Steele, Ivo Garrani, John Richardson and Mario Passante. (88 minutes) 

FRANCESCA (2015, Director Luciano Onetti) -- Two detectives must hunt down a maniac bent on cleansing his city of impure souls. At the same time, a young girl who'd disappeared 15 years ago mysteriously resurfaces. Could these two events be connected?  Gustavo Dalessanro, Luis Emilio Rodrigues, Raul Gederlini and Silvina Grippaldi star. (80 minutes)

MADHOUSE (1981, Director Ovidio Assonitis) -- Julia has spent her entire adult life trying to forget the torment she suffered at the hands of her twisted twin Mary... but Mary hasn't forgotten. Escaping hospital, where she's recently been admitted with a horrific, disfiguring illness, Julia's sadistic sister vows to exact a particularly cruel revenge on her sibling this year - promising a birthday surprise that she'll never forget. Starring Dennis Robertson, Michael MacRae and Trish Everly.  (93 minutes) 

PHENOMENA (1985, Director Dario Argento) -- A young girl, with an amazing ability to communicate with insects, is transferred to an exclusive Swiss boarding school, where her unusual capability might help solve a string of murders.  Daria Nicolodi, Donald Pleasence, Federica Mastroianni, Fiore Argento and Jennifer Connelly. (116 minutes)

SONNO PROFONDO (2013, Director Luciano Onetti) -- A stylish, lush, and lurid film from Argentina, Sonno Profondo faithfully recreates the style of Italian horror films of the 70s. After murdering a woman, a killer that is traumatized from his childhood memories gets a mysterious envelope slipped under his door. The hunter becomes the prey when he finds out that the envelope contains photos that show him killing the young woman. Starring Daiana Garcia, Luciano Onetti and Silvia Duhalde. (67 minutes) 

THE NIGHT EVELYN CAME OUT OF THE GRAVE (1971, Directed by Emilio Miraglia) - A decadent English lord thinks his second wife is his first wife back from the dead.  Anthony Steffen, Enzo Tarascio and Marina Malfatti star. (101 minutes) 

YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY

(1972, Directed by Sergio Martino)-- As a string of violent murders plagues the town, a lecherous writer, Oliviero, is visited by his young, beautiful, and self-confident niece, Floriana. A silver-haired stranger observes. More women die, and thoughts of harming his wife give Oliviero new inspiration. What's Floriana's game and who's the observant stranger? Watching all is a black cat named Satan. Starring Anita Strindberg, Daniela Giordano, Edwidge Fenech, Ivan Rassimov and Luigi Pistilli. (97 minutes). 

Midnight Pulp is available on the web, iOS, Android, Roku, Apple TV, Amazon Fire TV, Chromecast, Samsung Smart TV and additional platforms, and features thousands of streaming titles, with new titles programmed each week.   Registered users can watch videos for free with commercials while premium subscribers can access the entire selection of titles without commercials, in addition to early releases, director's cuts and exclusive content.

[ericfruits]

The continuing influence of “The Conformist”

Normal people The continuing influence of “The Conformist”

Fifty years on, Bernardo Bertolucci’s portrait of fascism is still chilling

Books, arts and culture Prospero

Jul 1st 2020

by J.B. | VENICE

BORN IN 1941, Bernardo Bertolucci grew up amid the cultural renaissance of post-war Italy. The years of fascist rule were over; in cinema neorealism became eminent, while Italian chic was taking over the world of fashion. Bernardo’s father, Attilio Bertolucci, was a famous poet and film critic; Bernardo began writing aged 15 with a view to pursuing a career in poetry. It was at the University of Rome—and thanks to Attilio’s connections—that he was introduced to film-making. He worked as an assistant to Pier Paolo Pasolini, a neorealist director, and made his first film at 22. By 1970, and not yet 30, he had made five movies and collaborated with some of Italy’s most acclaimed auteurs.

It was in 1970 that Bertolucci would release his masterpiece. He counted among his friends Alberto Moravia, a novelist who had been so critical of Benito Mussolini’s regime that his books had been censored and he had been forced to write under a pseudonym. In 1951 Moravia had published “The Conformist”, a postmortem of fascism steeped in the same existential dread as Albert Camus’s “The Outsider” (1942). Bertolucci’s adaptation of “The Conformist”, which had its premiere 50 years ago on July 1st 1970, catapulted him to international fame.

The conformist of the title, Marcello Clerici (Jean-Louis Trintignant), longs to lead what he considers a “normal life”. In Rome in 1936, normality means joining the National Fascist Party, and Marcello uses his friendship with a right-wing intellectual to get a job interview at the secret police. The colonel who assesses Marcello considers him an enigma, motivated neither by ideology nor by money, yet accepts him to the force anyway. Indeed, Marcello seems willing to assume any intellectual posture. He goes to confession at the behest of Giulia (Stefania Sandrelli), his socialite fiancée, despite the fact that he is not a believer. His apparent embrace of Catholicism—much like his marriage and his fascism—is part of his pursuit of normality.

Marcello’s honeymoon provides the cover for his first mission as a thug for the Organisation for Vigilance and Repression of Anti-Fascism. The newlyweds set off for Paris, where he is to make contact with his old university tutor, Professor Quadri (Enzo Tarascio), whom the fascists want dead because of his vocal opposition to the regime. In Bertolucci’s non-linear narrative, the film begins in Paris on the morning of the assassination attempt as Marcello and an associate pursue Quadri and his wife, Anna (Dominique Sanda), through the snowy French countryside.

From there, the film jumps backwards and forwards in time, and flashbacks grasp at the mystery of what drives Marcello. Perhaps his need for normality is rooted in the dysfunction of his own upper-class family, given that his father is in an insane asylum and his mother is a morphine addict. Perhaps it is a result of a traumatic event in his childhood: the film suggests that Marcello was the victim of sexual abuse, but it is unclear what exactly took place and whether the young boy did kill his abuser in self-defence.

Throughout, the protagonist remains a slippery subject. Marcello readily admits that he doesn’t love Giulia and, once in Paris for their honeymoon, embarks on an affair with Anna, who in turn is intent on seducing Giulia herself. The only constant is Marcello’s indecision about whether he will go through with the murder. When given a gun, he strikes a series of poses, but later admits he doesn’t even know how to use it. His attitude is one of ironic detachment. His fascist salute seems like a provocative joke.

The film itself maintains an ironic detachment and there is a dissonance between the bitterness of the story and its cinematic beauty. The lush score is by Georges Delerue, who also provided the music for Jean-Luc Godard’s “Le Mépris” (1963), another adaptation of Moravia’s work. Vittorio Storaro’s cinematography is stunning: he uses a bright palette of golds and blues to evoke Paris, contrasting it with the shadowy greys of fascist Rome. The film’s aesthetic is influenced by American gangster movies, as well as by the so-called Telefoni Bianchi (“white telephone”) films of the fascist period, with impeccable period design and decadent villas. The colours, the way the camera moves and the editing all highlight that this is a production which, like Marcello, is well aware of its own posturing.

“The Conformist” would become a major influence on the “New Cinema” movement of the 1970s and early 1980s and on later artists. Francis Ford Coppola recruited Storaro to shoot “The Godfather Part 2” and “Apocalypse Now”, while the Coen Brothers used Bertolucci’s film as a visual template for their debut feature, “Blood Simple”. An alienated and unreliable antihero was a crucial part of Martin Scorsese’s “Taxi Driver”. An episode of “The Sopranos”, called “Pine Barrens”, is an extended homage to “The Conformist”.

Bertolucci’s work is chillingly relevant in 2020, too, given the recent rise of nationalist extremism. Despite its ambiguities “The Conformist” is uncompromising in its condemnation of Marcello: it suggests that his narcissistic nihilism is worse than fascism, even as it facilitates it. In the end, there is little difference between playing at being a fascist and being one.

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[mynameisrainycloud]

"Sono pazza...Sono completamente pazza ": Stefania Sandrelli and Enzo Tarascio in Il conformista (1970)