#Orazio Orlando

[dare-g]

Investigation of a Citizen Above Suspicion (1970)

[falsenote]

Investigation of a Citizen Above Suspicion (1970) / The Working Class Goes Directly to Heaven, without Passing Go, 1973 / Gian Maria Volonté by Ferenc Dániel, 1978

[scenesandscreens]

The Adventures of Pinocchio. (1972)

Director - Luigi Comencini, Cinematography - Armando Nannuzzi

"Once upon a time, there was..."

[aburninghill]

Café Musain and Les Amis de l’ABC from Episode 6, “I FIGLI DI WATERLOO” (Waterloo’s sons), of I Miserabili (1964) dir. Sandro Bolchi. 

Orazio Orlando as Lèsgle/Bossuet, Stefano Varriale as Courfeyrac, Roberto Bisacco as Mario (Marius), Claudio Sora as Enjolras, Daniele Tedeschi as Combeferre, Carlo Reali as Prouvaire, Franco Odoardi as Feuilly, and Antonio Meschini as Grantaire.

[alexlacquemanne]

Mai MMXXIII

Films

Quand la Panthère rose s'emmêle (The Pink Panther Strikes Again) (1976) de Blake Edwards avec Peter Sellers, Herbert Lom, Leonard Rossiter, Colin Blakely, Lesley-Anne Down, André Maranne, Michael Robbins et Burt Kwouk

Le Dimanche de la vie (1967) de Jean Herman avec Danielle Darrieux, Jean-Pierre Moulin, Olivier Hussenot, Françoise Arnoul, Berthe Bovy, Anne Doat, Hubert Deschamps et Jean Rochefort

Romance inachevée (The Glenn Miller Story) (1954) de Anthony Mann avec James Stewart, June Allyson, Henry Morgan, Charles Drake, George Tobias et Barton MacLane

La Canonnière du Yang-Tsé (The Sand Pebbles) (1966) de Robert Wise avec Steve McQueen, Richard Attenborough, Richard Crenna, Candice Bergen, Marayat Andriane et Makoto Iwamatsu

Deux Heures moins le quart avant Jésus-Christ (1982) de Jean Yanne avec Coluche, Michel Serrault, Jean Yanne, Michel Auclair, Françoise Fabian, Mimi Coutelier et Darry Cowl

Le Dernier Voyage (2020) de Romain Quirot avec Hugo Becker, Paul Hamy, Lya Oussadit-Lessert, Jean Reno, Bruno Lochet et Émilie Gavois-Kahn

Le Dernier Métro (1980) de François Truffaut avec Catherine Deneuve, Gérard Depardieu, Heinz Bennent, Jean Poiret, Andréa Ferréol, Paulette Dubost, Jean-Louis Richard et Maurice Risch

Les cadavres ne portent pas de costard (Dead Men Don't Wear Plaid) (1982) de Carl Reiner avec Steve Martin, Rachel Ward, Carl Reiner, Reni Santoni, George Gaynes, Barbara Stanwyck, Ava Gardner, Burt Lancaster, Humphrey Bogart, Cary Grant et Ingrid Bergman

Docteur Folamour ou : comment j'ai appris à ne plus m'en faire et à aimer la bombe (Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb) (1964) de Stanley Kubrick avec Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, Slim Pickens, Peter Bull et Tracy Reed

Un homme est passé (Bad Day at Black Rock) (1955) de John Sturges avec Spencer Tracy, Robert Ryan, Anne Francis, Dean Jagger, Walter Brennan, John Ericson, Ernest Borgnine et Lee Marvin

Le Monde, la Chair et le Diable (The World, The Flesh and the Devil) (1959) de MacDougall avec Harry Belafonte, Inger Stevens et Mel Ferrer

La Belle Saison (2015) de Catherine Corsini avec Izïa Higelin, Cécile de France, Noémie Lvovsky, Kévin Azaïs, Lætitia Dosch et Benjamin Bellecour

Le Grand Embouteillage (L'ingorgo) (1979) de Luigi Comencini avec Annie Girardot, Fernando Rey, Miou-Miou, Gérard Depardieu, Ugo Tognazzi, Marcello Mastroianni, Stefania Sandrelli, Alberto Sordi, Orazio Orlando, Gianni Cavina, Harry Baer et Ángela Molina

Ariane (Love in the Afternoon) (1957) de Billy Wilder avec Gary Cooper, Audrey Hepburn, Maurice Chevalier, Van Doude, John McGiver et Lise Bourdin

Voici le temps des assassins (1956) de Julien Duvivier avec Jean Gabin, Danièle Delorme, Gérard Blain, Lucienne Bogaert, Germaine Kerjean, Gabrielle Fontan et Jean-Paul Roussillon

Séries

Castle Saison 1, 2

Des fleurs pour ta tombe - Jeunes Filles au père - Amis à la vie, à la mort - Sexe, Scandale et Politique - Calcul glacial - La Piste du vaudou - Crimes dans la haute - Mémoires d’outre-tombe - Où est Angela ? - Double face - La Mort à crédit - Quitte ou Double - L'Enfer de la mode - L'Escroc au cœur tendre - L'auteur qui m'aimait - Pour l'amour du sang - Dernières paroles

Coffre à Catch

#113 : Unforgiven 2008 : Matt Hardy will not die ! - #114 : Matt Hardy champion, les débuts de Jack Swagger ! - #115 : La ECW, c'est bien, mais avec Vianney c'est mieux ! - #116 : Maryse : Pourquoi es-tu si belle? - # 117 : All Star Main Event + Gérard Lenorman !

James May : Notre Homme au Japon

Allez ! - Chou farci - Déodorant - Salut Bim ! - Le garçon de la pêche - Prune salée

Friends Saison 8

Celui qui venait de dire oui - Celui qui avait un sweat rouge - Celui qui découvrait sa paternité - Celui qui avait une vidéo - Celui qui draguait Rachel - Celui qui perturbait Halloween - Celui qui voulait garder Rachel - Celui qui engageait une strip-teaseuse - Celui qui avait fait courir la rumeur - Celui qui défendait sa sœur - Celui qui ne voulait pas aller plus loin - Celui qui passait une soirée avec Rachel - Celui qui découvrait les joies du bain - Celui qui découvrait le placard secret - Celui qui visionnait la vidéo de l'accouchement - Celui qui avouait tout à Rachel - Celui qui voyait dans les feuilles de thé - Celui qui était trop positif

Inspecteur Barnaby Saison 8

Un cri dans la nuit - Les Régates de la vengeance - Requiem pour une orchidée - Pari mortel - Double vue - Le Saut de la délivrance - L'assassin est un fin gourmet - Rhapsodie macabre

L'agence tous risques Saison 4, 5

Qui est qui ? - Cowboy George - La roue de la fortune - Services en tous genres - Club privé - Harry a des ennuis - Un monde de fou - La mission de la paix - Les orages du souvenir - Un témoin capital : 1re partie - Condamnation : 2e partie - Exécution : 3e partie - Match au sommet - Théorie de la révolution - Mort sur ordonnance - Une vieille amitié

Columbo Saison 2

Rançon pour un homme mort - Requiem pour une star

Les Petits Meurtres d'Agatha Christie Saison 3

Jusqu'à ce que la mort nous sépare - Meurtres du troisième type

Affaires Sensibles

Algues vertes : le danger qui empoisonne la Bretagne - James Jesus Angleton : paranoïa à la CIA - THE GRIM SLEEPER : Le faucheur en embuscade 1985-2007 - La création du festival de Cannes - 2000, les Jeux paralympiques de Sydney : la fraude des basketteurs espagnols

Bardot

Une enfant sage - B.B - La Madrague - Le papillon - Bébé - La vérité

Les Enquêtes de Morse saison 9

Mascarade - Prélude - Sorties de scène

James May's Cars of the People Saison 1, 2

Transports et totalitarisme - Rien n'arrête les nouilles - Les voitures qui nous ont toujours fait rêver - La puissance de la vapeur - 4x4 - Boom (et effondrement) d'après-guerre

The Grand Tour Saison 4, 3, 1, 2

The Grand Tour présente… Seamen - The Grand Tour présente… La Chasse au trésor - Eaux salées et eaux douces - The Grand Tour: A Scandi Flick - Virée à l’Italienne - Spéciale Colombie : Première partie - Spéciale Colombie ; Deuxième partie - Oh, Canada - Coup de vieux

Livres

Orage de chaleur de Richard Castle

Cinq Gars pour Singapour de Jean Bruce

Lucky Luke, tome 27 : Le 20ème de cavalerie de Morris et René Goscinny

Garôden de Jirô Taniguchi et Baku Yumemakura

Une enquête du commissaire Dupin : Etrange printemps aux Glénan de Jean-Luc Bannalec

Détective Conan, tome 9 de Gôshô Aoyama

Il était une fois… Le cinéma, Tome 1 : Des frères Lumière à Charlie Chaplin de Jean-Pierre Georges et Dentiblu

[joseandrestabarnia]

La despedida de Angélica y Medoro a los pastores. Orazio Fidani (Florencia 1606 - 1656) 1634 Pintura al óleo sobre lienzo 230x340 cm Inventario 1890 n. 3559

El episodio ilustrado, extraído del Orlando furioso de Ludovico Ariosto, no suele traducirse a la pintura y, por tanto, el pintado por Orazio Fidani constituye uno de los ejemplos más interesantes. En el canto XIX Ariosto habla del apuesto soldado sarraceno Medoro, herido en la batalla donde murieron el rey Dardinello y su amigo Cloridano, hospitalizado con una familia de pastores y aquí cuidado por la bella Angélica de la que se enamora. La escena ilustra el momento en el que Medoro, ya recuperado, se dispone a salir de la casa de sus invitados junto a su amada. Angélica, sentada a la derecha, entrega a su invitada una pulsera: ese "círculo dorado, adornado/ con ricas gemas" que Orlando le había regalado en señal de su amor. Cuando el conde, al llegar a casa del pastor, reconozca el collar, tendrá pruebas del amor entre los dos jóvenes, y a partir de ese momento comenzará su locura.

La ambientación al aire libre confiere a la escena ese tono rústico y elegante muy querido por los pintores florentinos de la década de 1630, impresionados por las novedades romanas que llegaban a Florencia tanto por la estancia de artistas venidos de Roma como por las obras llegadas a través de los Medici. y noble coleccionismo. Por otra parte, es típico de la tradición florentina, y de este autor en particular, el gusto por las sofisticadas soluciones formales en las coreografías, en las poses teatrales de los personajes, tal como se imaginan en un escenario teatral, y en los elegantes trajes, elegidos en cuidadosamente estudiados diseños. gamas de colores.

Información de la web de la Gallerie degli Uffizi, imagen de mi autoría.

[lamilanomagazine]

Montagnano: Riflettori puntati sul Giogo, al via la rassegna di teatro popolare.

Montagnano (AR): Riflettori puntati sul Giogo, al via la rassegna di teatro popolare. Il salotto a cielo aperto di Piazza della Chiesa a Montagnano è pronto ad aprire le sue porte. La XXXIIª edizione del Premio europeo di teatro popolare “Il Giogo” si prepara ad ospitare compagnie provenienti da tutta Italia. Un weekend lungo di spettacoli apre la prima settimana di rassegna, che si completerà la settimana successiva con altri quattro appuntamenti dove il teatro sarà l’assoluto protagonista. Si parte: da giovedì 29 giugno a domenica 2 luglio saliranno sul palco quattro compagnie di teatro popolare provenienti dalla Toscana, dall’Umbria e dalla Campania. La prima compagnia a salire sul grazioso palcoscenico di Piazza della Chiesa sarà la Compagnia Teatrale ‘La Nave dei Folli’ di Arezzo con lo spettacolo “L’usciere”, una storia che parla – sotto forma di parodia – delle figure di vittima e carnefice. “L’uscire” protagonista gestisce l’ingresso di un improbabile inferno dantesco, ma un banale errore ribalterà completamente la sua posizione, trasformandolo da carnefice a vittima. Gli interpreti sono Susy Lecca, Stefania Papini, Leonardo Fusai, Roberto Arrigucci e Claudio Giaccherini. Il testo e la regia sono di Roberto Arrigucci. Da Arezzo ad Assisi: venerdì 30 giugno è la volta dell’Associazione Teatrale ‘Le Voci Dentro’ con “Sogno di una notte di mezza sbornia”, una commedia liberamente tratta da “La fortuna di diverte” di Athos Setti. Una storia di sogni, vincite al lotto, superstizioni e credenze popolari di un’umanità dolente che solo in questo modo riesce a pensare a un futuro migliore, per sopravvivere al proprio presente. Gli interpreti sono Gianni Bevilacqua, Anna Gioconda Santovito, Giacomo Affricani, Susanna Peppoloni, Giuseppe Brizi, Raffaele Lombardo, Monica Barbanera, Alfio Rosati e Teresa Scialla. La regia è di Gianni Bevilacqua. Da Assisi scendiamo verso sud fino ad arrivare a Salerno. A Montagnano arriva la ‘Compagnia Bellizzi’, che sabato 1° luglio farà divertire e riflettere il pubblico del Giogo con la loro commedia “Quaranta ma non li dimostra”. Un padre vedovo un po’ all’antica è alle prese con le sue figlie, e in particolare con la maggiore delle tre, Sesella, che non riesce a trovare marito. Il tentativo da parte del padre di “sistemarla” con un bravo ragazzo finisce per peggiorare la situazione. Nonostante il tema di fondo malinconico, lo spettacolo è estremamente comico, con ritmi serrati e un crescendo di divertimento. Gli interpreti sono Antonio e Maria Sannino, Alvaro Vitolo, Costanza Prezioso, Carmine Rossino, Simona Carbone, Eleonora ed Antonio Altieri, Alberto Di Pasquale e Orlando Cerrato. La regia è di Antonio Sannino. Dalla Campania si torna in Toscana, più precisamente a Cascina, in provincia di Pisa. Domenica 2 luglio sul palco del Giogo c’è la ‘Compagnia L’Anello’ che presenta lo spettacolo “Taxi a due piazze”, una classica commedia degli equivoci dell’autore britannico Ray Cooney. È una storia di ordinaria follia, dove il protagonista è costretto, suo malgrado, a tenere in equilibrio un numero crescente di bugia e comune un maldestro giocoliere finirà per venirne sopraffatto. Fino a quando anche la verità sembrerà l’ennesima e (meno) credibile menzogna. Gli interpreti sono Grazia Gianni, Alessandra Bareschino, Orazio Cioffi, Achille Marciano, Simone Franchini, Olga Favara e Nicola Barbuti. La regia è di Luca Lunedì.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[librairiemelodieensoussol]

Cassette Vidéo VHS ~ Speed Driver Bonjour à tous Collectionneur et passionné de vhs depuis les années 90 j'en ai fait mon métier et vous pouvez me retrouver sous le nom de Librairie Melodie en Sous-Sol  Tous les films ont été testés avant d'être mis en vente et fonctionnent bien ! Pour un envoi vers international merci de me contacter avant svp Ensemble en bon état général Film testé et ok Edition #LesProductionsduTigre Rare Synopsis La Mort au bout de la route, parfois commercialisé sous son titre original #SpeedDriver, est un film d'aventure hispano-ouest-germano-italien réalisé par #StelvioMassi et sorti en 1980. Avec #FabioTesti, #SentaBerger, Orazio Orlando... #librairiemelodieensoussol  #melodieensoussol #oiseaumortvintage #libraire #librairie #librairiemarseille #librairieparis #librairieindependante #librairieenligne #librairiedoccasion #livresdoccasion #bookstagram #booklover #cassettevideo #vhs #vhstape #vhsavendre #videoclub #videoclubmarseille #vhscollection #vhscollector #vhssurvivor https://www.instagram.com/p/CpM5QO5tvOi/?igshid=NGJjMDIxMWI=

[mariocki]

Poliziotto sprint (Highway Racer, 1977)

"No whiskey. Whenever Il Nizzardo beat the driver of a squad car, he used to drink a bottle of champagne to celebrate - two bottles if it was that son of a bitch Tagliaferri!"

"Alright, then we'll drink champagne and think of that asshole Tagliaferri."

"Only I call him a son of a bitch."

"But they're all assholes, really, aren't they?"

"No, not Tagliaferri. Tagliaferri is a man. He just stands on the other side."

[genevieveetguy]

The people are minor and, therefore, we have no choice but to repress: The repression is our vaccine!

Investigation of a Citizen Above Suspicion (Indagine su un cittadino al di sopra di ogni sospetto), Elio Petri (1970)

[giallofever2]

1969/1970

Delle Bellissime Foto di scena e sul Set

Beautiful Pics on set for the Masterpiece

“1971 WON the Academy Award for Best Foreign Language Film 🇮🇹 / 1971 VINCITORE del Premio Oscar per il miglior film straniero 🇮🇹”

Indagine Su Un Cittadino Al Di Sopra Di Ogni Sospetto

Also Known As (AKA)

Argentina Investigación de un ciudadano sobre toda sospecha

Belgium (Flemish title) Onderzoek naar een burger boven alle verdenking

Brazil Investigação Sobre um Cidadão Acima de Qualquer Suspeita

Denmark Undersøgelse af en borger hævet over enhver mistanke

Finland Epäilyksen yläpuolella

Finland (alternative title) Epäilysten ulkopuolella

France Enquete sur un citoyen au-dessus de tout soupcon

Greece (transliterated) Yoerano pasis ypopsias

Greece Υπεράνω Πάσης Υποψίας

Hungary Vizsgálat egy minden gyanú felett álló polgár ügyében

Lithuania Tyrimas del neitartino piliečio

Norway Hevet over mistanke

Peru Investigación de un ciudadano libre de toda sospecha

Poland Śledztwo w sprawie obywatela poza wszelkim podejrzeniem

Portugal Inquérito a Um Cidadão Acima de Qualquer Suspeita

Serbia Istraga nad besprekornim građaninom

Soviet Union (Russian title) Дело гражданина вне всяких подозрений

Spain Investigación sobre un ciudadano libre de toda sospecha

Sweden Undersökning av en medborgare höjd över alla misstankar

Sweden (video title) Mördaren utan ansikte

Switzerland (German title) Ermittlungen gegen einen über jeden Verdacht erhabenen Bürger

Turkey (Turkish title) Her Türlü Kuskunun Ötesinde Bir Vatandas Üstüne Sorusturma

Ukraine Слiдство у справi громадянина поза всякими пiдозрами

USA Investigation of a Citizen Above Suspicion

Uruguay (original subtitled version) Investigación de un ciudadano sobre toda sospecha

West Germany Ermittlungen gegen einen über jeden Verdacht erhabenen Bürger

World-wide (English title) Investigation of a Citizen Above Suspicion

Directed by Elio Petri

Music by Ennio Morricone

Writing Credits

Elio Petri ... (story and screenplay)

Ugo Pirro ... (story and screenplay)

Filming Dates

1969

Release Dates

Italy 12 February 1970 (Milan)

Italy 20 February 1970 (Rome)

Italy 3 March 1970 (Turin)

France 3 May 1970 (Cannes Film Festival)

Finland 9 September 1970

Denmark 17 September 1970

Sweden 30 September 1970

France 16 October 1970

West Germany 13 November 1970

USA 20 December 1970 (New York City, New York)

Australia 31 December 1970

Serbia 13 January 1971 (Belgrade Film Festival)

Belgium 15 January 1971 (Gent)

USA February 1971 (Los Angeles, California)

Norway 11 February 1971

UK 25 March 1971

Uruguay 5 April 1971

Argentina 20 May 1971

Hungary 17 June 1971

Ireland 19 November 1971

Poland July 1972

Iceland 30 September 2010 (Reykjavik International Film Festival)

France 16 March 2011 (re-release)

USA 17 July 2013 (Maine International Film Festival)

technical specifications

Runtime 1 hr 55 min (115 min)

1 hr 55 min (115 min) (1970) (Norway)

Filming Locations

Incir De Paolis, Rome, Lazio, Italy

Rome, Lazio, Italy

Via del Tempio, Rome, Lazio, Italy

Cast

Gian Maria Volonté: il "Dottore" (dirigente di polizia)

Florinda Bolkan: Augusta Terzi

Gianni Santuccio: Questore

Salvo Randone: idraulico

Orazio Orlando: brigadiere Biglia

Arturo Dominici: dott. Mangani

Aldo Rendine: dott. Panunzio

Sergio Tramonti: anarchico Antonio Pace

Vittorio Duse: Canes

Massimo Foschi: marito di Augusta Terzi

Fulvio Grimaldi: Patanè, giornalista di Paese Sera

Vincenzo Falanga: Pallottella

[memoriastoica]

Il profumo della signora in nero (1974)

[dimensionesogno]

MA L'AMORE NO

MA L’AMORE NO

ATTO PRIMO “Guardando le rose fiorite stamani, io penso che domani saranno appassite. E tutte le cose son come le rose che vivono un giorno, un’ora e non più.” Quanto pessimismo individuale e cosmico! Quanta sfiga personale e collettiva! Quale disgrazia incombe su questi uomini di ieri, su queste donne appassionate e devote, sempre di ieri cinquanta, baffute e naturali, senza trucco e senza…

[aburninghill]

Scenes from Episode 6, “I FIGLI DI WATERLOO” (Waterloo’s sons), of I Miserabili (1964) dir. Sandro Bolchi. Orazio Orlando as Lèsgle/Bossuet, Stefano Varriale as Courfeyrac, and Roberto Bisacco as Mario (Marius).

Lèsgle and Courfeyrac teasing Marius about his vague political ideas and teasing one another.

Lèsgle has a much larger role in this adaptation than others 

[johnnymundano]

The Perfume of the Lady in Black (AKA Il profumo della signora in nero) (1974)

Directed by Francesco Barilli

Screenplay by Francesco Barilli and Massimo D'Avack

Story by Francesco Barilli and Massimo D'Avack

Music by Nicola Piovani

Country: Italy and France

Running Time: 101 minutes

CAST

Mimsy Farmer as Silvia Hacherman

Lara Wendel as Silvia Hacherman (child)

Maurizio Bonugli as Roberto

Jho Jenkins as Andy

Mario Scaccia as Signor Rossetti

Donna Jordan as Francesca Vincenzi

Orazio Orlando as Nicola

Nike Arrighi as Orchidea

Renata Zamengo as Marta

Aleka Paizi as Signorina Cardini

When is a giallo not a giallo? When it’s The Perfume of the Lady in Black. Nevertheless, in a move sure to incense giallo purists, I’ve tagged The Perfume of the Lady in Black as a giallo, but it isn’t really a giallo; it’s a lot more interesting, far more sophisticated. Ooh la la, indeed. If The Perfume of the Lady in Black is a lady then she makes your standard giallo look like a dockside tart. But since it isn’t a lady and is in fact a 1970s Italian movie dripping with style, violence and fractured psyches - under “giallo” it goes. Purely for convenience really.  Much like with my post on Short Night of the Glass Dolls (1971) the giallo tag is a bit of a red herring. But red herrings are very giallo, so there you go. And the “there” to which you are going is hopefully showing the slow burn brain-melt symphony in pastel grotesquery that is The Perfume of the Lady in Black.

The ethereal giallo staple Mimsy Farmer plays Silvia, a chemist who works with brightly coloured liquids when she isn’t wandering about in unfortunate pant suits having flashbacks to “the man from the pet shop” heatedly groining atop her mother while staring right at Silvia. The nature of flashbacks being what they are, the Silvia he’s leering at is just a child (Lara Wendel); this is unpleasant stuff to have in your head. Silvia is obviously  “troubled” or “not the full shilling” as my mum would say. Luckily, the people in Silvia’s apartment building and her life are a supportive lot.  Francesca (Donna Jordan) is an extroverted walking  fashion plate always up for a game of tennis, or a walk in the park; where old men in straw hats can ogle them in that “cheeky” ‘70s fashion that has aged really, really badly. Nothing untoward though, about the intentions of neighbouring widower Signor Rossetti (Mario Scaccia), a kindly man with a thing for hippos and a penchant for pretending he’s run out of tea, purely so he can linger in Silvia’s captivating presence.  And for romance there’s Roberto (Maurizio Bonugli) who acts like a, well, like a bit of an overbearing, insensitive dick actually. Mind you, that might have been the ‘70s idea of a perfect partner; the ‘70s was an odd time. With suppressed memories starting to surface and the uncanny increasingly encroaching into her everyday reality, the stage is languorously set for Silvia’s topple into a hysterical nightmare.  Yet, whatever mental storms may assail her, the support of Silvia’s chums and lover ensure she’s well placed to weather them. Or maybe not...after all, if you can’t trust yourself who can you trust?

Now, even though the print I watched was kind of washed out, making pastel the predominating shade, this pallid aspect couldn’t disguise the meticulous use of colour in The Perfume of the Lady in Black. In a very literal sense then, The Perfume of the Lady in Black is something that has to be seen to be believed. The use of colour in giallo usually comes way down the list of identifying characteristics, after the more crowd-pleasing stuff like sadistic murders, shiny black gloves and the salty tang of misogyny, but the use of colour is (usually) one of their more striking features. Mostly this is limited to the use of primary colours; particularly blue, green and red. The Perfume of the Lady in Black isn’t strictly a giallo, but it is just as notable for its use of colour. Maybe even more so, in fact. And just as it is a far classier movie clad in giallo rags, its use of colour is more varied and applied with a meticulousness verging on the obsessive. Much of the movie takes place in interiors (perhaps even within the ultimate interior of Silvia’s head),  so Barilli and crew can exert total control over the colour schemes they contain.

And exert that control they do. Pretty much every scene has a few basic colours echoing through the elements within. The eye bounces from the cream of Silvia’s hair, to the egg nog of her trousers, over to a lemony ornament, which is graced by a royal blue detail linked visually to an azure rug atop which is a table on which rest crockery detailed with ink blue patterning. That’s a hypothetical example, obviously. But once you notice this painstaking  attention to detail it’s impossible to ignore. It became quite distracting in fact. My eye would be busy ping-ponging about, drawing invisible lines from colour to colour, while the movie went about its narrative business and I was left nonplussed by the sudden appearance of a female finger in some cat food. But that’s why God invented rewind. Unfortunately when it comes to actually decoding the colour in The Perfume of the Lady in Black, well, I’m no film scholar; I’m just a boy standing in front of a movie wondering what the hell it means. Just like you (although you might be a girl; it’s not the ‘70s anymore, so I hear).

The key to the colours I think is the control. The key to The Perfume of the Lady in Black itself appears to be control. Silvia is losing hers, in short. But it seems as the movie progresses that Silvia may have been losing her control for some time, she is certainly living in fear of the loss of control. And so she exerts excessive control on her surroundings. The colourfulness of her surroundings act as misdirection; colour is fun, colour is healthy! Look at her mum all clad in black, jumping in the sack with the pet shop man, while her husband is away on the seas with his maritime beard. She’s a wrong ‘un, is mum. So, colour is good and Silvia has colour everywhere, and everywhere Silvia goes there is colour. But it’s a lie. The colour is a lie, and the truth hides in plain sight via the control. The level of control is unhealthy. 

The telling contrast is found in Francesca. At one point Francesca answers her chic see-through phone and we see her room; she is reclining in an explosion of colour; it is a fantastically vulgar assault on the eyes, shouting out her lack of restraint. Silvia is uptight and Francesca is carefree; it’s all in the colours, see.  Francesca is basically the mirror, the healthy double, of Silvia; but if Silvia is wrong (and we find out just how wrong Silvia is as the film goes along) then Francesca is right. Francesca flits about, tied down to no one and open to everyone and everything new. Silvia is a creature of habit surrounded by known quantities; enjoyment doesn’t come into it, it’s about safety; and safety’s about discipline. And unfortunately Silvia’s discipline is slipping because someone may have given it a push…

Be warned, 21st century creatures, The Perfume of the Lady in Black has a bit of ‘70s Colonialism marring its portrayal of the pivotal African characters, but, to be fair, this does sneakily ricochet back on your natural presumptions in the fantastically insane denouement. Also, important to note for high-speed moderns The Perfume of the Lady in Black isn’t in any hurry; it glides sedately along, striking subtle notes of wrongness until you eventually realise that rather than nothing happening, in fact all kinds of terrible things have been happening. The only thing not up for grabs is the fact that the titular lady in black is Silvia’s mother, and the way she hammers that old timey atomiser in her creepy appearances her perfume must indeed saturate every scene she’s in. As for everyone else, no matter their smiles their scenes carry only the aroma of bullshit. Trust no one, trust nothing and fear everything, are pretty good rules for navigating the nightmarish labyrinth of The Perfume of the Lady in Black. But no matter what you do, much like Silvia, you won’t believe where it’s all going to end up. Whatever you imagine - it’s worse.

[itallija7212-blog]

Итальянские имена "N-O"

https://italyproject.ru/vitaitaliana_nomiitaliani_no/ Итальянские имена "N-O"

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