#Tullio Pinelli

[addictivecontradiction]

I vitelloni, 1953

[theaskew]

Three screenplays: I vitelloni. Il bidone. The temptations of Doctor Antonio, Federico Fellini, New York, Orion Press, 1970.

[adamwatchesmovies]

Lovers and Liars (1979)

It’s been a while since I’ve hated a movie as much as Lovers and Liars. Poorly edited, never funny, badly written and dated, I'm almost sure the movie itself was an afterthought and the real objective was to give Goldie Hawn an Italian vacation.

When Guido Massacesi (Giancarlo Giannini) learns his father has become gravely ill, he decides to go visit… but the womanizer refuses to travel alone. After her friend rejects his advance, American actress Anita (Hawn) decides to join him.

Two corpses stuffed into a barrel would have more chemistry than Hawn and Giannini do, which on its own is enough to doom this screwball comedy. Maybe it’s an Italian thing but there’s nothing to like about the male lead. He's married with a son but inviting them to join him as he goes to visit his father - perhaps for the last time - never crosses his mind. The trip is first and foremost an opportunity for Guido to see his mistress again. Is that supposed to be funny? At her apartment, we see first-hand how creepy this man gets. He spots his mistress naked in bed, undresses, slides under the sheets and starts pawing her like he's Brock Turner. She screams and kicks him out, which Anita finds irresistible. They go on the road together through some would-be hysterical adventures. After a while, she falls asleep. That’s Guido’s cue to start putting the moves on her. When Anita eventually agrees to his advances, you’ll want to barf.

You’d have to be a comedy scientist to recognize the pathetic, misshapen gags as they limply hobble by. In a small scenic town, everything is closed because it isn’t tourist season. Guido and Anita can’t get a cab! That’s it. That’s the joke. It’ll have you begging for a fart or crotch shot.

Scenes often end in a way that makes you wonder if you missed something, or if there isn’t a reel missing. I’ve read the picture originally ran around the two-hour mark. My version on VHS lasted 96 minutes. The missing scenes would explain why so much of the film was choppy and abrupt but this was torture at an hour and a half. Any more and my mind would’ve snapped.

Lovers and Liars is particularly frustrating because it gives you absolutely nothing. Some bad movies give you hours' worth of material to talk about. Others make you angry in a myriad of ways or provide entertainment in ways that weren’t intended. This? It’s a struggle to sit through and the effort needed to explain why you shouldn’t watch it was a chore. The sooner I forget about Lovers and Liars - and I will forget all about it - the better. (Full-screen version on VHS, June 9, 2021)

[graphicpolicy]

Arancia Studio announces an original graphic novel based on Legendary Director Federico Fellini’s Story, Napoli-New York

Arancia Studio announces an original graphic novel based on Legendary Director Federico Fellini’s Story, Napoli-New York #comics #comicbooks #graphicnovel

Arancia Studio has announced Napoli-New York, an original graphic novel written by French acclaimed writer Jean-David Morvan, based on the film manuscript of the same name by revered director Federico Fellini. The project was one of the last works from the legendary Italian director and was co-written by Opium Den writer Tullio Pinelli. Napoli-New York is a fictional story based on historical,…

[byneddiedingo]

Marcello Mastroianni in 8 1/2 (Federico Fellini, 1963) Casti: Marcello Mastroianni, Claudia Cardinale, Anouk Aimée, Sandra Milo, Rossella Falk, Barbara Steele, Madeleine Lebeau, Eddra Gale, Guido Alberti, Jean Rougeul. Screenplay: Federico Fellini, Ennio Flaiano, Tullio Pinelli, Brunello Rondi. Cinematography: Gianni Di Venanzo. Production design: Piero Gherardi. Film editing: Leo Catozzo. Music: Nino Rota.  At one point in 8 1/2 an actress playing a film critic turns to the camera and brays (in English), "He has nothing to say!", referring to Guido Anselmi, the director Marcello Mastroianni plays, and by extension to Fellini himself. And that's quite true: Fellini has nothing to say because reducing 8 1/2 to a message would miss the film's point. Guido finds himself creatively blocked because he's trying to say something, except he doesn't know what it is. He has even enlisted a film critic (Jean Rougeul) to aid him in clarifying his ideas, but the critic only muddles things by his constant monologue about Guido's failure. Add to this the fact that after a breakdown Guido has retreated to a spa to try to relax and focus, only to be pursued there by a gaggle of producers and crew members and actors, not to mention his mistress and his wife. Guido's consciousness becomes a welter of dreams and memories and fantasies, overlapping with the quotidian demands of making a movie and tending to a failed marriage. He is also pursued by a vision of purity that he embodies in the actress Claudia Cardinale, but when they finally meet he realizes how impossible it is to integrate this vision with the mess of his life. Only at the end, when he abandons the project and confronts the fact that he really does have nothing to say, can he realize that the mess is the message, that his art has to be a way of establishing a pattern out of his own life, embodied by those who have populated it dancing in a circle to Nino Rota's music in the ruins of the colossal set of his abandoned movie. The first time I saw this film it was dubbed into German, which I could understand only if it was spoken slowly and patiently, which it wasn't. Even so, I had no trouble following the story (such as it is) because Fellini is primarily a visual artist. Besides, the movie starred Mastroianni, who would have made a great silent film star, communicating as he did with face and body as much as with voice. It is, I think, one of the great performances of a great career. 8 1/2 is also one of the most beautiful black-and-white movies ever made, thanks to the superb cinematography of Gianni Di Venanzo and the brilliant production design and costumes of Piero Gherardi.

[agendaculturaldelima]

#ProyeccionDeVida

🎥 Kino Cat / Cine Tulipán, presenta:

🎬 “Ocho y medio” [8½ (Otto e mezzo)]

🔎 Género: Drama / Comedia / Cine dentro del cine / Surrealismo / Película de culto

⏰ Duración: 140 minutos

✍️ Guión: Tullio Pinelli, Federico Fellini, Ennio Flaiano y Brunello Rondi

🎼 Música: Nino Rota

📷 Fotografía: Gianni Di Venanzo

🗯 Argumento: Después de obtener un éxito rotundo, un director de cine atraviesa una crisis de creatividad e intenta inútilmente hacer una nueva película. En esta situación, empieza a pasar revista a los hechos más importantes de su vida y a recordar a todas las mujeres a las que ha amado.

👥 Reparto: Marcello Mastroianni (Guido Anselmi), Claudia Cardinale (Claudia), Anouk Aimée (Luisa Anselmi), Sandra Milo (Carla), Barbara Steele (Gloria Morin), Rossella Falk (Rossella) y Gilda Dahlberg (Journalist's Wife)

📢 Dirección: Federico Fellini

© Productoras:Cineriz & Francinex

🌏 Países: Italia-Francia

📅 Año: 1963

📽 Proyección:

📆 Martes 20 de Agosto

🕘 9:15pm. 

🐈‍ El Gato Tulipán (Bajada de Baños 350 – Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

[juliopison]

CINE El jardín de los Finzi Contini (1970) Título original: Il giardino dei Finzi-Contini Italia Dirección: Vittorio De Sica Idioma: Italiano con Subtítulos en Español

Atención: Solo para ver en PC o Notebook Para ver el Film pulsa el Link: https://artecafejcp.wixsite.com/escenario-cafejcp/post/el-jardin-de-los-finzi-contini-1970

Reparto: Ugo Pirro, Vittorio Bonicelli, Vittorio De Sica, Franco Bursati, Alain Katz, Tullio Pinelli, Cesare Zavattini

Género: Drama | Histórico. Años 30

SINOPSIS: Finales de los años treinta, Italia. Los Finzi Contini son una de las familias más influyentes de Ferrara: ricos, aristocráticos y judíos. Sus hijos, ya adultos, Micol y Alberto, tratan de crear un restringido círculo de amistades para poder jugar al tenis y celebrar fiestas, pero viven ajenos al mundo que los rodea. En ese círculo entra Giorgio, un judío de clase media que se enamora de Micol. Ella parece divertirse a su costa; incluso hace el amor con uno de sus amigos cuando sabe que Giorgio los está espiando. Al mismo tiempo que tienen lugar estos juegos sentimentales, el fascismo aprueba leyes que afectarán dramáticamente a los Finzi Contini. Drama basado en la novela homónima de Giorgio Bassani.

Críticas: Interesante cinta del gran Vittorio de Sica, no es de sus mejores trabajos, pero tiene su sello inconfundible, tiene sus obsesiones por un mundo en decadencia que no se da por enterado que se encuentra en el ocaso y también posee los amores enfermizos que producen asfixia. En esta obra retrata a un universo marchito, una sociedad que está a punto de caer en las fauces del demonio del fascismo de Mussolini. Cuenta la historia de una familia de ricos judíos, con dos hijos que viven en una mansión, con un gran jardín que da nombre al film, la hija mantiene una relación con dos amigos del pueblo, relación enfermiza, angustiosa, juega con ellos como con dos títeres en medio de un clima de opresión hacia los judíos que les va llegando poco a poco. Lo más destacable de las interpretaciones ha sido Dominique Sanda que está maravillosa en su papel de manipuladora, es una belleza cautivadora y turbadora. Recomendable para los que gusten del cine de Vittorio de Sica. Fuerza y honor!!! -Rafael Uriaga: Diario Universal

Premios: 1971: Oscar: Mejor película de habla no inglesa. 2 nominaciones 1971: Festival de Berlín: Oso de Oro, Premio Interfilm - Otto Dibelius 1972:Premios BAFTA: Nominada a Mejor fotografía 1970: Premios David di Donatello: Mejor película (ex-aequo) 1971: Asociación de Críticos Norteamericanos (NBR): Nominada a Mejores películas

Café Mientras Tanto jcp

[reginadeinisseni]

Ginger e Fred Official Trailer #1 - Marcello Mastroianni Movie (1986)

TONINO GUERRA Federico Fellini2 BALLERINI: QUANDO SI SEPARERANNO L UOMO ANDRA' IN MANICOMIOSoggetto Federico Fellini, Tonino Guerra. Sceneggiatura Federico Fellini, Tonino Guerra, Tullio Pinelli Produttore Alberto Grimaldi Fotografia Tonino Delli Colli, Ennio Guarnieri Montaggio Nino Baragli, Ugo De Rossi, Ruggero Mastroianni Effetti speciali Adriano Pischiutta Musiche Nicola Piovani Scenografia Dante Ferretti Trucco Amedeo Alessi Interpreti e personaggi Giulietta Masina: Amelia Bonetti/Ginger Marcello Mastroianni: Pippo Botticella/Fred Franco Fabrizi: Aurelio, il presentatore Ezio Marano: scrittore Totò Mignone: Totò Jacques Henri Lartigue: Frate Gerolamo Augusto Poderosi: Evelina Pollini Friedrich von Ledebur: ammiraglio Aulenti Friedrich von Thun: Armando Bissanti Antonino Iuorio: ispettore di produzione Fabrizio Fontana: Floris Tartarina Barbara Scoppa: Barbara, giornalista di gossip Elisabetta Flumeri: giornalista Claudio Botosso: giornalista nello studio televisivo Salvatore Billa: Clark Gable Leonardo Petrillo: Marcel Proust Daniele Aldrovandi: Marty Feldman Eolo Capritti: Telly Savalas Ginestra Spinola: chiromante Sergio Ciulli: figlio della chiromante Elena Cantarone: infermiera Alex Partexano: marinaio Stefania Marini: Stefania Roberto Accornero: autista pulmino Francesco Casale: Catanzaro, il mafioso Rosario Galli: Angelo Stefano Gragnani: De Nittis Ennio Antonelli: il facchino Giorgio Juorio: Salvatore Gianfranco Alpestre: avvocato rapito Franco Marino: impresario nani Davide Marotta: un nano Ivano Marescotti: un uomo del presidente Doppiatori originali Alberto Lionello: presentatore Tv Gianni Bonagura: Totò Mario Maranzana: Frate volante Corrado Gaipa: L'ammiraglio Aulenti Marco Bresciani: Travestito Oreste Lionello: presidente della rete televisiva, Woody Allen, scrittore Claudio Capone: un intervistatore Enzo Liberti: cameriere Pino Ammendola: onorevole Tartina Pino Insegno: cameriere Oreste Rizzini: presidente TV Solvejg D'Assunta: signora Silvestri, attrici, donna con corona Carlo Croccolo: signor Guadascone, frate guardiano Mario Maranzana: frate Gerolamo Piero Tiberi: Angelo HD

[addictivecontradiction]

I vitelloni, 1953

[harrypotterhousequotes]

SLYTHERIN: "Even the most miserable life is better than a sheltered existence in an organized society where everything is calculated and perfected." –Federico Fellini + Ennio Flaiano + Tullio Pinelli + Brunello Rondi (Steiner: La Dolce Vita)

[sesiondemadrugada]

L'amore in città (1953).

[genevieveetguy]

- I am ignorant, but I read books. You won't believe it, everything is useful... this pebble for instance. - Which one? - Anyone. It is useful. - What for? - For... I don't know. If I knew I'd be the Almighty, who knows all. When you are born and when you die... Who knows? I don't know for what this pebble is useful but it must be useful. For if its useless, everything is useless. So are the stars!

La strada, Federico Fellini (1954)

[byneddiedingo]

Franco Fabrizi, Franco Interlenghi, Leopoldo Trieste, Riccardo Fellini, and Alberto Sordi in I Vitelloni (Federico Fellini, 1953) Cast: Franco Interlenghi, Alberto Sordi, Franco Fabrizi, Leopoldo Trieste, Riccardo Fellini, Leonora Ruffo, Jean Brochard, Achille Majeroni, Guido Martufi. Screenplay: Federico Fellini, Ennio Flaiano, Tullio Pinelli. Cinematography: Carlo Carlini, Otello Martelli, Luciano Trasati. Production design: Mario Chiari Film editing: Rolando Benedetti. Music: Nino Rota. The international success of I Vitelloni launched Federico Fellini's directing career after the comparative failures of Variety Lights (1951), which he co-directed with Alberto Lattuada, and The White Sheik (1952), his first solo directing effort. It also earned him an Oscar nomination for screenwriting, which he shared with Ennio Flaiano and Tullio Pinelli. It's certainly one of his most endearing early films, made before his familiar mannerisms set in -- though there are glimpses of those in the tawdry theatrical sequence with the grotesque aging actor played by Achille Majeroni (a part that Fellini tried to persuade Vittorio De Sica to play). But somehow it has taken me several viewings over the years to fully appreciate it. I think that's because Fellini's greatest films have a strong central character -- usually played by Giulietta Masini or Marcello Mastroianni -- to hold the narrative together. I Vitelloni is by definition and title an ensemble picture, but it's also the first of Fellini's excursions into himself, concluding with the Fellini surrogate, Moraldo Rubini (Franco Interlenghi) boarding a train that will take him away from the idlers of his provincial home town -- and presumably to Rome, where he will become the jaded Marcello Rubini of La Dolce Vita (1960) and the blocked director Guido Anselmi of 8 1/2 (1963). The problem is that the character of Moraldo isn't written strongly enough or given enough substance by the actor: Interlenghi, who was discovered by Roberto Rossellini and cast in Shoeshine (1946), had a long career in films and TV in Italy, but the part in I Vitelloni demands someone with more charisma -- a young Mastroianni, in short. Moraldo is overshadowed by the womanizing Fausto (Franco Fabrizi) and by the comic figures of Alberto (Alberto Sordi) and Leopoldo (Leopoldo Trieste). The scenes that should develop Moraldo as a central figure don't quite work, particularly the early-morning encounters with Guido (Guido Martufi), a boy on his way to work at the railroad station -- a sharp counterpoint to the idling vitelloni. "Are you happy?" Moraldo asks the boy. "Why not?" he replies. The exchange seems designed to undercut the frenetic strivings and complaints of the vitelloni, who chafe against the boredom and provinciality of the town, but don't seem to be able to muster enough resolve to do something about it, instead continuing to pursue phantoms of creative or sexual success. The trouble with the Moraldo-Guido scenes is that they come out of nowhere narratively -- and even have oddly uncomfortable (and probably unintended) hints of pedophilia on Moraldo's part. Nor do they satisfactorily set up the film's ending: Moraldo departs and we see Guido walking along the train tracks, the former facing up to the uncertain future, the latter heading comfortably back into his routine. Still, it's a film held together by the score by Fellini's great collaborator Nino Rota, and filled with the boundless energy that often rescued Fellini from his worst impulses.