#giovanna galletti

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Rome, Open City (Roma città aperta) (1945) Roberto Rossellini

June 22nd 2024

[erstwhile-punk-guerito]

[moviemosaics]

Kill, Baby, Kill

directed by Mario Bava, 1966

[perfettamentechic]

27 aprile … ricordiamo …

27 aprile … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2023: Giovanni Lombardo Radice,  noto anche con lo pseudonimo di John Morghen, attore, sceneggiatore e regista teatrale italiano. Radice nasce a Roma, da una importante famiglia. Radice ha studiato per diventare ballerino, ma la sua carriera è stata interrotta da un infortunio alla schiena durante l’adolescenza. Dopo la formazione classica, all’età di 19 anni fondò una compagnia shakespeariana…

[flammentanz]

“Die toten Augen des Dr. Dracula” ("Operazione paura") von Mario Bava

“Es kommt niemand zurück vom Schloss Graps …”

Das im Schloss der Baroness Graps (Giovanna Galletti) beschäftigte Dienstmädchen Irena Hollander (Mirella Panfili) stürzt sich auf den Spitzen eines eisernen Zaunes in den Tod. Der Arzt Dr. Paul Eswai (Giacomo Rossi-Stuart) wird in das entlegene Dorf beordert, um die Obduktion durchzuführen. Sogleich erkennt er, dass die Bewohner von entsetzlichen Ängsten gequält werden. Der mit der Untersuchung des Falles betraute Inspektor Kroger (Piero Lulli) wird später mit zerschossener Schläfe aufgefunden. Bürgermeister Karl Arndt (Luciano Catenacci) berichtet Eswai, dass in den letzten Jahren zwölf Einwohner unter mysteriösen Umständen starben, seit Melissa (Valerio Valerim), die damals siebenjährige Tochter der Baroness Graps, beim Spielen mit ihrem Ball tödlich verunglückte …

[byneddiedingo]

Anna Magnani in Open City (Roberto Rossellini, 1945) Cast: Anna Magnani, Aldo Fabrizi, Marcello Pagliero, Vito Annichiarico, Francesco Grandjacquet, Carla Rovere, Maria Michi, Harry Feist, Giovanna Galletti. Screenplay: Sergio Amidei, Federico Fellini, Roberto Rossellini, Alberto Consiglio. Cinematography: Ubaldo Arata. Music: Renzo Rossellini. The considerable reputation of Roberto Rossellini's Open City lies in its place in film history, as a pioneering work of what came to be known as neorealism. But it often feels more conventional and traditional than subsequent films in that genre, like Vittorio De Sica's Shoeshine (1946) and Bicycle Thieves (1949) or Rossellini's own Paisan (1946). Its most famous moment, Pina's (Anna Magnani) run after the truck carrying away Francesco recalls Renée Adorée's pursuit of the truck that carries John Gilbert to the Front in The Big Parade (King Vidor, 1925), and Open City depends very much on such melodramatic scenes, centered on established actors like Magnani and Aldo Fabrizi instead of neorealism's dependence on nonprofessional performers. It also relies rather heavily on stereotypes, especially Harry Feist's sneering Übermensch of an SS officer and the predatory lesbian Ingrid (Giovanna Galletti), who is just one step away from the cliché She-Beast of the Third Reich. But none of this really detracts from the film's brilliance or its status as one of the greatest of films. It was made under the harshest of circumstances. That it was made at all is astonishing, but that it is so good and so moving is miraculous.

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The Girl in Room 2A

Is every Italian thriller a giallo? Vinegar Syndrom released William L. Rose’s THE GIRL IN ROOM 2A (aka LA CASA DELLA PAURA, 1974, Shudder) in its FORGOTTEN GIALLI series, but I’m hard-pressed to find many similarities to giallo classics like BLOOD AND BLACK LACE (1964) or THE BIRD WITH CRYSTAL PLUMAGE (1970). It doesn’t have the super-saturated dark colors of those films but rather is shot in bright, sunshiny EastmanColor. The score, though eclectic, doesn’t have the brooding intensity of most films in the genre. There’s no past trauma motivating the action. It’s really more like Nancy Drew with naked bosoms. An unjustly imprisoned ex-convict (Daniela Giordano) is sent to room with a widow (Giovanna Galletti) and her hunky if emotionally backwards son (Angelo Infanti). After having strange nightmares about a menacing figure in a red hood, she meets a man (Jack Scanlon) whose sister committed suicide after staying in the same room, so they have sex, because she has a nice body the filmmakers want to show off. This all ties into a cult led by Raf Vallone, who’s out to punish people for their sins, sort of. There’s only one scene that comes within spitting distance of a classic giallo, when Giordano sneaks into Infanti’s workroom, where she’s surrounded by mannequin parts, but it’s hardly as stylish as something Mario Bava or Dario Argento would have done. Perhaps it falls short in that area because it was made by Americans (Rose and producer Dick Randall) who specialized in exploitation pictures. The film starts out as a diverting little mystery only to get rather silly at the end. When the cult kidnaps Giordano, Scanlon rides to the rescue in a Volkswagen Beetle, which just looks funny. And the skinny Scanlon keeps beating up the baddies while his muscular buddy (peplum star Brad Harris) looks on. The strangest thing about the film, however, is the fact that it’s mostly dubbed (poorly) into English, but there are scenes in Italian in which the voices sound very different from those in the dubbed version. Vinegar Syndrome has advertised their release as the most complete version of the film in existence (and if that excites you, let’s hope they never uncover the original cuts of GREED or THE MAGNIFICENT AMBERSONS, for fear that might kill you). I’m guessing the American version that played mostly at drive-ins and in grindhouses had been cut, and no dubbed version of those scenes exists.

[paoloferrario]

Roma città aperta, REGIA: Roberto Rossellini ATTORI: Anna Magnani, Aldo Fabrizi, Marcello Pagliero, Maria Michi, Harry Feist, Giovanna Galletti, Francesco Grandjacquet, Nando Bruno, Vito Annichiarico

Roma città aperta, REGIA: Roberto Rossellini ATTORI: Anna Magnani, Aldo Fabrizi, Marcello Pagliero, Maria Michi, Harry Feist, Giovanna Galletti, Francesco Grandjacquet, Nando Bruno, Vito Annichiarico

Nella Roma del 1943-44, occupata dai nazifascisti, la lotta, le sofferenze, i sacrifici della gente sono raccontati attraverso le vicende di una popolana, di un sacerdote e di un ingegnere comunista: la prima è abbattuta da una raffica di mitra; il terzo muore sotto le torture; il secondo viene fucilato all’alba alla periferia di Roma, salutato dai ragazzini della sua parrocchia. Girato tra…

[theoscarsproject]

Last Tango in Paris (1972). A young Parisian woman meets a middle-aged American businessman who demands their clandestine relationship be based only on sex.

It’s honestly been a while since I watched a movie I loathed this much. It’s overwrought, cruel, and depicts violence in a way that’s titilating. It does nothing to give Jeanne any sort of interior life – something that’s only made all the worse when you hear of the lack of consent to certain scenes behind the camera. It’s an ugly, cliched film and lacks any sort of merit beyond letting the director live out a misogynistic fantasy. Yuck, yuck, yuck. 1/10.

[365filmsbyauroranocte]

Films watched in 2019.

#261: Operazione paura (a.k.a. Kill, Baby… Kill!) (Mario Bava, 1966)

★★★★★★☆☆☆☆

“Death rules here.”

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[mariocki]

Operazione Paura (Kill, Baby... Kill!, 1966)

"They want to get you too! Melissa has waited for you for twenty years. Run! Run for your life!"

[killer-klowns]

Rome, ville ouverte / Un curé et un résistant sifflent ensemble un air connu.

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Roma città aperta (1945)

[perfettamentechic]

27 aprile … ricordiamo …

27 aprile … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Kenneth Tsang, Kenneth Tsang Kong, attore hongkonghese. In 50 anni di carriera ha interpretato svariati ruoli. Con Chow Yun-fat debuttò a Hollywood nel film Costretti ad uccidere (1998). I due recitarono insieme anche in Anna and the King. Tsang apparve in Colpo grosso al drago rosso – Rush Hour 2 con Jackie Chan e nel film La morte può attendere (2002). Tsang è stato sposato tre volte. La…

[seanaxmaker]

Blu-ray: Mario Bava's ‘Kill, Baby… Kill!’

Blu-ray: Mario Bava’s ‘Kill, Baby… Kill!’

The title may sound like a serial killer thriller but Mario Bava’s Kill, Baby… Kill (Italy, 1966) is a Gothic ghost story with haunting images, grotesque edges, and glorious style. Think of it as Bava’s answer to a Hammer horror, with hysterical superstition and suspicion of outsiders replacing the lurid sexuality of Hammer’s Victorian horrors and Bava’s rich palette setting an altogether more…