Klaus Kinski believed that he lived through the same experiences as the legendary “devil violinist” Paganini, who set whole Europe of the 19th century into frenzy and through whose personality Klaus Kinski offers us an incredibly profound and honest insight into his own life; a life of extremities.
The background of this roller coaster ride through the life of Kinski-Paganini is a spectacular concert, at which Paganini as “diabolical vampire with a violin” with his emotionally irresistible music, sets the audience on fire. Thus Kinski-Paganini leads us through segments of his past and, like a diabolical magician, foretells and envisions for us his unavoidable destiny. During the overpower performance of Paganini´s music we relive, through the unchecked mind of the demonical virtuoso, the main episodes of his damned life that was continually dominated by his three great passions: the violin, women and money. Also stars Deborah Caprioglio (Kinski’s wife at the time), Nikolai Kinski & Eva Grimaldi. Continue reading
IMDB quote 1: Three stories of well-off youths who commit murders. In the French episode a group of high school students kill one of their colleagues for his money. In the Italian episode a university student is involved in smuggling cigarettes. In the English episode a lazy poet finds the body of a woman on the downs, and tries to sell his story to the press.
IMDB quote2: This was Antonioni’s third film and arguably his rarest from the pre-AVVENTURA period. Taking an episodic structure, it is a sober treatment of juvenile delinquency – showing a widespread alienation affecting the youth of the post-war years in various European cities. The film has a rough, torn-from-the-headlines feel to it – even if the director’s perspective isn’t nearly as acute as in his later, more polished work (tending also towards preachiness, beginning from the opening montage). Continue reading
A detective (inspector Rogas) is assigned to investigate the mysterious murders of some Supreme Court judges. During the investigation he discovers a complot that involves the Italian Communist Party Continue reading
Police commissioner Santamaria is investigating the murdering of the ambiguous architect Mr. Garrone. The investigations soon drive him into the Torino’s high society. Santamaria suspect Anna Carla and at the same time falls in love for her. Lello is the lover of Massimo, a homosexual platonic friend of Anna Carla. He is following another direction in order to find out the truth, and his results are confusing the Policeman. But another murdering happens… Continue reading
Respectable bourgeois wife (Renee Saint-Cyr) turns out a mysterious bunch of scarlet roses and yields to temptation of adultery. Vittorio de Sica’s director debut (with supervision by Giuseppe Amato); light but already a little bitter comedy based on skillful Aldo de Benedetti’s stage hit. Naturally, superstar De Sica playing the main role himself – and is on the top of his charm here.
Sadly, there is only Spanish theatrical release (from that time), with Spanish dubbing and titles. Continue reading
This last short of Tonino De Bernardi is a meditative film about his life and cinema: he recovers an experimental short film made in the 60s and sticks in the final part of the film a sequence with his grandson – a line of continuity between Tonino’s cinema and grandson’s life. Continue reading
In PARTNER, Bernardo Bertolucci conflated his interests in psychoanalysis, nonlinear narrative, and Godard to create a uniquely avant-garde work unlike anything in his ouevre. The film is loosely based on Dostoyevsky’s novel THE DOUBLE and concerns an alienated, puckish young man named Jacob (Pierre Clementi) who confronts his own double. Jacob allows his doppelganger to take over his life; the second Jacob commandeers his predecessor’s theater class in the hopes of creating living theater–as a violent act of social revolution. The idea of students wreaking havoc was not an unfamiliar one in 1968, and Bertolucci refuses to take Jacob’s dangerous intellectual posturing lightly. The second Jacob is a handsome killer, the first a handsome weakling who must find the courage to resist his baser self. Bertolucci matches inspired plot points with arresting images, including visual film references and the bright color schemes that would later become his trademark. Continue reading