Non ti conosco più (I don’t know you anymore) is a 1936 film directed by Nunzio Malasomma based on a theatrical text by Aldo De Benedetti, who also worked on the script.
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Luisa is the shrewish wife of the attorney Paolo Malpieri who can’t stand the avarice of her husband who refuses to satisfy her whims: a new car, an electric water heater and new furniture.Read More »
Engaged by an old lawyer, the young woman Anna receives in present of which it is quite soon relieved a jewel.
Feeling itself braccato, the pickpocket is forced to leave the precious one found by a hungry singer and recognised like gift of the provision.
The unfortunate event will take Anna away from the Prince of the Court, finding consolation between Andrew’s arms, which in the meantime it has entered into possession of the necklace…Read More »
The nobleman Pantaleo of Santa Paola has deceased recently, but in the preamble to his will is read his confession in which he declares to have had, in his youth, an affair with a circus horsewoman from which were born two twin sons.
The search for these twins will bring the notary Pensabene and their cousins heirs, Rosa, Lilli e Titti, to fortuitously find Nicolino, the first of the twins. The search will continue with other hilarious adventures that will see the figure of Toto alternating with several phantasmagorical characters, surrounded by a family that wants to undermine their safety in order to collect the money of Pantaleo’s inheritance.Read More »
PLOT:
Giacomo Perotti, who made his fortune in America, returns to Italy rich and wealthy. He wants, above all else, to find the woman who in his youth one day smiled at him, making him fall in love.
This nostalgic and utopian dream is the chance for a shady entrepreneur to persuade him to finance a film in memory of the episode of his distant youth.
Perotti accidentally meets a young professor who strangely resembles a lot to him when he was young and puts him in charge of the artistic direction of the film. During the casting for the leading actress, the young professor meets a typist, falls in love with her, and would like to make her the star of the film.
But the shady producer has in mind another actress…Read More »
The time is the Russian Revolution. The place is a country burdened with fear – the midnight knock at the door, the bread hidden against famine, the haunted eyes of the fleeing, the grublike fat of the appeasers and oppressors. In a bitter struggle of the individual against the collective, three people stand forth with the mark of the unconquered in their bearing: Kira, who wants to be a builder, and the two men who love her – Leo, an aristocrat, and Andrei, a Communist. In their tensely dramatic story, Ayn Rand shows what the theories of Communism mean in practice. We the Living is not a story of politics but of the men and women who have to struggle for existence behind the Red banners and slogans.Read More »
SYNOPSIS
During War World II, Vittorio De Sica was approached by Goebbels to help relaunch the Italian film industry under the auspices of Musolini’s puppet regime. In order to escape collaboration with the Nazis, De Sica quickly invented the project “La porta del cielo” a film about religious miracles funded by the Vatican. Appalled by their plight during the German occupation of Rome, De Sica cast many Jews in the film to spare them from Nazi persecution, extending the shoot until the American allies arrived in the capital.Read More »
This is an anti-Fascist short Rossellini made in 1940.
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La vispa Teresa was rejected and, although Ferrara said that Il tacchino was distributed by Scalera under its working title, “La perfida Albione,” there were no press notices, and no one outside of Scalera is known to have seen it. According to Ferrara, Rossellini told him it was a satire in which “Perfidious Albion,” a big turkey representing England, goes around pecking at the hens representing the nations of Europe, until defied by a rooster representing Italy. “Rossellini detested it,” said Ferrara, “[though his] genius was such that he could achieve extraordinary effects out of nothing. He used to tell me, ‘It’s the only time that, through my weakness, I made a work of propaganda.’” Read More »
IMDb:
An anticipation of Blasetti’s style. A great movie about the Siena Palio. Guido Celano (Zarre) is a very good actress and Leda Gloria too. The Tuscany environment is very well depicted. The performing style is influenced by the period, but it is quite good anyway. It is a very uncommon movie and the best representation of Palio, a religious and sporting event in Siena. Blasetti, then, after Il Palio and Terre Sole, start a wonderful career as director and will anticipates the “neorealism” with his 1942’s movie “Quattro passi fra le nuvole”. Very impressive the opening scene with Zarre riding a horse in the Siena countryside.Read More »
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Aldebaran is in some places erroneously reported as a “lost” film, but here it is! After
a couple of projects had either been postponed or fallen through for Blasetti, it was
suggested that he should make a film about the navy in peacetime. The result is this
strange film, which at the outset plays like a propaganda piece for the might of the Italian
navy, only to veer off into high melodrama, as it zeroes in on Commander Corrado Valeri
(Gino Cervi), and his conflict between duty and the jealousy of his wife. There are comedic
asides, a visit to a North African club, affording Blasetti to contribute the first scenes of
nudity in Italian film, and there are moments of heroics, including a mission to rescue the
doomed crew of a wrecked submarine. As if all of that was not more than enough, the film
features a star studded cast including Evi Maltagliati, Gianfranco Giachetti, Doris Duranti,
Elisa Cegani (in her debut), and even a brief cameo by Blasetti himself.Read More »