Italian Cinema under Fascism

Miss Elisa teaches commercial correspondence in a girls’ school, where, customarily, all the letters are sent to a certain Mr. Hartmann of Vienna, who actually does not exist, at an address just as non-existent. But Elisa is a true romantic, and she entrusts her dreams to the letters she writes to the phantasmal Hartman. And one of them is found by Maddalena Lenci, whose girlfriend, thinking to do well, mails it. But Carlo Hartman, who really exists at this address and so receives the letter, leaves for Rome to meet this Elisa…
But in Rome there is also his cousin, who falls for Maddalena mistaking her for Elisa…Read More »

Plot & review:
From a novel by Salvator Gotta, scripted by the director with Curt Alexander and Hans Wilhelm.
Under anesthesia, after a suicide attempt, Gaby Doriot, movie star, relives her life and her unlucky loves, sprinkled with violent deaths. The end of the commemoration coincides with that of the surgery.
The first and only Italian film by M. Ophüls, in exile from Nazi Germany and called to Rome by Angelo Rizzoli.
Despite the exaggerated romanticism and the vehement acting “Italian style”, it is a cooled melodrama (with veins of Pirandello) that anticipates the themes of later Ophüls’ films, especially Lola Montès (1955).
M. Benassi heatedly over the top, and a memorable I. Miranda, poised between Greta Garbo and Marlene Dietrich.
Awarded at the Venice Film Festival.
MorandiniRead More »

Released from jail, Nanni (Checchi) punches prison guard Stefano (Ninchi) who has
denounced him. In order to take revenge, Stefano suggests the suspicion that, during his
absence, his wife has had business with the Count Paolo (Rimoldi). A few days later, at
night, a deadly ambush will be prepared.Read More »

This is the first comprehensive examination in English of Italian cinema during the Fascist era. James Hay discusses the films of the 1920s and 1930s in terms of the popular culture and cultural policy of the times. The hundreds of films produced during this period have generally been discredited as propagandistic or as “white telephones” by both film and social historians. Hay, however, argues that this interpretation is much too simplistic. He demonstrates that this popular film culture was the result of a growing public “literacy” of film and of the interaction of cultural, social, and political transformations. This study uses popular cinematic narratives and images to discuss how Italians began to see themselves as a nation and as a cultura popolare.
Popular Film Culture in Fascist Italy is profusely illustrated with photos from films such as Grandi magasini and Squadrone bianco as well as popular classics such as AmarcordRead More »

A non-fiction documentary made between 1943 and 1947 about a barge trip down the Po River, looking at the relationship between individuals and their environment.Read More »

This delightful romantic comedy, had it been made in America during this same period might have featured Jimmy Stewart and Jean Arthur and might have been directed by Gregory La Cava.
It gives us a Vittorio De Sica as a chauffeur, Bruno, who passes himself off as a man of importance by offering Mariuccia (Lia Franca) a ride in the car which he passes off as his own. She is the daughter of taxi driver Cesare Zoppetti. From the city of Milan they go off to the country for, spending some time at an inn, enjoying each other’s company. Bruno romances her with the song “Parlami d’amore, Mariù” or “Talk Love to Me, Mariuccia” by Cesare A. Bixio, which made the Italian hit parade of the time.Read More »

Funny cinematic exercise made by Rossellini before his first feature. Something between a Discovery Channel animal documentary and a fable under the sea.
Worth seeing for its historical status.Read More »

Summary:
An old woman’s poignant reminiscence of her youth in a convent school, the happy moments and the sad, and her tragic love for a Garibaldian.Read More »

Storyline

A crown, supposedly made from a nail out of the Cross of Christ and the metal of Roman swords, becomes a legend and a symbol of justice.

Imdb user review:
Wonderul Vintage Epic from Italia!, 18 October 2003
8/10
Author: olddiscs from Fords, NJ

Bravo Blassetti ! Bravo Massimo Girotti ! What a surprise from Italy! An Epic saga..Mythological & religious…Sort of an Italian Star Wars meets Robin Hood meets Ben Hur ! Action ! Lust ! Mythological settings ! Forests, loincloths ,moats,chariots, swords, jousting & a story line which never loses your interest!!What a Spectacle !! predates most of our great spectacular films of the 1950s by many yrs (Ok, we had silent films King of Kings & 10 Commandments & some other De Mille Films, Sign of the Cross etc) but this mythological setting was unusual for the times… Cant wait to see again.. Massimo Girotti whose work I know from Senso & later Medea is excellent… rest of cast were not known to me & also not aware of director, Blassetti…. now I am !Will look forward to viewing The Iron Crown again,.and other films by Blassetti..Thanks again TCM !!Read More »