Tag Archives: Marcello Mastroianni

Marco Ferreri – Break up AKA The Man with the Balloons (Uncut) (1965)

Synopsis :
An industry that manufactures chocolates, is obsessed to the limit, to scientifically verify the exact spot where the balloons burst when they swell, but fails in its attempts, because they always end up breaking balloons, putting nerves increasingly enervated and reaching complete neurosis, while his great woman, just married, waiting on the bed, something more to him than his passion for inflating balloons. Read More »

Federico Fellini – Otto e mezzo aka 8½ [+ commentaries] (1963)

Quote:

8 1/2 weaves fluidly through the visually intoxicating landscape of Federico Fellini’s subconscious, seemingly to seek inspiration and validation for his life and work. In an opening scene that symbolizes much of Fellini’s films, a suffocating man, trapped inside his car, inexplicably begins to float into the skies, only to be abruptly tugged back to the ground. But it is also an indelible image that shatters any preconceived illusion of “typical” elements in a Fellini film. The film, 8 1/2, literally marks Fellini’s work on 8 1/2 feature films (the “1/2” derived from collaborative direction films), and proves to be a transitional film in his artistic career. Read More »

Raoul Ruiz – Trois vies et une seule mort AKA Three Lives and Only One Death [+Extras] (1996)

Quote:
A cleverly composed, prefiguring episode in Three Lives and Only One Death shows Mateo Strano (Marcello Mastroianni) in simultaneous, tripartite images (in a similar vein as Alain Resnais’ Last Year at Marienbad and Lina Wertmüller’s Love and Anarchy) through mirrors and split-screening as he continues to awkwardly fidget with his necktie even after a secondary point-of-view shot indicates that he has already placed his hands on the dinner table while waiting for his wife, Maria (Marisa Paredes) to return to the room. Read More »

Agnès Varda – Les Cent et une nuits de Simon Cinéma AKA A Hundred and One Nights of Simon Cinema (1995)

Criterion wrote:
A celebration of cinema’s centennial, One Hundred and One Nights finds Agnès Varda at her most playful. It is also perhaps her unlikeliest project: a star-studded comic fantasy with an extravagant sense of style and an adoring but slightly off-kilter perspective on the magic of filmmaking. French New Wave icon Michel Simon is a mysterious aging impresario named Simon Cinéma who has hired a young film student, Camille (Julie Gayet), to simply sit with him at his mansion and talk about movies. Skeptical yet increasingly enchanted, Camille bears witness to cinema itself coming to life, allowing Varda to wittily integrate a mind-boggling parade of appearances by screen legends (Catherine Deneuve, Marcello Mastroianni, Jean-Paul Belmondo, Anouk Aimée, Robert De Niro, and many others), and attest to the vigorous health of the movies at the close of the twentieth century. Read More »

Luchino Visconti – Le notti bianche AKA White Nights (1957)

Quote:
Le notti bianche (White Nights) occupies a central position within Luchino Visconti’s body of work. In appearance at least, it consummates a break with the neorealism of the 1940s and early 1950s and looks forward to The Leopard (1963), in its rendering of subjectivity by visual style, and to Vaghe stelle dell’orsa (Sandra; 1965), in its dependence on metaphor as a structuring device. But appearances can be deceptive, for in 1960, Visconti returned to realism with Rocco and His Brothers, and in its way, Le notti bianche is also fundamentally a realist film, in spite of its excursions into fantasy. Read More »

Valerio Zurlini – Cronaca familiare AKA Family Diary (1962)

A touching story of brothers raised apart and then brought together under tragic circumstances, this drama by Valerio Zurlini remains true to Vasco Pratolini’s novel. Told in a series of flashbacks as Enrico (Marcello Mastroianni) remembers the past, the brothers are separated after their mother dies. Enrico is raised by a humble guardian who works as a butler, his brother Lorenzo (Jacques Perrin) is taken in by a grandmother who gives him all he wants or needs. Enrico grows up to become a hard-working journalist, spending most of his time in Rome. Lorenzo is a young idealist living in Florence with no real need to work. The brothers rarely see each other, but when they finally meet after an extended absence, Lorenzo is gravely ill and dying. (-allmovie.com) Read More »

Anna Maria Tatò – Marcello Mastroianni: mi ricordo, sì, io mi ricordo AKA Marcello Mastroianni: I Remember [Full version + extras] (1997)

Synopsis:
In 1996, Marcello Mastroianni talks about life as an actor. It’s an anecdotal and philosophical memoir, moving from topic to topic, fully conscious of a man ^Óof a certain age^Ô looking back. He tells stories about Fellini and De Sica’s direction, of using irony in performances, of constantly working (an actor tries to find himself in characters). He’s diffident about prizes, celebrates Rome and Paris, salutes Naples and its people. He answers the question, why make bad films; recalls his father and grandfather, carpenters, his mother, deaf in her old age, and his brother, a film editor; he’s modest about his looks. In repose, time’s swift passage holds Mastroianni inward gaze. Read More »