Hello there, r/movies! I'm going on a study trip to Italy in a few months, and I wanted to take the chance to learn a bit more about Italian films before I do so, since I have very little experience with it.
The cinema of Italy (Italian: cinema italiano, .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}pronounced [tinema italjano]) comprises the films made within Italy or by Italian directors. Italy is one of the birthplaces of art cinema and the stylistic aspect of film has been one of the most important factors in the history of Italian film.[5][6] As of 2018, Italian films have won 14 Academy Awards for Best Foreign Language Film (the most of any country) as well as 12 Palmes d'Or, one Academy Award for Best Picture and many Golden Lions and Golden Bears.
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The end of World War II saw the birth of the influential Italian neorealist movement, which reached vast audiences throughout the post-war period,[11] and which launched the directorial careers of Luchino Visconti, Roberto Rossellini, and Vittorio De Sica. Neorealism declined in the late 1950s in favour of lighter films, such as those of the Commedia all'italiana genre and directors like Federico Fellini and Michelangelo Antonioni. Actresses such as Sophia Loren, Giulietta Masina, Claudia Cardinale, Monica Vitti, Anna Magnani and Gina Lollobrigida achieved international stardom during this period.[12] From the mid-1950s to the end of the 1970s, Commedia all'italiana and many other genres arose due to auteur cinema, and Italian cinema reached a position of great prestige both nationally and abroad.[13][14] The Spaghetti Western achieved popularity in the mid-1960s, peaking with Sergio Leone's Dollars Trilogy, which featured enigmatic scores by composer Ennio Morricone, which have become icons of the Western genre. Erotic Italian thrillers, or giallo, produced by directors such as Mario Bava and Dario Argento in the 1970s, influenced the horror genre worldwide. During the 1980s and 1990s, directors such as Ermanno Olmi, Bernardo Bertolucci, Giuseppe Tornatore, Gabriele Salvatores and Roberto Benigni brought critical acclaim back to Italian cinema,[12] while the most popular directors of the 2000s and 2010s were Matteo Garrone, Paolo Sorrentino, Marco Bellocchio, Nanni Moretti and Marco Tullio Giordana.[15]The country is known for its Venice Film Festival, the oldest film festival in the world, held annually since 1932 and awarding the Golden Lion;[16] and for the David di Donatello. In 2008 the Venice Days ("Giornate degli Autori"), a section held in parallel to the Venice Film Festival, has produced in collaboration with Cinecitt studios and the Ministry of Cultural Heritage a list of a 100 films that have changed the collective memory of the country between 1942 and 1978: the "100 Italian films to be saved".
Between 1903 and 1909 the itinerant cinema Italian film was quieting, until then considered as a freak phenomenon, took on consistency assuming the characteristics of an authentic industry, led by four major organizations: Titanus (originally Monopolio Lombardo), the first italian film production company[31] and the largest and probably the most famous film house in Italy[32] founded by Gustavo Lombardo at Naples in 1904, Cines, based in Rome; and the Turin-based companies Ambrosio Film and Itala Film.[21] Other companies soon followed in Milan, and these early companies quickly attained a respectable production quality and were able to market their products both within Italy and abroad. Early Italian films typically consisted of adaptations of books or stage plays, such as Mario Caserini's Otello (1906) and Arturo Ambrosio's 1908 The Last Days of Pompeii, an adaptation of the homonymous novel by Edward Bulwer-Lytton. Also popular during this period were films about historical figures, such as Caserini's Beatrice Cenci (1909) and Ugo Falena's Lucrezia Borgia (1910).
The Italian film industry struggled against rising foreign competition in the years following World War I.[12] Several major studios, among them Cines and Ambrosio, formed the Unione Cinematografica Italiana to coordinate a national strategy for film production. This effort was largely unsuccessful, however, due to a wide disconnect between production and exhibition (some movies weren't released until several years after they were produced).[53]
With an area of 400,000 square metres (99 acres), it is still the largest film studio in Europe,[65] and is considered the hub of Italian cinema. Filmmakers such as Federico Fellini, Roberto Rossellini, Luchino Visconti, Sergio Leone, Bernardo Bertolucci, Francis Ford Coppola, Martin Scorsese, and Mel Gibson have worked at Cinecitt. More than 3,000 movies have been filmed there, of which 90 received an Academy Award nomination and 47 of these won it.[72]
Calligrafismo is in sharp contrast to Telefoni Bianchi-American style comedies and is rather artistic, highly formalistic, expressive in complexity and deals mainly with contemporary literary material,[88] above all the pieces of Italian realism from authors like Corrado Alvaro, Ennio Flaiano, Emilio Cecchi, Francesco Pasinetti, Vitaliano Brancati, Mario Bonfantini and Umberto Barbaro.[89]
This trend allowed some actresses to become real celebrities, such as Sophia Loren, Gina Lollobrigida, Silvana Pampanini, Lucia Bos, Barbara Bouchet, Eleonora Rossi Drago, Silvana Mangano, Virna Lisi, Claudia Cardinale and Stefania Sandrelli. Soon pink neorealism was replaced by the Commedia all'italiana, a unique genre that, born on an ideally humouristic line, talked instead very seriously about important social themes.
Commedia all'italiana ("Comedy in the Italian way") is an Italian film genre born in Italy in the 1950s and developed in the following 1960s and 1970s. It is widely considered to have started with Mario Monicelli's Big Deal on Madonna Street in 1958[111] and derives its name from the title of Pietro Germi's Divorce Italian Style, 1961.[112] According to most of the critics, La Terrazza by Ettore Scola (1980) is the last work considered part of the Commedia all'italiana.[113][114][115]
The genre of Commedia all'italiana differs markedly from the light and disengaged comedy from the so-called "pink neorealism" trend, in vogue until all of the 1950s, since, starting from the lesson of neorealism, is based on a more frank adherence in writing to reality; therefore, alongside the comic situations and plots typical of traditional comedy, always combines, with irony, a biting and sometimes bitter satire of manners, which reflects the evolution of Italian society in those years.[116]
The success of films belonging to the "Commedia all'italiana" genre is due both to the presence of an entire generation of great actors, who knew how to masterfully embody the vices and virtues, and the attempts at emancipation but also the vulgarities of the Italians of the time, both to the careful work of directors, storytellers and screenwriters, who invented a real genre, with essentially new connotations, managing to find precious material for their cinematographic creations in the folds of a rapid evolution with many contradictions.[116]
Among the actors the main representatives are Alberto Sordi, Ugo Tognazzi, Vittorio Gassman, Marcello Mastroianni and Nino Manfredi,[117] while among the actresses is Monica Vitti.[118] Among directors and films, in 1961 Dino Risi directed Una vita difficile (A Difficult Life), then Il Sorpasso (The Easy Life), now a cult-movie, followed by: I Mostri (The Monsters, also known as 15 From Rome), In nome del popolo italiano (In the Name of the Italian People) and Profumo di donna (Scent of a Woman). Monicelli's works include La grande guerra (The Great War), I compagni (The Organizer), L'armata Brancaleone, Vogliamo i colonnelli (We Want the Colonels), Romanzo popolare (Come Home and Meet My Wife) and the Amici miei (My Friends) series.
For the majority of critics the true and proper "Commedia all'italiana" is to be considered definitively waned since the beginning of the 1980s, giving way, at most, to an "Commedia italiana" ("Italian comedy").[119]
Some of his best-known films are Fear and Sand by Mario Mattoli, Toto Tours Italy by Mario Mattoli, Toto the Sheik by Mario Mattoli, Cops and Robbers by Mario Monicelli, Toto and the Women by Mario Monicelli, Tot Tarzan by Mario Mattoli, Toto the Third Man by Mario Mattoli, Toto and the King of Rome by Mario Monicelli and Steno, Toto in Color by Steno (one of the first Italian colour movies, 1952, in Ferrania colour), Big Deal on Madonna Street by Mario Monicelli, Toto, Peppino, and the Hussy by Camillo Mastrocinque and The Law Is the Law by Christian-Jaque. Pier Paolo Pasolini's The Hawks and the Sparrows and the episode "Che cosa sono le nuvole" from Caprice Italian Style (the latter released after his death), showed his dramatic skills.[120]
The movies were a huge commercial success in their native countries. In 1952, Little World of Don Camillo became the highest-grossing film in both Italy and France,[122] while The Return of Don Camillo was the second most popular film of 1953 at the Italian and French box office.[123]
Hollywood on the Tiber is a phrase used to describe the period in the 1950s and 1960s when the Italian capital of Rome emerged as a major location for international filmmaking attracting many foreign productions to the Cinecitt studios, the largest film studio in Europe.[65] By contrast to the native Italian film industry, these movies were made in English for global release. Although the primary markets for such films were American and British audiences, they enjoyed widespread popularity in other countries, including Italy. be457b7860
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