The supposed demise of physical media has been well covered and long lamented, with each passing year bringing reports of yet another nail in the coffin of the once flourishing DVD and Blu-ray market. Fall 2023 brought a double whammy of bad news: Netflix shipped its final discs to customers before closing up its DVD department for good, and a month later, Best Buy announced that it would be phasing out the sale of physical media. Yet, while DVDs are no longer the massive revenue generator for studios that they were throughout the first decade of the 2000s, it has never been a better time to be a physical media enthusiast. Thanks to independent labels like Criterion, Kino Lorber, Shout! Factory, Arrow, Imprint, Indicator, and many others, every month sees the release of well over a dozen exceptional titles, often lovingly restored and with indispensable scholarly extras.
That we’re living...
That we’re living...
- 2/5/2024
- by Jim Hemphill
- Indiewire
A lot of articles exist on the internet listing the movies Martin Scorsese considers to be the best films of all time, but he’s not actually in favor of such rankings. Speaking to Time magazine for a video interview (see below), the “Taxi Driver” and “The Departed” icon said he is generally against top 10 best lists.
“I’ve tried to make lists over the years of films I personally feel are my favorites, whatever that means,” Scorsese said. “And then you find out that the word ‘favorite’ has different levels: Films that have impressed you the most, as opposed to films you just like to keep watching, as opposed to those you keep watching and learning from, or experiencing anew. So, they’re varied. And I’m always sort of against ’10 best’ lists.”
Scorsese gathered his favorite films into a list as recently as last December, when he participated...
“I’ve tried to make lists over the years of films I personally feel are my favorites, whatever that means,” Scorsese said. “And then you find out that the word ‘favorite’ has different levels: Films that have impressed you the most, as opposed to films you just like to keep watching, as opposed to those you keep watching and learning from, or experiencing anew. So, they’re varied. And I’m always sort of against ’10 best’ lists.”
Scorsese gathered his favorite films into a list as recently as last December, when he participated...
- 9/13/2023
- by Zack Sharf
- Variety Film + TV
Producer and filmmaker Eckhart Schmidt has shot documentaries and five feature films in Sicily. Through his docs, he discovered that Bagheria-born Giuseppe Tornatore was highly influenced by the monsters of the Villa Palagonia, and that Francesco Rosi shot his movie “Salvatore Giuliano” on all original locations. Schmidt’s features shot in Sicily include 2021’s “Palermo. Gente,” of which he writes “I was filming the Sicilian way of life as it is represented in a small three-face statue: showing a girl, the devil and the death.”
His impressions of Sicily offer compelling pictures of the island’s locations:
You step out from your Agrigento hotel room to the terrace and there you are in front of the Greek temples. You walk down a little staircase to Palermo’s Catacombe dei Cappuccini, where the air-dried corpses of some hundred men and women hang on walls or lie in shelves and show faces...
His impressions of Sicily offer compelling pictures of the island’s locations:
You step out from your Agrigento hotel room to the terrace and there you are in front of the Greek temples. You walk down a little staircase to Palermo’s Catacombe dei Cappuccini, where the air-dried corpses of some hundred men and women hang on walls or lie in shelves and show faces...
- 5/11/2022
- by Eckhart Schmidt
- Variety Film + TV
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
30 Years of The Film Foundation
Equally impressive as his towering career is Martin Scorsese’s dedication to restoring previously lost classics and championing underseen gems with The Film Foundation. Now celebrating 30 years, they’ve been given the spotlight on The Criterion Channel, featuring a wealth of highlights as well as a conversation between Scorsese and Ari Aster. The lineup of essentials includes The Broken Butterfly (1919), Trouble in Paradise (1932), It Happened One Night (1934), L’Atalante (1934), The Long Voyage Home (1940) The Chase (1946), The Red Shoes (1948), The River (1951), Moulin Rouge (1952), The Bigamist (1953), Ugetsu (1953), Senso (1954), The Big Country (1958), Shadows (1959), The Cloud-Capped Star (1960), Primary (1960), The Connection (1961), Salvatore Giuliano (1962), The Masque of the Red Death (1964), Once Upon a Time in the West...
30 Years of The Film Foundation
Equally impressive as his towering career is Martin Scorsese’s dedication to restoring previously lost classics and championing underseen gems with The Film Foundation. Now celebrating 30 years, they’ve been given the spotlight on The Criterion Channel, featuring a wealth of highlights as well as a conversation between Scorsese and Ari Aster. The lineup of essentials includes The Broken Butterfly (1919), Trouble in Paradise (1932), It Happened One Night (1934), L’Atalante (1934), The Long Voyage Home (1940) The Chase (1946), The Red Shoes (1948), The River (1951), Moulin Rouge (1952), The Bigamist (1953), Ugetsu (1953), Senso (1954), The Big Country (1958), Shadows (1959), The Cloud-Capped Star (1960), Primary (1960), The Connection (1961), Salvatore Giuliano (1962), The Masque of the Red Death (1964), Once Upon a Time in the West...
- 11/20/2020
- by Jordan Raup
- The Film Stage
Franceso Rosi's warm, thoughtful tale sees a family gathering observe grievous modern problems -- after so much violence in Italian politics people are still looking for humanistic solutions. Philippe Noiret heads a great cast (with Charles Vanel) in this mellow reflection on 'the things of life.' Three Brothers Region B Blu-ray + Pal DVD Arrow Academy (UK) 1981 / Color / 1:85 widescreen / 111 min. / Street Date April 4, 2016 / Tre fratelli / Available from Amazon UK Starring Philippe Noiret, Michele Placido, Vittorio Mezzogiorno, Charles Vanel, Andréa Ferréol, Maddalena Crippa, Rosaria Tafuri, Marta Zoffoli, Simonetta Stefanelli. Cinematography Pasqualino De Santis Editor Ruggero Mastroianni Original Music Piero Piccioni Written by Tonino Guerra, Francesco Rosi from the book by A. Platonov Produced by Antonio Macri, Giorgio Nocella Directed by Francesco Rosi
Reviewed by Glenn Erickson
So few of Francesco Rosi's films were released in the United States that until Criterion's disc of Salvatore Giuliano my only image of...
Reviewed by Glenn Erickson
So few of Francesco Rosi's films were released in the United States that until Criterion's disc of Salvatore Giuliano my only image of...
- 4/23/2016
- by Glenn Erickson
- Trailers from Hell
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
NYC’s IFC Center has plans to expand, and they could use your help to let city officials know you support it.
Watch Don Cheadle analyze a scene from Miles Ahead:
Xavier Dolan‘s The Death and Life of John F. Donovan begins shooting on July 9th, Le Journal de Quebec reports.
Cinematographer Jeff Cutter discusses shooting 10 Cloverfield Lane with Filmmaker Magazine:
Anamorphic lenses just have a feeling that reminded Dan and I of what it used to be like watching these great widescreen movies when we were kids that were shot anamorphic. It just makes it feel like a big movie and that was something that we really,...
NYC’s IFC Center has plans to expand, and they could use your help to let city officials know you support it.
Watch Don Cheadle analyze a scene from Miles Ahead:
Xavier Dolan‘s The Death and Life of John F. Donovan begins shooting on July 9th, Le Journal de Quebec reports.
Cinematographer Jeff Cutter discusses shooting 10 Cloverfield Lane with Filmmaker Magazine:
Anamorphic lenses just have a feeling that reminded Dan and I of what it used to be like watching these great widescreen movies when we were kids that were shot anamorphic. It just makes it feel like a big movie and that was something that we really,...
- 4/4/2016
- by TFS Staff
- The Film Stage
The late Francesco Rosi's answer to The Godfather is an authentic, didactic and pugnacious odyssey through post-war Italian and American politics and gangsterism. It avoids any sense of an epic family saga and instead evinces the filmmaker's life-long interest in social systems, in this case the way organized crime and government walk hand in hand. While Coppola's saga focused on family dynamics, leaving the critique of capitalism to be inferred by the viewer, in Lucky Luciano (1973) the sights are set squarely on the mechanisms of power in the western world.
Gian Maria Volonte is very impressive indeed in this, suggesting the creep of old age with little more than some grey hair and a stooping posture, and being utterly convincing at every stage. He seems without vanity and with no need to be loved by the audience, so he embraces the vileness of the character (as in the masterful...
Gian Maria Volonte is very impressive indeed in this, suggesting the creep of old age with little more than some grey hair and a stooping posture, and being utterly convincing at every stage. He seems without vanity and with no need to be loved by the audience, so he embraces the vileness of the character (as in the masterful...
- 1/29/2015
- by David Cairns
- MUBI
Italian director and screenwriter died on Saturday.
The 65th Berlin International Film Festival (Feb 5-15) is to pay homage to Francesco Rosi, one of one of Italy’s most-celebrated and influential filmmakers from the 1950s to the 1990s.
The director and screenwriter, who inspiring the likes of Francis Coppola and Martin Scorsese with his Italian post-war neo-realist style, passed away on Saturday (Jan 10) at the age of 92.
In homage, the Berlinale has added Many Wars Ago (Uomini Contro) to the upcoming programme, Rosi’s 1970 anti-war drama set on the mountainous Austrian-Italian front during the First World War.
Berlinale director Dieter Kosslick said: “The loss of Francesco Rosi is the loss of an outstanding filmmaker. With their explosive power, Rosi’s films are still persuasive today. His works are classics of politically engaged cinema.”
Rosi’s films often examined corruption and criminality and some of his best-known films told the stories of real events and real people in order...
The 65th Berlin International Film Festival (Feb 5-15) is to pay homage to Francesco Rosi, one of one of Italy’s most-celebrated and influential filmmakers from the 1950s to the 1990s.
The director and screenwriter, who inspiring the likes of Francis Coppola and Martin Scorsese with his Italian post-war neo-realist style, passed away on Saturday (Jan 10) at the age of 92.
In homage, the Berlinale has added Many Wars Ago (Uomini Contro) to the upcoming programme, Rosi’s 1970 anti-war drama set on the mountainous Austrian-Italian front during the First World War.
Berlinale director Dieter Kosslick said: “The loss of Francesco Rosi is the loss of an outstanding filmmaker. With their explosive power, Rosi’s films are still persuasive today. His works are classics of politically engaged cinema.”
Rosi’s films often examined corruption and criminality and some of his best-known films told the stories of real events and real people in order...
- 1/13/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Italian director Francesco Rosi had died, aged 92.
Rosi was one of Italy's most-celebrated and influential filmmakers, working throughout the 1950s to the 1990s.
He was known for his Italian post-war neo-realist style of filmmaking, inspiring the likes of Francis Ford Coppola and Martin Scorsese.
He won the Golden Lion at the Venice Film Festival in 1963 for Hands Over the City, and the Palme d'Or in Cannes in 1972 for The Mattei Affair.
Two years ago, he was awarded an honorary Golden Lion for his lifetime achievement.
Oscar-winning director Paolo Sorrentino said in tribute: "There are directors, and they are few and far between, who are capable of constructing worlds, and they do it by the invention of methods and styles. Rosi was one of the very few."
Among his other films were Salvatore Giuliano, Carmen and his last project The Truce in 1997.
Watch a trailer for Salvatore Giuliano below:...
Rosi was one of Italy's most-celebrated and influential filmmakers, working throughout the 1950s to the 1990s.
He was known for his Italian post-war neo-realist style of filmmaking, inspiring the likes of Francis Ford Coppola and Martin Scorsese.
He won the Golden Lion at the Venice Film Festival in 1963 for Hands Over the City, and the Palme d'Or in Cannes in 1972 for The Mattei Affair.
Two years ago, he was awarded an honorary Golden Lion for his lifetime achievement.
Oscar-winning director Paolo Sorrentino said in tribute: "There are directors, and they are few and far between, who are capable of constructing worlds, and they do it by the invention of methods and styles. Rosi was one of the very few."
Among his other films were Salvatore Giuliano, Carmen and his last project The Truce in 1997.
Watch a trailer for Salvatore Giuliano below:...
- 1/12/2015
- Digital Spy
Salvatore Giuliano won Rosi a Silver Bear at Berlin Film Festival The great Italian director Francesco Rosi, who has died aged 92, had a remarkable career of films that dissected the political and criminal corruption that was endemic in Italian society.
Developing a style of dramatic political cinema, he created an international reputation for exciting filmmaking that remains powerful today. Borrowing from the success of American models he appropriated the gangster film and made it his own. He focused on creating a socially committed cinema that remained entertaining and accessible to audiences at home and abroad.
When Rosi was just four years old, his father took him to see Charlie Chaplin’s The Kid. Afterwards, his father dressed his son as Jackie Coogan and snapped his photo. Then Rosi senior entered the sepia image in a local look-alike contest. It won, and the young Rosi said that he knew from that...
Developing a style of dramatic political cinema, he created an international reputation for exciting filmmaking that remains powerful today. Borrowing from the success of American models he appropriated the gangster film and made it his own. He focused on creating a socially committed cinema that remained entertaining and accessible to audiences at home and abroad.
When Rosi was just four years old, his father took him to see Charlie Chaplin’s The Kid. Afterwards, his father dressed his son as Jackie Coogan and snapped his photo. Then Rosi senior entered the sepia image in a local look-alike contest. It won, and the young Rosi said that he knew from that...
- 1/11/2015
- by Richard Mowe
- eyeforfilm.co.uk
Several Italian papers are reporting that Francesco Rosi has passed away at the age of 92. In 2003, Gino Moliterno wrote for Senses of Cinema that Rosi practiced "an intensely-charged, politically-engaged and socially-committed cinema which has quite justly earned him the title of Italy’s cinematic 'poet of civic courage.'" Michel Ciment for Criterion: "With Salvatore Giuliano [1961], Francesco Rosi developed the style and method that would make him, during the 60s and 70s, the greatest political filmmaker of his time." We're collecting remembrances and reviews of Salvatore Giuliano, Hands over the City (1963), The Moment of Truth (1965) and more. » - David Hudson...
- 1/10/2015
- Fandor: Keyframe
Several Italian papers are reporting that Francesco Rosi has passed away at the age of 92. In 2003, Gino Moliterno wrote for Senses of Cinema that Rosi practiced "an intensely-charged, politically-engaged and socially-committed cinema which has quite justly earned him the title of Italy’s cinematic 'poet of civic courage.'" Michel Ciment for Criterion: "With Salvatore Giuliano [1961], Francesco Rosi developed the style and method that would make him, during the 60s and 70s, the greatest political filmmaker of his time." We're collecting remembrances and reviews of Salvatore Giuliano, Hands over the City (1963), The Moment of Truth (1965) and more. » - David Hudson...
- 1/10/2015
- Keyframe
★★★★★Cinema is a form that forgets its relative youth at times, for that explanation is what can only be reasoned why Francesco Rosi is not remembered in the way he should be outside of his native Italy. Hopefully, this beautiful reissue of Salvatore Giuliano (1962) by Arrow Films (with a home entertainment release soon to follow packed with extras and huge booklet) will rectify this anomaly. Rosi uses the story-come-myth of Sicilian bandit Giuliano as a pretext for a historical, political and social document of the time and of the insular setting which made it possible. It took a bold diversion from neorealism and fashioned an enigmatically daring structure of flashbacks and non-linearity, which we hardly ever see the anti-hero.
- 9/25/2014
- by CineVue UK
- CineVue
(Francesco Rosi, 1963; Eureka!, PG)
In the 1960s, serious Italian cinema led by Fellini, Antonioni and Visconti moved decisively from neorealism into a new phase of more formal and personal movies with a wider social focus. Alongside them was Francesco Rosi, a former lawyer and one-time assistant to Visconti and Antonioni, who made an immediate impression with his film Salvatore Giuliano. A sort of Marxist Citizen Kane, it used the career of the eponymous bandit to anatomise Sicilian society and the role of the Mafia. It was the beginning of a series of political dramas about crime, corruption and exploitation in Italy that occupied Rosi for the next decade. The next one, Le mani sulla città (Hands over the City), took him back to his native Naples and a collaboration with an old friend, Raffaele La Capria.
Most films in this series (Salvatore Giuliano, The Mattei Affair, Lucky Luciano, Christ Stopped...
In the 1960s, serious Italian cinema led by Fellini, Antonioni and Visconti moved decisively from neorealism into a new phase of more formal and personal movies with a wider social focus. Alongside them was Francesco Rosi, a former lawyer and one-time assistant to Visconti and Antonioni, who made an immediate impression with his film Salvatore Giuliano. A sort of Marxist Citizen Kane, it used the career of the eponymous bandit to anatomise Sicilian society and the role of the Mafia. It was the beginning of a series of political dramas about crime, corruption and exploitation in Italy that occupied Rosi for the next decade. The next one, Le mani sulla città (Hands over the City), took him back to his native Naples and a collaboration with an old friend, Raffaele La Capria.
Most films in this series (Salvatore Giuliano, The Mattei Affair, Lucky Luciano, Christ Stopped...
- 4/12/2014
- by Philip French
- The Guardian - Film News
The Criterion Collection has just released a new filmmaker top ten and this time it's Martin Scorsese getting the honors and he has quite a lot to say about each. The list includes obvious titles such as The Red Shoes, 8 1/2, The Leopard, Ashes and Diamonds and others as they were all on his list of Top 12 Films of All-Time from back in 2012. Nevertheless, it remains fascinating to read his words and reasoning. For example, I find it interesting to see him placing Roberto Rossellini's Paisan at #1. So often Rome Open City is the most talked about of Rossellini's fabulous War Trilogy (read my review) and so infrequently you hear about Paisan or Germany Year Zero, the latter of which is an absolute stunner. I've never sen Jean Renoir's The River or Francesco Rosi's Salvatore Giuliano, but the rest I've viewed. I'm not a huge fan of The Leopard,...
- 2/28/2014
- by Brad Brevet
- Rope of Silicon
Above: Salvatore Giuliano (Francesco Rosi, Italy, 1962)
About a month ago I came across a stunning piece of decorative art masquerading as a 1960s East German poster for the 1940 Thief of Bagdad (see below) which soon became one of the most popular posters on my daily Tumblr. I’d seen the artist’s signature “Gottsmann” before on a poster for Tarkovsky’s Ivan’s Childhood and so I dug a little deeper and came up with a small treasure trove of little-known posters.
I discovered that the artist, Werner Gottsmann, died nine years ago at the age of 79. He was born in 1924 in the Ore Mountains on the border of Czechoslovakia, which, after WWII, became part of the German Democratic Republic or East Germany. After the war (during which he was a P.O.W.) he studied painting at the Robert-Schumann-Akademie Zwickau, and graphic design at the Meisterschule für Grafik Berlin...
About a month ago I came across a stunning piece of decorative art masquerading as a 1960s East German poster for the 1940 Thief of Bagdad (see below) which soon became one of the most popular posters on my daily Tumblr. I’d seen the artist’s signature “Gottsmann” before on a poster for Tarkovsky’s Ivan’s Childhood and so I dug a little deeper and came up with a small treasure trove of little-known posters.
I discovered that the artist, Werner Gottsmann, died nine years ago at the age of 79. He was born in 1924 in the Ore Mountains on the border of Czechoslovakia, which, after WWII, became part of the German Democratic Republic or East Germany. After the war (during which he was a P.O.W.) he studied painting at the Robert-Schumann-Akademie Zwickau, and graphic design at the Meisterschule für Grafik Berlin...
- 3/15/2013
- by Adrian Curry
- MUBI
During the first week of August, Sight & Sound organized a poll that dethroned "Citizen Kane" as the best movie ever made. Alfred Hitchcock's "Vertigo" took the title as the Greatest Film ending "Citizen Kane's" long run. (See Dethroned! "Citizen Kane" No Longer Best Movie Ever! Critics, Directors Pick Top 10 Films of All Time!)
Academians, archivists, critics, directors, and distributors all over the world were among the ones invited to participate in the poll. Now, Sight & Sound has revealed the choices made by our favorite directors (via Collider). Here they are (it's interesting to note that among the list of directors below, only Martin Scorsese, David O'Russell, and Sam Mendes picked "Vertigo"):
Andrew Dominik (The Assassination of Jesse James, Killing Them Softly)
Apocalypse Now (1979) . Francis Ford Coppola
Badlands (1973) . Terrence Malick
Barry Lyndon (1975) . Stanley Kubrick
Blue Velvet (1986) . David Lynch
Marnie (1964) . Alfred Hitchcock
Mulholland Dr. (2003) . David Lynch
The Night of the Hunter...
Academians, archivists, critics, directors, and distributors all over the world were among the ones invited to participate in the poll. Now, Sight & Sound has revealed the choices made by our favorite directors (via Collider). Here they are (it's interesting to note that among the list of directors below, only Martin Scorsese, David O'Russell, and Sam Mendes picked "Vertigo"):
Andrew Dominik (The Assassination of Jesse James, Killing Them Softly)
Apocalypse Now (1979) . Francis Ford Coppola
Badlands (1973) . Terrence Malick
Barry Lyndon (1975) . Stanley Kubrick
Blue Velvet (1986) . David Lynch
Marnie (1964) . Alfred Hitchcock
Mulholland Dr. (2003) . David Lynch
The Night of the Hunter...
- 8/27/2012
- by Manny
- Manny the Movie Guy
There was plenty of discussion across the movie blogosphere following last week's announcement that Vertigo had dethroned Citizen Kane as the greatest film of all time according to Sight & Sound's decennial poll. In addition to revealing the top 50 as determined by critics, they also provided a top 10 based on a separate poll for directors only. In the print version of the magazine, they have taken it a step further by reprinting some of the individual top 10 lists from the filmmakers who participated, and we now have some of them here for your perusal. Among them, we have lists from legends like Martin Scorsese, Francis Ford Coppola and Quentin Tarantino, but there are also some unexpected newcomers who took part including Richard Ayoade (Submarine), Miranda July (Me and You and Everyone We Know) and Sean Durkin (Martha Marcy May Marlene). Some of these lists aren't all that surprising (both Quentin Tarantino...
- 8/6/2012
- by Sean
- FilmJunk
Last week, the recent Sight & Sound list of the top 50 movies of all-time (find it here) was released. The poll is conducted every ten years and this year's edition was made by polling 846 critics, programmers, academics and distributors. In addition to that list, however, Sight & Sound polled 358 film directors, which included Martin Scorsese, Quentin Tarantino, Francis Ford Coppola, Woody Allen and Mike Leigh. Tallying the results the directors' top ten looked like this: Tokyo Story (dir. Yasujiro Ozu) 2001: A Space Odyssey (dir. Stanley Kubrick) Citizen Kane (dir. Orson Welles) 8 1/2 (dir. Federico Fellini) Taxi Driver (dir. Martin Scorsese) Apocalypse Now (dir. Francis Ford Coppola) The Godfather (dir. Francis Ford Coppola) Vertigo (dir. AAlfred Hitchcock) Mirror (dir. Andrei Tarkovsky) Bicycle Thieves (dir. Vittoria De Sica) The problem, for me at least, is that doesn't really tell us much. Just like the Sight & Sound list we're looking at something that simply lists...
- 8/6/2012
- by Brad Brevet
- Rope of Silicon
Sight & Sound magazine has announced the results of its latest critics' poll to decide the greatest film of all time. Philip French charts the history of the poll
In the early 1950s, the British Film Institute was transformed by Denis Forman and Gavin Lambert. Forman was appointed director of the BFI in 1948, and one year later, he invited Lambert to edit what Lambert recalled as "the institute's terminally boring magazine Sight & Sound and bring it back to life". Both left the institute in 1955, Forman to help create Granada TV, Lambert to become a Hollywood screenwriter and novelist, and by then the National Film Theatre had been established on the South Bank, and Sight & Sound had become one of the world's pre-eminent film journals.
Among Lambert's innovations was a worldwide poll of critics to vote each decade on the top 10 films of all time, an immense undertaking that utilises the resources...
In the early 1950s, the British Film Institute was transformed by Denis Forman and Gavin Lambert. Forman was appointed director of the BFI in 1948, and one year later, he invited Lambert to edit what Lambert recalled as "the institute's terminally boring magazine Sight & Sound and bring it back to life". Both left the institute in 1955, Forman to help create Granada TV, Lambert to become a Hollywood screenwriter and novelist, and by then the National Film Theatre had been established on the South Bank, and Sight & Sound had become one of the world's pre-eminent film journals.
Among Lambert's innovations was a worldwide poll of critics to vote each decade on the top 10 films of all time, an immense undertaking that utilises the resources...
- 8/6/2012
- by Philip French
- The Guardian - Film News
Francesco Rosi
Italian director and screenwriter Francesco Rosi will be awarded the Golden Lion for Lifetime Achievement at the 69th Venice International Film Festival which will take place from 29 August – 8 September 2012.
Rosi’s Le mani sulla città(Hands over the City) won the Golden Lion at the Venice International Film Festival in 1963, Il caso Mattei (The Mattei Affair) won the Golden Palm at Cannes in 1972, and Salvatore Giuliano won the Silver Bear in Berlin in 1961.
Francesco Rosi, who will turn 90 on November 15th this year, will be given the award on August 31st, on the occasion of the screening of the restored copy of his masterpiece Il caso Mattei (The Mattei Affair, 1972), a restoration completed by Martin Scorsese’s The Film Foundation.
The Director of the Venice Film Festival, Alberto Barbera, has stated: “In his long though not very prolific career, Rosi has left an indelible mark on the history...
Italian director and screenwriter Francesco Rosi will be awarded the Golden Lion for Lifetime Achievement at the 69th Venice International Film Festival which will take place from 29 August – 8 September 2012.
Rosi’s Le mani sulla città(Hands over the City) won the Golden Lion at the Venice International Film Festival in 1963, Il caso Mattei (The Mattei Affair) won the Golden Palm at Cannes in 1972, and Salvatore Giuliano won the Silver Bear in Berlin in 1961.
Francesco Rosi, who will turn 90 on November 15th this year, will be given the award on August 31st, on the occasion of the screening of the restored copy of his masterpiece Il caso Mattei (The Mattei Affair, 1972), a restoration completed by Martin Scorsese’s The Film Foundation.
The Director of the Venice Film Festival, Alberto Barbera, has stated: “In his long though not very prolific career, Rosi has left an indelible mark on the history...
- 5/14/2012
- by NewsDesk
- DearCinema.com
Chicago – The remarkable photography in Francesco Rosi’s 1965 bullfighting drama is, alas, its sole redeeming feature. Nearly everything that unfolds in front of Rosi’s lens is flat-out appalling and borderline unwatchable. Critics have hailed the picture for its artful depiction of the action, but all I see is vicious animal cruelty cloaked in crowd-pleasing machismo.
Rosi is, of course, a celebrated Italian filmmaker who’s no stranger to controversy, and his gambles have often paid off tremendously in films such as 1962’s “Salvatore Giuliano” and 1972’s Palme d’Or-winner, “The Mattei Affair.” I don’t believe Rosi was attempting to glorify bullfighting in “Truth,” but aside from its appropriately cautionary finale, the film devolves into a repellent series of ritual slaughters that are as numbing as they are repellant.
Blu-ray Rating: 2.0/5.0
The instantly familiar story centers on a bored farm boy (played by Miguel Romero ‘Miguelín’) with aspirations to...
Rosi is, of course, a celebrated Italian filmmaker who’s no stranger to controversy, and his gambles have often paid off tremendously in films such as 1962’s “Salvatore Giuliano” and 1972’s Palme d’Or-winner, “The Mattei Affair.” I don’t believe Rosi was attempting to glorify bullfighting in “Truth,” but aside from its appropriately cautionary finale, the film devolves into a repellent series of ritual slaughters that are as numbing as they are repellant.
Blu-ray Rating: 2.0/5.0
The instantly familiar story centers on a bored farm boy (played by Miguel Romero ‘Miguelín’) with aspirations to...
- 2/8/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Blu-ray & DVD Release Date: Jan. 24, 2012
Price: DVD $19.95, Blu-ray $29.95
Studio: Criterion
Miguelin takes to the ring in The Moment of Truth.
The Moment of Truth is a seldom-seen 1964 bullfighting film by Italy’s Francesco Rosi (Salvatore Giuliano), who is considered to be one of the central filmmakers of the politicized, post-Neorealist Italian cinema of the 1960s and 1970s (alongside Ettore Scola and The Battle of Algiers‘ Gillo Pontecorvo).
The drama movie takes a visceral plunge into the life of a famous torero, played by real-life bullfighting legend Miguel Mateo, known as Miguelin. Charting Miguelin’s rise and fall with a strong focus on the bloody realities of bullfighting, The Moment of Truth is at once gritty and operatic as it places the viewer right in the thick of the ring’s unsettling action.
More than just a striking drama (and one of the most memorable bullfighting movies ever made), the film...
Price: DVD $19.95, Blu-ray $29.95
Studio: Criterion
Miguelin takes to the ring in The Moment of Truth.
The Moment of Truth is a seldom-seen 1964 bullfighting film by Italy’s Francesco Rosi (Salvatore Giuliano), who is considered to be one of the central filmmakers of the politicized, post-Neorealist Italian cinema of the 1960s and 1970s (alongside Ettore Scola and The Battle of Algiers‘ Gillo Pontecorvo).
The drama movie takes a visceral plunge into the life of a famous torero, played by real-life bullfighting legend Miguel Mateo, known as Miguelin. Charting Miguelin’s rise and fall with a strong focus on the bloody realities of bullfighting, The Moment of Truth is at once gritty and operatic as it places the viewer right in the thick of the ring’s unsettling action.
More than just a striking drama (and one of the most memorable bullfighting movies ever made), the film...
- 12/14/2011
- by Laurence
- Disc Dish
(Francesco Rosi, 1984, PG, Second Sight Films)
Though not as original in conception as Joseph Losey's Don Giovanni, which was also produced by Daniel Toscan du Plantier and conducted by Lorin Maazel, this wonderfully performed and staged version of Bizet's masterpiece is one of the great opera movies, the work of the distinguished Italian realist Francesco Rosi, director of Salvatore Giuliano and Three Brothers. Using the spoken dialogue of the original stage production, it is shot entirely on Andalucian locations with a magnificent central trio: the alluring, powerfully confident Julia Migenes, a sort of dark-haired Gypsy Streisand, as Carmen; Plácido Domingo, a painfully vulnerable (if perhaps slightly too old) Don José; and Ruggero Raimondo (Losey's Don Giovanni) as a wiry, proud Escamillo, who has the pained eyes of a man long used to facing death in the afternoon. Knowing that the ultimate emotional and psychological force comes from the music and singing,...
Though not as original in conception as Joseph Losey's Don Giovanni, which was also produced by Daniel Toscan du Plantier and conducted by Lorin Maazel, this wonderfully performed and staged version of Bizet's masterpiece is one of the great opera movies, the work of the distinguished Italian realist Francesco Rosi, director of Salvatore Giuliano and Three Brothers. Using the spoken dialogue of the original stage production, it is shot entirely on Andalucian locations with a magnificent central trio: the alluring, powerfully confident Julia Migenes, a sort of dark-haired Gypsy Streisand, as Carmen; Plácido Domingo, a painfully vulnerable (if perhaps slightly too old) Don José; and Ruggero Raimondo (Losey's Don Giovanni) as a wiry, proud Escamillo, who has the pained eyes of a man long used to facing death in the afternoon. Knowing that the ultimate emotional and psychological force comes from the music and singing,...
- 9/3/2011
- by Philip French
- The Guardian - Film News
An essential retrospective has just started at BAMcinématek in New York of the films of the great Italian chronicler of crime and punishment (or lack of), Francesco Rosi. One of the least talked about of the great Italian directors, Rosi, now aged 88, has been making films since the late 1950s and is mostly known for his canonical Salvatore Giuliano (1962). Both that film and its superb follow-up Hands Over the City (1963) are available from Criterion, but there is precious little else available here. (One exception is Illustrious Corpses, my favorite Rosi film, illustrated above with its French poster, which I only just discovered is streamable on Netflix under the name The Context and, sadly, dubbed. I highly recommend ignoring that and seeing the film on screen on August 20th, along with the rest of this unmissable series.)
The best Rosi posters come from all over the globe, and though most of...
The best Rosi posters come from all over the globe, and though most of...
- 8/5/2011
- MUBI
Visconti's 1963 version of Giuseppe di Lampedusa's only novel is perhaps the only great movie based on a great book. Burt Lancaster, in his finest performance, brings gravitas and intelligence to its hero, Prince Salinas, the middle-aged Sicilian nobleman who confronts with stoic resignation the changing times of the Risorgimento in the 1860s. The music, the performances, the cinematography and the production design have all been praised over the years, but it is appropriate this time around to note the special contribution of its prolific screenwriter. One of Visconti's regular screenwriters, Suso Cecchi D'Amico died a month ago at the age of 96 after collaborating, credited and uncredited, on many of the best Italian films, from Rome, Open City via Roman Holiday to Salvatore Giuliano. She suggested dropping the novel's modern epilogue and persuaded Visconti to conclude with the extended society ball in Palermo, one of the most remarkable and influential sequences in movie history.
- 8/28/2010
- by Philip French
- The Guardian - Film News
Italian screenwriter who worked with directors such as Visconti and Zeffirelli
The Italian screenwriter Suso Cecchi d'Amico, who has died aged 96, collaborated on the scripts of more than 100 films, including Vittorio De Sica's Ladri di Biciclette (Bicycle Thieves, 1948), William Wyler's Roman Holiday (1953), Mario Monicelli's I Soliti Ignoti (Big Deal on Madonna Street, 1958) and Francesco Rosi's Salvatore Giuliano (1962). She also worked with Michelangelo Antonioni on Le Amiche (The Girlfriends, 1955) and Franco Zeffirelli on Jesus of Nazareth (1977), but she was best known for her creative contribution to the films of Luchino Visconti, including Il Gattopardo (The Leopard, 1963).
She was born Giovanna Cecchi in Rome to a Tuscan painter, Leonetta Pieraccini, and the literary critic Emilio Cecchi, a major figure in 20th-century Italian letters. For a few years in the early 1930s, before the Cinecittà studios were built in Rome, her father had been entrusted by Mussolini's government with...
The Italian screenwriter Suso Cecchi d'Amico, who has died aged 96, collaborated on the scripts of more than 100 films, including Vittorio De Sica's Ladri di Biciclette (Bicycle Thieves, 1948), William Wyler's Roman Holiday (1953), Mario Monicelli's I Soliti Ignoti (Big Deal on Madonna Street, 1958) and Francesco Rosi's Salvatore Giuliano (1962). She also worked with Michelangelo Antonioni on Le Amiche (The Girlfriends, 1955) and Franco Zeffirelli on Jesus of Nazareth (1977), but she was best known for her creative contribution to the films of Luchino Visconti, including Il Gattopardo (The Leopard, 1963).
She was born Giovanna Cecchi in Rome to a Tuscan painter, Leonetta Pieraccini, and the literary critic Emilio Cecchi, a major figure in 20th-century Italian letters. For a few years in the early 1930s, before the Cinecittà studios were built in Rome, her father had been entrusted by Mussolini's government with...
- 8/1/2010
- by John Francis Lane
- The Guardian - Film News
Joann Sfar's bold debut is a highly enjoyable – if low on detail – life of the charismatic French singer Serge Gainsbourg
In the 1930s Warner Brothers developed a serious line in earnest, inspirational films celebrating great scientists, liberators and social benefactors, usually played by Edward G Robinson or Paul Muni, dedicated to Longfellow's lines in his "A Psalm of Life": "Lives of great men all remind us/ We can make our lives sublime/ And, departing, leave behind us/ Footprints on the sands of time." But Variety's contemptuous neologism "biopic" stuck, and biography has never had much standing in the cinema – unlike the literary world where, under the larger rubric of "life writing", it's a serious matter both to practise and study.
Orson Welles's Citizen Kane in the 1940s and the Italian Marxist Francesco Rosi's Salvatore Giuliano in the 60s attempted to find an inventive form that would...
In the 1930s Warner Brothers developed a serious line in earnest, inspirational films celebrating great scientists, liberators and social benefactors, usually played by Edward G Robinson or Paul Muni, dedicated to Longfellow's lines in his "A Psalm of Life": "Lives of great men all remind us/ We can make our lives sublime/ And, departing, leave behind us/ Footprints on the sands of time." But Variety's contemptuous neologism "biopic" stuck, and biography has never had much standing in the cinema – unlike the literary world where, under the larger rubric of "life writing", it's a serious matter both to practise and study.
Orson Welles's Citizen Kane in the 1940s and the Italian Marxist Francesco Rosi's Salvatore Giuliano in the 60s attempted to find an inventive form that would...
- 7/31/2010
- by Philip French
- The Guardian - Film News
Just days ago, Cahiers du Cinéma named Alain Resnais's Wild Grass as the best film of 2009, so how very appropriate it is that the Recyclage de luxe Online Film Festival presents as its final film, free to viewers in the UK over 18, Renais's debut feature; it's practically a 50th anniversary presentation.
"'I think that in a few years, in ten, twenty, or thirty years, we will know whether Hiroshima mon amour was the most important film since the war, the first modern film of sound cinema.' That's Eric Rohmer," notes Kent Jones for Criterion, "in a July 1959 round-table discussion between the members of Cahiers du Cinéma's editorial staff, devoted to Alain Resnais's groundbreaking first feature. Rohmer's remark is in perfect sync with the spirit of the film, which, as he says later in the discussion, 'has a very strong sense of the future, particularly the anguish of the future.
"'I think that in a few years, in ten, twenty, or thirty years, we will know whether Hiroshima mon amour was the most important film since the war, the first modern film of sound cinema.' That's Eric Rohmer," notes Kent Jones for Criterion, "in a July 1959 round-table discussion between the members of Cahiers du Cinéma's editorial staff, devoted to Alain Resnais's groundbreaking first feature. Rohmer's remark is in perfect sync with the spirit of the film, which, as he says later in the discussion, 'has a very strong sense of the future, particularly the anguish of the future.
- 12/28/2009
- MUBI
COLOGNE, Germany -- Francesco Rosi, one of the giants of Italian cinema, will be honored with a lifetime achievement Golden Bear at the 2008 Berlin International Film Festival.
The upcoming Berlinale also will feature an homage of 13 Rosi films, including Salvatore Giuliano, the film that won the best director Silver Bear in Berlin in 1962 and marked Rosi's international breakthrough.
In his long career, the 85-year-old Rosi has returned repeatedly to Italian economic and political history. Whether it is the history of the Mafia in films such as the Palme d'Or-winning The Mattei Affair (1972) and Lucky Luciano (1973); the tension between Italy's rich industrial north and its poor agricultural south in Christ Stopped at Eboli (1979); or the fate of Italian post-World War II immigrants to West Germany in The Magliari (1959).
In addition to the Palme d'Or and the Silver Bear, Rosi won Venice's Golden Lion in 1963 for Hands Over the City, an expose of building scandals in his hometown of Naples.
The upcoming Berlinale also will feature an homage of 13 Rosi films, including Salvatore Giuliano, the film that won the best director Silver Bear in Berlin in 1962 and marked Rosi's international breakthrough.
In his long career, the 85-year-old Rosi has returned repeatedly to Italian economic and political history. Whether it is the history of the Mafia in films such as the Palme d'Or-winning The Mattei Affair (1972) and Lucky Luciano (1973); the tension between Italy's rich industrial north and its poor agricultural south in Christ Stopped at Eboli (1979); or the fate of Italian post-World War II immigrants to West Germany in The Magliari (1959).
In addition to the Palme d'Or and the Silver Bear, Rosi won Venice's Golden Lion in 1963 for Hands Over the City, an expose of building scandals in his hometown of Naples.
- 11/28/2007
- The Hollywood Reporter - Movie News
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