Those Italian ladies

Regulars here will know how we appreciate those Italian ladies - Sophia, Monica, Gina, Claudia, Silvana, then there's Alida Valli, Elsa Martinelli, Laura Antonelli and of course Magnani .... here are a clutch of new stills. Thanks to Colin for the Sophia pictures I had not seen before; and to that great site Silents & Talkies for that stunning Vitti portrait. (http://silentsandtalkies.blogspot.co.uk/)
I like this one of Claudia and Monica together too - they co-starred a few times in Italian comedies in the '70s, BLONDE IN BLACK LEATHER is a lot of fun, as per my review at their labels. We love Silvana too in those items like MAMBO, THE SEA WALL, TEMPEST and those later Visconti and Pasolini films she appeared in. They all have amazing faces and certainly ramp up the glamour. Its been great too discovering Sophia's Italian movies from 1954 and '55 before she went into American films: I particularly like TOO BAD SHE'S BAD, SCANDAL IN SORRENTO, WOMAN OF THE RIVER etc., as per reviews (Italian labels). 

Lots more on them at the labels.

Claudia in THE LEOPARD or SANDRA, Monica in L'AVVENTURA or L'ECLISSE or MODESTY BLAISE, Sophia in anything. Valli in SENSO, Magnani in WILD IS THE WIND or BELLISSIMA, Antonelli in L'INNOCENTE, and how could we forget Gina Lollobrigida in so many movie moments ....

A '50s favourite: Back to the Sea Wall ...

Another Fifties favourite I have featured here quite a bit, but not lately, is Rene Clement's 1957 THE SEA WALL or THIS ANGRY AGE

This is a nice clip of Tony Perkins and Silvana Mangano doing their jive number:

https://www.youtube.com/watch?v=zAekQyj7df8

(Somehow YouTube won't let me load the clip, the whole movie is on there too, but in black and white.

There is a lot more on THE SEA WALL (or THIS ANGRY AGE) at the labels below. I loved it as a kid, and it still works for me now, Jo Van Fleet of course is extraordinary as always, and Alida Valli picks up Tony at the cinema! It was an early international co-production, French/Italian and shot in Thailand, from the Marguerite Duras novel. Tony of course went from Silvana to Sophia Loren in his next, DESIRE UNDER THE ELMS, while Clement stunned and fascinated me with his next - PLEIN SOLEIL .... but thats a whole different story. 

New Plein Soleil on Blu-Ray

That new PLEIN SOLEIL Blu-ray arrived today, and its terrific. This is the English StudioCanal one, I already got the US Criterion (right). This English has has extras on interesting restoration comparisons, and an extensive recent interview with its star Alain Delon - who is very fulsome on Rene Clement and his influence on him, plus he mentions Romy's appearance in it; plus an over an hour long documentary on its making, so now I feel I know everything there is to about PLEIN SOLEIL. Pity no Marie Laforet interview though. Highly recommended then, and the film is still dazzling, as is that 1959 Mediterranean ... and without that padding that Minghella included in his 1999 version. 
For me though Clement kind of peaked with PLEIN SOLEIL, his following films were just not in the same league, though LES FELINS with Delon again in 1963 is a ritzy thriller. 1947's LES MAUDITS and GERVAISE were interesting discoveries a while back (thanks John), and I really like KNAVE OF HEARTS (Gerard Philipe label) and 1958's THE SEA WALL, as mentioned here several times ...

The Sea Wall, once again ....

Next summer repeat - a look back at our 1958 favourite, THE SEA WALL or THIS ANGRY AGE.

From "Lost Films of the Fifties" by Douglas Brode (an ideal companion to his essential "Films of the Fifties") a selection of stills from one of my favourite films, mentioned on here quite a bit (Mangano, Perkins, Clement, Sea Wall labels) THE SEA WALL or THIS ANGRY AGE from 1958 - which I liked at the time, and finally saw again - in an Italian copy - last year [thanks to my IMDB pal Timshelboy]. I also wrote about the recent French remake of this Marguerite Duras story, LE BARRAGE CONTRE LE PACIFIQUE starring Isabelle Huppert [French label]. The '58 version though by Rene Clement for Dino De Laurentiis, starring his wife Silvana Mangano, is one of the first international co-productions made in Thailand, and remains a fascinating lost movie, scripted from the Duras novel by Irwin Shaw, with a Nino Rota score.

Here we have Silvana and a pre-PSYCHO Tony Perkins as the siblings, the great Jo Van Fleet [as good as in EAST OF EDEN or WILD RIVER] as their mother trying to protect their rice plantation from the sea, and Mangano with Richard Conte, and Nehemiah Persoff. I love the scenes with Perkins and Mangano dancing, and playing their rock'n'roll records on that beat-up record player. Alida Valli also appears as the woman who picks up Perkins in the cinema! Maybe one day a proper print will be available .... ditto, De Laurentiis's THE TEMPEST, another international co-production, by Lattuada with Mangano in '58 from the Pushkin novel set in the Russian steppes. I loved it when I was 12!

Update: I now have my third copy - the first was Italian only / then a friend sourced a black and white copy in English / last year I got a copy in colour and in English with French Sub-titles, copied from French television - and introduced by Alain Delon ! - he must have been commenting on a Rene Clement season ... perfect viewing then.

Showpeople: Young Hollywood dating habits ...

An occasional series (see label) highlighting the camp glamour side of show-business and those who toil therein,  featuring lots of our favourite people ...

Amusing looking back at the '50s fan magazines on the dating habits of young Hollywood then - surely it is a whole lot different today, or is it ? Here we see Tab and Tony on their various double-dates with those obliging gals Venetia Stevenson, Natalie Wood, Terry Moore and the other girls who knew the score and how to get publicity ... the boys seem a bit bored with it all though, such are the perils of being a teen heart-throb. 

They also of course tried their hand at singing, Tab in particular having several hits, like "Young Love". I liked his 2 movies with Natalie, capturing that mid-'50s teen period perfectly, after James Dean, but before Elvis and Sandra Dee.

Perkins probaby had the better career, I remember first reading about in him a fan magazine "Screen Album" when he was doing LOOK HOMEWARD ANGEL on Broadway, and was an interesting intense new actor, and we liked him in FRIENDLY PERSUASION and the others (like my favourite THE SEA WALL in '58, as label), and then working not only with Hitch but also all those European ladies in the '60s (see Perkins label for GOODBYE AGAIN with Ingrid). He died aged 60 in 1992, he had married Berry Berenson (who perished in the 9/11 attacks) and they had 2 sons;  but Tab is still here and looking good in his mid '80s (as per that new 'Vanity Fair' photograph) ... his biography was a good read too on Hollywood back then ... The boys must have been photographed together almost as many times as pals and frequent co-stars Robert Wagner and Jeffrey Hunter; or Guy Madison and Rory Calhoun, or Cary Grant and Randoloph Scott back in the '30s.

They also too both starred with Italian import Sophia Loren in her early American films: Perkins with her in DESIRE UNDER THE ELMS in 1958, rather risible now, as per review at label - and in 1962's FIVE MILES TO MIDNIGHT, a routinely effective thriller. Tab was the marine falling for her in Lumet's 1959 THAT KIND OF WOMAN, where our old pal George Sanders (see last 2 posts below) was her rich protector! It was a find recently. 

Tony visits Sophia & John Wayne on LEGEND OF THE LOST.  Could he look gayer?

Amour + hits & misses of the year ...

It seems a bit silly to do a Films of the Year when I have yet to see a lot of recent releases: SKYFALL or THE DARK KNIGHT RISES (I have the dvd though...), then there's ARGO to see, plus RUST AND BONE, THE MASTER does not interest me, as yet, though my pal Martin raves about it - so lots to catch up with then, but my Film Of The Year is:

AMOUR, the second Michael Heneke film in a row to win the Palme d'Or at Cannes is a chamber-piece about love but also mostly about impending death ... a devastating, but humane memento mori, for those - like me - who have been witness to the decline and deaths of our parents .... I fear London is becoming provincial in regard to European films. The buzz about AMOUR started back in May when it won at Cannes (see French label) - but we have had to wait till November for it to open here. 

In a pair of heartbreaking performances Jean-Louis Trintignant and Emmanuelle Riva play Georges and Anne, retired married music teachers enjoying a comfortable old age, (in their 80s so things cannot continue indefinitely). They are happy in their Paris apartment with their books and music and occasional concerts, and are devoted to each other after a long marriage. The films opens with an unsettling flash-forward which renders all that follows a foregone conclusion: one morning at breakfast Anne suffers a small stroke. We are shown her deterioration in all its horror as she gradually loses control ...... Georges tends to her with devotion as she makes him promise she will not be put into hospital ...... then there is his final act of devotion, and the aftermath.

Haneke here gives us a love story, compassionate and intelligent, there is also a ghost story element. The two stars are superlative, as is Isabelle Huppert as their daughter. I only know Riva best from Melville's LEON MORIN PRETE (French label), while Trintignant is one of France's leading men ever since Vadim's AND GOD CREATED WOMAN, and an attractive presence in films like LE JEU DE LA VERITE and ATLANTIS CITY UNDER THE DESERT, as well as those hits we still like, like Lelouch's UN HOMME ET UNE FEMME, Bertolucci's THE CONFORMIST, Costa-Garvas' Z, Rohmer's MY NIGHT WITH MAUD, Chabrol's LES BICHES , and I have recently acquired several of his with Romy Schneider (at least 3) to see and review soon. This is my first Haneke film, but I am now curious to see the others like THE WHITE RIBBON and HIDDEN. It would be perfect to see Trintignant and Riva (now in their 80s) nominated for awards .... if only for their courage here in showing what age does to  us. We are aware too of what use are their books and music and possessions to them as they decline ... AMOUR isn't for everyone, but for those who have first-hand experience of parental decline, it will be a profound and moving experience, not depressing but cathartic. Love, indeed.

This year I also liked KILLER JOE, ALBERT NOBBS, THE GUARD, SHAME, DRIVE, CRAZY STUPID LOVE, THE DEVIL'S DOUBLE, THE EAGLE (as at 2000s label).  As regards gay related titles, the British WEEKEND was rather a disappointment, but Peru's UNDERTOW more than compensated ...

Most over-rated:  THE ARTIST - nuff said, as per review at 2000s/French/Comedy labels.

Stinkers Of The Year: MAGIC MIKE - the least erotic film about stripping imaginable - and from earlier in 2012 that EXOTIC MARIGOLD HOTEL, (reviews at 2000s label) if only for its lack of imagination in killing off the gay character once his story arc is completed - the others can stay on living in India but the gay gay has to drop dead ?  If thats 'cinema for old people' count me out - even Dames Maggie and Judi couldn't save this one; still, they got a trip to India. I wonder if Dustin's QUARTET will be more of the same ? 2013 shall reveal all ... 

Discoveries Of The Year: Three early '60s black and white Italian films by Mauro Bolognini: LA NOTTE BRAVA - 1960, SENILITA from 1962 and LA CORRUZIONE, 1963 - reviews at Italian label. Therse were only available at the time on YouTube with English subtitles. I have now though got a Spanish version of NOTTE BRAVA: LA NOCHE BRAVA, it should be just as marvellous with Spanish sub-titles, and a sub-titled disk of CORRUPTION where young Jacques Perrin is once again corrupted by his father's mistress and big business - only SENILITA (where Claudia Cardinale is ideal) remains unavailable, but I have got the novel by Italo Svevo, and 2 more Bolognini films:  GIOVANI MARITI from 1958 with another attractive young cast and co-scripted again by Pasolini, and the 1970 costume drama METELLO - reviews in January! His GRAN BOLLITO was a terrific discovery too a year or two ago.... Bolognini is now on the radar as much as say Antonioni, Fellini or Visconti ...

Also, another 'lost' Italian: Vancini's THE LONG NIGHT OF '43, not seen since I saw it at the National Film Theatre maybe in 1967 with a pal Guy Tremlett - where Belinda Lee and Gabriele Ferzetti are terrific in this 1960 war-time drama (Italian label). 

Two good re-discoveries: at last English versions of 2 favourites: the 1958 THE SEA WALL (THIS ANGRY AGE) that first version by Rene Clement of Marguerite Duras' BARRAGE CONTRE LA PACIFIQUE with Silvana Mangano, Tony Perkins and Jo Van Fleet, which I had not seen since being a kid in 1958 - a friend and I got the Italian only version, then a sub-titled print in black and white, and now finally the English language colour and scope version but with French subtitles (and introduced by Alain Delon no less, as recorded from French television! - Sea Wall label), and also finally the English language version of Clements' 1954 KNAVE OF HEARTS (MR RIPOIS) - as commented on here previously at French/Philipe/Greenwood labels).  

Also the BFI restored British 1947 noir IT ALWAYS RAINS ON SUNDAY, as per recent review below ....

Hilarity of the year: was provided by those two 1970 Trash classics GOODBYE GEMINI and the Helmut Berger DORIAN GRAY, where in both opuses they visited the same tatty drag pub (it was The Elephant & Castle) and saw the same drag performer .... maybe they were there the same night ? BITTER HARVEST from 1963 was another wonderfully trashy British item from 1963. (See reviews at Trash label).

And, finally, HAPPY NEW YEAR - and lots more old and new movies ! 

Summer re-runs: Tom Ripley's purple noon

 "Mercilessly cool, wickedly intense"

 

PLEIN SOLEIL: Based on the novel by crime scribe Patricia Highsmith (who also wrote STRANGERS ON A TRAIN) Rene Clement's striking study from 1960 of a glamorous and complex psychopath features a career-defining turn from a young, beautiful and ultra-cool Alain Delon.  In a taut, expertly crafted thriller Delon is Tom Ripley, an emissary sent by a wealthy American industrialist to save his son, errant playboy Dickie Greenleaf (Maurice Ronet) from a life of decadence in Italy. Insinuating himself into Greenleaf's existance Ripley practices his signature, dresses up in his clothes before attempting to steal his life, his girl and of course his money.

Recenly remade as the star-studded THE TALENTED MR RIPLEY, PLEIN SOLEIL (PURPLE NOON) is an engrossing meditation on transference and deceit, highly rated by the famously critical Highsmith. The film is a genuinely stylish original.  So says the dvd blurb - but I am sure Highsmith was not pleased that her ending was changed, as back in 1960 our hero could not be seen to be getting away with it.

It is an odd sensation returning to a key movie of one's youth. I saw this circa 1960 in my small town cinema in Ireland when I was about 14 and suddenly I was aware of European glamour and beauty and decadence.  Though I have written about it quite a bit here (see labels) I had not actually sat down and watched it for a long time ... back then I was fascinated by the two boys enjoying their trip to Rome and that fantastic introduction to Marge with the Fra Angelico pictures and her singing that song and strumming the guitar and then we see her eyes ...

Visually, this film could serve as a cinematic poster for a Mediterranean cruise. Cinematographer Henri Decae draws us into the film with its alluring Italian locales and gorgeous panoramic vistas. Bright, complementary hues and high color contrast translate into eye-popping reds and yellows. And, of course, there's the deep blue color of the sea, and a brilliant sunlit sky. 

It is fascinating to contrast with Anthony Minghella's 1999 version, where they are fussily dressed in cliche 1950s fashions: hats, gloves, big dresses - but our glamorous trio in 1960 are wearing casual wear that has not dated at all - all those clothes could be worn now and are still smart and stylish. Delon wears a cream colour suit to die for. The look and style of Clement's film simply has not dated after 50 years. Damon too is a more geeky nerdy type and in the later version Jude Law stole the show. He toys too more homoerotically with Ripley, like in that bathroom scene (below).  What one gets in the 1960 version is how Dickie suddenly realises he is in danger on that yacht ... the later version also has that local girl who kills herself as Dickie has made her pregnant, presumably this is to make him more of a heel so we do not mind too much when he is offed ....In the recent version Dickie seems bored with Marge (Paltrow) and then gets bored with Tom whom he constantly reminds how poor he is ... the murder here is in a rowboat and seems inspired by anger rather than pre-meditated. In the original the scenes on the yacht at sea are very well done, like Tom getting sunburt when exiled to the dinghy when Dickie's prank goes too far...

I love the Highsmith book and have re-read it several times, and for a book published in the mid-'50s it is surprisingly explicit about Tom's background and desires. Minghella broadens the material by bringing in the characters played by Cate Blanchett and Jack Davenport - which is a total departure from the novel and the first version and creates a whole new final section. As I say in earlier posts, even as a teen I loved the look and style of Delon and Laforet and Ronet too, and there is that moment with Romy Schneider. The plot though seems a bit rushed now in the Clement version, with Tom ensuring that Marge gets Dickie's money - but surely he wanted it all for himself ... it still looks astonishingly modern 50+ years later .... it and Melville's LE SAMOURAI (Delon label) and of course Visconti's ROCCO and THE LEOPARD and Antonioni's L'ECLISSE certainly remain Delon's main achievements. Laforet is a wonderful singer too, and Ronet was another leading French actor, as per my post on him and those Louis Malle films like LE FEU FOLLET (Ronet label). and we have reviewed several Clements here: KNAVE OF HEARTS, GERVAISE, and that '58 favourite THE SEA WALL, etc.