Why does it take so long for certain extremely gifted filmmakers to achieve international attention and praise for their body of work? Italian director Antonio Pietrangeli might have been popular and well-known in his own country but not so much in the U.S. where he was almost forgotten until the last decade. Thanks to filmmaker Alexander Payne, a re-discovery of Pietrangeli’s work began in 2012 after Payne hosted a showing of Lo La Conoscevo Bene (English title: I Knew Her Well, 1965) at the Telluride Film Festival that year (The Criterion Collection would later release it on Blu-ray and DVD in 2016). It was also in 2012 that Raro Films released Pietrangeli’s La Visita (English title: The Visit, 1963) on DVD in America and followed it up with a 2014 DVD release of his Adua e Le Compagne aka Hungry for Love aka Love a la Carte (1960).
Retrospectives of Pietrangeli’s work at museums, film festivals and cinema archives soon followed with MoMA presenting 10 of his movies in 2015 (He only directed 11 feature films plus contributions to two anthology films, 1954’s Mid-Century Loves and 1966’s The Queens. He was more prolific as a screenwriter and also worked as an assistant director on films like Luchino Visconti’s Ossessione. It’s a shame Pietrangeli didn’t live long enough to see his work being re-discovered in the U.S. and abroad (he drowned at sea in 1968 at age 49) but renewed interest in his work doesn’t necessarily mean that most of his work is now readily available for viewing. One of his key achievements, La Parmigiana (English title: The Girl from Parma, 1963) is still missing in action but it is an impressive showcase for actress Catherine Spaak and a fine example of Pietrangeli’s unusually effective blend of comedy and drama featuring a female protagonist. In fact, most of his films view Italian society through the eyes of a sympathetic heroine or heroines.
In its own way, Pier Paolo Pasolini’s 1961 directorial debut Accattone could be seen as the last gasp of the Italian neo-realism movement. It is also a remarkably self-assured first film that blends the lyrical with the sordid in its depiction of life on the outskirts of Rome where pimps, thieves and petty criminals scrounge for a living with little hope of ever escaping their dead-end existence. Based on Pasolini’s second novel, Una Vita Violenta, Accatone successfully launched Pasolini as a film director but also marked the beginning of an acting career for Franco Citti in the title role. What is most interesting is that Una Vita Violenta was again adapted for the screen under that title the following year but it is hardly ever mentioned or revived. Pasolini had no involvement with the production but it did star Franco Citti in the central role of Tommaso, a character similar to Accattone, and the two films would make a fascinating double feature in terms of their contrasting tones and directorial style. Continue reading →