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.
No, I am not referring to the 1961 musical by Anthony Newley and Leslie Bricusse, which enjoyed successful stage productions in London and Broadway before being adapted for the screen in 1966. I’m talking about the 1970 satire, Fermate il Mondo…Voglio Scendere! (the title translates as Stop the World…I Want to Get Off! In English), which was the directorial debut of Italian actor Giancarlo Cobelli, based on a screenplay he wrote with fellow thespians Giancarlo Badessi and Laura Betti, a close friend and frequent collaborator with Pier Paolo Pasolini. The film is a frenzied attack on consumerism and the Italian media but its bursting-at-the-seams energy emanates not so much from outrage as it does from a madcap sense of anarchy.
Giuliano Gemma and Stefania Sandrelli play factory workers in Milan who become lovers in the tragic love story, Delitto D’amore (aka Crime of Love, 1974), directed by Luigi Comencini.
Milan, Italy is world famous as a mecca for high fashion, design and the AC Milan football club but the statistics also reveal that it is still one of Europe’s most polluted cities due to smoke spewing factories and auto emissions. Against this gray, industrial backdrop, Luigi Comencini has set his rarely seen but moving 1974 drama, Delitto D’amore (aka Crime of Love). Continue reading →