Senilità aka Careless (1962)

Anthony Franciosa plays a frustrated office worker pushing forty who develops an obsessive love for a young woman in SENILITA (1962), directed by Mauro Bolognini.

Italian novelist Italo Svevo was the pseudonym for Ettore Schmitz, a novelist and short story writer who was born in Trieste in 1861. After publishing two unsuccessful novels, he gave up writing until his English tutor James Joyce encouraged him to continue and he wrote a third novel in 1823, Confessions of Zeno (considered his masterpiece) and several short stories which were not published until after his early death from an automobile accident in 1928. Svevo never received the acclaim he deserved during his own lifetime but now he is considered one of Italy’s most famous authors and a pioneer of the psychoanalytical novel. His novels and some of his short stories were later adapted for film and television productions but the first one to hit the screen was Senelita (aka Careless, 1962), based on his second novel. The story of an insecure, self-absorbed office worker approaching forty who develops an obsessive love for a beautiful working class girl, the film was an impressive early masterwork for director Mauro Bolognini and helped launch Claudia Cardinale as an international star (The following year she appeared in Federico Fellini’s 8 ½, Luchino Visconti’s The Leopard and made her American film debut in The Pink Panther). 

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The Many Noses of Orson Welles

triple Orson Welles shot“When you are down and out something always turns up – and it is usually the noses of your friends.” – Orson Welles

When you’re a film actor, it’s easy to understand how one can obsess over some less than perfect facial or physical feature that is going to be magnified by the camera on the big screen. But in most cases these fears are usually unfounded and not even something the average moviegoer would notice or care about. Claudette Colbert and Jean Arthur both insisted on being shot from the left side for profiles; Colbert called the right side of her face “the dark side of the moon.” Fred Astaire used movement and positioning to distract people from what he felt were his unusually large hands and Bing Crosby dealt with his increasing baldness by wearing hats at all times (he refused to wear toupees). Orson Welles’ insecurity over the size of his nose, however, is probably the most baffling of the actor hangups I’ve read about.

*This is a slightly revised version of my post that originally appeared on TCM’s Movie Morlocks blog     Continue reading