Wednesday, November 13, 2019

Women in Film to Honor First Female Academy Award-Nominated Director Lina Wertmüller





 Hollywood Reporter
By Ariston Anderson
10/21/2019


Legendary Italian director LinaWertmuller 91, received an Honorary Oscar at the 2019 Governors Awards on Sunday, October 27, 2019, in Hollywood, California. Wertmüller was the first-ever woman to be nominated for a best director Oscar for her 1976 classic Seven Beauties. The film received four nominations in total, including for best original screenplay for Wertmüller, best foreign language film and best actor for her frequent collaborator Giancarlo Giannini.

While Wertmüller may have paved the way, there have been only four other women who have since received best director noms: Jane Campion (The Piano), Sofia Coppola (Lost in Translation), Kathryn Bigelow (The Hurt Locker) and Greta Gerwig (Lady Bird), with only Bigelow taking home the Oscar in 2010.

Wertmüller, who began her career as an assistant director to Federico Fellini on the 1963 film , became renowned for her unique cinematic vision in political and often whimsical movies.

Her noted films include The Seduction of Mimi (1972), Love and Anarchy (1973) and Swept Away (1974), which was later remade by Guy Ritchie.

Wertmüller will finally take home an Oscar at the Governors Awards on Sunday, alongside other honorary award winners David Lynch, Wes Studi and Geena Davis.

Lina directed one Euro-western using the alias Nathan  Wich; The Belle Starr Story (1968) starring Elsa Martinelli, George Eastman and Robert Woods.

Who Are Those Guys? ~ Sven Cleemann



Sven Cleemann started after graduating from the Metropolitan School in 1966 on 7 years of studies at the University of Copenhagen (Medicine, Social Studies, Physical Exercises and Psychology). He entered the world of music and theater and contributed to the musicals "Hair" and "Jesus Christ Superstar" as well as "Touch" at the ABC theater. He also starred in a few episodes of the TV series "The House at Christianshavn" and in the movie "Gold for the Tough Guys of the Prairie". Today Sven Cleemann is affiliated with Denmark's Nature and Environment TV series as coordinator, which is unpaid and he does on a voluntary basis.


CLEEMANN, Sven [10/9/1947, Copenhagen, Denmark -     ] – producer, theater, film, TV actor, singer.
Gold for the Tough Guys of the Prairie – 1971 (cowboy)

Special Birthdays


Jack Lewis (screenwriter) would have been 95 today, he died in 2009.










Fabio Garriba (assistant director, actor) would have been 75 today, he died in 2016.













Jesper Klein (actor) would have been 75 today, he died in 2011.

Tuesday, November 12, 2019

Gojko Mitic Interview


The life of the Goiko Mitic Indian: a house in Germany, tomatoes, an amulet
“I also played Marshal Sokolovsky!”

MKRU
10/04/2019

The legendary Yugoslav and German actor Gojko Mitic, known for the films “Chingachguk - Big Snake”, “Sons of the White Bear”, “Apaches”, “Winnet”, “The Leader of the White Feather” and others created in the GDR in the 1960–80s came to Russia. Gojko told us about his life in Germany, an Indian amulet and growing tomatoes.

In Blagoveshchensk, at the Amur Autumn festival, Gojko Mitic was awarded the Crane for his contribution to world cinema. “We must hold it tight so that it does not fly away,” Gojko reacted.
“Next June I will be 80. A young old man,” he says of himself. But in the memory of the audience, Mitic is still young. Elderly residents of Blagoveshchensk approached Andrei Andreev, a 54-year-old actor who arrived at the festival and asked: “Are you Gojko Mitic?” Having learned about this from the MK observer, Gojko carefully looked at his colleague and agreed: “There is something similar.” So Andrei Andreev became the hero of the documentary, which is filmed about Mitic by the Serbian director Maria Zhizhovich, who studied at VGIK with Vadim Abdrashitov.

[Gojko Mitic with Maria Zizhovic and his double Andrei Andreev]

Journalists conducted a survey and found out that one of the spectators at home had a portrait of Gojko for many years. The husband was terribly jealous and smeared it with black paint. As a result, the couple divorced. One of the men recalled how, thanks to Mitic, he had acquired beautiful breasts: he followed his example, went in for sports. They remembered the rumors that Gojko died on the set. Many, as it turns out, dreamed of marrying him. And now some ladies, having learned that he is free, have become extremely lively.

In Blagoveshchensk, Gojko Mitic presented the Russian-Serbian film "The Balkan Frontier", where he starred after a long break. The film is based on the real events of 1999, when the peacekeeping battalion made a march from Bosnia to the Slatina airfield in Kosovo. Gojko agreed to act in film without even reading the script: the topic seemed important. He performed all the tricks himself.

Gojko Mitic was born in Serbia. After the bombardment of Belgrade, his mother experienced such stress that she could no longer speak, and then her heart stopped. Gojko could not say goodbye to her. Roads were broken, bridges were blown up. Only six months later, he visited the grave.

With Gojko Mitic we walked along the Amur embankment, looked towards China, which is 700 meters on the other side. Together we ended up in the bordering Heihe, visited the local history museum in Blagoveshchensk, where, having seen the old Singer sewing machine, Gojko examined it for a long time and said: “This was my grandmother’s.”

“I don’t want to know which of my friends reported me”

- You speak Russian well, you have been living in Berlin for a long time, but your native language remains ...

- The language of the mother, that is, Serbian. I studied Russian at school, had a choice - Russian, German, French, English. I chose German and Russian. I have been living in Germany for a long time, and a second language came in handy.
 


[On the other side of the Amur]

He starred a lot at the DEFA studio. I speak German daily in everyday life, play in the theater. As for the Russian language, I did not have a rich practice. But when I was filming with you in the Caucasus more than fifty years ago, it really helped me that I studied your language a little bit at school. We were in Pyatigorsk at a stud farm, where we chose an Arab unrootted horse. My German colleagues also studied Russian at school, but could not say a word. I translated them.
- Have you read Russian books?

“I wanted to read War and Peace, but my knowledge is not enough to read normally.” Multilingualism reigns in my head, suddenly I begin to speak Russian with the Germans.
- Yugoslavia for the Soviet people was a real foreign country and was perceived as the most capitalist country of the socialist camp.

- In the West they believe that Yugoslavia is a communist country, in the East they call it capitalist. My country was in the middle.

- When you left her and moved to Germany, did this somehow affect your relatives?
- No, such as in the USSR, we did not have. Parents were proud of me. My father showed everyone my photos. I told him: “Old, what are you doing? Do not play the fool. "

“They did not want to move to you?”

- No! And I didn’t want to stay there. In Germany, I had a lot of fans. They met me with a banner: "We congratulate our Gojko." How can you leave people after this? In Yugoslavia, no one offered me a job in such films as there. And I worked, built a house in Germany. My brother came to visit me.

                                                     [Gojko Mitic over a cup of coffee]

- It is believed that living in the GDR was more difficult than in the USSR. The Stasi, the GDR Ministry of State Security, invaded the Germans' private life.

- So they say in the West. But if you talk with the inhabitants of the former GDR, you will understand: they don’t think so. Now many realized that they had lost with the unification of Germany.

There were many kindergartens in the GDR; children had the opportunity to study at school for free. Of course, the Stasi actively worked, but I never came across it. I heard that a personal file was started for everyone, and so was me. Journalists offered me access to these documents, but I don’t want to know which of my friends was listening and informing me.

- From East Germany looked with envy towards West Berlin?

- I had a Yugoslav passport, and I could go to the West without a visa. Living in Berlin, he had the opportunity to visit its western part and return back. Therefore, my colleagues addressed me with different requests: to visit my grandmother, to bring something. And I helped: "Tell someone who needs what, give an address, and I will go." I was accepted as my own person, and it was important. I starred in 12 Native American films.

- Why did the GDR mass-produce films about Indians?

- The fact is that the writer Karl May lived in East Germany, not far from Dresden. Now his museum is open there. His novels were translated into many languages, even Japanese. As a child, I read three of his novels - “Vinnet”, “Gold to Vinnet”, “White brother to Vinnet”, took them in the library. So interest in the Indians arose thanks to Karl May.

The works of the German writer Lizelotta Welskopf-Heinrich (author of the trilogy “Sons of the Big Dipper” - S.Kh.) were also filmed. She is a professor of history at Humboldt University in Berlin, visited with the Indians, lived with them. Her novels are based on real events.

DEFA is the oldest film studio, and they also wanted to make films about Indians there, but from a different historical point of view. The Indians survived the genocide, and my role as a freedom fighter became important to the audience.

Films of the same subject, shot in West and East Germany, varied. Tekumse (the film directed by Hans Krazert “Tekumse”. - S.Kh. ) is also a historical figure. The idea was to unite all the Indian tribes and build the country of the Indians. If he succeeded, then today's America would be different. But Tekumze did not succeed, because he teamed up with the British. The Queen of England made him a general. In the last battle, he died. In Canada, a monument was erected to him.

[Frame from the film "Chingachgook the Great Snake"]

I also had another historical character - Osceola. I visited the Indians, showed them a film, and they accepted me as a native person. Met with drums. The leader addressed me with the words “my brother” and invited me to his home. I brought him tobacco.

The leader asked what my middle name is in honor of the animal. Upon learning that he was not there, he ordered me to think. I closed my eyes and saw a wolf. The leader said: "You are a wolf." I still don’t understand how he read my thoughts. Such a name is given only once. The Indians gave me a blanket to keep. One girl presented an amulet that she wore for four years. It contains energy.

- The work contributed to your move to Berlin. Do you like this city?

- Now in the East there are some problems. For the same work in the West, people get thirty percent more. But 30 years have passed since the merger. Is it a democracy? Berlin has become an international city with an interesting nightlife, many parties where you can get to know each other.

“Are you a free man?”

- I'm free, content with little. Where I live, there is a nest, and I watch how the bird twigs, protects it. After all, what is a person? He is also part of nature. We can not separate from her, to think that we own her wealth. Man must behave in accordance with the fact that he is only a piece of nature.

The main thing is close people nearby. My brother is alive. Daughter is 25 years old. She does not want children yet; she lives in Indonesia. Tired of her with me.

What do I need for life? Food, a roof over your head, a place to sleep and good friends. I live far from the center, by the river. I have a car, but when I am in Berlin, a bicycle is enough. There is a small garden and a garden where I grow tomatoes. Or is it right to say “tomatoes”? Tomatoes are more likely in German.

I took seeds or seedlings from my brother when he grew large tomatoes. How delicious they are! They can be eaten like apples. I'll be back home - I won’t have to buy tomatoes. I'll make a salad of mine.

- Can you cook?

- Yes, and very good. My guests praise. I can cook Serbian cuisine. When my German friends come, I treat you. I recall the grandmother's recipes.

- From childhood accustomed to agricultural labor?

- Yes, from childhood I saw it all. Now the tomatoes that we buy are not at all tasty. And my brother has clean, no chemicals. Mine are the same as my grandmother used to be. I remembered their taste from childhood.

My grandmother raised me more than my mother. I must thank her for the fact that I have never tried a cigarette. She said that my lungs will be as black asphalt, and that really worked. I imagined that people who smoke had black, and never smoked. But the pipe of the world had to be smoked. It took twenty takes.

“Dean Reed wasn’t loved in Germany”

At one time Gojko Mitic's wife was a German actress Renata Blume. Together they starred in the films Apache and Ulzana. In 1982, Blume received the Lenin Prize for participating in the film Karl Marx. Young years ”of the Soviet film director Lev Kulidzhanov. In the USSR, she was also known as the wife of the American singer and actor Dean Reed.

- They say that you had a bad relationship with Dean Reed.

- I was disturbed by the fact that Dean Reed always tried to be included in the top of the country, sought to be close to the authorities.

- Why was this necessary?

- I do not know. There are actors who organize their popularity while others earn it by labor. I prefer to earn it.

- What is known about his death?

- I do not know if he did it himself, whether he had personal problems. Figuratively speaking, he wanted to carry the flag of the GDR first. He was interested in a political connection with the authorities. I still don’t know if he was an agent.

- What was the reaction in the GDR to the death of Dean Reed?

“They still ask me if I know what happened then.” I know that they found him in the water.
People reacted differently to this. In Germany they did not like him. The elite loved him. He could do what he wanted.

In the film “Blood Brothers”, the script of which he wrote, I actually had no role, and I did not want to participate in it. What could I play there? And I told the director about it. Then the playwrights rewrote something. For me, this film does not matter. Then there was a film based on Jack London, and I had to play his partner. But I said thank you, I didn’t play. Played by another actor. Already during the first conversation, I did not believe that something would work out. All this is difficult to explain, but I had that feeling. There are people that I immediately accept. And I don’t accept anyone. Then it is always confirmed that I was not mistaken.
“Many people hate the one role that made them famous.” And you do not suffer from the fact that you often had to play Indians.

“Do you know why?” Because everything happened by chance. I was about to go skiing, and then they called from the Yugoslav film studio and said that we had to come to them. If I hadn’t picked up the phone, I wouldn’t talk to you now.

It is a pity that people did not see my other roles. I played not only the Indians, but also Marshal Sokolovsky in Uprising, which we shot not in the scenery, but in Karlshorst, where the surrender of Germany was signed.

I had both bandits and Italian gigolo. I played Spartacus and Robin Hood. One of my best roles is the Greek Zorba in the musical, where I first played accompanied by an orchestra.
- You do not have an acting education?

- You can learn many things at the acting department, but on the screen it is important that the actor acts on the viewer so that he has charm.

The theater is the same. Of course, you must know how to speak in order to withstand the whole performance. But it is important to survive what you play, to let yourself through. The viewer feels everything and then accepts you or not.
 

                                                   [Gojko Mitic in Blagoveshchensk]

I never felt a lack of craft. I played Indians who rode horses, hunted. I was helped by the Faculty of Physical Education, which I graduated in Belgrade. He did everything without an understudy, so that the audience believed me. I really wanted to be a coach. Yesterday, one of your actors said: "I wanted to be like you, went in for sports."

I played in the theater with success. Eight thousand spectators gathered in the open air, and I rode before them on a horse in an Indian costume.

- When did you first sit in the saddle?

“I was six years old, and I was already riding a horse.” My first stallion was called Dragan. As a child, I climbed trees. I liked to hang on them.

And it all began while studying at the Institute of Physical Education. They approached me there and asked if I could ride a horse. Filmmakers were looking for an understudy for the leading role in the historical film "Lancelot and the Queen." It involved 200 horses. Then came the small roles and the first big one at the DEFA film studio.

- Beauty didn’t interfere?

- What's the beautiful?

- Yours is male, physical.

- I went in for sports, and in the film I was stripped to show the body. I played an Indian. If he had a big belly, who would imitate him.

But I never followed a diet. And now I eat everything. The main thing is sports. I swim in the river, leaving the bath, dive into the hole.

Beauty is a relative concept. For one, I am beautiful, for the other - no. Nature created man, and one must live with it. Sometimes you meet a bright woman, but in a conversation you understand that she is empty.

My face has become more expressive with age. I look at myself in the mirror and see wrinkles, the character is now read on the face. At 24, I was physically perfect. But over the years, a lot has come. When I played Zorba, there was a very good press. One German critic, always dissatisfied with me, wrote that he could not understand how Mitich circled his finger.
- Do you know that we have adopted the Balkan Frontier with restraint?

- For me, the topic was important, events in Kosovo. There, many policemen died, as did my hero. I met the producer of the Balkan Frontier at the Golden Knight festival. According to the scenario, I had a completely different role - they did not kill me. My character is a real police commander. The producers said that he would be like a symbol of Yugoslavia. While the film was being made, the script was being rewritten. I am not very happy with the way the film was edited. They made an action movie attractive to a young audience. Modern installation with short frames. But in the Balkan Frontier, I played the Serb for the first time.

- Are you in Serbia?

- Once a year I go to my mother’s grave. She was the most important person for me. What my country did not survive - the Turkish yoke, the Balkan wars, the First World War ... We live like on a bridge. From south to north, from north to south you have to go through Serbia.

Special Birthdays


Claude Marchant (actor) would have been 100 today, he died in 2004.

Monday, November 11, 2019

Veterans Day 2019


European Western Comic Books ~Ric-Rac


Albi Mignon (Ric-Rac)

Ric-Rac was a 1948 comic book publication with 18 issues beginning with #1 on October 7, 1948 and ending on December 20, 1950. Published by Panorama Publishing in Florence, Italy under the direction of Ernesto Varol. The series covers the adventures of a couple of western boys divided into two parts. The first, with the subtitle Gli Allegri Bambini (nos. 1/12), and the second with Giovani Atomici (nn. 13/18) where the protagonists became teenagers. Texts by Lascial (nos. 1/12), drawings by Angelo Platania (Frost) (nos. 1/12). The first numbers come out as a supplement to "Popular Enigmistica".

Titles
01 (07.10.48) - “Ric-Rac e la cicogna” (“Ric-Rac and the Stork”)
02 (21.10.48) - “Ric-Rac e l’elefante” (“Ric-Rac and the Elephant”)
03 (04.11.48) - “Ric-Rac e l’orso bruno” (“Ric-Rac and the Brown Bear”)
04 (18.11.48) - “Ric-Rac e il canguro” (“Ric-Rac and the Kangaroo”)
05 (02.12.48) - “Ric-Rac e il pinguino” (“Ric-Rac and the Penguin”)
06 (16.12.49) - “Ric-Rac e la foca” (“Ric-Rac and the Seal”)
07 (19.03.49) - “Ric-Rac nel mistero del vecchio rancho” (“Ric-Rac in the Mystery of the Old
                           Rancho”)
08 (00.00.49) - “Ric-Rac e i lupi della prateria” (“Ric-Rac and the Prairie Wolves”)
09 (00.00.49) - “Ric-Rac e il segreto di Penna Azzurra” (“Ric-Rac and the Secret of Penna
                           Azzurra")
10 (00.00.49) - “Ric-Rac nella città incantata” (“Ric-Rac in the Enchanted City”)
11 (02.07.49) - “Ric-Rac e la pagoda d’oro” (“Ric-Rac and the Golden Pagoda”)
12 (00.00.49) - “Ric-Rac e il gigante della jungla” (“Ric-Rac and the Jungle Giant”)
13 (00.00.49) - “Ric-Rac e lo scrigno misterioso” (“Ric-Rac and the Mysterious Casket”)
14 (15.12.49) - “Ric-Rac al torneo magico” (“Ric-Rac to the Magic Tournament”)
15 (01.01.50) - “Ric-Rac contro il mago Giuliano” (“Ric-Rac Against the Magician Giuliano”)
16 (00.00.50) - “La scomparsa di Ric” (“The Disappearance of Ric”)
17 (00.00.50) - “Ric-Rac contro i banditi” (“Ric-Rac Against the Bandits”)
18 (00.00.50) - “L’aereo razzo di Ric-Rac” (“The Ric-Rac Rocket Plane”)

Special Birthdays


Robert Ryan (actor) would have been 110 today, he died in 1973.











Luciana Gilli (actress) is 75 today. 









Jose Sancho (actor) would have been 75 today, he died in 2013.

Sunday, November 10, 2019

European Western vs. American Western (Part 3)


By Alireza Vahdani

The invention of the modern antagonist

The nature of the antagonist is the most significant difference demarcating Italian and American westerns; the Italian antagonist is totally distanced from the American variant. The latter, as a one-dimensional character, is simply ‘a bad man’; but this badness is not defined by the film, or explained in any depth. Instead the character of the antagonist is a nexus of clichés: he drinks a lot, he is not a gentleman, he is a troublemaker, he is the one most likely to provoke needless acts of violence, and above all he stands outside the community, an outcast, which means he is hated by the townspeople. This type of representation is simplistic because the audience is not given the chance to really understand why he behaves differently. If drinking and shouting make men evil, so too are the majority of today’s university students. Films should develop or at least suggest more profound elements as to why some men act differently than others.

Italian westerns set out to change the traditional way that westerns depict antagonists. Cooke (2007, p.180) writes: “Leone, by breaking and playing with conventions, established a new template for the western based on liminality and complexity rather than a simple binary system of good versus bad.” To do so, Leone reduces the space between antagonist and protagonist. Moreover, the personalities of the two characters can overlap. This is not an arbitrary attempt, but something that requires certain rules and tactics. They are:

1. Physical appearance; this means that the antagonist’s and the protagonist’s features are similar. In A Fistful of Dollars, Ramón is almost as tall as Joe, and his gun fighting abilities are at Joe’s level. Moreover, both of them have the same make-up (gruff exterior, unshaven, etc.). Cooke elucidates this resemblance. He (2007, p.180) writes: “[the antagonist] is as powerful and charismatic as the hero, in order to maintain interest and give the hero a real challenge.” Therefore, it can be said, based on Cooke’s idea, that the antagonist must be a worthy adversary; if not, there is no point for the protagonist to face up to him.

2. Character establishment; both antagonist and protagonist establish their presence in the film through the killing of others. The difference is that the antagonist kills more often than the protagonist. As the result of using violence for the purpose of identity, the death of the antagonist carries more meaning than the death of his counterpart in an American western. According to Bondanella (1996), if in an American western the antagonist’s death simply means the triumph of the virtuous, in an Italian western it encompasses the narrative. [7]

3. Heterosexual love; there is always a love interest between a man and woman in Hollywood films and this follows in many American westerns as well. The convention is that the hero falls in love with a woman, but can’t attain her. The reasons are either that she marries another man (e.g. The Searchers, The Man Who Shot Liberty Valance), or she has been murdered (Red River). Moreover, even if he does fall in love with a married woman, he is gentleman enough to avoid a sexual affair (Shane). Italian westerns re-contextualise the notion of love. By this I contend that women often are not portrayed as romantic objects. They are lost in the hierarchical system of the masculine society of these films. Moreover, they are too feeble to be loved by the protagonist. As noted before, the hero looks for strong and challenging characters. It can even be said that when it comes to women, the hero is asexual. In addition, in these films it is the antagonist who is more likely to fall in love (like Ramón who loves Marisol). This love is not the conservative and romantic love of Hollywood, e.g. to enact on his love for Marisol, Ramón separates her from her child and husband, bringing dysfunction upon her family life.

4. Selfishness; in Hollywood films, one element of the protagonist’s character is that he is unselfish and down to earth. The character of Tom Doniphon (John Wayne) in The Man who shot Liberty Valance is an ideal example. In opposition to this, the protagonist in the Italian western cares for no one and nothing, outside of his personal gain. As noted earlier in A Fistful of Dollars, Joe’s goodwill act toward Marisol still serves a personal purpose. The irony is that in these westerns, the antagonist is usually more caring and unselfish than their counterparts. This does not necessarily mean that he is a decent or lovable man, but that as long as people stay within his rules he will not bother them. Ramón shows his hatred to the protagonist only when Joe causes Marisol to leave him. In Hollywood films, the antagonist has few friends and many enemies; this formula is echoed in Italian westerns, where it is the protagonist who has few friends and many enemies.

Conclusion

Among the four changes that Leone established in A Fistful of Dollars, the most significant one is the representation of the villain. The traditional bad man of Hollywood no longer carries the same weight. Viewers today are only satisfied by complex and menacing villains. In the last few years characters such as the Joker (Heath Ledger) in The Dark Knight (dir. Christopher Nolan, 2008) and Bill “The Butcher” Cutting (Daniel Day-Lewis) in Gangs of New York (dir. Martin Scorsese, 2003) epitomise this change.

As all the above dichotomies suggest, the Italian western is not a sub-genre of the Hollywood western, but a genre of its own. [8] The westerns of both traditions are different in terms of visual style, theme, and characterisation. They may be grouped together as westerns, but they function under differing semantic and syntactic patterns. To quote an ancient Iranian proverb, “not every round object signifies the walnut.”


Endnotes

1 According to Christopher Frayling cited in Bertellini (2004, p.163), “between 1962 and 1976, over 450 westerns were produced in Italy or involved an Italian financial interest.”

2 The term Spaghetti western has been considered derogatory by some scholars, as discussed by Dimitris Eleftheriotis (2001, p.92), because of the way it [spaghetti] “connotes inferiority and foreignness.” However, Dimitris Eleftheriotis uses the term as a springboard for theoretical and critical discussion around issues of genre. My own preference for this essay is to use the term ‘Italian Western.’

3 Frayling (2006) says that the film’s budget was 200,000 US dollars; it earned 8 million Dollars worldwide

4 As an example, Shane (dir. George Stevens, 1953).

5 As an example, The Searchers (dir. John Ford, 1956).

6 This reminds one of a contemporary Hollywood film, Blood Diamond (dir. Edward Zwick, 2006). In the film, the protagonist Danny Archer (Leonardo DiCaprio) explains the acts of violence in Africa as a result of God having left there a long time ago.

7 In American westerns, going back home or reunion with love ones conclude the narrative.

8 For a thorough examination of the spaghetti western and genre theory I recommend Dimitris Eleftheriotis’ essay “”Genre Criticism and the Spaghetti Western,” in his book Popular Cinemas of Europe, 92-133.

Bibliography

Cooke, Paul. (2007) Dialogues With Hollywood, New York: Palgrave Macmillan.

Bertellini, Giorgio. Ed. (2004) The Cinema of Italy, London: Wallflower Press.

Bondanella, Peter. (1996) Italian Cinema from Neorealism to the Present, New York: The Continuum International Publishing Group INC.

Eleftheriotis, Dimitris. (2001) Popular Cinemas of Europe: Studies of Texts, Contexts and Frameworks, New York: The Continuum International Publishing Group INC.

Frayling, Christopher. (2006) Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone, London: I.B.Tauris and Co Ltd.

Russell, Bertrand. (1961) History of Western Philosophy, 2nd ed. London: George Allen and Unwin LTD.

Alireza Vahdani lives in Oxford, UK. He holds a M.A in Popular Cinema and, a B.A in Film Studies/ Communication, Media, and Culture from Oxford Brookes University. He is an Associate Lecturer in Film Studies at Oxford Brookes University. His research interests are Japanese period drama films, Italian popular cinema, classic American Westerns, and English linguistic.
 


Spaghetti Western Locations for “The Relentless Four”


We continue our search for film locations for “The Relentless Four”. Alan locks the door to the hideout and rides back to town to tell Deputy Vince, who’s in on the plot, that they’ve been discovered and demands the reward money. Trying to bluff his way out of giving Alan the money he finally unlocks the safe and pulls out a gun instead of the money. Turning, Vince is gunned down by Alan.


This scene was filmed at the Mini Hollywood / Oasys movie set.



For a more detailed view of this site and other Spaghetti Western locations please visit my friend Yoshi Yasuda’s location site: http://y-yasuda.net/film-location.htm and Captain Douglas Film Locations http://www.western-locations-spain.com/

Special Birthdays


Martin Garralaga (actor) would have been 125 today, he died in 1981.













Eduardo M. Brochero (producer, screenwriter) would have been 100 today, he died 1987.













Jose Maria Caffarel (actor) would have been 100 today, he died in 1999.













Charles Knapp (actor) would have been 100 today, he died in 1995.











Roberto Pedret (actor) is 90 today.
Vittorio Fanfoni (actor) would have been 75 today, he died in 2016.

Saturday, November 9, 2019

New DVD, Blu-ray Release ~ Die Welt de Bruvo Bozzetto

Die Welt de Bruvo Bozzetto
(1976)

Director: Bruno Bozzetto
Starring: Animated characters

Country: Germany
LabmbHel: Koch Media G
Discs: 3
Region: 2
Format: Dolby, Pal
16:9 – 1.77:1
Language: Dolby Digital 2.0, Italian, German
Time: 242 minutes
Released: November 7, 2019


The World of Bruno Bozzetto", search has now come to an end. In addition to numerous short films Koch Films united for the first time "The West and Soda" (1965), "VIP - My Brother, the Superman" (1968) and the musical bravura piece "Allegro non troppo" (1976) in one edition. And even lets the man with hat and dog come to light. The result: a real stroke of luck for fans of animation art!

Bonus material:
Picture galleries with advertising material, drawings and rare sketches; Bonus DVD with 29 short films directed by Bruno Bozzetto; Documentation “The Wonderful World of Bruno Bozzetto” (about 41 minutes), What is a cartoon (about 24 minutes), 28-page booklet in oversize format.

Spaghetti Western Voices ~ “And for a Roof a Sky Full of Stars”


As we know most of the Euro-westerns were co-productions from Italy, Spain, Germany and France which incorporated British and American actors to gain a worldwide audience. The films were shot silent and then dubbed into the various languages where they were sold for distribution. That means Italian, Spanish, German, French and English voice actors were hired to dub the films. Even actors from the countries where the film was to be shown were often dubbed by voice actors for various reasons such as the actors were already busy making another film, they wanted to paid additional salaries for dubbing their voices, the actor’s voice didn’t fit the character they were playing, accidents to the actors and in some cases even death before the film could be dubbed.

I’ll list a Euro-western and the (I) Italian, (S) Spanish, (G) German and (F) French, (E) English voices that I can find and once in a while a bio on a specific voice actor as in Europe these actors are as well-known as the actors they voiced.













Today we’ll cover ~ “And for a Roof a Sky Full of Stars”
[(I) Italian, (S) Spanish, (G) German (F) French, (E) English]

Giuliano Gemma (I) Pino Locchi, (G) Erik Schumann, (F) Michel Le Royer
Mario Adorf (I) Aldo Giuffrè, (G) Mario Adorf, (F) Jacques Dynam
Magda Konopka (I) Rita Savagnone, (G) Sylvia Frank, (F) ?
Anthony Dawson (I) Bruno Persa, (G) Mogens von Gadow, (F) ?
Franco Balducci (I) Manlio De Angelis, (G) ?, (F) : Raymond Loyer
Rick Boyd (I) Sergio Tedesco, (G) Erich Ebert, (F) Jacques Torrens












SERGIO TEDESCO [4/23/1928 - 6/3/2012]

Sergio Tedesco was born in La Spezia, Italy on April 23, 1928. His father died when he was nine years old and he moved to Rome with his mother to help get a head start on his career. He eventually made his film debut in the 1941 film “Il bazar delle idee” directed by Marcello Albani. He then acted in two other films that same year.

As the years passed, Tedesco showed a natural talent for singing. He performed as a tenor at the Rome Opera House a few times and acted and sung in several plays while collaborating with Mario Zafred, Tito Gobbi, Renato Capecchi and Carlo Maria Giulini. Tedesco also performed at the Carignano Theatre in Turin and La Fenice in Venice. In 1998, Tedesco officially retired from opera singing.

Tedesco turned his attention and career to becoming a voice dubber. He voiced Kaa in the Italian version of “The Jungle Book” and reprised the role in the 2003 sequel. Sergio also dubbed Avery Bullock in the Italian dub of “American Dad” and Sam the Eagle and Statler in ‘The Muppets’ from 1979 to 1999.

Tedesco had two children. His daughter Paola Tedesco is an actress and his son Maurizio Tedesco is a film producer.

Sergio Tedesco passed away on June 3, 2012 at the age of 84. He spent the last 17 years of his life in Perugia, Italy.