Technical poster of italian new realism

The Neorealist period is often simply referred to as "The Golden Age" of Italian Cinema by critics, filmmakers, and scholars. It has been said that after Umberto D. Possibly because of this, neorealism effectively ended with that film; subsequent works turned toward lighter atmospheres, perhaps more coherent with the improving conditions of the country, and this genre has been called pink neorealism. Soon pink neorealism, such as Pane, amore e gelosia , released in the US as Frisky with Vittorio DeSica and Gina Lollobrigida , was replaced by the Commedia all'italiana , a unique genre that, born on an ideally humouristic line, talked instead very seriously about important social themes.

His films often with Peppino De Filippo and almost always with Mario Castellani expressed a sort of neorealistic satire, in the means of a guitto a "hammy" actor as well as with the art of the great dramatic actor he also was. A "film-machine" who produced dozens of titles per year, his repertoire was frequently repeated. His personal story a prince born in the poorest rione section of the city of Naples , his unique twisted face, his special mimic expressions and his gestures created an inimitable personage and made him one of the most beloved Italians of the s.

For a long time this definition was used with a derogatory intention. Vittorio Gassman , Marcello Mastroianni , Ugo Tognazzi , Alberto Sordi , Claudia Cardinale , Monica Vitti and Nino Manfredi were among the stars of these movies, that described the years of the economical reprise and investigated Italian customs, a sort of self-ethnological research. A series of black-and-white films based on Don Camillo character created by the Italian writer and journalist Giovannino Guareschi were made between and Monsignor , and Don Camillo in Moscow.

Mario Camerini began filming the film Don Camillo e i giovani d'oggi but had to stop filming due to Fernandel's falling ill, which resulted in his untimely death. Colin Blakely performed Peppone in one of his last film roles. In the late s, Hollywood studios began to shift production abroad to Europe. Italy was, along with Britain, one of the major destinations for American film companies.

The heyday of what was dubbed '"Hollywood on the Tiber" was between and , during which time many of the most famous names in world cinema made films in Italy. With the release of 's Hercules , starring American bodybuilder Steve Reeves , the Italian film industry gained entree to the American film market. Besides the many films starring a variety of muscle men as Hercules, heroes such as Samson and Italian fictional hero Maciste were common.

Sometimes dismissed as low-quality escapist fare, the Peplums allowed newer directors such as Sergio Leone and Mario Bava a means of breaking into the film industry. Ercole Al Centro Della Terra are considered seminal works in their own right. As the genre matured, budgets sometimes increased, as evidenced in 's I sette gladiatori The Seven Gladiators in US release , a wide-screen epic with impressive sets and matte-painting work. Most Peplum films were in color , whereas previous Italian efforts had often been black and white.

Bartolomeo Pagano as Maciste. Kirk Douglas and Silvana Mangano in a pause during the shootings of Ulysses Duel of the Titans On the heels of the Peplum craze, a related genre, the Spaghetti Western arose and was popular both in Italy and elsewhere. These films differed from traditional westerns by being filmed in Europe on limited budgets, but featured vivid cinematography. Franco Nero as Django in the film of the same name. These directors' works often span many decades and genres.

She was the first actress to win an Academy Award for a performance in any foreign language, and the second Italian leading lady Oscar-winner after Anna Magnani. During the s and 70s, Italian filmmakers Mario Bava , Riccardo Freda , Antonio Margheriti and Dario Argento developed giallo horror films that become classics and influenced the genre in other countries.

Due to the success of the James Bond film series the Italian film industry made large amounts of imitations and spoofs in the Eurospy genre from Following the s boom of shockumentary " Mondo films " such as Gualtiero Jacopetti 's Mondo Cane , during the late s and early s, Italian cinema became internationally synonymous with violent horror films. These films were primarily produced for the video market and were credited with fueling the " video nasty " era in the United Kingdom. Some of their films faced legal challenges in the United Kingdom ; after the Video Recordings Act of , it became a legal offense to sell a copy of such films as Cannibal Holocaust and SS Experiment Camp.

Italian films of this period are usually grouped together as exploitation films. Several countries charged Italian studios with exceeding the boundaries of acceptability with their lates Nazi exploitation films, inspired by American movies such as Ilsa, She Wolf of the SS. L'ultima orgia del III Reich.

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These films showed, in great detail, sexual crimes against prisoners at concentration camps. These films may still be banned in the United Kingdom and other countries. Barbara Steele in Black Sunday A scene from Blood and Black Lace Giuliana Calandra in a famous scene from Deep Red They are also known as polizieschi, Italo-crime, Euro-crime or simply Italian crime films.

Between the late s and mid s, Italian cinema was in crisis; "art films" became increasingly isolated, separating from the mainstream Italian cinema. During this time, commedia sexy all'italiana films, described as "trash films", were popular in Italy. These comedy films were of little artistic value and reached their popularity by confronting Italian social taboos, most notably in the sexual sphere.

Also considered part of the trash genre are films which feature Fantozzi , a comic personage invented by Paolo Villaggio. Although Villaggio's movies tend to bridge trash comedy with a more elevated social satire; this character had a great impact on Italian society, to such a degree that the adjective fantozziano entered the lexicon.

Of the many films telling of Fantozzi's misadventures, the most notable were Fantozzi and Il secondo tragico Fantozzi. A new generation of directors has helped return Italian cinema to a healthy level since the end of the s. This award was followed when Gabriele Salvatores 's Mediterraneo won the same prize for Other noteworthy recent Italian films include: The two highest-grossing Italian films have both been directed by Gennaro Nunziante and starred Checco Zalone: They Call Me Jeeg , a critically acclaimed superhero film directed by Gabriele Mainetti and starring Claudio Santamaria , won many awards, such as eight David di Donatello , two Nastro d'Argento , and a Globo d'oro.

Other successful s Italian films include: Roberto Benigni and Nicoletta Braschi. From Wikipedia, the free encyclopedia. Cinema of Italy Some of the notable actors and filmmakers [a]. Quo Vadis , regarded as the first blockbuster in the history of cinema. Cabiria , the first epic film ever made. Hollywood on the Tiber. My Son, the Hero Cinema Infrastructure - Capacity". Retrieved 5 November Share of Top 3 distributors Excel ". Retrieved 24 April The moving performances De Sica obtains from his nonprofessional child actors in Shoeshine arise from what the director called being 'faithful to the character': De Sica believed that ordinary people could do a better job of portraying ordinary people than actors could ever do.

During the war Visconti was an active participant in the Resistance and was eventually captured and imprisoned in Rome by the Nazis, who planned to execute him. He managed to escape from prison just before the American Fifth Army entered Rome in In , Visconti contributed to the multi-director documentary recreation film about the Resistance, Giorni di gloria Days of Glory, After the war, Visconti returned to theater productions in Rome. Episodio del mare The Earth Trembles: Antonio decides to take out a loan with the family house as collateral in order to buy his own boat.

But the project ends in failure because Antonio is unable to enlist the support of the other fishermen in Aci Trezza. Incidentally the language used by actors is different enough from standard Italian that when the film was released in Italy, occasional voice-over commentary by Visconti was added to help non-Sicilians follow the story. The Earth Trembles is a convincing portrayal of a social struggle that fails to produce significant change. Nevertheless, at the end of the film it is evident that despite his defeat, the main character, Antonio, is still determined to overcome the exploitation in his village.

In practical terms, the film was one of the first box office disappointments of the neorealist period". Selznick was willing to back the film, but only with Cary Grant as lead, an offer De Sica fortunately had the confidence to refuse. When the bicycle he needs to do his job is stolen, the young father and son scour Rome to find it; the father is finally driven to steal a ride of his own. The Bicycle Thieves also employs location shooting and the social themes of unemployment and the effects of the war on the postwar economy.

The performances of Lamberto Maggiorani as Antonio Ricci, the unemployed father who needs a bicycle in order to make a living hanging posters on city walls, and Enzo Staiola as Bruno, his faithful son, rest upon a plot with a mythic structure - a quest. Their search for a stolen bicycle - its brand is ironically Fides 'Faith' - suggests the film is not merely a political film denouncing a particular socioeconomic system. Social reform may change a world in which the loss of a mere bicycle spells economic disaster, but no amount of social engineering or even revolution will alter solitude, loneliness, and individual alienation.

De Sica orchestrated the film carefully, shooting some scenes with multiple cameras and drawing attention to its existence as fiction, not a documentary. Bazin termed it the "only valid Communist film of the whole past decade" and the film was often seen as simply a criticism of working conditions in Italy at the time, when unemployment stood at 25 percent. But unlike the clearcut moralizing of Rossellini's films, De Sica's works focus on a humanist sense of individual and mass. Bicycle Thieves has a mythic feel, the father ultimately forced into thievery, each moral quandary no sooner solved than De Sica poses yet another, the father sympathetic but flawed.

Like Visconti he began his directing career in the multi-director Resistance film Giorni di gloria Days of Glory, before making his first feature Caccia Tragica Tragic Hunt, The film starring Massimo Girotti, is similar to the gangster film genre and reveals the the struggles between friendship, collaboration, and political duty during the Resistance. De Santis depicts sequences of the indigenous culture, such as the call and response songs of the mondine rice pickers while also displaying an understanding of pop culture in the early postwar years.

He recognizes the attraction of American popular boogie woogie culture with the sexually charged performance of actress Silvana Mangano emblematic of the the natural background of the rice fields within a community of hard-working and sexually vibrant women rice pickers. Silvana also represents the desires of the Italian working classes for a life removed from hard work and the threat of poverty. She yearns for the materialism of consumer culture and admires foto-romanzi pulp magazines like Grand Hotel. In Bitter Rice , Walter is a contrast to the model of solidarity and hard work from the suitor Silvana rejects, the goodhearted soldier Marco, played by Raf Vallone.

The trio Mangano, Gassman, Vallone would appear later in similar roles the melodrama, Anna De Santis remained a committed leftist even after the Soviet suppressions of popular revolts in Hungary and Czechoslovakia Bitter Rice was also influential for the manner in which it conveyed an ideal of female physicality, which incidentally provoked threats of censorship in the United States.

The result is a parody of Marxist concepts of class struggle. De Sica and Zavattini show us poor people who are just as selfish, egotistical, and uncaring as some wealthy members of society once the poor gain power, money, and influence. At the conclusion of the film, the poor mount their broomsticks and fly off over the Cathedral of Milan in search of a place where justice prevails and common humanity is a way of life.

Miracle in Milan stretches the notion of what constitutes a neorealist film to the very limits. Italian audiences hardly embraced these new films. To be shown their country in such stark terms made the majority very unhappy. It even became part of the law: Legislation had little immediate effect on what was made, though the stories began to reflect the scramble for work and stability that defined this period. Visconti's terrific Bellissima centers on a daughter and fanatic stage-mamma, the inimitable Magnani, eager to get her modestly talented daughter a spot in a movie. To her husband's dismay, she squeezes every extra penny into lessons and cosmetic improvements for the little girl.

Ultimately, the mother all but puts herself on the market to get the recognition she's convinced will make life worth living. Set in a working-class Roman neighborhood, Bellissima gives rare insight into how provincial big-city life could be, each neighborhood a virtual small town, the neighbors sometimes helpful, often petty and jealous of any advantage. Though not traditionally considered a neo-realist film, Bellissima did focus on people's lives in the wake of war, the sense of wanting to better oneself and the struggle to find a way out of the grind of poverty. It becomes yet more poignant in this context.

The sense of Rome as a small town is especially acute in Umberto D. The crisis-filled days of a pensioner, Umberto Domenico Ferrari Carlo Battisti , and the complications of his relationship with his dog and a young maid in his apartment building become a study in the difficult drama that constitutes an ordinary life.

As played by a dignified nonprofessional - a professor, who, in the event, was often subsequently taken for his character on the street - Umberto D. The indignities of the family-less and indigent old-age are laid out with sensitivity but not sentimentality. Umberto is vulnerable and all but invisible, barely distinguishing himself in a crowd of protesting pensioners, desperately trying to maintain his independence and self-respect.

There is no real plot other than the minuscule and life-shaping crises of late-life impoverishment. Even the end strikes a melancholy note of ambiguity. Raised in Naples, he began working as an office clerk at a young age in order to help support his impoverished family. He became fascinated by acting while still a youth, and made his screen debut in 's The Clemenceau Affair at the age of just In , De Sica joined Tatiana Pavlova's famed stage company, and by the end of the decade his dashing good looks had made him one of the Italian theater's most prominent matinee idols.

With 's La Vecchia Signora , he made his sound-era film debut and went on to become an even bigger star in the cinema, appearing primarily in light romantic comedies throughout the decade. In , De Sica graduated to the director's chair with Rose Scarlatte. Over the next two years he helmed three more features 's Maddalena With 's I bambini ci guardano , De Sica revolutionized the Italian film industry, crafting a poignant, heartfelt portrait of a downtrodden culture free of the conventions of Hollywood production. Working with screenwriter Cesare Zavattini, who remained a central figure in the majority of his greatest work, De Sica employed non-professional actors and filmed not in studios but on the streets of Rome, all to flesh out the working-class drama of Zavattini's script.

His greatest film, Ladri di biciclette , followed in ; a virtual textbook of neorealism in action, it featured all of the aesthetic's key tenets — gritty production, almost improvisational acting, and a lean emotional compression — and it even added authentic documentary footage into the narrative to establish a greater sense of truth. Like Sciuscia , Ladri di biciclette won a special Academy Award; not until several years later was the Oscar category for Best Foreign Language Film officially established. Three years later, De Sica returned with Miracolo a Milano. Its follow-up, 's Umberto D.

The Il tetto marked something of a return to neorealist form, but when it too failed commercially, De Sica's career as a filmmaker was critically damaged. Unable to secure financing for subsequent projects, he turned his full focus to acting, starring in a string of pictures including 's A Farewell to Arms for which he earned an Oscar nomination for Best Supporting Actor and 's Souvenir d'Italie It Happened in Rome. Over the course of his long career, he appeared in over features. The Ieri, oggi, domani also won an Oscar for Best Foreign Language Film, but in many regards De Sica's reign as one of the world's great directors was over.

Features like 's Caccia alla volpe , 's Sette volte donna , and 's Girasoli were lightweight at best, and although 's Il giardino dei Finzi-Contini won yet another Academy Award, it bore little relation to his neorealist classics. De Sica died in Paris on November 13, , following complications from surgery.

From his first project in , Rossellini was far more fascinated with the mechanical intricacies of dubbing, editing, and photography than with such things as plots and performers. His short subject Prelude a l'apres-midi d'une faune , was considered worthwhile enough by some film-industry insiders to warrant a theatrical release; unfortunately, it was banned by Italy's censorship bureau on the grounds of indecency.

Even so, when Vittorio Mussolini - the dictator's movie-executive son and a family friend - invited young Rossellini to become a professional filmmaker, the year-old dilettante jumped at the chance. Assigned to direct a documentary about an Italian hospital ship, he expanded the project into a fictional feature, La nave bianca , completed in and released the following year.

During the war, Rossellini found himself in the delicate position of acting as technical director for fascist-commissioned films, all the while secretly shooting documentary footage of anti-Mussolini resistance fighters. In , he began work on what many consider the first neorealist film, Desiderio , in which, utilizing a hand-held camera, Rossellini attempted to approach his subject matter as a spectator rather than director.

Unfortunately, he was forced to drop the project, which would be completed by other, more conventional hands three years later. This film so impressed Hollywood producer David O. Selznick that he invited Rossellini to come to America to direct Selznick's next Ingrid Bergman vehicle.

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Bergman, herself, wrote an affectionate fan letter to the director, never dreaming what effect this simple gesture of courtesy would have on her life. He then switched focus from the devastations of the postwar era to the earthy charms of his lover Anna Magnani in L'amore He finally met Bergman the following year, and their mutual admiration quickly deepened into love. Leaving their respective spouses, Rossellini and Bergman married in , sparking an international scandal that resulted in fervent condemnations from politicians and clergymen alike.

From through , Bergman worked for no other director but Rossellini; the collaboration yielded one truly worthwhile film, Stromboli , and a series of self-indulgent, critical, and financial disasters. Although the Bergman-Rossellini liaison produced three children including current film star Isabella Rossellini , their relationship quickly soured. While preparing a multi-part TV documentary on India in , Rossellini became involved with Indian screenwriter Somali Das Gupta, whose subsequent pregnancy effectively ended his marriage to Bergman and nearly destroyed his film career.

Rossellini's later marriage to Gupta would also end in divorce. In , Rossellini restored his tattered reputation with his best film in years, Il generale Della Rovere , which starred fellow director Vittorio de Sica. After completing Vanina Vanini in , Rossellini devoted his energies almost exclusively to TV films, turning out several respectful but non-reverential biographies of such historical figures as Socrates, St.

In his last movie, Il messia , the director once more stirred up controversy, though '70s filmgoers of were less-easily outraged than those of Rossellini died in His autobiography, My Method: Writings and Interviews , was published posthumously in One of seven children, Visconti was born in Milan into a noble and wealthy family, one of the region's richest.

In his early years he was exposed to art, music and theatre, and met the composer Giacomo Puccini, the conductor Arturo Toscanini, and the writer Gabriele d'Annunzio. Visconti made no secret of his homosexuality. Berger also appeared in Visconti's Ludwig in and Gruppo di famiglia in un interno Conversation Piece in along with Burt Lancaster. Other lovers included Franco Zeffirelli, who also worked as part of the crew i. He began his filmmaking career as an assistant director on Jean Renoir 's Toni and Une partie de campagne , thanks to the intercession of their common friend, Coco Chanel.

Historical origins of Italian neorealism

After a short tour of the United States, where he visited Hollywood, he returned to Italy to be Renoir's assistant again, this time for La Tosca , a production that was interrupted and later completed by German director Karl Koch because of World War II. Together with Roberto Rossellini, Visconti joined the salotto of Vittorio Mussolini the son of Benito, who was then the national arbitrator for cinema and other arts. Here he presumably also met Federico Fellini. Ossessione Obsession, , the first neorealist movie and an unofficial adaptation of the novel The Postman Always Rings Twice.

In the book by Silvia Iannello Le immagini e le parole dei Malavoglia , the author selects some passages of the Verga novel, adds original comments and Acitrezza's photographic images, and devotes a chapter to the origins, remarks and frames taken from the movie. Visconti continued working throughout the s, although he veered away from the neorealist path with his film, Senso , shot in color. Based on the novella by Camillo Boito, it is set in Austrian-occupied Venice in In this film, Visconti combines realism and romanticism as a way to break away from neorealism.

However, as one biographer notes, "Visconti without neorealism is like Lang without expressionism and Eisenstein without formalism. Visconti returned to neorealism once more with Rocco e i suoi fratelli Rocco and His Brothers, , the story of southern Italians who migrate to Milan hoping to find financial stability. Throughout the s, Visconti's films became more personal. Il gattopardo The Leopard, , based on Lampedusa's novel of the same name about the decline of the Sicilian aristocracy at the time of the Risorgimento.

This film was distributed in America and England by Twentieth-Century Fox, which deleted important scenes. Visconti repudiated the Twentieth-Century Fox version. The film, one of Visconti's best-known works, concerns a German industrialist's family which slowly begins to disintegrate during World War II.

Its decadence and lavish beauty are characteristic of Visconti's aesthetic. Visconti's final film was L'innocente The Innocent, , in which he returns to his recurring interest in infidelity and betrayal. Visconti was also a celebrated theatre and opera director. During the years he directed many performances of the Rina Morelli-Paolo Stoppa Company with actor Vittorio Gassman as well as many celebrated productions of operas.

Visconti's love of opera is evident in the Senso , where the beginning of the film shows scenes from the fourth act of Il trovatore, which were filmed at the Teatro La Fenice in Venice. On the other hand, his austere Simon Boccanegra with the singers clothed in geometrical costumes provoked controversy. Italian journalist and writer of screenplays for Italian neorealist cinema, Cesare Zavattini is known especially for his collaborations with director Vittorio De Sica. In his lifetime, Zavattini completed screenplays, 26 of which were for De Sica as director or actor.

But it was the four neorealist classics created by the two friends that made film history: Zavattini became the outstanding spokesman for neorealism, advocating the use of nonprofessional actors, a documentary style, authentic locations as opposed to studio shooting, and a rejection of Hollywood studio conventions, including the use of dramatic or intrusive editing.

He wrote contemporary, simple stories about common people. In particular, he felt that everyday events provided as much drama as any Hollywood script could produce by rhetorical means or that any special effects and dramatic editing might create. Nevertheless, after neorealist cinema evolved in the late s, Zavattini wrote screenplays for De Sica that enjoyed great commercial success: Ieri, oggi, domani Yesterday, Today, and Tomorrow.

One of the most visionary figures to emerge from the fertile motion picture community of postwar-era Italy, Federico Fellini brought a new level of autobiographical intensity to his craft; more than any other filmmaker of his era, he transformed the realities of his life into the surrealism of his art. Though originally a product of the neorealist school, the eccentricity of Fellini's characterizations and his absurdist sense of comedy set him squarely apart from contemporaries like Vittorio De Sica or Roberto Rossellini, and at the peak of his career his work adopted a distinctively poetic, flamboyant, and influential style so unique that only the term 'Felliniesque' could accurately describe it.

Born in Rimini, Italy, on January 20, , Fellini's first passion was the theater, and at the age of 12 he briefly ran away from home to join the circus, later entering college solely to avoid being drafted. Prior to the outbreak of World War II, he wrote and acted with his friend Aldo Fabrizi, and during wartime he composed radio sketches for the program Cico e Pallina , meeting his future wife, actress Giulietta Masina. Additionally, Fellini worked as an artist on fumetti Italy's illustrated magazines , and occasionally even made his living as a caricaturist at Roman restaurants.

He only entered film with the aid of Fabrizi, who recruited Fellini to continue supplying stories and ideas for his performances; between and , the two men worked in tandem on a number of largely forgotten comedies, among them Quarta pagina , and Campo de' fiori. The pivotal moment in Fellini's early career came in the days following the Allied Forces' liberation of Italy, when he and Fabrizi both began working with Roberto Rossellini, a young, largely unknown filmmaker with only a handful of directorial credits under his belt.

Rossellini's initial plan was to film a fictionalized account of the Germans' shooting of a local priest. In , Fellini completed the screenplay for Il miracolo , the second and longer section of Rossellini's two-part effort L'amore. Here Fellini's utterly original worldview first began to truly take shape in the form of archetypal characters a simple-minded peasant girl and her male counterpart, a kind of holy simpleton , recurring motifs show business, parties, the sea , and an ambiguous relationship with religion and spirituality, a relationship further explored in his script for Rossellini's Francesco, giullare di Dio , adapted from The Little Flowers of St.

The film marked his first work with composer Nino Rota, who emerged among the key contributors to his work throughout the remainder of his career. Fellini's initial masterpiece, I vitteloni , followed in The first of his features to receive international distribution, it later won the Silver Lion at the Venice Film Festival, the first of so many similar honors that eventually an entire room in his house was devoted solely to housing his awards. The brilliant La strada followed in , also garnering the Silver Lion as well as the Academy Award for Best Foreign Language Picture and some 50 other worldwide prizes and citations.

The picture's success brought his singular combination of the sublime and the grotesque to international fame, launching wife and star Masina to global stardom as well.

After helming 's Il bidone , Fellini and a group of screenwriters including a young Pier Paolo Pasolini began work on 's Le notti di Cabiria ; the completed film won a second Academy Award. Upon writing the screenplay for Viaggio con Anita , a tale based on the death of his father which remained unfilmed before Mario Monicelli agreed to direct it in , Fellini mounted 's La dolce vita , perhaps his most well-known film.

Nouveau réalisme

The first of his pictures to star actor Marcello Mastroianni, who would become Fellini's cinematic alter ego over the course of several subsequent collaborations, its portrait of sex and death in Rome's high society created a tremendous scandal at its Milan premiere, where the audience booed, insulted, and spat on the director. Regardless, La dolce vita won the Palm d'Or at the annual Cannes Film Festival, and remains a landmark in cinematic history.

The success afforded to the film left Fellini in a state of confusion as he considered his next project.

Again, the international acclaim was virtually unanimous, with yet another Oscar forthcoming, and after winning the Great Prize at the Moscow Film Festival, he never again entered festival competition. With 's Giulietta degli spiriti , Fellini worked for the first time in color. Mastorna , inspired by the death of his friend Ernest Bernhard. Over a year of pre-production followed, hampered by difficulties with producers, actors, and even a jury trial.

Finally on April 10th, , Fellini suffered a nervous breakdown, resulting in a month-long nursing home stay. Ultimately, he gave up on ever bringing Il Viaggio di G.

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Mastorna to the screen, and his new producer, Alberto Grimaldi, was forced to buy out former producer Dino De Laurentis for close to half a billion liras. As the decade drew to a close, Fellini returned to work with a vengeance, first resurfacing with Toby Dammitt, a short feature for the collaborative film Tre passi nel delirio. Turning to television, he helmed Fellini: A Director's Notebook , a one-hour special for the NBC network, followed by the feature effort Fellini - Satyricon , an erotic adaptation of Petronius' text.

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Amarcord , a childhood reminiscence, won a fourth Academy Award in , but as criticism that his work was becoming far too eccentric and self-indulgent continued to mount, it proved to be his final international success. E la nave va and Ginger e Fred followed in and respectively, but by the time of 's L'Intervista, he was facing considerable difficulty finding financing for his projects; consequently, 's La voce della luna was his last completed film.

In the early years of the s, Fellini helmed a handful of television commercials, and in he won his fifth Academy Award for a lifetime of service to the film industry. On the day after his fiftieth wedding anniversary, Federico Fellini suffered a massive stroke and lapsed into a coma; he never recovered, and died on October 31, He was 73 years old. After studying to be an architect at the Berchet School in Milan, Lattuada supplemented his income as a newspaper and magazine writer. He entered the Italian film industry in as a set decorator, graduating to assistant in charge of color in Five years later, he directed his first film.

With Luigi Comencini, Lattuada founded Italy's first film archive, Cinetica Italiana , in ; that same year he published a popular coffee-table volume, The Photographic Atlas. Stepping up his directing activities in the postwar years, Lattuada specialized in stylish costume pictures, often adapted from famous novels. His ventures into neorealism - Il bandito Bandit, , Anna - tended to be slicker and more professional-looking than the similar efforts of his contemporaries.

He did a great deal of TV work in the s and s, notably the U. From onward, Lattuada kept busy outside the movie industry as an opera director. Alberto Lattuada was once married to actress Carla Del Poggio. Though not among Italy's most internationally renowned filmmakers, Ermanno Olmi ranks as one of his country's finest. He is known for making realistic films about the lives of average people that are infused with an almost austere subtlety and rare ambiguity that is sympathetic yet not overly sentimental.

A native of Bergamo, Italy, he was the son of peasant factory workers. Following his father's death during WWII, Olmi and his mother supported the family working in the Edison-Volta electric plant where Olmi worked as a clerk. While there, he became involved in company-sponsored filmmaking and theatrical projects.

Most of the films he made for the company had industrial themes. It was with this film, a chronicle of the relationship that gradually developed between an elderly nightwatchman and his assistant while stationed at the construction site of an Alpine dam, that evidenced the sensitivity that would characterize Olmi's later works. The success of the film led Olmi to become a feature filmmaker. To that end, he traveled to Milan and co-founded the Twenty-Four Horses , an independent film co-op where he made his semi-autobiographical feature-film debut with Il posto in Unfortunately, this film — the only one in which he did not use nonprofessional actors — was a box-office flop and after making one more feature, Olmi became a television director.

He did not make another feature until The film was L'albero degli zoccoli The Tree of Wooden Clogs , a complex interweaving of the lives of five peasant families struggling to survive, and is considered Olmi's finest work. Pietro Germi was an Italian actor, screenwriter, and director. Germi was born in Genoa, Liguria, to a lower-middle class family. He was a messenger and briefly attended nautical school before before entering Rome's Centro Sperimentale di Cinematographia.

There he studied acting and directing, supporting himself with a number of bottom-level movie industry jobs as an extra, bit actor, assistant director, and, on occasion, writer. In , he directed his first film, Il testimone , which he also co-scripted. His early work, Il cammino della speranza The Road to Hope, , In nome della legge In the Name of the Law, , Il brigante di Tacca del Lupo The Bandit of Tacca Del Lupo, were very much in the Italian neorealist style; many were social dramas that dealt with contemporary issues pertaining to people of Sicilian heritage.